THE EYES HAVE IT

Thanks to a wonderful theatre friend, Amanda Weier, I was directed to meet Dr. Lee of  CCRS in The Valley.  Dr.Lee is an amiable professional who pays attention and has a great staff to guide patients to what may one of the most life changing procedures in their lives. 

At the unlikely corner of Van Nuys and Addison at 4954 Van Nuys Blvd, Sherman Oaks, CA 91403, my first visi was a challenge.  At first I couldn't find the door! Surprise!! Comfortable offices are upstairs in a MiniMall! Fact is that it's an oasis one flight up.  Entry is round the back by the free parking.

To say that the prospect of eye surgery is a little anxiety provoking is an understatement. Somehow, this experience brought me to the realization that there are truly kind and generous folks who take 'taking care'  of others seriously.

The professional treatment that I experienced at CCRS LASIK ICL Center Sherman Oak left me confident with my diagnosis and suggestions that Dr. Lee provided.

Next steps are up to me.  Crossing my fingers that I'll be brave and move forward.

Even though this is my theatre review site..There is a lingering of drama from the drive to see Dr.Lee and so.. for clear sight, find the clinic and take steps to clear vision.

michael sheehan

onstagelosangeles

 s

X's Tons Millions

Performance venue ARC up in Pasadena hosts an unusual production created by Daniel Sullivan: X's Tons Millions.

Sullivan's exploration of the effect on human beings by the war machine is highly stylized  and extremely intense. It's a trip.. "A requiem in voice, dance and sound" 

Co director Adrian A. Cruz says,, "Sullivan’s text brings together four distinct, yet isolated points of view; the bureaucratic war machine… the direct impact on the land, creatures and people… the unaffected
citizen bystander… and the irrational abstraction of the act itself. A provocative intersection from all angles, progressively bringing them closer into a haunting, impactful and sonorous question mark — one that we must all reckon with.” 

 "X's Tons Millions" is a road map to an evening of amazing dedication by the finely tuned cast.  The ARC space is one that lends itself to what these folks have meticulously cobbled together: Passion with theatrical skill and physical movement combine with a dedication that reminds me of The Living Theatre of the sixties.  Cast Member Tina Preston touts a connection to Beck and Malina who made important social commentary so long ago.

Daniel Sullivan's text and movements may be for a hip audience. There is a visceral and emotional connection with each vignette as the ensemble moves as one.. The stage pictures and sounds and lighting effects enhance each episode.

I was reminded visually of the late video artist, Bill Viola, when watching this intense presentation.. The slow motion movements are part of training as an actor to create images that . in this case.. reflect and enhance the text.

The short presentation is,   essentially, ART! The messages come as much from the physical presentation as from the text.  

I was particularly impressed with a comment from an audience member  who said that the work "came right into me."  I was less emotionally engaged and more intrigued by the theatrical aspects which were more intellectual than visceral. 

That said, recalling the dedicated physical training that was evident in work by The Company Theatre, The Open Theatre and The Living Theatre so long ago,  Sullivan's piece presents an echo of that work from days gone by.

The visceral work speaks for itself and I would guess that folks more sophisticated than I in the audience will come away with a message that is beyond my ken. 

Come to the ARC and allow the work to unfold. Don Preston on bass is worth the price of admission alone.     

X's Tons Millions has a short run.  It's strong work and deserves an audience.

 Cast: 

Augusto J. Ferriols 

Tina Preston, 

Marti Skoler, 

Lisa Vo, 

Tate Navarro, 

Jacqueline Wright

The creative team includes Lighting Designer Kathy Nolan, Live Musical accompaniment Don Preston, and Choreographer
Augusto J. Ferriols. 

Amanda Weier of Open Fist lends her expertise as Production Consultant. 

X’s Tons Millions 

written by Daniel Sullivan

Co directed by  

Roxanne Rogers 

Adrian A. Cruz

ARC Pasadena  

1158 E. Colorado Blvd  

Free parking around in back!

Pasadena, California 
Tickets are $25.

For more information and to purchase tickets go to www.onstage411.com
Enter: “X’s Tons Millions” in search bar.

 

'Happy Fall: A Queer Stunt Spectacular'

Driving home from this 'Spectacular' at the largest Q  Center in the world??  The Moon looms large,waning gibbous at the Sunset Boulevard horizon.  Having just experienced this amazing new production by  Rogue Artists Ensemble, a co-production with the Los Angeles LGBT Center and the Contemporary American Theatre Festival, the burning of the Hollywood sign on stage lingers in memory. This is a queer show.: choose your definition: they all work.

 Queer is the generic and the now popular way that queer people have taken back the pejorative and wear it on their sleeves and probably with rainbow shoulder tattoos.

Queer .. from my experience. in days gone by, the term was a heavy indictment: a label mostly for the swishy kid at school, everyone in the drama program : a label right up there with faggot, fairy and pansy. Language changes and times change and now using this term that was formerly a damning reference is trotted out by Rogue Artists Ensemble to describe their current Spectacular!

Make no mistake. This prop heavy, tech heavy, projection heavy hunk of art . though a  little light on the "acting" side is nothing short of Phantasmagorical.. 

The spectacle rises above the thin love story of Felix (Kurt Kanazawa) and Clay (David Ellard). Felix is the new stunt kid on (the) set ready to  step into the the Cuban heels of a stunt gal who, it seems, just can't cut the physical action, around which the entire production is constructed.

Kurt Kanazawa
Photo by Bryce Darlington

Our Narrator (Amir Levi) puts Rip Taylor and Rip's voice to shame.  The Host may be annoying on purpose? Of couse, when the goal is to crank up the audience and keep the volume at eleven for most of the show, both vocally and visually, it is . at once.. the way director, Sean Cawelti, must have meant for it to be. Nuance is only a vague appellation for this Spectacular. 

Thankfully, we do have nuance now and then. 

As with other favorites from RAE, especially the immersive "Kaidan" and then "Wood Boy Dog Fish," this all in  ensemble presents Rogue behavior first and acting choices right behind.. The presentational  piece explodes with the conceit that this is  what it's like on a challenging low budget movie set.  The love story of  Kanazawa  and Ellard  becomes a threesome with a spectacular rendition of Clay as a full sized, frighteningly realistic mannequin: Design by Jack Pullman. Clay Puppet steals the show leading us to guess that Clay Puppet must represent the closeted queer stunt man (not an 'old timer'  but vintage) who resists embracing his closeted queerness: his denial? of his homosexuality,. Meanwhile, bouncy little Felix blossoms as he attains his stride as a respected stunt performer. There's a slight flavor of All About Eve with Clay playing catch up.

The wonderful thing about Rogue Artists that makes me want to laud them to the skies is their absolute fearless attack of ideas: imagining new ways to incorporate big BIG prop and costume business and lighting and  video and right on the stage video of miniatures in live performance  projected on large  video screens. Use of green screen & 'spectacular' imaginings are worth the price of admission alone.

Parking is a bear at the Center. The continental seatng of the Main Stage means that finding a seat that allows full vision of center stage is a must.

Often Happy Fall is like a three ring circus. Some effects need work. When Clay is displaced by Clay Puppet, we still see the actor giving voice to his alter ego..The puppet steals the show for me, and with a SPECTACULAR Screaming Queen full blown over the top finale, that's saying something.

In the past the broad scope of this dedicated theatre ensemble has been a welcome challenge in the land of often traditional theatricals .. 

My favorite show of RAE remains Kaidan!  Set in an old storage facility in the heart of Los Angeles. "Happy Fall"  shows that RAE has fearlessly taken a huge leap of faith with a ton of cash invested in video, props and costumes. Huge! 

This show turns on Stunt Players.  My stint as a stunt performer  guides me to appreciate the rough and tumble  physicality of this 'spectacular' presentation.

It's fun to boost a tremendous effort and this one is a must see, especially for WeHo and residents of the Swish Alps off Santa Monica Boulevard. Applause to Chelsea Sutton and the Rogue Artists Ensemble!

 

CREATIVE TEAM
COSTUME DESIGN
ANDREW JORDAN
CO-SCENIC DESIGN
KEITH MITCHELL
CHOROEGRAPHER
CODY BRUNELLE-POTTER
VIDEO DESIGNER, 

CO-SCENIC DESIGNER
SEAN CAWELTI
LIGHTING DESIGN
AMBER SHIFT
 

ROGUE ARTISTS ENSEMBLE’S
HAPPY FALL: A Queer Stunt Spectacular
WRITTEN BY
LISA SANAYE DRING with ROGUE ARTISTS ENSEMBLE
DIRECTED BY
SEAN CAWELTI
COMPOSER
ADRIEN PREVOST
CO-PRODUCED BY
ROGUE ARTISTS ENSEMBLE · CONTEMPORARY AMERICAN THEATER FESTIVAL and the
LOS ANGELES LGBT CENTER

Cast:
DAVID ELLARD · AMIR LEVI* · KURT KANAZAWA* LUCAS BRAHME · GABRIEL CROOM* · CACARLOS R CHAVEZ · KELSEY KATO · MAIA LUERTIANA RANDALL-QUANT · MIKKI YAMASHIRO · JERRY ZOU

'Happy Fall: A Queer Stunt Spectacular'

• Written by Lisa Sanaye Dring with Rogue Artists Ensemble
•  Directed by Sean Cawelti
• Co-Produced by Rogue Artists Ensemble, Los Angeles LGBT Center and Contemporary American Theater Festival. 

Renberg Theatre
Los Angeles LGBT Center
The Village at Ed Gould Plaza
1125 N McCadden Place
Los Angeles, CA 90038

 

Performances Aug. 22–Sept. 8
• Thursdays at 8 p.m.: Aug. 22 (opening night), Aug. 29, Sept. 5
• Fridays at 8 p.m.: Aug. 23, Aug. 30, Sept. 6
• Saturdays at 8 p.m.: Aug. 31 and Sept. 7 ONLY (dark Aug. 24)
• Sundays at 3 p.m.: Aug. 25, Sept. 1 (understudy performance), Sept. 8

Special events:
• Sunday, Aug. 25: an interactive stunt demonstration with stunt coordinator Celina Lee Surniak follows the performance.
• Thursday, Aug. 29: a pre-show stunt puppet-making workshop (7 p.m.) at the Advocate & Gochis Galleries; create your own puppet and learn how to get involved in the puppetry community.
• Friday, Aug. 30: a pre-show “Meet-the-Artists” celebration (7:15 p.m.) at the Advocate & Gochis Galleries, to uplift the visual artists whose work is on display at the “Take/Action: Stunts, Spectacle and Queer History” exhibit.
• Saturday, Aug. 31: a pre-show blessing from the Los Angeles chapter of the Sisters of Perpetual Indulgence, and a post-show discussion on the history of drag. Come dressed to express and join in the fun!
• Sunday, Sept. 1: post-performance Rogue Artists Ensemble VIP Fundraiser celebrating 20 years of groundbreaking new work in Los Angeles (ticketed event/separate admission; information at rogueartists.org)
• Saturday, Sept. 7: a post-performance conversation with Happy Fall composer Adrien Provost.
• Sunday, Sept. 8: an Action Star Dress–Up event; come dressed as your own action star and join Rogue Artists for a special fashion runway with prizes for selected winners.

TICKETS:
$45-$78 (including fees)
Understudy performance on Sunday, Sept. 1 at 3 p.m.: Pay-What-You-Can
bit.ly/happyfall24

 

 

 

 

 

PATIENT 13 TELLS ALL AT THE MATRIX

 

 

 

There is so much praise that  should come to any performer who creates from life or from whole cloth.. a one person show. It's lightning in a bottle tossed into a sea of doubt and fear and chance. It's a way. The Way.. The Way that can be described is not The Way.. thanks to Lao Tzu.

In the case of Patient 13 (author / performer Gail Thomas) .. the tiny little upstairs space at the Matrix, the Henry Murray Stage, is a sardine can. It's a 'Living Room" with sparce seating : front row and back row. The ability to work this tiny stage calls for skill and the collaboration with an author and a director and some tech advice that, when it gels, it can be magical.   Certainly, Gail Thomas has her 'stuff' together and her story is one that, for her, must be told. Why this preamble?  Beause I admire Thomas for sharing intimate moments and being glad that I have never touched my own bladder.

What the audience may almost totally miss is the gorgeous pre- show set of an 'office' that reflects the essence of what Thomas's stories.. are all about.  Papier Mache Cows! Why is this little preshow 'office' important? Because it contains the essence of what The Patient 13 story is all about. 

Thomas enters and mentions the cows.. but most of us have bounded up the heart attack stairs to the Henry Murray Stage  in a rush to find a seat that is advantageous. 

 

We can't take a minute to enjoy the art.   Note to Stage Manager whose name I cannot find. Open the door to the 'office' and allow the audience to enjoy it. Whomever did that work . whose name I cannot find.. did a fine job.  There is no set for the performace. really.. so? Unfortunately,  most of the time, the performer is in unflatttering half light.

The last show I saw in the Henry Murray was the Hitler thing. Again, the "office" was integral to the show.. but I only caught it on the way out..as I did the cows tonight.

Notwithstanding the bravery of MsThomas's's tell all with intimate details story, the upside is that regardless of marginal direction and really inadequate lighting and half of the time straining to understand the actor, there are nuggets of stuff: moments  of revelation in her story that, as she recounts them,  bringing them to life, we see beyond the recitation to another plane of story telling.

Every one person show rides on the back of the storyteller.. if the show is  first person and written by the story teller.  Duh.. When Ms Thomas gets to the meat and potatoes..and mushrooms of this tale, the mood and the energy elevate. Regardless of crumby lighting effects (the stalag lights from the Hitler thing are supposed to light the way. They do not)  

Regardless.. as we get to the message and leave the crust behind, something happens.

Gail Thomas  is a brave woman.  The beats of her story .. to me.. were pretty much on one level until the flashy part.. the business of self disscovery and the polemic giving permission to Simply Be.. Just be a person. Just be an actor. Just be a woman. Just...   be..

Stage manager   Rich Wong

 “Patient 13” Written and performed by Gail Thomas / Directed by Dan Oliverio
Opening August 16, 2024 with reception to follow
8pm Fridays, 

3pm Saturdays, 1pm Sundays through September 1

Upstairs on the Henry Murray Stage
Recommended for ages 16+

Rogue Machine at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046

On the Henry Murray Stage

 You are invited to stay for a talkback with the writer/performer & the director after Saturday performances

 

 .

Rogue Machine.. sorta.. presents HUMAN ERROR

 

 

HUMAN ERROR  by Eric Pfeffinger makes a West Coast debut that might make a pretty good pilot for a TV comedy series.. The Honeymooners, The Flintstones, The Life of Riley,  The Neighbors  meet social issues and "modern" medicine. 

The premise  pretty much works except for the staging.  The wide wide stage at The Matrix  leaves some portion of the audience in the dark from time to time. Opportunities for  action and movement are passed by.

Each of the five characters in this play (Andrew Hawtrey, Kristen Vaganos, Kapil Talwalkar, Kiel Kennedy, Lauren Burns) seems to stand with one foot in the play and one foot on their own. This means that acting styles range from screeching at the top of one's lungs: glass breaking!!! to subtle and thoughtful rendering of the part where good old liberal me is challenged by the difficult logic of the very pretty blonde.  

I encourage all who love theatre to  support this show. Arrive early for stadium seating as seats far audience left and right become a challenge for 'getting' the whole performance.   Bring a cushion if you have a tender behind. The seats are fifty  years old.

When one is knocked out by the functional bare bones set by James Morris, lighting design by Rachel Manheimer and  truly wonderful  interstitial original? music by Christopher Moscatiello? and my wishing about fifteen minutes in that I was somewhere else, it is a tough call.

There are moments when the audience was raucous  in response to the predictable antics that came in two full dimensions from the actors. Early on, there is a missed opportunity for blood.  See if you can  catch it. Had there been blood, to me.  an infusion may have elevated the premise to farce that would have supported some of the acting styles. 

What is the premisw? Well you may ask.  Human Error. No spoiler alert. Just go and see what you think and take a pal ready for some well timed jokes. The rhythms of the story lend themselves to the essential sit com pattern of set up, beat, punch line.  rim shot.

Flip side?  Had director Joshua Bitton encouraged his actors to play with one another and to set a standard for vocal projection and character development, leaving behind their stereotypical renditions allowing the emergence of more human characters, the premise and the title would, to me, be a more thorough and all together more interesting production.  

Why this mixed message? The audience was enthralled with the energy and presentation by all five actors.  (Well, it was opening night) One critic near by was laughing really  hard and shot to their feet at the curtain call!  So. some of this is on me. That's why it is vital that if you read my stuff, you will ignore the digs and see for yourself why there should be blood.  

 A gusher would be wonderful!

 HUMAN ERROR

By Eric Pfeffinger

Directed by Joshua Bitton

West Coast Premiere under Off the Clock with Rogue Machine Theatre

Cast:

Lauren Burns (Heather) 

Andrew Hawtrey (Dr. Hoskins)

Kiel Kennedy (Jim)

Kapil Talwalkar (Sameer0

Kristen Vaganos (Madelyn)

Crew:

James Morris (Scenic Design)

Rachel Manheimer (Lighting Design)

Chris Moscatiello (Sound Design)

Christine Cover Ferro (Costume Design)

Rich Wong (Rehearsal Stage Manager)

Ramón Valdez (Running Stage Manager)

Run time approximately 90 minutes (no intermission)

WHAT: “Human Error”

Written by Eric Pfeffinger

Directed by Joshua Bitton

Produced by: Guillermo Cienfuegos

A Rogue Machine Production

Age recommendation 13+

WHERE: ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking) Good luck with that. Arrive early and watch for 'in the neighborhood restrictions'

 

WHEN: 

Opening: 8pm on Saturday, August 10, 2024

Schedule: 8pm Fridays, Saturdays; 3pm Sundays 

Closing: September 1, 2024

 

HOW: Reservations at https://www.roguemachinetheatre.org/

 

HOW MUCH: 

General Seating: $45

Seniors: $35

Students with ID and children under 18: $25

Shows4Less: Aug. 16 ($10+), Aug. 23 ($15+), Aug. 30

 

 

 

 

THE BAUHAUS PROJECT II

 

Jack Goldwait, Katarina Joy Lopez, Sang Kim,
Chloe Madriaga and John C. Sweet
Photo by Francisco Hermosillo III

The unusual business of a World Premiere with what may essentially be at least three plays all bound together is a challenge that  Director Martha Demson has taken to heart and mostly..  even though the extreme pedantry of what we learn from the play is a bit sticky, I got a lot.  I want to recommend both productions.  This second one is a lot more fun. For the plays to make sense, please see them in order. 

That said, the set up in the first iteration  has a couple of jokes that are apologized for in the second play.  But, the fun stuff and the information is really on page II.

Richard Hoover's magnificent set echos the essence of the Bauhaus theme. Straight lines with beautiful projections by Gabby Griego on slick moving panels examine  the linear ideas that Walter Gropius introduced. For a time Gropius and Bauhaus were a major influence in architecture and other art forms  around the world.

To call the script out for so much information is a little unfair, as the idea was for modern day art students to portray a host of real characters from the early days of Bauhaus as it struggled from one location to another, ending up in Berlin where . as Nazi Germany took power, it faded.

In the first iteration we   are introduced to the kids, taking cell  phone photos and attempting  in modern day.. to tell the complicated story of Bauhaus.

Demson's direction would have been helpful to old analog me had the students, portraying the actual characters had name tags to help us better understand who was who. Agitprop that Brecht would have championed?  In the first evening.. Duc, the Asian guy.. speaks in pidgin English. Just offensive and difficult to understand.   The other kids at the playwright's insistence adopt different accents that are marginal at best and depending on the actors' skills may or may not work. Had someone said.. "Hey, we're not actors, let's just let the audience know  who we are with costumes and Name Tags and let the history tell its own story.." 

Jah Volt!

It's yeoman's work. We experience the trials and tribulations of what Gropius and Klee and Kandinsky and others went through, touching .. eventually, heavily on "The Jewish Question" antisemetism  as Hitler came to power, twiich led to the eventual demise of the Bauhaus in Berlin  

I'd have bought the whole presentation more easily sans accents and occasional moments of the kids going up and recovering... 

The actors play so many parts,  I had a hard time keeping track. But!! one rather creative scene between two characters at the same time is played by either Katarina Joy Lopez or

Chloe Madriaga.  I'm guessing Katerina. It went well.

Entering any theatre, we are tasked to abandon disbelief.  Even with being unsure who's who.. this second presentation is truly  informative.    The first act is interminable, but we stick it out and wind up in Berlin where the gesso hits the fan. I'll let you figure out who's who bur hope you'll book both shows in order and get back to me. It's an vital lesson regards the importance of art in our world today.

 

Cast:

Jack Goldwait, 

Sang Kim, 

Katarina Joy Lopez, 

Chloe Madriaga, 

Crew (please forgive the odd parsing.. copy and paste is a bubbaboo.

Scenic Design Costume Design Lighting Design
Richard Hoover Michael Mullen Gavin Wyrick
Original Composition Prop Masters Assistant Lighting Designer
Tim Labor Barbara Bragg & Richard Hoover Grace Berry
Bruce Dickinson & Ina Shumaker
Assistant Director Projection Designer Graphic Designer
Sarah Zuk Gabrieal Griego Simon Grendene
Intimacy Director PR Representative Social Media Coordinator
Cate Caplin Lucy Pollak Grace Soens
Production Stage Manager John Dimitri

The Bauhaus Project II

by Tom Jacobson

Directed by Martha Demson

WHEN:
Previews: July 12, July 13, July 14
Performances: July 19 through August 25
• Fridays at 8 p.m.  Part 1 (Bauhaus Weimar): July 12 (preview), July 19 (opening night), July 26, Aug. 2, Aug. 9, Aug. 16, Aug. 23
• Saturdays at 4 p.m.: Part 1 (Bauhaus Weimar): July 13 (preview), July 20, July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Saturdays at 8 p.m.: Part 2 (Bauhaus Dessau & Bauhaus Berlin): July 13 (preview), July 20 (opening night), July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Sundays at 4 p.m.: Part 2 (Bauhaus Dessau & Bauhaus Berlin) July 14 (preview), July 21, July 28, Aug. 4, Aug. 11, Aug. 18, Aug. 25
* Audience members can choose to view the entire Bauhaus Project over the course of two evenings (any Friday and any Saturday at 8 p.m.); two matinees (any Saturday and any Sunday at 4 p.m.); or on a single Saturday, at 4 p.m. and 8 p.m. (The history is sequential, so it is not advised to view the parts out of order.)

WHERE:
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

TICKETS:
• Part 1 and Part 2 (combination ticket): $50
• Part 1 or Part 2 (individual ticket): $35
• Students receive $5 off either price
• Previews: Pay What You Can

HOW:
www.openfist.org
(323) 882-6912

 

Dido Of Idaho at The Echo

The toughest review for me to write is the one that wants  to be informative and to find compliments and sounds like, I want to recommend a show.. and I DO recommend Dido in Idaho..but for the life of me am not sure why.

Julie Dretzin and Elissa Middleton
Photo by Makela Yepez Photography

 Chris Fields's Echo is a favorite venue at the Atwater Village Theatre complex.  Chris is as avant garde as anyone and as we file into the space, you could hang meat in there! Chilly for cause, I guess.   Chris says Hello.. It's a hometown crowd.

Amanda Knehans's amazing  scenic design looks like there's been an explosion  at  Lamps R Us, but in a good way.  It's amazing.. the theatre has situated the action.. and there is action! in the center of the space.. Scumbled white paint  with lines possibly to define one specific area from another?? line the floor. An elevated  sort of bed?  is available from ramps and directly. Surreal. Theatre in the Round.

Enter Boise State Professor Michael (Joby Earle) in his socks. From my seat, I, thankfully, missed the full monty as Michael entered. His shadow cast impressively on the floor.  

I'm pretty sure that Dido of Idaho is a metaphor of the story of Dido, Queen of Carthage and the Trojan, Aneas (which I should have known but didn't), who loves her and leaves her. It turns on the 17th Century Purcell Baroque opera about their love affair.

Poor Nora (Alana Dietze) is nuts for Michael and they are both big into the Purcell opera. There's  some singing. Abigail Deser's crisp direction keeps the action cooking  as playing to the four sides of the audience is often a challenge to   share the argument of the play evenly. The set is a mish mash.. Ionsco comes to mind.and Albee in the dramatic interplay and dialogue.. Again.. it's tough.. the actors are all evenly cast and present themselves well.  

Michael and Nora have been hot and heavy, but Michael is a  married man in a 'situation' that creates problems for Nora. Nora's had it tough and alcohol seems to have been  a factor for a long time. Poor Nora.

There's a Virginia Woolfish bent to the dialogue that flows and bites and tumbles from the actors.

Spoiler alert:  Enter Crystal (Nicole DuPort),  Michael's wife.. former first runner up for Miss  Idaho or was it Miss Boise? The plot twist that creates a major issue unfolds. It's a little screwy.

At this point, we know that Nora's mom, Julie (Julie Dretzin) has essentially ghosted (to coin a phrase?) Nora's email attempts to connect her for a long time. Even though Nora longs for a reconcilliation  with her mother, Julie's heavy Christian faith and judgements of Nora keep her from responding.. That Julie has adopted Nora bubbles up later as we meet Julie's girlfriend, Ethel (.Elissa Middleton)  They live in a cabin. It might have been cool to call Nora's mom "Lucy..."

 Because of the business of the actors addressing different sides of the stage at  various times, I didn't get all  of the dialogue verbatim, but the gist and the energy and delivery of each actor's physical presence worked nicely.  Over all the physicality of the piece is impressive.

The parallel of the lives of Queen Dido and Nora seems a given. But the metaphysical aspect of the story .. even with cookies being baked on stage, calls for examination that I am still puzzling over.

Bottom line is that as a tone poem and character exercise, even with naked Michael and a very brutal moment .. it all seems to work. Opening night audience was enthusiastic and got some of the jokes that I either couldn't hear or just didn't understand.

It's this kind of production, especially with the spectacular set and lights by Xinyuan Li,  that define some areas as specific times...  that I want to rave about.  So.. in my still somewhat Puzzed state of mind, I'll recommend this Dido of Idaho if for no other reason than I want to support 'left handed theatre!'  Meaning that there is nothing ordinary about this production!  Opera.. mostly. to me is caterwalling. Thankfully, the full monty and the singing are brief. 

 Cast

Nora :        Alana Dietze
Michael:    Joby Earle
Julie:         Julie Dretzin
Ethel:        Elissa Middleton
Crystal:     Nicole DuPort

 Crew: 

Scenic designer Amanda Knehans, lighting designer Xinyuan Li, sound designer Alysha Grace Bermudez, costume designer Dianne K Graebner, make-up designer Jennifer Pritchard and fight choreographer Ahmed Best. The production stage manager is Tatiana Zaza. Chris Fields, Kelly Beech and Marie Bland produce for the Echo Theater Company.

Dido Of Idaho

by Abby Rosebrock

Directed by Abigail Deser

Echo Theater Company
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039

PARKING:
FREE in the Atwater Crossing (AXT) lot one block south of the theater

TICKET PRICES:
Fridays/Saturdays/Sundays: $34
Mondays: Pay–What–You–Want
Previews: Pay–What–You–Want

HOW:
www.EchoTheaterCompany.com
(747) 350-8066

 

Previews: July 17, July 18, July 19
Performances: July 20 – August 26
• Wednesday at 8 p.m.: July 17 ONLY (preview)
• Thursday at 8 p.m.: July 18 ONLY (preview)
• Fridays at 8 p.m.: July 19 (preview), July 26, Aug. 2, Aug. 9, Aug. 16, Aug. 23
• Saturdays at 8 p.m.: July 20 (opening night), July 27, Aug. 3, Aug. 10, Aug. 17, Aug. 24
• Sundays at 4 p.m.: July 21, July 28, Aug. 4, Aug. 11, Aug. 18, Aug. 25
• Mondays at 8 p.m.: July 22, July 29, Aug. 5, Aug. 12, Aug. 19, Aug. 26

 

 

“Dear Mr. Bottrell, I Cannot Possibly Accept This”

 

David Dean Bottrell Photo by Conor Weiss

 David Dean Bottrell's monologues are intimate, physical, presentational, mental,  creative and a hoot. Mostly.

The essence of the evening with DDB turns on his personal stuff. the episodes in his life that have been moments.. stepping stones, if you will, to being in a place where each anecdote evokes a gamut of emotions and most important, genuine laughter! that being difficult to come by these days!  Whatever the opposite of a stand up routine might be, the broad range of emotions, especially, make Bottrell's show a must see. In today's  super charged atmosphere of uncertainty, sharing David's insights and sometimes snarky take on things is a welcome relief.  His story of being jealous of another actor who got all the parts he went up for is a little shaggy.. but fun.

Bottrell is a charmer and playing to the enthusiastic opening night audience became a symbiotic experience with the reach of true sadness when recalling the loss of love and capped by where the title of this show comes from.   A card from Lincoln Center!!

The way Bottrell tells his stories flows naturally.  To me, anyone who holds sway for an hour and a half or so.. moving smoothly from one episode to the next with the snap of his fingers, from the story of the Louisville Slugger to Lincoln Center and back again, it's the sort of show that makes you want to share with friends.. 

Or else!  

Bottrell uses the wide Matrix stage to advantage, sharing his anecdotes generously.  The Matrix's shallow three rows of seats make this an ideal situation for .. especially.. Bottrell's intimate moments ..  

David Dean Bottrell Returns in Rep at 8pm Wednesday, July 10 and runs through July 21, 2024. Check website for performance schedule. 

Rogue Machine, in the Matrix Theatre

 7657 Melrose Ave., 

Los Angeles, CA 90046. Tickets are $45 (Seniors $35, Students $25). Reservations: https://www.roguemachinetheatre.org/ For more information 855-585-5185. 

Schedule:

Wednesday, July 10 at 8 pm (Opening) “Dear Mr. Bottrell, I Cannot Possibly Accept This”

Friday, July 12 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”

Saturday, July 13 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 14 at 3 pm (Matinee) The Death of Me Yet
Monday, July 15 at 8 pm The Death of Me Yet
Wednesday, July 17 at 8 pm The Death of Me Yet
Friday, July 19 at 9:30 pm (Late Show) “Dear Mr. Bottrell, I Cannot Possibly Accept This”

Saturday, July 20 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”
Sunday, July 21 at 3 pm (Matinee) “Dear Mr. Bottrell, I Cannot Possibly Accept This”

MISALLIANCE! A NOISE WITHIN

 Full confessions are seldom necessary in this land of make believe that we choose to inhabit, but I have realized that even though George Bernard Shaw is one of the most important playwrights of the last century and his reputation for stinging wit is legend..  well.. I did see Major Barbara oe time..The set was great!! 

But..  no scholar am I.

That said!!  We come to Misalliance!  It's May 31, 1909.  Rich folks.. The Summerhays and the Tarletons with interlopers.. They all come together in  broad strokes on scenic designer Angela Balogh Calin's

Josey Montana McCoy,
Deborah Strang,
and Frederick Stuart
Photo by Craig Schwartz

gorgeous set (really, really, really wonderful and really gorgeous) complete with portable Turkish Bath! 

Misalliance is filled with satire and a look at what Mr. Shaw thought of the Brits!  Director Guillermo Cienfuegos's vision, of manners and protocols (more or less on steroids) lands beautifully.

Cienfuegos's choreographed stage pictures echo the times: formal and in Shaw's estimation, well over the top.

As Bunny (please don't call me that) Josey Montana McCoy at about five feet nothing and one ten soaking wet visits the elegant home of his future wife, sturdy Hypatia Tarleton (Erika Soto) whose libido is high and  her tolerance for chatter is nil.  

As Hypatia's mother, Mrs. Tarleton (Debra Strang..a fave) pretty much rules the roost, we meet the players and unlikely 'comments' via Shaw's biting satire. Things move slowly through Act I.   Early on, very tall Johnny (Riley Shanahan)  Hypatia's brother, arrives to torment Bunny.  And,  Lord  Summerhays (Frederick Stuart) Bunny's dad and the former governor of some fictitious   British territory, when left along with Hypatia,,  delivers one of the best lines in the play as he plights his own troth to her by asking her to be his 'widow'!!  With Stuart as Lord Summerhays and Peter Van Norden as John Tarleton, Sr., sometimes it's a challenge to decide who is whom, but no matter. Read Twain.

Rolling right along, Misalliance is a very long and talky play.   I'm with Hypatia with all the blather, but a few zingers and the rolling pace keep us alert with events to come.  

Then!!  Thank goodness for the sound of an aeroplane engine sputtering and a crash that delivers huge surprises. Blackout!

Lights up!!  Act II

The plot explodes with the arrival of Joey Percival (Dan Lin). Diversity casting delivers, It's a stretch.  BUT!!  Oh For Goodness Sakes! a spectacular dare devil!  Lina Szczepanowka (Trisha Miller) from Poland! Lina is taking names & making a list of all the men who are immediately in line to become her Mister Szczepanowka.

Miller essentially steals the show.. but wait.. another off the wall character with an axe to grind with John Sr. shows up!!  With a pistol! 

Here's the rub.  The aforementioned Turkish Bath is placed well upstage  behind the sofa. The Turkish Bath  is vital to the final  revelations that Shaw has in store for us.

As Gunner (for lack of a real name at first) then later Baker..  Joshua Bitton brings the physical aspect of what Shaw may have had in mind, beautifully to the stage. Even as a footnote,  the physical action is a welcome bit that must reflect some issue that Shaw had with something that made him  decide to expand the story past to resolve basic plot.  It's a twist!

Had the Turkish Bath been more prominent in its placement, the end game of the intruder  and the dance that follows might have been even more fun.  

Suffice it to say that this spectacular production with amazing costumes by Christine Cover Ferro  presents a professional and welcome addition to the well earned reputation of  Pasadena's A Noise Within.

My advice for all who must find a performance to attend is to read this play first.  It's on line.  The British accents are well done, but for me sometimes difficult to understand.  And.. ANW has a new program that they are promoting with captioned dialogue sent magically to one's cell phone?  

Subtitles.  Check the ANW website for information.

Please..  See this show after reading the play AND wade in for the jokes and the excellent performances from a Master Builder of theatre one hundred and twentyfive years ago!  Read Shaw!

Kudos to director Cinefuegos and cast and crew!  See this one!

CAST

.  Johnny Tarleton: Riley Shanahan^*

• Bentley Summerhays: Josey Montana McCoy^*
• Hypatia Tarleton: Erika Soto^*
• Mrs. Tarleton: Deborah Strang^*
• Lord Summerhays: Frederick Stuart^*
• Mr. John Tarleton: Peter Van Norden^*
• Joey Percival: Dan Lin
• Lina Szczepanowka: Trisha Miller^*
• Julius Baker: Joshua Bitton^*
• Understudy Bentley Summerhays: Cody Sloan^*

 Crew

scenic designer Angela Balogh Calin; lighting designer Ken Booth; composer sound designer Christopher Moscatiello; 

costume designer Christine Cover Ferro; 

wig and make up designer Tony Valdés; 

properties designer Stephen Taylor; dialect coach Andrea Odinov; dramaturg Miranda Johnson-Haddad. 

assistant director is Rachel Berney–Needleman. 

production stage manager Angela Sonner, assisted by Hope Matthews.

Public Relations  Lucy Pollak

Misalliance 

by George Bernard Shaw

Directed by Guillermo Cienfuegos

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107 

Previews May 12 – May 17
Performances May 18 – June 9
• Wednesday at 7:30 p.m.: May 15 ONLY (Preview)
• Thursdays at 7:30 p.m.: May 23, May 30, June 6 (dark May 16)
• Fridays at 8 p.m.: May 17 (Preview); May 24*; May 31*; June 7*
• Saturdays at 2 p.m.: May 25; June 1; June 8 (no matinee on May 18)
• Saturdays at 8 p.m.: May 18 (Opening Night); May 25; June 1; (No 8 p.m. performance on June 8)
• Sundays at 2 p.m.: May 12 (Preview); May 19; May 26*; June 2; June 9
^*Post–performance conversations with the artists take place every Friday (except the preview) and on Sunday, May 26.
A student matinee will take place on Thursday, May 16 at 10:30 a.m. Interested educators should email education@anoisewithin.org.

TICKETS:
• Tickets start at $29
• Student tickets start at $18
• Wednesday, May 15 (preview) and Thursday, May 23: Pay What You Choose starting at $10 (available online beginning at noon the Monday prior to that performance, and at the box office beginning at 2 p.m. on the day of the performance.)
• Discounts available for groups of 10 or more

www.anoisewithin.org
(626) 356-3100

 

ICT LONG BEACH WHAT THE CONSTITUTION MEANS TO ME

When fifteen year old Heidi Schreck found her way to Civics and The Constitution of the United States, she must have seen her future.

How any teen is drawn to civics is a bit of a mystery with all the distractions of being a kid nipping at your heels, and by her own admission Heidi was hot for boys from the get go! But!.  in this excellent and compelling presentation directed by ICT''s executive director caryn desai, it's a play, and then some, with its basic premise grounded in the Foundation of our USA!  Please attend! 

Please stand by for a lesson in civics that includes Heidi's delightful story of success: Bright Lights!   Show Biz!  (And a lost toy!)

Kelley Dorney as Heidi and then as herself, Kelley the actress,  tells Heidi's  very personal story  that the playwright  first delivered herself.  We are not only  taken to school on the Ninth and Fourteenth Amendments  to the U.S.Constitution, but share the roots of how this now 'middle aged' woman.. (Dorney looks about sixteen) earned her college tuition with oratory in American Legion Halls all across the country. She credits her mom.

Since developing her great skill at debate and an early understanding of the Constitution, Schreck's intriguing story and this "teach-in" has swept the country, leaving  audiences more informed and, certainly, in love with Heidi. 

Kelley Dorney, Sheila Correa, Tom Trudgeon
Photo by Kayte Deioma

Adjunct Ms Dorney's  really amazing & creative monologue  we meet  Tom Trudgeon  as the American Legion guy and later becoming Heidi's pal, Mike and then the facilitator of the final debate..

After what is basically a 'teach-in' thanks to Heidi, we are treated to a very interesting debate that features the expertise of a high school debater 'from Wilson High'.. compelling and funny, Sheila Correa, who  rocks the audience participation pumped up by cheerleader Tom.   as the women take sides on  whether to keep the Constitution we now 'enjoy'  or junk it with a goal of creating a new version that may be more inclusive. 

These actors are thoroughly enjoying themselves, drawing the audience in. As it should be. The fourth wall is down for this one. .

The polemic regarding how the Supreme Court   of duly NOT elected white men ruled for years (Sandra Day O'Connor arrived as the first woman appointee in 1981) from what may be personal bias for years seems to say that SCOTUS is conducted not so much by law as by politcs.  Audio playbacks of recordings of actual discussions between justices trying to decide the meaning of the word "shall" would be funny if it was not so terribly important.  Google Castle Rock v. Gonzales for a very sad eye opener..

For those who snoozed in High School Civics class, this show may be an opportunity to discover a little interest in how our country works. Copies of the US Constitution are included in the price of admission..  Clearly this show has a strong feminist point of view. The eloquence of Kelley Dorney and her friends makes it palatable, educational & fun.

Kudos to caryn desai and her cast. 

A personal plug for a five minute walk to  The California Pizza Kitchen. Fast service and a great menu.   

 Cast

Kelley Dorney as Heidi and herself

Tom Trudgeon  as the Legion guy & Mike

 Sheila Correa  as herself

Creative Team 

Set designer Tim Mueller, 

lighting designer  Donny Jackson, costume designer Kim DeShazo, sound designer Dave Mickey 

 prop designer Patty Briles. 

Casting  Michael Donovan, CSA and Richie Ferris, CSA

Public Relations  Lucy Pollak

WHAT THE CONSTITUTION MEANS TO ME

Written by Heidi Schreck
Produced and Directed 

by caryn desai [sic]

International City Theatre
Long Beach Convention & Entertainment Center’s Beverly O’Neill Theater
330 East Seaside Way
Long Beach, CA 90802

Performances: May 3 – May 19
• Wednesday at 7:30 p.m.: May 1 ONLY (preview)
• Thursdays at 7:30 p.m.: May 2 (preview), May 9, May 16
• Fridays at 7:30 p.m.: May 3 (Opening Night), May 10, May 17
• Saturdays at 7:30 p.m.: May 4, May 11, May 18
• Sundays at 2 p.m.: May 5, May 12, May 19

Opening Night (May 3): $55 (includes post-show reception with the actors)
Thursdays, Fridays and Saturdays (except Friday, May 3): $49
Sunday matinees: $52
Previews: $37

Tickets and Information:
InternationalCityTheatre.org.
(562) 436-4610 
 

H*TLER'S TASTERS AT ROGUE MACHINE

Trigger Warning..

Should  you provide the 'i' for "*"??   This slightly silly ditty with grave undertones is, at once a romp..  and the story of "what if."

Developed at the beloved Pacific Residence Theatre, HT  rolls merrily along in present tense and at once with grave historical times, as well. 

An odd dichotomy.

It's a  time of innocence in the time of these Deutscher Madel in the Third Reich fueled by the  somewhat annoying anachronistic conceit of bubbling teeny boppers snapping duck lips selfies.

           Ali Axelrad, Olivia Gill, Paige  Simunovich photo by Jeff Lorch

Michelle Kholos Brooks's play moves quickly.

The rare occasion to use the term "flibberty gibbet" twice in the same twentyfour hour time period is rare.  Ach du Lieber!! (See yesterday's review of NORA)  The flibberty gibbets in this play have been selected to serve their country by having what 'he'' is' having. The 'tasters' are making sure der Furhur isn't being poisoned! 

The playwright has created strong specific characters. Each woman brings an attitude that moves the argument along.  A good start.

Selfies and blazing light effects become what is basically a sort of slumber party with bone china and gold cups and dialogue that ebbs and flows, but very little substance is on the menu.

The tiny upstairs Henry Murray Stage  at The Matrix Theatre shoe horns in about 35 attendees, barely  enough room for the cast.   The discomfort of the odd 5PM curtain dissolve as the lights black out!!  Now, we do our best to fathom the bizarre notion that der Furher  actually employed women in this capacity. 

Anna (Ali Axelrad)  is the sensitive one. Hilda (Olivia Gill) is the bossy blonde and Liesel (Paige Simunovich) with her long braids is he peacemaker. They are later joined by Margot (Caitlin Zambito)  and her intriguing red coat.

Interestingly, the simply choreographed activity of these young women; la la la dancing.. their stylized consumption  of Hitler's veggie diet...   all comes around to 'why?'  Why they consumed entire meals seems odd.   

Director Sarah Norris, is up against a tiny space for the bouncing activity with front row audience practically .. well pretty much ON the stage with the action.. yes  there is action.. inches away. She presents the show mostly projected forward  in the essentially,  thrust situation. Site lines are sometimes a challenge.

Why?

I keep asking myself this question. The actresses are all just fine.  Really.. But Why? 

In virtually  every episode of The Twilight Zone, there's always a twist that leaves the audience informed or nodding.  H*tler's Tasters provides .. more or less.. that moment. But, again, why?  It's a challenging exercise as the girls banter and time their possible Heavenly exit.  The looming presence of the next meal . .looms.  The boredom of just waiting and flipping back to selfies to share their boredom?  I wish their phones had flashed and we'd somehow see the faces of the girls chosen to serve der Faderland. Projections of the pretty Aryan (mostly) women?

Why?  

"Because!" That's why.  

Because it's an exercise that may draw parallels between the blind devotion of people in 2024 enthralled with a 'hero' who poses like a dictator to their delight?  Or, is it a look back with the caveat that blind devotion may lead down some primrose path to oblivion?  This is a challenging piece of theatre.  The actresses are all in .. all in the same play at the same time.. all believable to the extent that they are devoted to their roles: these hapless characters.  It's an exercise. 

I noted the man next to me taking copious notes. Presuming he's writing a review as I am now, I hope to read it to see what I may have missed.

The bottom line is .. for me.. to be as helpful and useful as I can to small theatre in Los Angeles. I love Rogue Machine and their devotion to trying stuff.  An interesting touch is the preshow "check" by a crisp SS soldier (not credited)  in his little office as we file past to mount the stairs to the neon cell where we are, like the cast, trapped for the duration.. that little office is perfect.  The SS guard has a clip board. We all just ignordd him as we filed past.  Had his authority been exercised: imposed!!  that might have put us all on notice that we were being watched and counted.

The Cast: 

Ali Axelrad (Anna)

Olivia Gill (Hilda)

Paige Simunovich (Liesel)

Caitlin Zambito (Margot)

 

 oH*tler's Tasters

Written by Michelle Kholos Brooks

Directed by Sarah Norris

Produced by Guillermo Cienfuegos and Lexi Sloan

A Rogue Machine Production

  

CREW:

Joe McClean and Dane Bowman (Scenic & Lighting Design)

An-lin Dauber (New Light Scenic Design)

Christina Tag (New Light Lighting Design)

Carsen Joenk (New Light Sound Design)

Ashleigh Poteat (Costume Design)

Christine Cover Ferro (Costume Coordinator)

Chris Moscatiello (Sound Consultant)

Carsen Joenk (Sound Design)

Ashlee Wasmund (Original Choreographer)

Emmy Frevele (Choreography for Rogue Machine)

 **

Victoria Hoffman (Casting Director)

Rachel Ann Manheimer (Production Manager)

Public Relations  Judith Borne 

 

 Opening at 5pm on Saturday, April 27, 2024

8pm Fridays, Mondays; 5pm Saturdays; 7pm Sundays through June 3, 2024

(no performances on Monday, April 29, May 13)

Recommended for ages 14+

Upstairs on the Henry Murray Stage

Rogue Machine (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90462

Tickest and information 

855.585.5185 

Face masks are optional but encouraged.