TENNESSEE WILLIAMS UNSCRIPTED

 Like the familiar adage that you can never step into the same river twice, Impro Theatre Company promises that any performance that you see in this current offering will be unique.  Garry Marshall’s Falcon Theatre in Burbank regularly hosts this brilliant company of actors and this production must not be missed!  Impro’s current theme turns on the works of master storyteller, Tennessee Williams.  The set by Michael C. Smith and lighting by Leigh Allen evoke Vieux Carre and the torid days and nights remembered in Williams’ plays that feature equally steamy characters, each with a story to tell.  Spot on costumes by Sandra Burns and tech improv cast member in the booth Madison Goff tie the show together. 

There’s improv and then, there’s Impro!  With all respect to Merrie Masquers, The Committee, The Wing, The Groundlings, Whose Line is it Anyway and The Spolin Players, Impro takes the craft of improvisation to new heights.  However..  Howevah.. there might be a slight problem as the tale of vacationers on a mountain top in Florida evolves (do not expect to be taken to Florida or up on a mountain top when you go)..  in that the laughter as the story takes shape is raucous.  As intimations of Blanche DuBois and Big Daddy evolve with other characters whom you may remember from Williams’ familiar plays, twists and turns in the hands of these professionals just keep twisting and turning. 

I did not make note of last night’s players and so making specific comments about who played whom is impossible.  And, as the players rotate from night to night, like Forrest Gump’s momma always says, “You never know what you’re gonna get.”  In fact it really doesn’t matter.  The energy of the cast with subtle music and sound effects; expert lighting that the improv director in the booth provides, it’s a guaranteed entertainment that Tom, himself, would probably enjoy while taking copious notes to create new versions of his classic pieces.

With lines like “After I started puking, he shut up!” and the Bobo's description of his wife as a “smoky carapace” of herself, it’s clear that the actors have steeped themselves in this unique genre of the fifties and the lives and times of these shadow people who will live but once and drift away, perhaps a reflection of our own sweet bitter memories in a darkling mirror. 

The cast changes with each show.  The ensemble includes: Nick Massouh, Lauren Rose Lewis, Dan O'Connor, Edi Patterson, Michele Spears, Jo McGinley, Floyd VanBuskirk, Stephen Kearin, Kelly Holden Bashar, Ryan Smith, Kari Coleman, and Mike McShane. 

Photo Credit Sasha Venola

If you love the theatre, rush to The Falcon and spend ninety minutes steeped in laughter, y’all. 

IMPRO THEATRE’s Tennessee Williams Unscripted

FALCON THEATRE

4252 Riverside Drive

Burbank, California 91505

Fridays, Saturdays and Sundays

Through July 31, 2016

Tickets and Information

818 955 8101

falcontheatre.com

DANGER IN CHICAGO / EXPLOSION IN LOS ANGELES

It is not my intention to become embroiled in the controversy that has arisen regarding the reports of past abuse levied on actors and others at a storefront "professional" theatre in Chicago.  

Every review that I write and post here is simply my opinion and my reaction to whatever production I may have been invited to review.  If I make a mistake in spelling or pertinent information in my review and it's pointed out to me, I'll fix it.  Otherwise, it is just an opinion. It's a way for folks to have information about a show and for the company to have objective take on their hard work. 

The article about Profiles Theatre Company in Chicago is a news story.  I have not gone to Chicago to vet its authenticity.  I have not met the principals in the story. The article (link below) stands as a long report on alleged 'abuse' to actors and others involved in some of the Profiles' productions. 

The opinion piece published on Bitter Lemons has brought the wrath of the local theatre community down on Colin Mitchell, the now former editor of Bitter Lemons because of his strong opinion regarding the reports from Chicago.  

I believe that we must be informed to have a full opinion about anything.  Sound bites and headlines are not enough to be fully informed.

This entry here on onstagelosangeles is to make available the original story from Chicago and Mr. Mitchell's editorial responding to the story.

Here's the original article:

http://www.chicagoreader.com/chicago/profiles-theatre-theater-abuse-investigation/Content?oid=22415861

 

and the Bitter Lemons response to the article:

http://socal.bitter-lemons.com/learn/article/3449

Michael Sheehan

onstagelosangeles

 

HEDDA GABLER SHINES : THE PISTOLS

JD Cullum, James Sutorius,
Nike Doukas and Kwana Martinez
Photo by Facet Photography Click on photo for full effect

Steven Robman's extensive directing career ranging from the national stage to television over four decades blossoms with dignity and panache at Antaeus in their unique approach to sharing the classics.  "Partner cast," Sunday's performance by "The Pistols" moves smoothly on Se Hyun Oh's gorgeous and well appointed set.  Henrik Ibsen's gothic story of love lost, deceit and greed in this version adapted by Andrew Upton strides deliberately through the paces of Hedda's domineering personality and the inevitable crash that follows.  Ibsen's nineteenth century play now set in the 1920s, past the influence of the Victorian period in which it was originally presented works well, even though the restrictions of thirty years previous may not so rigidly apply.  As Hedda, Nike Doukas, is crisp and sharp in tongue and presentation.  She strikes fear into her scholarly husband, Tesman (JD Cullum) and intimidates the household he has purchased for her with the help of the one man who would love to be the "third part" of a "triangle" partnership, Judge Brack (James Sutorius).  Back story touches on the affair that Hedda had with her first true love, Ejlert Løvborg (Ned Mochel).  The theme of death as art creeps in as the passion of Ejlert for Hedda erupts when he returns, having overcome issues with 'indulgences' and is ready to publish a brilliant book that references history from the future.  

Fine performances with crisp stage pictures engineered by Robman pick up the pace in the second act as Hedda manipulates Ejlert into a revival of his old feelings of inadequacy and yearning for the rekindling of his love for her. Exposition via the excellent Lynn Milgrim as Aunt Julle and Kwana Martinez's Thea Elvstead knit the fascinating tale of survival in the face of rejection and anticipated Scandinavian angst is nicely wrapped up with an equally touching turn by Karianne Flaathen as Berte, the household retainer.  Subtle lighting by Leigh Allen  and excellent costumes by Leah Piehl are thoroughly professional from head to toe.

Ibsen, perhaps a forerunner in the promotion of womens' rights and power, especially with his A Doll's House, is still dark and gloomy with occasional moments of mirth.  For scholars and adults who are interested in well honed performances and a nicely trimmed presentation, I highly recommend this final fling on the Antaeus NoHo stage as they prepare to move to new digs in Glendale come this fall.  

The Pistols cast is part of the 'partner casting' that affords more members of the company time on stage and gives audiences an opportunity to see two professional versions of the same play.  There are actually two other casts: The Generals and The Fjords, each of whom will give slightly different takes on the interpretation of the text. It is fascinating to see individual interpretations by the actors still under the experienced hand of Robman's very specific direction.  Well done! 

HEDDA GABLER by Henrik Ibsen  

Interpreted by Andrew Upton

Antaeus Theatre Company
5112 Lankershim Blvd.
North Hollywood, CA 91601

Through July 2, 2016

Tickets and Information

818.506.5436
info@antaeus.org

BERKOFF DIRECTS O'NEILL AT THE ODYSSEY

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THE HAIRY APE by Eugene O’Neill 

Ron Sossi’s Odyssey Theatre Ensemble had a colorful beginning in the last century on the shady side of Hollywood.  For over 45 years, Ron and actors, directors, designers, playwrights, publicity folks and all the elements of creating imaginative theatre have come together with Sossi’s interest in presenting Theatre. Not just plays, but Theatre in the sense that it fulfills the classic and ‘important’ role that The Theatre is called upon to play in world culture.  His dedication to playwrights like Brecht and O’Neill to bring grit and importance to the Los Angeles Theatre Scene blossoms in the current production of O’Neill’s THE HAIRY APE.   Add to Sossi’s dedication to the ‘stuff’ of world theatre his invitation to Steven Berkoff, to direct his own version of the 1922 play with a cast of seasoned actors? There we have something: Something important.  Berkoff, now in his seventies, has a long reputation of not fooling around with his directing and has gained notoriety as a playwright, actor and teacher as well.  Early on in his career he associated with Jacques LeCoq, a renowned teacher of a physical approach to acting. This physicality is abundant in Berkoff’s direction of this O’Neill and the energy and dedication in the ensemble, stylized and poetic, at once enchants and brings the text to life.

The language of the 1920s as we may remember from early motion pictures is not easy to reproduce.  Haile D’Alan as Yank is thick and mean.  He rules the Stoker Room where the crew’s singular task is to keep the engines of the giant cruise ship moving.  Haile  Parker’s costumes , Katelan Braymer’s lighting design on Christopher Scott Murillo’s bare stage bring the show to life.  Berkoff’s ability to assemble his ensemble as a unit shows that when an imaginative director is given trust by his cast, amazing things can happen. 

The energy of an early opening night (5PM) made some of the shouted dialogue difficult to understand.  The early twentieth century style of O’Neill’s words takes a special affinity for losing contemporary rhythms, see?  As this production moves forward, I’m sure that opening night adrenalin will dial back a notch or two.  Even though the physical action of the play fully supports the dialogue, understanding the language is still important.  

 Yank and the crew are visited in the bowels of the ship by Mildred (Katy Davis) who has basically defied the influence of her Aunt “shiperone” (splendid Jennifer Taub) having told the Engineer that her father is a big wig  and is led to the depths of the ocean liner in her pristine white dress to see how these ‘apes’ do their work.  She faints at the site of Yank calling him a “Hairy Ape!”  The incident sticks with Yank and spurs him later on shore leave in New York to taunt the ‘swells’ and even attempt to join the Wobblies (IWW: International Workers of the World) who sign him up and then reject him because his goal is to wreak havoc.  Rejected, he finds his way to The Zoo where he attempts to connect with the apes.  Ultimately, he does connect:  to his demise.  The physical work throughout is beautifully coordinated.

An important factor in the over all success of this production falls to the brilliant introduction of live percussion by Will Mahood. 

THE HAIRY APE

By Eugene O’Neill

Directed by Steven Berkoff

ODYSSEY THEATRE ENSEMBLE

2055 S. Sepulveda

Los Angeles, CA 90025

Through July 17, 2016

Tickets and Information

310 477 2055 x2

www.odysseytheatre.com

THE GOLDEN DRAGON!

The GOLDEN DRAGON by  Roland  Schimmelpfennig,  translated  by  David  Tushingham

The Boston Court is a bold little theater that puts every ounce of energy into every production I’ve ever seen there. Boston  Court  CoArtistic  Director  Michael Michetti’s direction takes The Golden Dragon on a fast paced journey with side trips into Aesop’s Fables as well as fulfilling hopes and dreams in fantastic ways.  Sara  Ryung  Clement’s multi-level set enhanced by  Elizabeth  Harper’s ingenuitive lighting design provide multiple settings for the larger fable to unfold.  There’s a touch of Brecht going on as the five actors:  Susana  Batres,  Joseph  Kamal,  Justin  H.  Min,  Theo  Perkins and Ann Colby Stocking initially all workers in the noisy kitchen of The Golden Dragon: Thai/Chinese/Vietnamese Fast Food Restaurant with steam fogging the scene, become a myriad of others.  Most interesting, to me, was the complete against type casting that was beautifully achieved.  All of the actors play multiple roles. The Nordic blonde stewardess is played by muscular African American Perkins.  Beautiful Mexican actress Batres, plays a number of different roles including ‘Barbie Fucker,’ the boyfriend of the dark haired cabin attendant, Barbie (Kamal) .. A Young Man (Min), a lithe and limber dancer, plays not only an aged grandfather, but also the dancing Cricket in the familiar fable expanded as he is pimped out by diminutive Stocking as the hard line Ant who repeats and repeats that one must work to eat. 

The ensemble graces the stage with alacrity and confidence.  The through line of the piece turns on a young undocumented Chinese boy (Batres) who is in agony with an infected incisor.  Again and again we return to the kitchen of The Golden Dragon where An Older Man (Kamal) decides that the tooth must come out!  We move toward the extraction with side stories that include the arrival of two international women airline cabin attendants (Perkins and Kamal) for dinner where the blonde winds up with Thai coconut soup, “Number Six,” which includes the liberated tooth of the wailing Chinese boy.  Repetition reminds of another German, Tom Tykwer, and his film Run, Lola, Run.. but The Golden Dragon eventually delivers a single outcome as we move toward the climax of the play.

Schimmelpfennig’s story plays out broadly with verbalized ‘short pauses’.. and longer pauses, that punctuate the characters’ speeches.  When not on stage, we see them quietly inert in the open wings.  Annie Yee's choreography and well timed scene changes mark the success of fine directing and a dedicated cast. John Nobori’s sound and music cues are perfect.  Resolution of the death of the kitchen boy brings his life full circle as his errant tooth becomes the true thread of the story.

What a treat to see a professional cast bring together a challenging script.  Applause!

The  Golden Dragon

Boston  Court Theatre 

70  North  Mentor  Avenue  

Pasadena,  CA  91106  

Opened May  8

Thursdays  through  Saturdays  at  8  p.m.  

Sundays  at  2  p.m

through  June  5  with  an  added  performance  on  

Wednesday,  June  1, 2016 

Senior,  student  and  group  discounts  are  available

Tickets and information

(626)  683 6883

LACC WISHING ON A STAR

I had not intended to review this play.  It was a pleasure just to watch.  But.. here we go!

My dear Friend.. Louie Piday is a brilliant woman.  She's gorgeous, a fine professor, an actor beyond compare and with her current production of A Midsummer Night's Dream at a modified (thank goodness) Camino Theater on the LA City College Campus, she shows to be a playwright and a truly imaginative director.  

The wonderful thing about this show is that even though the kids are relatively new to the language of Shakespeare, Louie's take on the play gives them leave to take it as the comedy that it is and let the recitation work on its own.  Culling from Disney versions of Little Golden Books, Professor Piday has sculpted the familiar play with a prologue that reminds of Peter Pan. (In fact, Peter shows up as Puck!)  But, in the prologue penned by Professor Piday..  A mom and her don't wanna go to bed daughter get caught up in some Greek mythology and ... voila.. we're off to Athens and Theseus and Hippolita and the whole gang.  

As usual, the Rustics steal the show, showing up as the Six Dwarves (Dwarfs?) as they plan their production of  Pyramus and Thisbe.  Bottom rocks.  The others, led by Doc, Peter Quince.. come along and it's wonderful.  

These student shows are short lived.  The reduction of the Camino Theater to a horseshoe stage with the audience three rows deep is perfect.  Hermia's acrobatics are worth the price of admission alone.  It took me a while to get Helena's losing her shoe on every exit.  Duh. 

Show goes up today, Saturday at 2 and 8PM and again next week Thursday, Friday and Saturday. 

Check this link for more information. 

http://www.lacitycollege.edu/calendar/ThisWeek.html 

Today, April 24th marks the 400th Anniversary of the death of the Bard.  I think he'd like this version of his play. Coincidentally, 2016 marks the 50th anniversary of LACC's first production of Midsummer Night's Dream  Head to the Camino and laugh really hard.  

michaelsheehan

A GAMBLER'S GUIDE TO DYING at The Ruskin

A Gambler’s Guide to Dying” continues Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. through April 29 at the Ruskin Group Theatre, located within the Santa Monica Airport at 3000 Airport Ave., Santa Monica. Free onsite parking. Tickets are $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling 310-397-3244 or online at www.ruskingrouptheatre.com - See more at: http://www.culvercitynews.org/entertainment/stage-page-a-gambler-s-guide-to-dying-to-make-american-premiere/#sthash.oLAMpyGH.dpuf

A Gambler’s Guide to Dying” continues Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. through April 29 at the Ruskin Group Theatre, located within the Santa Monica Airport at 3000 Airport Ave., Santa Monica. Free onsite parking. Tickets are $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling 310-397-3244 or online at www.ruskingrouptheatre.com - See more at: http://www.culvercitynews.org/entertainment/stage-page-a-gambler-s-guide-to-dying-to-make-american-premiere/#sthash.oLAMpyGH.dpuf

A GAMBLER’S GUIDE TO DYING 

by Gary McNair:  A World Premiere 

Maury Sterling Photo by Ed Kriegler

I am not a big fan of one person shows.  Three things can happen:   

One can be trapped for an hour and a half wishing that you were sitting near the door.   

One can listen politely and find moments of revelation with someone who may be a kindred spirit. 

Or, one can be drawn into the sphere, charmed, and before you know it, the knitting’s all been done and you wish that there was more.  With Gary McNair’s finely tuned script as delivered with passion by Maury Sterling  it may be the latter even though it's all about dying: the death of his granddad, Archie Campbell. Archie was a dodgy little Scot, a punter, who placed a bet on the 1966 World Cup and won, much to the ire of his mates in the local pub. And, on we go.

 Sterling presents the essence of Campbell’s grandson as well as a potpourri of others, recounting the adventures of a man who almost beat the odds.  It’s a story after dying… after all.

Employing well honed physical and vocal changes that bring McNair’s characters to life, Sterling, under the experienced hand of director Paul Linke, draws us into the language and accents of our Celtic kin with ease.  Somewhat tentative out of the gate, we're told the tale of a man who was full of stories and may or may not have won a King’s Ransom with his love of gambling.  It unfolds smoothly and surely as we meet the narrator and wend our way to the final curtain.  Will Archie see the new millennium? Big winners again?

Paul Linke and Maury Sterling  Photo Credit Nancy Viemeister

I suggest a Day of Theatre.  Next Saturday or the following one, go early to The Ruskin to see “Time,” Paul Linke’s warm and very personal story of love and loss and love again at 5PM. Off for a bite (The Spitfire Grill is right down the way, but I drove a couple of miles to the wonderfulness of Versailles on Venice Blvd.) and then back to The Ruskin to enjoy A Gambler’s Guide to Dying on Saturday, April 23rd or 30th at 8PM.

3000 Airport Ave

Santa Monica, CA 90405

Tickets and information:

 310 397 3244

A Gambler’s Guide to Dying” continues Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. through April 29 at the Ruskin Group Theatre, located within the Santa Monica Airport at 3000 Airport Ave., Santa Monica. Free onsite parking. Tickets are $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling 310-397-3244 or online at www.ruskingrouptheatre.com - See more at: http://www.culvercitynews.org/entertainment/stage-page-a-gambler-s-guide-to-dying-to-make-american-premiere/#sthash.oLAMpyGH.dpuf

PAUL LINKE “TIME”

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There are two more opportunities to see Paul Linke’s beautiful work in progress"Time."

    

I’ve known this actor/director/father for a long time.  After the death of his beautiful wife, Paul took to the stage to work out deep feelings and the issue of becoming a single dad.  His three kids were tiny.  The wound was deep.  

 Success with his first show, “Time Flies When You’re Alive” lead to an HBO special and his career as an actor has blossomed over time.  The man is a raconteur and knows his way with words. He knows the spaces in between them that necessarily must be respected. 

In this “work in progress” edition of what has become a trilogy of monologues, Paul discusses his life in terms that deal with Jim Morrison and The Doors; the death of the mother of his three children, Francesca; a forced march by Kate Mulgrew to discover new love in his life.  He tells the story of his daughter, Rosie, asking one day if they would ever get a new mom. 

"Do you want one?" "YES!" 

 Linke mounts the bare stage with a few family projections and a heart full of love to recount his life… so far.  It is tender and touching.  At one point Paul stops momentarily to edit and admits that there was something that may have gone in that blank space, but with a smile tells us that it’s not going in today. 

The writing is natural and flows easily from comedic moments to one sad ones.  The stories are supplemented by relevant projected images that inform the piece.

The Ruskin is a funky little space with about forty or fifty seats.  The audience on Sunday, a full house, sat rapt by Linke’s easy manner.  I heard someone say, “You made me cry.”  He smiled and said, “That was my intention.”  The piece is a beautiful tribute to his friends, his kids and his wife of almost 25 years, Christine. 

Two more Saturday shows remain at 5PM: April 23 and April 30, 2016  at The Ruskin Theatre at the Santa Monica Airport.  It’s a small space, so reservations are a must.  Make one.

michaelsheehan

CLOUD NINE REDUX: THE BLIGHTERS!

Anteaus Theatre's unusual double casting with the possibility of actually three different casts works.  It works because the members of the company understand what ensemble means and play it with vigor and vitality. 

L to R:Deboarah Putette,Bill Brochtrup,Bo Foxworth, Liza de Weerd, Abigail Marks,  Chad Borden Photo Credit Geoffrey Wade Photography

I particularly wanted to compare today's The Blighters cast of Cloud Nine to The Hotheads because in the past the pleasure of seeing one well honed cast (The Hotheads: please see previous review) usually means that the alternate cast will be equally interesting but for different reasons. 

As the Antaeus Theatre’s run of Cloud Nine by Caryl Churchill continues, it only gets better.  The unique situation of two entirely different casts allows working actors to come and go with ease.  This performance, featuring The Blighters cast: Bo Foxworth, Bill Brochtrup, Deboarah Putette, Liza de Weerd, Abigail Marks, David DeSantos and Chad Borden played to a full house at a Sunday matinee taking us in Act I back to 1879 British Colonial Africa.   At a time when the sun never set on the British Empire,  Clive (Foxworth) is on Her Majesty's, Queen Victoria’s, service.  Exactly what he does for Queen and Country is unclear but he makes it known that being in Africa is not supposed to be fun nor comfortable.  Lovely Betty (Brotchtrup) is a loyal… more or less… and faithful ... sort of... wife who is reminded by her mother, Maud, (de Weerd) that a woman’s place and duty is to her husband and family. 

Casey Stangl’s direction creates wonderful stage pictures and the actors all fall in with the broad and exclamatory style the piece demands.  The program is absolutely necessary to tell who is whom as we enter Act II (thirty-five years later in 1979… just go along with us here) bringing forth all of the same actors in totally different roles.  What Churchill’s comment may be regarding the symbolism of this new age and the role and gender reversals (Clive (Foxworth) becomes a new character, Cathy, the daughter of Lin, the lesbian (Marks) who finds herself making moves on Victoria/Vicki  (de Weerd), whom we met in Act I in the form of a rag doll.  Vicki asks Lin (Marks rocking double duty in Act I as Ellen, the governess, as well as the hot to trot Mrs. Saunders, one object of Clive’s affection) if having an affair with another woman is adultery? Indeed every single character in Act I and in Act II is having some sexual thing with someone else.   

Also from The Hotheads, very Caucasian, Mr. Borden limns the black servant, Joshua in Act I and totally transforms in Act II to become the gay hustler, Gerry, who is the on again off again lover of Eddie, played by Ms Puette in Act I and then by Brochtrup in Act II now a gay gardener who longs to become a woman.  In Act I, as Harry, the adventurer, De Santos has encounters with no fewer than four of the other members of the cast, including Joshua!! In Act II DeSantos becomes Martin, the estranged husband of Vicki.

The broad style engendered by the script works. Thanks to Ms Stangl’s crisp direction the cast delivers  a tough and challenging two acts with professional performances all around.  Analysis of the motives of the playwright and these characters might take years in therapy, but the great energy and slick presentation, no matter what it all means, is worth a trip to NoHo for a genuine treat!

CLOUD NINE

By Caryl Churchill
Directed by Casey Stangl

Antaeus Theatre

5112 Lankershim Boulevard

North Hollywood, CA 91601

Performances continue through April 24:

Thursdays and Fridays @ 8 PM

Saturdays @ 2 PM and 8PM

Sundays @ 2 PM
Tickets and information:
 818 506 1983 
www.antaeus.org

A SINGULAR THEY / Blank Theatre

Playwright Aliza Goldstein’s “A Singular They” currently at The Blank Theatre / Second Stage, bumps the discussion of gender issues to another level.  The play presents a growing spectrum of people who simply don’t fit neatly into society’s simple constructs of which bathroom to use, whom to love and be loved by and how to address and deal with the changing climate of gender.

 

 Lily Nicksay (L) and Hannah Prichard    Photo Credit Anne E. McGrath

The Second Stage sits on Theatre Row on Santa Monica Boulevard at Wilcox in Hollywood.  It’s a funky little storefront with a cramped “lobby” and six or eight cardiac steps up to the space itself.  It’s seat of the pants, jury rigged and charming.  Aaron Lyons’ multi purpose two level set works well as we meet Deidre (Hannah Prichard) and Burbank aka Cristine (Lily Nicksay), two seventeen year olds who are anything but typical teens.  “Deids” is knocked up and marveling at the whole business of growing a whole person inside her body.  She grouses about the Yuppiesque Johnsons whom her mother has recruited to adopt the child whom she will soon deliver.  Her pal, Burbank, shows up with a new Justin Bieber hairdo and presents at once as an attractive teen girl as well as a cute and somewhat androgynous  boy.  They serve time in Mr. Mazar’s (Nick Ballard) detention hall where they make up assignments missed in their regular classes.  Mazar is 26 and handsome.  It’s a situation that young teachers may face often: dealing with a teen crush, especially when the teacher’s own sexual identity may be ambiguous and in question.  The moral issue of an ‘adult’ and a ‘child’ getting together blossoms as Mazar attempts to counsel Burbank.

As Burbank attempts to puzzle out their personal identity (note the gender neutral pronoun) and how to deal with a double or triple dose of Teen Angst, we ride shotgun down their winding road to life.   From time to time Burbank addresses the audience to report on the issue that plagues them.  One web search announces, “Between 0.1% and 0.2% of live births are ambiguous enough to become the subject of specialist medical attention, including surgery to assign them to a given sex category (i.e., male or female).”  At one point Burbank compares it to winning a "pretty shitty lottery." 

In a world where a person may be forced to choose to identify as one sex or another:  male or female, Burbank just wants to be their own person: someone who is accepted and loved for whom they are instead of undergoing sex assignment surgery, not ‘’RE” assignment…  for them to fit into the only option that our narrow social construct may accept. A noble goal.

Director, Christopher J. Raymond, guides Deidre and Burbank well, as Mazar is somewhat slow to catch up.  A subtly different acting style doesn’t spoil the story, but may call attention to itself.  It’s a gray note.  A nightmare for Burbank is somewhat difficult to parse out, but over all the question of how to deal with folks who may have won a very difficult lottery to help them become happy and well-adjusted individuals who are successful in their own stories is a topic worth exploring.   A thoughtful and well constructed piece.  Highly recommended.

A SINGULAR THEY

by Aliza Goldstein

The Blank’s 2nd Stage Theatre

6500 Santa Monica Boulevard

(on Theatre Row at Wilcox)

Hollywood, CA 90038

Friday and Saturday at 8pm

Sunday at 2pm

Through May 1, 2016

Tickets are $30

Tickets and information:

www.TheBlank.com

(323) 661-9827