Achilles at the Skylight

Playwright Chris Collins's "Achilles in Arcadia" is a World Premiere.  It is always a tempting to see a brand new play. Director Kiff Scholl's production takes us to Arcadia, California and into the  world of student   film making..  Sort of. 

The film's director, George (Krit McClean) is a disabled vet from his time in a foreign war. His pal,  Pat (Timothy Willard) is sweet on George's sister Rose (Yulia Belyaeva). They all assemble to rehearse Geoge's film.  Lilly (Devyn Kohl ), George's partner completes his cast.

Side tracked by Aunt Amy (Gloria Tsai).. things start to go sideways and then.. more sideways. A gun?

A "prop" gun provides some tension.  The motive for it is obscure. 

Gloria Tsai and Jeff LeBeau

As we move further and further from the goal of rehearsing for George's student film, Scholl and Collins guide us through a miasma of circumstances that expose  a darkness that portends an odd climax. The title, "Achilles in Arcadia" foreshadows the hurdles that George faces as a wounded veteran with family issues that impinge on his goals to succeed in the arts.

Joyce Hutter's beautiful set:  a Chinese restaurant that may be part of George's family business is lavish.

Scholl's direction has his characters on high octane and acting styles are varied with the swing of the story .. sideways again.. as George and Rose's father, Chuck (Jeff LeBeau) returns with a limp similar to the injury that George has received in battle. The metaphor of "Achilles", the mighty warrior who met his fate becaused of a flaw may be at work.  

Collins' story builds to a confusing  climax. The denument of Rose's interpretive dance is enigmatic and moving.

When anyone opts to take a new project and invest time and cash for art, this deserves applause.  My confusion with the motivations of the characters may be in the text and I just missed it.  This leaves questions, but the cast's dedication is on the stage and deserves to be acknowledged.

 

Black Bough Productions 

presents

ACHILLES IN ARCADIA

by Chris Collins

A World Premiere

Directed by Kiff Scholl

Scenic Designer -Joyce Hutter 

Lighting Designer -Matt Richter 

Sound Designer -Jerry Buszek 

Costume Designer -Freddie Patrick 

Casting Director -Lucky Weaver 

Marketing Director -Sé Marie Volk 

Press Agent -Philip Sokoloff

Stage Manager -Conner Moody 

General Manager -Frier McCollister 

Photos by Christopher Mortenson

Cast

George - Krit McClean

Lilly - Devyn Kohl

Pat - Timothy Willard

Rose - Yulia Belyaeva

Aunt Amy - Gloria Tsai

Chuck - Jeff LeBeau 

August 9 - September 21, 2025

Run time: 1 hr. 25 min.

No intermission.

There is no late seating.

LOCATION:
Skylight Theatre
1816 1/2 N. Vermont Ave., Los Angeles

ADULT TICKET PRICE:
$25 Saturdays & Sundays
$20 Fridays

SENIOR/STUDENT TICKET PRICE:
$15 (at door sale only)

WTF??? MFer With the Hat at The Odyssey

This is not a theatre review.

That said..  and after many edits.. The MFer with the Hat should be seen!

There's a show just gone up at The Odyssey Theatre: "The Motherxxcker With the Hat" by Stephen Adly Guirgis. 

It  features five distinct characters. They embody, each in their own way, the essence of addiction, jealousy, loyalty, betrayal and love.

The disease of Loving factors here heavily. It's palpable in each of the five characters. They are raw and mostly fully exposed, damaged and livng in a gritty microcosm of anger, deception and love. And, Sex.

I feel compelled to give attention to this show because I am imagining the very real challenges that Jackie, Ralph D., Veronica, Victoria and Cousin Julio deal with daily. Their story is a heavy polemic that has at its base the AA program:  sobriety with attention to the truth. The fragility of the love between Veronica and Jackie looms in the dialogue and in the cringing subtext that makes these characters all the more human. Flawed.

Set in Times Square and elsewhere in New York City,,  we first meet Jackie and Veronica. He's in AA. She's not. Love? The Hat? Ralph D. and Victoria: love hate? Cousin Julio is here to help.. sort of.

When men and women are day by day in survival mode, the question becomes, of course.  "How does one survive?"  

Clinging to life  by our toe nails, we search for a safe place?  Who's to be trusted?? The rush of endorphins with sex, drugs and ethics at stake, each play a part in how every one of us gets by from day to day. 

For those who have sought help through AA, this MFer may trigger deep feelings.  The addiction to love and the addiction to substance and the factors that are inevitable with paranoia (whose MFing hat is it??)  lead each of these well conceived characters through  the inescapable challenges that are exacerbated by circumstance.  

How do any of us survive?  Can any situation be redeemed if trust and loyalty are misplaced?  

When to stay?   When to go?

The language in Guirgis's play is straight out of the culture of our current times. The triggers in the dialogue take me out of the seeing the production by the over use of the word that defines the play.  But!

But.. 

The Odyssey is a special venue.  It takes chances and my goal is to be supportive.  

I recommend this production for those who understand the 'language of our times' and can weather an onslaught of common terms. The stuff of this human drama is composed to create a specific situation.. a story for artists to interpret.  It presents a strong reflection of survival. 

  This play does what I think theatre is supposed to do. It evokes  in us feelings of empathy and sympathy and even regrets?  Do we see ourselves?  

MFer is an important  "Act of Theatre."

Opened 8pm on Saturday, August 9 

8pm Thursdays – Saturdays; 2pm Sundays 

Trough August 31, 2025

The Odyssey Theatre

2055 S. Sepulveda Blvd

Los Angeles, CA 90025

 

 

 

52 PICK-UP at the Echo

Having seen Ann Noble recently in two very different roles, finding a notice for her show at the Echo Theatre, I signed up.

I must admit to a couple of biases.  

One..Curtain speeches and turn off your cell phones and our upcoming shows and we are on the hallowed grounds of the Chumash and Pico de Gallo native tribes and blah blah blah.. mostly annoy me. Tonight? The audience settles. House lights down.. The show begins. As it should be! We have come to see a play.

Another bias is that (as you will see in this review..) I'm a fan of Ann Noble.  I mention this because I did not know she wrote stuff. How did she come up with "52 Pick- Up??"  

I have no idea. It doesn't matter.

There may be  a touch of Samuel Beckett's "Act  Without  Words" because the majority of this piece is silent.  At rise.. Penny (Ann Noble) lies inert on the stage (a well disguised alley over the set of the Echo's current production of Berta Berta..) Penny is a colorful puddle. There's not a lot of light.

Arcade (Jeffrey Johnson) enters.. guitar on a strap..  He comes in. He goes out.  It's slow going and some silly stuff that defines the guy. It takes a while to get things rolling.. 

I don't care. 

It's charming and slow and deliberate and silly. 

Once Arcade starts to play his guitar? Penny comes to life.

From this point on.. the business of the cards (if you've ever played 52 Pick-Up you'll understand)  and what the cards mean and Penny's crisp finger snaps to punctuate the action that might be a story line of connection?  Begins.. 

The absurdity of cards and the business of human interaction and fear and ideas and sound and movement with galvanized trashcans? and the cards and the focus of the actors and the music and wondering what the heck is going on?  It is enough.

Enough is good.  

Is it complicated? It can be if you are into examining the nuances of motivation.. of the undertow of deep meaning. But,  I just don't care.  I like watching the actors.. committed movement and  intentions.  

Something is happening..  When you see it. and I hope you will.. You must. 

You'll see.

Simply allow the images and the suggestions and the silliness and the angst and the tricks and the stuff all just happen. Darn it.. It's a piece of art that happens and the attitude of this review sums it up for me.  It happens. And, if you get a story or a deep and meaningful trip.. well. good on  you.  It is at once abstract and goofy and at the same time: fascinating. to catch the energy of Penny bouncing like a red rubber ball and Arcade, no so bouncy.. Each compliments the other.

The theatre I enjoy is like this stuff that Ms Noble has come up with . We go to the art gallery. We find color or motion or something that just stops us: inviting us to simply be with the work.

But!  

What many directors in small spaces forget is that when they "see" the show  from the audience? There are no people in the seats.. so when the audience fills the seats..  downstage floor action will be blocked to a degree for the folks in the seats behind the first row.. 

By moving the action further upstage, the floor work is more available. In this space this is a challenge because of the shared set.. This is a situation that is not such a big deal as we all lean to one side or another to catch the action.

 Ann Noble's colorful one act is simply a well done grace note to what can be accomplished when creative folks toss their cards onto the boards. 

Ann Noble and Jeffrey Johnson in 52 Pick-Up; photograph by Carolina Rodriguez

 

With Jeffrey Johnson, Ms Noble creates a physical world  of action and intention. It's fun.

Production Crew

Stage Manager: Willa Segar-Reid

Producers: Theatre Ghosts aka Michael Perlmutter & Carolina Rodriguez (co-producers with Echo)

 Michael Perlmutter Pubulic Relations

52 Pickup 

written and directed by  Ann Noble

52 Pick-Up  

 Tuesday & Thursday evenings @ 8 pm on July 22, 24, 29, 31 (see website for more details) only.  All tickets are $15.  Produced by both The Echo Theater Company & Theatre Ghosts at The Echo’s theater space in Atwater:  located at 3269 Casitas Ave, Los Angeles, CA 90039 

Tickets on sale NOW!! www.echotheatercompany.com/52-pickup

 

 

Berta Berta at the Echo

  It's 1923 in rural Mississippi. The sound of cicadas? Cicadas. the seventeen year bugs are awakening as Leroy (DeJuan Christopher) appears at the home of his former love, Berta  (Kacie Rogers). Berta  is Leroy's paramour from another time. Leroy is desperate.

Kacie Rogers and DeJuan Chirstopher
Photo by Makela Yepez Photography

On Amanda Knehans's rustic set the mood is dark with Leroy having been absent from Berta for three years. Meanwhile, Berta has married and has lost both her husband and a child: still birth.

Why director Andi Chapman has the actors open on energy level Nine and shout for most of this production makes me wonder if it's some kind of trend. Why put the pedal to the metal and keep it there for much of the argument of the play.. and mostly, it is an argument. Certainly, there are moments of de-escalation.. but the tension is palpable combined with angst and passion.

There's something about the awakening of the cicadas that protects Leroy and guides him that comes in concert with Berta's belief that with the recurrence of the bugs that her long dead baby will be resurrected. 

Lighting and effects are impressive, but the high energy of the characters toe to to  was.. mostly very high.

This is a tough 'twohander' with two totally dedicated actors who never once falter or flounder.

There are moments. make no mistake.  And again. .the absolute focus of the two actors is intense and  clear.. 

When at a matinee the audience rises enthusiastically and I'm still puzzled, I put that on me. What did I miss?  Berta Berta is a labor of love, most  certainly.

Creative Team:

includes scenic designer Amanda Knehans, lighting designer Andrew Schmedake, sound designer Jeff Gardner and costume designer Wendell C. Carmichael. The assistant director is Jessica Williams, and the production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland and Joy DeMichelle produce for the  EchTheater Company

Berta Beata
• Written by Angelica Chéri
• Directed by Andi Chapman
• Starring DeJuan Christopher and Kacie Rogers
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
Previews, July 16, July 17, July 18 at 8 p.m.
Performances, July 19 through August 25:
• Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.

WHERE:
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 and Sundays: $38
• Mondays and Previews: Pay–What–You–Want

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

 

 

 

Crew

LIGHTING DESIGN
Andrew Schmedake
SCENIC DESIGN
Amanda Knehans
COSTUME DESIGN
Wendell Carmichael
Berta, Berta is supported, in part, by the Los Angeles County Board of
Supervisors through the Los Angeles County Department of Arts and Culture.
Set, Lights, Costume and Sound Designers in this theater are represented by United
Scenic Artists Local 829 of the International Alliance of Theatrical Stage Employees.
PUBLICITY
Lucy Pollak
PRODUCTION
STAGE MANAGER
Bianca Rickheim
ASST. DIRECTOR
Jessica Williams
SOUND DESIGN
Jeff Gardner

The Echo Theater Company presents the West Coast premiere of Berta, Berta,  Written by Angelica Chéri
• Directed by Andi Chapman
• Starring DeJuan Christopher and Kacie Rogers
• Presented by The Echo Theater Company, Chris Fields artistic director

Previews, July 16, July 17, July 18 at 8 p.m.
Performances, July 19 through August 25:
• Fridays, Saturdays and Mondays at 8 p.m. / Sundays at 4 p.m.
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 and Sundays: $38
• Mondays and Previews: Pay–What–You–Want

www.EchoTheaterCompany.com
(747) 350-8066

REEL TO REEL at the Matrix

 The Los Angeles Premiere of

"REEL TO REEL" by John Kolvenbach opened July 18th at the Matrix Theatre in Los Angeles. 

Wow!

Extraordinary direction by Matthew McCray, brings this unique take on life and love over a fifty year span of time  at once a challenge to the audience and a tour de force by all creatives involved.   Samantha Klein, Brett Aune, Alley Mills Bean, and Jim Ortlieb as two Maggies and two Walters also play  supporting voices in the mix.   It's the story of an Undeniable Force of Nature (Maggie) versus  good old Walter, who survives and in his own way thrives as we flip and flop through time and space featuring an amazing set by Evan Bartoletti.  

The presentation is expansive. The four actors bring other characters to life from time to time.   

"Betty," Walter's go to gal pal, is played broadly by Samantha Klein.

I want to rave about this show because it never stops moving forward and back and in and out. The undeniable energy of Maggie as the irrepressible  young sound collage artist who knows herself, knows her world and knows her man in a flash takes us on a journey of over fifty years with the elder couple living in the year 2050.

Alley Mills Bean, Jim Ortlieb 

 Photo by Jeff Lorch

 Walter may be a film maker?  Being swept away.. and boy do I know that feeling! Being swept away by a beautiful and dedicated force of nature buoys Walter up to become himself, in spite of himself.  I personalize this because it happened to me.

McCray's fluid direction with the elder actors and the youngsters moving in and out of time and space with the set almost another character is impressive.  Sound effects provided by the actors themselves from the sound of a human femer being crushed by a sledge hammer to the voices of Maggie's parents in the privacy of their bedroom.. all flow to share the journey of lovers in love: Maggie with her art and love of Walter and Walter surviving and growing in spite of himself. 

Recommending this show is easy and a pleasure. Parking is hard. but the show is a masterwork of technical coordination, physical movement and  each of the actors bringing vital energy turning on the year and the age of Maggie and Walter at any given time.

The money is on the stage with the set and over the top lighting effects. It's professional theatre at The Matrix in concert with Denver based HorsChart Company in residence with Rogue Machine Theatre. 

The  presentational approach to story telling is refreshing with impressive sound effects. 

Take a friend. Be enchanted. Bring a hankie. See this show.

PRODUCTION TEAM: 

Jeff Gardner (Sound and Foley Design), Evan Bartoletti (Scenic Design), Azra King-Abadi (Lighting Design), Vicki Conrad (Costume Design), Nicole Bernardini (Prop Design/Foley Design), Grant Gerrard (Technical Director), Brett Aune (Producer), Michelle Hanzelova-Bierbauer (Producer), Ivan Rivas (Associate Producer). 

Reel to Reel opens at 8pm on Friday, July 18 and runs 8pm Fridays, Saturdays, 2pm Sundays through, August 23, 2025. 

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

Tickets are $45 

General Admission. 

Seniors: $35. Shows4Less on Fridays July 25 ($15+), August 1 ($15+), August 15 ($25). Reservations: 

https://www.roguemachinetheatre.org or for more information 855-585-5185. 

Run time is approximately 90 minutes with no intermission.

Social Media: Instagram: @RogueMachineTheatre

Facebook: @RogueMachineTheatre 

LEAR REDUX AT THE ODYSSEY

Adapter, director and choreographer John Farmanesh–Bocca's LEAR REDUX closed yesterday at The Odyssey Theatre.

Eve Danzeisen, Jack Stehlin, Jade Sealey,
Andres Velez, Ahkei Togun, Dennis Gersten
Photo by John Dlugolecki Photography

 The long drive to and from the Odyssey Theatre over on Sepulveda makes for a full day.  This review is of the last performance of Lear Redux. It may be a schlep, too.. 

The audience settles and a really big guy squeezes past me and proceeds to shoot video of the set and as the show begins? Keeps shooting. In a voice loud enough for him and the audience to hear, I say, "Please put the phone away."  He ignores me. My tone and gorge rise a bit higher .. "Put the effing phone away.. It's against union rules and. .IT'S NOT NICE!". Did I mention that he was huge with a huge T shirt emblazoned toutng Canada? He did not look Canadian to me.  

As I tend to be easily distracted.. I imagine that this really huge Canadian is still shooting and shoot eye darts of my own .. grrr.

Then!  Cordilia (wonderfully wonderful Emily Yetter)..

who portrays Cordelia, a beautiful German Shepherd,  rushes on stage  barking "Hey! Hey!!!!"  and it's delightful and then the somewhat loopy.. unfolding of the story.. and Jack Sthelin's    huge! white beard advances from stage right.  Struggling in his walker, his infirmity like really infirm..   in he creeps: a very petty pace  (with a nod to the Scottish play.)  From this moment on.. the odd mixture of the elder actor and the story of King Lear  with sister / daughters Goneril and Regan (Jade Sealey and Eve Danzeisen) bickering as present day sisters and Actor/Lear's brother/Kent (Dennis Gersten)  and the self conscious business  of the stuff of Shakespeare's play erupts and is full of antic energy, spectacular choreography and pretty darned amazing direction as the cast pulls off the  final performance of Lear: Redux.

As we head for the finish line, the actor's bedroom set transforms into the interior of a Seven/ Eleven! and creepy denizens of the night emerge huffing paper bags only to be joined by a Blind Man who in a monologue that isn't all that long.. Explains Quantum Theory, the True Naure of he Universe and Not Only Lear/Actor's place in it but explains why he and they and all of us. in fact..??  In total? actually ARE the Universe all happening at the same time!

The beauty of this piece . inspite of the fact that it isn't always easy to follow, the energy and commitment  of every single actor to every single character and especially HEY!! Cordelia! bring the experience to life.  

The pace and physicality of this play moved and moved again like clockwork. Dance moves and characters fully committed and focused on what in total is in no uncertain terms: A trip!

It took me the entire run  of this show to get over to see it, closing this afternoon to  a full house. Sadly,  the opportunity to see this one has passed. 

Of course, boosting The Odyssey is a goal.. and from the play, this line: "Catch you on the next one .." bubbles up as Lear and Cordelia reunite and the audience stands in appreciation. 

 

LEAR REDUX

by adapter, director and choreographer John Farmanesh–Bocca

Cast:

Actor/Lear  - Jack Stehlin
Day Nurse/Edgar - Ahkei Togun
Night Nurse/Edmond - Andres Velez

Brother/Kent - Dennis Gersten

Daughter 1/Goneril - Jade Sealey

Daughter 2/Regan - Eve Danzeisen

Cordelia/The Dog - Emily Yetter

 

To save time, below please find the essential credits and information about the show with contact information for The Odyssey. Check the Odyssey website for future productions. 

Thank you for supporting live theatre in Los Angeles.

Repectfully submitted:

michael sheehan

onstagelosangeles

Jack Stehlin, who previously starred in both Titus Redux at the Kirk Douglas and Tempest Redux at the Odyssey, inhabits the role of an aging actor whose last days strangely parallel those of Shakespeare’s tragic king. Like Shakespeare’s Lear, the actor has three daughters (Eve Danzeisen, Jade Sealey and Emily Yetter). He also has a trio of caretakers: his brother (Dennis Gersten) and two home-health nurses (Ahkei Togun and Andres Velez). Like its predecessors in the series, Lear Redux employs a potent mix of physical theater and verbal gymnastics to tell its timeless tale of family, power, humanity, grief and acceptance.

 The creative team includes scenic designer Mark Guirguis; lighting designer Bosco Flanagan; costume designer Denise Blasor; and props designer Jenine MacDonald. Sound is designed by Farmanesh-Bocca. The stage manager is Jenny Nwene. Odyssey Theatre Ensemble acting artistic director Beth Hogan and New American Theatre managing executive director Jeannine Wisnosky Stehlin produce.

WHAT:
Odyssey Theatre Ensemble, New American Theatre and Not Man Apart–Physical Theatre Ensemble unite to present the world premiere of Lear Redux: A Quantum Fantasia. The final days of an aging actor stra

ngely parallel those of Shakespeare’s tragic king in this evocative, perpetually surprising reconstruction of William Shakespeare’s King Lear that features a potent mix of physical theater and verbal gymnastics.

WHO:
• Adapted, Directed and Choreographed by John Farmanesh–Bocca
• Inspired by the play King Lear by William Shakespeare
• Starring Eve Danzeisen, Dennis Gersten, Jade Sealey, Jack Stehlin, Ahkei Togun, Andres Velez, Emily Yetter
• Produced by Beth Hogan and Jeannine Wisnosky Stehlin
• A co-production of Odyssey Theatre Ensemble, The New American Theatre and Not Man Apart–Physical Theatre Ensemble

WHEN:
May 22 through July 13
• Previews: Thursday, May 22 and Friday, May 23 at 8 p.m.
• Performances: May 24 through July 13: Fridays and Saturdays at 8 p.m. / Sundays at 2 p.m. / Wednesday, June 11 and Wednesday, June 25 at 8 p.m.  (dark Friday, July 4)

OTHER:
• Post-performance discussions on Wednesday, June 11; Friday, June 20; and Wednesday, June 25
• Wine Night Fridays: Enjoy complimentary wine and snacks with the cast following Friday night performances.

WHERE:
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

TICKET PRICES:
$20-$43

HOW:
OdysseyTheatre.com
(310) 477-2055 ext. 2

 

DEL SHORES' GOOD WORKS

A couple of years ago.. in the nineteen eighties.. I met a new playwright from Texas. His stories set on the stage and later on film, came to life with a Texas twang and .. at once made the audience laugh really hard and at the same time see something ..perhaps.. of themselves,  that touched their hearts. . Touched our hearts.

Del Shores is a phenomenon and a pal.  Yesterday's reading of "DADDY'S DYIN' AND WHO'S GOT THE WILL" to the benefit of the Del Shores Foundation..   to directly benefit writers from Texas and to support the LBGT community was a good one. The cast is listed on the poster below.

There will be another big ass event coming up!  I apologize for the link clicking business. But most folks these days are okay with it. I guess.  

 See below for details.

LALGBT EVENT:  https://ci.ovationtix.com/36684/production/1243180?performanceId=11654211

 

 

Meanwhile..  I wanted to credit the cast who did yesterday's reading to a full house at The Matrix. (See above) The Theatre Community is one that celebrates with sequins at the Tonys and gives like anything in the trenches.

It was so much fun to see dear friends and to meet new folks at the reading and to promise Del that I'd do what I can to boost the upcoming screening of SORDID LIVES. It's a benefit coming up  here in Hollywood..   Mark your calendars, y'all!

Thursday

July 24, 2025  7PM. 

 

Parking at The Center on McCadden Place can be a challenge!  Arrive early or by  limo? 

Once inside, it's an oasis dedicated to art. 

Del and his family have been an important part of my life for a long time. If you don't know Del's plays or his films.. change that.  This work turns on deep feelings and that laughter that feels familiar for good reason: It's about family.

 

Margot Rose and Beverly Nero wrote the theme song for Sordid Lives,  the play. George Clinton arranged the music for the movie. 

All family folks. Hi Beverly!

Please pass this information along and for a special trip to Texas, please see this film!   Bring a hankie and recall  the joy we all shared with some now dearly departed old pals.

Tickets for Sordid Lives are a variety of prices.  

The gathering will be a celebration! 

Take a friend. 

Gay Pride!!. 

Heterosexuals are warmly welcomed.

Tell them onstagelosangeles sent  you for no discount whatsoever.  It's a benefit!

Michael Sheehan

directortv41@ yahoo. com

 

Bill Brochtrup White Rabbit Red Rabbit and then some

Make no mistake..

Nassim Soleimanpour's White Rabbit Red Rabbit is so deep with metaphor and stuff to challenge any actor that this time round the block with Bill Brochtrup is a performance that only  a handful of us got to enjoy. One shot.

Acting?  Is this acting?

By an odd conincidence, I see Cillian Murphy on Sixty Minutes talking about Oppenenheimer.. sort of.. and about acting. sort of .. and technique.. sort of and presence.. sort of and the magic. a word he does not use but is all over his Irish mug.. And.. as  Soleimanpour's play is about being more than acting because this is an assignment in following directions and authority and who's in charge and who makes choices and how to behave/react?  It's not exactly a play..It's not really acting.

I met Bill Brochtrup several years ago and have been impressed with his acting. especially his precinct receptionist on NYPD Blue and later on Criminal Minds as a psychiatrist. Two entirely different guys. Authentic.

With WRRR.. authenticity is  impossible to avoid. Bill is introduced and handed a manila envelope. This is the script.  The agreement is that all he knows is that it's a one shot experience: an experiment with an audience. Us. 

Having seen this show twice before.. I wanted to see Bill's version because he is an extraordinarily nice guy.  And..because I knew there were some 'interesting' lines in this show that were the antithesis of the man I know.. I wanted to see how he'd handle it.

Bill and Rabbits  June 15, 2025

The theme of the experience?  How do we deal with authority? Being told what to do? Choices to..... in Yoda's voice.. do or not do.. there is no try. 

There is 'do' and Bill filled the bill admirably.  

The beats and nuances of this 'experience' are varied and I learned that the exact same words read by one person change dramatically with another. 

In acting.. we strive to be in the moment and present the illusion of the first time. There is no illusion here.  It IS the first time and as Bill read the script.. cold.. for the first time.. he made choices that brought the theme to life. Together with the audience, Bill created the experience of a young playwright in  Iran... free associating and asking very personal questions with comments that create for the audience an intimate and at times silly. and at times grave situation.  

Moment by moment.

   I hope that those who have access to The Fountain Theatre and enjoy a surprise, . a laugh.. and moments of important questions.. personal questions.. discoveries and choices? Will go.

I hope that you will take a friend and go.  It won't be Bill on stage. But, whomever it is, rest assured that you will be poked and prodded and entertained and you will survive.  Most likely.. 

Take a carrot.

 White Rabbit Red Rabbit

by  Nassim Soleimanpour 

WHEN:

One more week
Through June 22:
• Fridays, Saturdays and Mondays at 8 p.m.
• Sundays at 2 p.m.
Every Monday, the Fountain will roll out the names of the “rabbits” (performers) on their website and social media who are set to take the stage that week.

WHERE:
The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

TICKET PRICES:
$25 – $45:
• Premium Seating: $45
• Regular Seating: $40
• Seniors 65 or older: $35 (regular seating only)
• Students: $25 (valid ID required)
• Monday nights: Regular seating ($40) and Pay–What–You–Want (subject to availability)

PARKING:
• Secure, on-site parking: $5
• Street parking available in the neighborhood north of Fountain Ave.
• No parking after 6 p.m. on Mariposa or Alexandria Avenues south of Fountain Ave.
• Allow extra time to find street parking; make sure to read all parking signs

HOW:
FountainTheatre.com
(323) 663-1525

 

WHITE RABBIT RED RABBIT TAKE TWO SHARON LAWRENCE

 Because of the unique presentation of  this "experiment' / "experience" :  One actor, no director, no rehearsal, one performance : a cold read, I must offer full  disclosure, this is my second review. 

After seeing Sandra Tsing Loh's inspired performance and having been  a fan of Sharon Lawrence, I asked to see her  present the same script that Sandra performed.

Sharon Lawrence did  not disappoint!

Sharon is 63 and looks younger. It's in the play. 

That said, I must recommend more highly White Rabbit Red Rabbit  because in the now two performances I've attended, the feelings.. the atmosphere in the room is so affected by the script that the depth of the author's message is undeniable. 

It's a challenge to accept the task of holding forth on a stage essentially flying  blind without a net to mix a metaphor.   Ms Lawrence succeeds! The audience succeeds. Clap hands.

The author, Nassim Soleimanpour,  addresses the audience through the actor. He is Iranian and wrote this piece in 2010. There is a dark undercurrent presented as Ms Lawrence comes upon it, she  fearlessly presses on.

The reason this is 'important' theatre is because both the audience and the actor involve each other facing decisions and questions about authority and even what 'art' is or what it might be. 

Lawrence mostly sits.  She presents the action of the play flawlessly.  My bias goes back to NYPD Blue and her  gritty role as Sylvia Costas.   I was very interested to see how she'd fare in this experiment. Her complete commitment and instant communication is impressive.

A guy who did a sort of curtain speech never introduced himself. The play doesn't really need a warm up guy.  After the show he stood at the exit to the theatre with a cell phone camera soliciting reactions.  

Don't watch them.  

Entering this arena tabula rasa is vital. This piece is an important adjunct to the Art of Theatre because of the unique experience of neither the actor nor the audience having any preconceived notions.  

I met the reviewer from Curtain Up and asked him his lead line. Without dropping a stitch, he said, "The Play's the Thing"..  Truer words . True Words. 

Just go!  Participate in  this experience. There's baklava after the show!

 WHITE RABBIT RED RABBIT 

by  Nassim Soleimanpour 

WHEN:
May 11 through June 22:
• Fridays, Saturdays and Mondays at 8 p.m.
• Sundays at 2 p.m.
Every Monday, the Fountain will roll out the names of the “rabbits” (performers) on their website and social media who are set to take the stage that week.

WHERE:
The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

TICKET PRICES:
$25 – $45:
• Premium Seating: $45
• Regular Seating: $40
• Seniors 65 or older: $35 (regular seating only)
• Students: $25 (valid ID required)
• Monday nights: Regular seating ($40) and Pay–What–You–Want (subject to availability)

PARKING:
• Secure, on-site parking: $5
• Street parking available in the neighborhood north of Fountain Ave.
• No parking after 6 p.m. on Mariposa or Alexandria Avenues south of Fountain Ave.
• Allow extra time to find street parking; make sure to read all parking signs

HOW:
FountainTheatre.com
(323) 663-1525

Posted by Sheehan at 3:54 PM

ARE YOU AS MAD AS HELL? GRT : network

 

NETWORK . the award winning film  comes to the NHo stage at Lonny Chapman's Group Repertory Theatre.

Network Cast  Photos by Doug Engalla

Set in 1975, Paddy Chayefsky's  genius via Lee Hall's adaptation, gets off to a rocky start with the lead actress unable to go on, leaving it to the amazing Anica Petrovic as Diana, book in hand embracing the driven television  executive Diana Christiansen.. orgasm and all.   

Howard Beal (Bert Emmett) is a veteran news caster for UBS television.  UBS is tanking in the ratings and Howard's job is on the chopping block. Alcohol may be a factor. 

Suddenly, the 'Truth' as seen through the experience of author Paddy Chayefsky's vision emerges.

Memories of the film are impossible to not recall.  The stage version of NETWORK  is  extremely cinematic with short  episodic scenes. The stage crew moving as fast as they can creates inevitable pauses.

2025 celebrates the fifty-second year in production by the intrepid GRT company. For longevity alone accolades  are in order. In the spirit of The Show Must Go On!  Anica Petrovic as Diana shreds the part  with such enthusiasm that her referencing the script was never an issue. 

A subplot with program exec Max Schumacher       (Larry Toffler)) falling for Diana shows her true colors.

Larry Toffler, Anica Petrovic_Photo by Doug Engalla

Again, Ms Petrovic shines.

As Howard climbs the ratings ladder pronouncing radical ideas from 1975: he sends up red lanterns to alert the public to the issues of the day. The polemic blossoms with real issues that we, here in 2025, may find familiar.

With over twenty  members of the cast, director Tom Lazarus (who also designed the set), has his hands full..   As we tumble into  a climax, the combination of the excellent tech by  Sammy Strittmatter and some fine performances from a dedicated cast brings the show off ultimately: well done.

Please support this intrepid company and tell them I sent you.

  CAST:

Howard Beale            Bert Emmett*

Arthur Jensen             Fox Carney

Max Schumacher       Larry Toffler  

Louise Shumacher     Belinda Howell

Khan The Terrorist     Cathy Diane Tomlin*  

Frank Hackett             Tack Sappington  

Diana Christiansen      Anica Petrovic

Director                       Mimi Kmet      

Harry Hunter               Hudson Long

Schlesinger                  Melissa Lugo

Ed Ruddy                     Kevin Michael Moran

Warm Up Person/Continuity/Announcer      Bob McCollum

Floor Manager              Linda Alznauer*   

Jack Snowden               Patrick Anthony*

Sheila, Production Assistant           Stevie Stern

ELA Robbery Terrorists                 Danny Salay Sherrick O’Quinn

Kidnapped Heiress                       Amy Shaughnessy

Make-up                                         Angie Lin    

Wardrobe                                        Cynthia Bryant

Newsroom Tech/Camera Person    Tom O’Shea

 CREW

Production Team

Tom Lazarus (Director/Set Design)

Stevie Stern (Producer)

Ellen Monocroussos (Lighting Design)

Shon LeBlanc (Costume Design)

Mikaela Padilla (Sound Design)

Sammy Strittmatter (Audio/Visuals)

Denise Downer (Marketing)

Nora Feldman (Public Relations)

Doug Haverty (Graphic Design)

Suzy London (Artistic Council Liaison)

Kristin Stancato (Webmaster & Online Marketing)

Doug Engalla (Promotional Video & Photography)

Jackie Shearn (Social Media)

Dan O’Connell (Sound Consultant)

Lee Redmond (Set Build Foreman)

Cathy Diane Tomlin (Production Stage Manager)

Tori Austin (Assistant Stage Manager)

NETWORK  by Lee Hall adapted from the 1976 feature screenplay by Paddy Chayefsky. 

Directed by Tom Lazarus.

The Group Rep Theatre – Main Stage (first floor) is located at 10900 Burbank

Blvd., North Hollywood 91601. General Admission: $36. Students/Seniors with

ID: $30. Groups 10+: $25. Purchase Tickets: thegrouprep.com Reservations &

Information: (818) 763-5990. Free street parking and free limited early bird lot

parking next to the theatre.

Performance Schedule 

Friday, May 23 at 8:00pm – Opening Night Reception Backstage After Performance

Saturday, May 24 at 8:00pm

Sunday, May 25 at 2:00pm – Talkback with Cast & Staff after the matinee

Friday, May 30 at 8:00pm

Saturday, May 31 at 8:00pm

Sunday, June 1 at 2:00pm – Talkback with Cast & Staff after the matinee

Friday, June 6 at 8:00pm

Saturday, June 7 at 8:00pm

Sunday, June 8 at 2:00pm

Friday, June 13 at 8:00pm

Saturday, June 14 at 8:00pm

Sunday, June 15 at 2:00pm

Friday, June 20 at 8:00pm

Saturday, June 21 at 8:00pm

Sunday, June 22 at 2:00pm

Friday, June 27 at 8:00pm

Saturday, June 28 at 8:00pm

Sunday, June 29 at 2:00pm (Show Ends)

The Group Rep Theatre – Main Stage (first floor) is located at 10900 Burbank Blvd., NoHo 91601.  Look for the bright multi-cultural mural on the outside of the building.