Joe Straw #9

Mike Burstyn - Photos by Michael Lamont

By Joe Straw

“Lo he goeth by me, and I see him not: he passeth on also, but I perceive him not.” – Job – The Book of Job, Chapter 9:11 – The Holy Bible – The King James Version.

West Coat Jewish Theatre presents an American Premiere starring Mike Burstyn in “O My God” by Anat Gov directed by Howard Teichman and produced by Howard Teichman & Jean Himmelstein through June 7^th at the Pico Playhouse.

I am not familiar with Mike Burstyn, or his career, but there was a point in the show when he spoke emphatically as God. I heard his voice, I felt it in my chest cavity. It was an inspired voice and one that nearly lifted me from my seat. Instead I raised my eyes from my notepad and took note of the actor before me. Surely, I have missed something. And I soon realized that I needed to catch up on my knowledge of internationally acclaimed American/Israeli actors. – The Narrator.

After a successful run of “The Whipping Man,” also directed by Howard Teichman at the Pico Playhouse, I really had to see what Mr. Teichman was doing next. And because I had recently been inundated with “God” at the Unitarian Universalist Church (go figure) and other places, God kept appearing in disquieting peculiarity. I pondered the notion that someone, some being was trying to tell me something.

Lior (Joseph Rishik) sat and played his cello. All decked out in drabbed New Balance sneakers, black socks, brown shorts, and a worn brown Hawaiian t-shirt. His face projected little emotion. The notes, the fingerings, were just there. The vibrations from the music affected little of his soul, and his expressions were mechanical at best. On the chair, in his quaint living room, with an enormous blue sky projected through the window, Lior played on. What was bothering him? Why wasn’t he connected to the passionate moments of the notes?

Ella (Maria Spassoff), Lior’s mother, throws off her enormous garden hat and attends to her son. She doesn’t ask, and doesn’t expect certain words to come from his lips. At this moment Ella is beaten by the heat, complains little about the lack of rain, and life in general.

And Lior says little – no, that’s not right – he says nothing, not even hello mom, mother, mama, nothing. He utters only guttural sounds, muttered squeaks and thrusts of vocal nothings. Not being understood, he resorts to being an obstreperous child by throwing toys – too old for him to play with – and then throwing Orson Welles’s “The Third Man” poster to the floor, which Ella calmly repairs and hangs back on the wall.

Moments later, Ella gets a call from someone saying that he needs to see her right away so she hustles her son out of the room, with cello in hand, and prepares for the appointment. When there is a knock on the door, Ella opens it and finds no one. Strange.

Not thinking much of it, Ella returns to her desk. Behind her, the door magically opens, and a figure in a dark hat and suit enters It is God (Mike Burstyn), an enigmatical tranquil being, with a problem.

Ella, the psychologist, is all business. She methodically grabs her note pad and asks the gentleman to sit down before she starts the disquisition.

“Name?” – Ella

“You can call me, G.” – God

“What is your age?” – Ella

“Five thousands years old.” – God

“What do you do?” – Ella

“I’m an artist.” – God

“Father?” – Ella

“None.” – God

“Mother?” – Ella

“None.” – God

After more questions, Ella realizes this man knows everything about her and she suggests he might be a part of the Israel intelligent agency. But this man claims he is God.

“How long have you felt like this?” Ella

“I don’t feel like, I am.” – God

An exasperated Ella is not having any part of this discussion. Slightly frightened, she steps back and says she has the name of a good psychiatrist. She wants this man to leave her home right now.

But God has a few tricks but his robes, um sleeves, and freezes Ella.

Lior comes back in and God unfreezes Ella and, by this time, Ella has gotten the message and starts listening to God. She takes a drink of water, the glass rattling on her teeth.

God tells Ella that she has talked to him for forty years and he can remember her prayers from the age of four. Ella says that she doesn’t believe in God.

“You talk, but you don’t ask.” – God

But God reveals a little vicious streak in him when he tells Ella that she believes that her autistic son will call her mother one day and that her husband will come back to her. The words stab at the heart of her entire being.

Anat Gov, the writer, has written a very moving play which was voted Best Play in Israel in 2012, the year of her death, at the tender age of fifty-five, after a long struggle with cancer. This is the American Premiere and a translated version of the Hebrew text. (Translations between languages are tricky and hopefully nuances were not lost in the translation.)

“God hath delivered me to the ungodly, and turned me over into the hands of the wicked.” – Job 16:11. The Holy Bible

Howard Teichman, the director, does a nice job putting it all together, nice show, nice evening with remarkable talent. But there more to be had in the moments that should collectively make the production soar. On this night, they struggled to make the emotional connection that one hopes to get in the theatre. And that connection is the one thing that causes a reaction, an emotional moment, that keeps you in your chair long after the light come up. And also, I have to be hit over the head of “Why this woman? Why today? Why now?” One is not sure these questions were answered in the execution. Also, G appears dressed in the manner of the Orson Welles character in “The Third Man” in a moment that isn’t fully realized. There is a reason “The Third Man” poster is on the wall and a reason that G enters Ella’s home dressed like Orson Welles, coming in as the wind in one moment and Orson Welles in the next. Comedy, and this is a comedy, is best served on a cold plate of pain. And the pain is inside all of the characters who are reaching for the one thing they truly want. There is more to be had here. Still, it is early in the run and tweaks will make it that much better.

Maria Spassoff and Mike Burstyn

Mike Burstynplays G and does a tremendous job. G has a problem and he comes to get counseling. He is still feeling guilty about the way he treated Job. He needs help and he needs it right now or else he will die and take everyone with him. There is a time element here in which the character, God, must feverishly pursue his objective and there is little time to lose. Burstyn is an amazing actor, his moments are carefully constructed, and there is a delightful simplicity to his work, and I’ve already mentioned his great voice, but I’ll say it again, great voice!

Maria Spassoffdoes some amazing work as Ella, a strong vibrant professional woman who will do anything to help her clients. Ella is at the end of her rope. Her son will never get better and that part of her life is a daily struggle. She needs her husband to come back but more than anything she needs to move on. She needs her son to call her mom. She needs inspiration. But what she gets instead is more trouble. Ella suddenly finds herself in a position of trying to save the world; the weight of humankind is on her shoulders. Her job is to help God and in doing so save humankind.

Joseph Rishikplays Ella’s son Lior. His playing of the cello is fine, with some very lovely music coming out of his instrument. But his role as an autistic son requires a better-developed character and a clear and meaningful objective.

Jean Himmelsteinand Howard Teichman are the Producers, and once again have done an outstanding job.

Other members of this outstanding crew are as follows:

Bill Froggatt– Associate Producer & Sound Designer

Kurtis Bedford– Set Designer

Gil Tordjman– Stage Manager and Lighting Designer

Michael Lamont– Photographer

Ken Werther Publicity– Press Representative

Run! Run! And take someone who likes to read The Holy Bible.

Tickets: www.wjct.tix.com

Reservations: 323-821-2449

The Pico Playhouse

10508 W. Pico Boulevard

Los Angeles, CA 90064

Jon Mullich

By Joe Straw

Shakespeare’s Richard III was written for Sigourney Weaver, a strong woman, like the character Ripley in Alien, a woman who would take all comers, and would use her mind to her advantage at the most opportune moments. (Yes, I believe that is true.)

Certainly, the women in this particular play, are wise, and they are that way if only to competely handle the likes of Richard III.

But, are they strong? Well, in this version, not as strong as one would like them to be.

Natasha Troop’s version of Richard III, with its grey tones and black somber mise en scéne, explores the play from a benevolent perspective without seeing the other side, her side.

Still, Troop’s version of Richard III is good, bordering on brilliant. There’s no question about that. And it seems to fall in line with the bits and pieces I’ve seen over the years, including Mark Rylance’s performance at the Tony’s.

(Yes, I was waiting for that scene for a comparison. That, I should not do. Forgive me. )

All, in all, there were some marvelous performances in this production of Richard III and yet marvelous is too casual a term to use. It is a production one doesn’t expect from a 99- seat theatre venue, especially for this type of play. But, there it was, in all its glory, all three hours of it. And despite the utmost gravity of this drama, the despicableness of the characters, there was a lot to smile about at the end of the production, a lot.

Richard III is a play about his struggle for power. The other characters know that about the Duke of Gloucester, and yet, few have the power to stop him.

But why don’t we see the grasp for power in this production, the alliances forged, the money, the greed, and the indelible impression of lust for power forged on the blade? Why?

The Eclectic Company Theatre presents William Shakespeare’s Richard III, directed by Natasha Troop, produced by Natasha Troop and Marni Troop through August 30, 2015.

The Play.

“Now is the winter of our discontent

Made glorious summer by this sun of York;” – Richard, Duke of Gloucester

Richard, Duke of Gloucester practicing heliolatry much in the same way the ancient druids did at Stonehenge but changes a moment later to lament on his features and his ability in bed…

And therefore, since I cannot prove a lover

To entertain these fair well-spoken days

I am determined to prove a villain.” – Richard, Duke of Gloucester

Richard (Jon Mulich), Duke of Gloucester is not the King of England, now, but in order for this villain to reach his objective he must get rid of those in his way. Simple enough.

Richard has matured into a powerful man, a military man, with wealth beyond his imagination. His holding in Northern England make him very authoritative and it is his plan to move in the direction of the crown, but first he must get rid of Clarence (David Pinion), his older brother, who is second in line to the throne.

Richard, Duke of Gloucester, deceptively lugubrious, bemoans as George, Duke of Clarence is being led off to cozy confines of the Tower of London under the orders of their brother King Edward IV. King Edward had been mislead in believing that someone with “G” in their name would take over his crown.

“Meantime, this deep disgrace in brotherhood

Touches me deeper than you can image.” – Richard, Duke of Gloucester

“I know it pleaseth neither of us well.” – Clarence

“Well, your imprisonment shall not be long;

I will deliver you, or else lie for you:

Meantime, have patience.” – Richard, Duke of Gloucester

The first part of Richard, Duke of Gloucester’s plan is set in motion; Richard knows that Clarence will never leave the Tower of London alive.

“Clarence still breathes; Edward still lives and reigns;

When they are gone, then must I count by gains.” – Duke of Gloucester

L - Rachel Kanouse and Jon Mullich

No sooner this has been said then King Henry VI, the former King of England from the House of Lancaster, mysteriously dies in the Tower of London. (Or was murdered by Richard). His body is accompanied by the beautiful Lady Anne (Rachel Kanouse) former daughter-in-law, now a mourner, who sees the devil that is Richard, Duke of Gloucester. She accuses him of having something to do with his death.

“Say that I slew them not?” – Richard, Duke of Gloucester

“Why, then they are not dead:

But dead they are, and, devilish slave, by thee.” – Anne

“I did not kill your husband.” – Richard, Duke of Gloucester

(This is a reference to Edward, Prince of Wales, son to King Henry VI, who was once the only surviving heir to the throne of the House of Lancaster. But he was killed in the Battle of Tewkesbury, some years earlier 1471, commanded by none other than Richard, Duke of Gloucester.)

“Why, then he is alive.” – Anne

“Nay, he is dead; and slain by Edward’s hand.” – Richard, Duke of Gloucester

Cute and so it is that the House of Lancaster is finished, forever. Richard, The Duke of Gloucester, in poor timing, uses this moment to woo Anne. And despite the animosity bantered about, Anne says yes, in her fashion.

“Bid me farewell.” – Richard, Duke of Gloucester

“Tis more than you deserve;

But since you teach me how to flatter you,

Imagine I have said farewell already.” – Anne

This scene presents some problems in that the presentation of King Henry VI’s corpse is brought on a stretcher as though he were a casualty on the battlefield rather than a King, and there is a slight confusion as to the identities of the players. The words tell us what is happening but the actions, and setting, convey a different meaning. A little symbolic pomp and circumstance to compliment the grey barren walls, and to present the former King with dignity, would do well here.

Also, Anne is finished. The House of Lancaster is done. So Anne, in her way, must maneuver her way into position to be Queen of England once again. And as much as she hates the idea of being with Richard, Duke of Gloucester, she accepts his love.

One of the fascinating things about this scene is that Richard seems to be asking for some kind of forgiveness for the killing of Edward, her husband, at the Battle of Tewkesbury. This shakes Anne to the core, a moment understood, between the two that may not have been totally realized on this night.

In the meantime Queen Elizabeth is concerned about her husband dying, King Edward IV (Tim Polzin), knowing that her overly petulant son Edward V (Micah Watterson) is waiting to take the throne.

“The heavens have bless’d you with a goodly son,

To be your comforter when he is gone.” – Grey

“Oh, he is young, and his minority

Is put unto the trust of Richard Gloucester,

A man that loves not me, nor none or you.” – Queen Elizabeth

Queen Margaret (Janie Steele) suddenly appears as an unfathomable shadow, as someone who predicts the fall of Richard, Duke of Gloucester. She is the prognosticator of future events. But Richard, seeing her as a dimming star, dismisses her like an overly worn codpiece, all in his quest to gain control. This doesn’t sit too well with Queen Margaret.

“Thou slewest my husband Henry in the Tower,

And Edward, my poor son, at Tewksbury.” - Queen Margaret.

Richard, Duke of Gloucester, cannot be bothered by trivialities in his quest to wrangle his position of power, and manages to dismiss her with the menacing brush of his cane.

“We follow’d then our lord, our lawful king:

So should we you, if you should be our king.” – Rivers

“If I should be! I had rather pedlar;

Far be it from my heart, the thought of it! – Richard, Duke of Gloucester

Right now Richard, Duke of Gloucester is laughing on the inside.

Jon Mulich is Richard III in this production and does a marvelous job playing a man who has one thing on his mind, the crown. Mulich’s portrayal does not emphasize the physical deformities one reads about, but rather he has a slight limp and walks with the help of a cane. There is much to like about his lurid glares and shifty-eyed performance and the casual way he moves from one predicament to another. On the night I witnessed there were problems with lines (a few) but by the time you see it Mr. Mulich will have evened out his performance.

L - Jesse Merlin and Jon Mullich

Jesse Merlin is incredible as Buckingham. Merlin makes Shakespeare look easy with an astonishing voice and is a natural on stage. Merlin is very meticulous and measured. Certainly this is an amazing performance and one not to miss for actors and theatergoers alike.

L - David Pinion, Gary Tremble, Christian T. Chan

Another remarkable performance is that of David Pinion as George Duke of Clarence, brother to King Edward IV, and Richard III, and there’s the rub. Clarence is easily convinced to march to the Tower of London per the commands of the King who has ordered his death. Clarence is sure that Richard III will use persuasive powers to get him out and if that is not enough he has enough wit about him to find other ways out. The gullible Clarence, who in real life was just as lustful as Richard III, is not even a match in wit to secure the crown.

“O, he hath kept an evil diet long,

And overmuch consumed his royal person:” – Richard, Duke of Gloucester – speaking of King Edward IV

Tim Polzin, as King Edward IV is another wonderful performer who seems to create King Edward as a character who is in ailing health, because of the bottle and his diet. As it is, the performance rings true, the slow gait of death, preceded by ordering acts of kindness to his fellow humans beings. There is not one false note in his performance.

Just a note here, this production was set circa 1930’s, and maybe it was of choice of the director, but the treatment of the King seemed very indolent, no bows, and with very little respect. History says that Richard was a very big fan of King Edward IV but in this production Richard treated him like an ordinary Joe instead of his brother, the King.

Micah Watterson does some excellent work as the petulant Prince Edward. Watterson provides us with some very strong character work and has an extremely nice presence on stage. Still, in his minority, Prince Edward was led away to comforting rooms of the Tower of London, unable to fight off his despicable uncle and was never crowned.

Jessica Neufeld is delightful as Queen Elizabeth who laments that her time is near and tries to find a way to hang on to the powers she possesses as long as her husband, King Edward IV is alive. And as long as she has powers she will try her best to rid herself of Richard, Duke of Gloucester forever. This is a terrific performance.

Janie Steele is Queen Margaret. Well, one would say former Queen from the House of Lancaster, widow of King Henry VI. She was the mother of Edward of Westminster who was killed in the Battle of Tewkesbury. It is said that she ruled in place of her husband who had frequent bouts of insanity. Now, she has lost all, her son, her husband the King, and England. Still Margaret moves in this play to present a curse, a device used by Shakespeare to tell us where this will all lead, and to some other end of which I am not entirely sure, and there is the rub. I suspect the only way to play this role is for the actor to get her power back by all means necessary. Queen Margaret is still a queen and I’m wondering if there is a creative way to be stately, where the words, said in such a way, would sting and not come out as wickedly screeching insults.

“A husband and a son thou owest to me;

And thou a kingdom; all of you allegiance;

The sorrow that I have, by right is yours,

And all the pleasures you usurp are mine.” – Queen Margaret

Again, a note about the direction, we have Queen Margaret move onto the stage, she is dressed nicely, and a woman who appears to have power, once a queen, but no one treats her like a former queen, especially those on the side of the House of Lancaster. As it appears on stage, she could be anyone in a nice dress. (In reality Queen Margaret was living in France at this time, in obscurity, and penniless. Shakespeare uses her here as plot device.)

Rachel Kanouse does a nice turn as Lady Anne but there more to had with this relationship with Richard, Duke of Gloucester, Henry VI and Edward all presented in this one scene. Defining the relationships and being clear on her objective would only add to an already fine performance. Anne hates Richard so much she could kill him but finding a way to be the Queen would give the character a motive to stay in the scene and overcome her hatred. Lady Anne requires more strength to an already fine performance.

Gary Tremble shows a lot of promise as one of the murderers. Tremble brings a lot of humor to that scene. He also appears again as Ratcliffe.

Randi Tahara plays Duchess of York, the mother of Richard, Duke of Gloucester. She has her hands full with that one. But, we never get a sense that she would treat her sons equally, or unequally for that matter.

Glenn Simon plays Brakenbury and others and is quite commanding on stage. He has a wonderful voice and is in the moment throughout.

Also, Nate Werner shows a very nice range as Lord Rivers. He provides a substantial characterization of Rivers and has a very nice voice.

Eliot Troop plays York and does a credible job for his tender young age.

Christian T. Chan plays Catesby. He has a nice commanding presence on stage, with a lovely voice, and also provided the Fight Choreography.

Alon Dina shows promise as Dorset.

Melody Doyle played Hastings. In reality, Hastings was a procurer of fine women for King Edward IV but I did not see this in her portrayal but this may be something that would give her character a little something extra.

Laura Lee Bahr is the understudy for The Duchess of York, and Carissa Gipprichunderstudies Lady Anne and Queen Elizabeth. They did not perform the night I was there.

Wow, Natasha Troop the Director/Set & Lighting Designer had a lot on her plate for this show. One can only admire her tenacity for doing all of these things usually performed by three different people who are usually paid for their services. The set and lighting is very cold and hard, castle like, without the castle. The actors in many cases make great use of the set with a guiding hand by Troop and that is the best part of the show, the actors who manage to capture living breathing idea of Richard III.

Wendell C. Carmichael, Costume Designer, gives us a wonderful 1930’s look of her vision of the aristocracy for the time.

Other members of this wonderful crew are:

“MZ” Runyan– Stage Manager

Michael M. Miller– Videographer

Marni L.B. Troop– Photographer

Run! Run! Run! And take someone who loves revisionist history.

Reservations: 818-508-3003

Online Ticketing: www.eclecticcompanytheatre.org

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L - Austin Carney, Samantha Spector, Marabel Armstrong

By Joe Straw

During the production of Xanadu I walked into the Veterans Auditorium and waited and for my daughter’s rehearsal to finish. I found a seat in the back part of the auditorium, pulled out my iphone, and mindlessly browsed Facebook.

Above the ruckus of the children’s chatter - getting final instructions - someone announced, a birthday! And a few flashes later, the kids broke out into song.

I raised my eyes from the phone because the song was as though the heavens had parted. Never had I heard “Happy Birthday” sung this way.

I believe the best sound in the world is the sound of children singing. Tender on the ears and with so many beautiful harmonies it touched a chord within that stays with me today.

And I wondered to myself: Are these dee-Lightful performers that exceptional? Or, and, am I witnessing a once in a lifetime event? Time will tell. – Narrator.

The summer is officially over for dee-Lightful.

And don’t tell anyone but there’s a lot of little theatres who would have loved to have had the multitudes that come to see a dee-Lightful production. The lobby was incredibly packed for each performance and there’s hardly any room to breath.

The first show produced was Into The Woods, Jr., by James Lapin, Music and Lyrics by Stephen Sondheim, based on classic fairy tales, which was showcased May 14-16^th 2015, and hundreds came.

Then there was Xanadu, Jr., Book by Douglas Carter Beane, Music and Lyrics by Jeff Lynne and John Farrar, Based on the Universal Pictures Film with a screenplay by Richard Danus and Marc Rubel. That show took place July 9 – 11^th, 2015, and again hundreds more.

And finally Disney Beauty and the Beast, Jr., Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, August 12^th– 15^th, 2015. There seemed like thousands.

The performances were held at Veterans Memorial Auditorium in collaboration with the Culver City Department of Parks, Recreation and Community Service. And the Music Theatre International, Broadway Jr. Division, made all of the performances possible.

All the shows were directed by the multi-talented Dolores Aguanno and each show, in their own special way, found a special place in my being.

But, my favorite was Beauty and the Beast.

L - Ben Hilsberg, Samantha Spector

Of course, Ms. Aguanno doesn’t do it alone; there are a number of people on board to wrangle fifty or so small performers that range in ages from 8 to 15 years old. And the end result is just remarkable; beautiful voices, wonderful harmonies, and movement on stage that is second to none.

This is a craft learned and sometimes it is in small increments. And those fine folks instrumental in helping small children learn the art of singing and dancing are Christine Barocio, Giana Bommarito, Cindera Che, Chris Clark, Chloe Cohen, Natalie D’Amico, LilyFanali, Nick Freedson, Ben Hilsberg, Merrick Padilla, Carly Shiever, Mila Tigay, Mica Williamsand Allegra Williams who is the Choreographer.

And, you would not believe the results.

(There are also a lot of volunteers working behind the scene making sure that everything runs as smoothly as possible. And anyone with a moment to spare is welcome to help)

One of the amazing things about a Dolores Aguanno production is that everyone gets stage time, and even the smallest role is featured, if only for a brief moment. (A star under the lights.) And being a perfectionist Ms. Aguanno is there every performance, offstage center, directing – making sure things go as effortlessly as possible.

I saw two casts in Beauty and The Beast, the Crepes cast and the Croissants cast, and I loved both shows. And there was something about the individual performances as well as the performances as a whole that would take you by the heart and leave an indelible impression.

And I can’t let you get away without saying something about each cast member.

L Arden Malsin, Sarah Hager, Evyn Armstrong, Nick Freedson

Bella Veale and Samantha Spector, as Belle, each have a special appeal and did remarkably well.

Eli Rahamin and Nick Freedson were very funny as Gaston and each provided glorious strengths in their portrayal. Zoe Alamillo and Evyn Armstrong did some marvelous work as Lefou, Gaston’s trusty, or untrusted sidekick.

Aidan Nascimentohad a marvelous characterization of Maurice, Belle’s father, and Mika Stambler, with her hair pulled back, gave a strong portrayal.

Misha Reiss was the Beast and was very exceptional at the dinner scene, providing everyone with a number of laughs. Ben Hilsberg, as the Beast, was a more athletic Beast as he pounced from one end of the stage to the other in another exceptional effort. I just wished the hair was away from their face so that I could see the eyes.

There was much to laugh about Socorro Park and Jules Henderson’s effort in playing Cosworth each giving their all for that reticent character.

Lumiere was played by Eden Tigay and Austin Carney and each were wonderful in the “Be Our Guest” musical number. Austin Carney has a tremendous voice and did a marvelous job selling the song. The song was certainly one of the highlights of the show and both sang it to perfection backed by the marvelous dishes, knives and forks wonderfully choreographed by Allegra Williams.

Katelyn Coon and Mirabel Armstrong, as Mrs. Potts, are two terrific performers, each with their strengths, Coon has an extremely lovely voice and Armstrong is a wonderful actor to go along with a simply splendid voice.

Both Ayla Mosesand Cate Schiling were very cute as Chip.

(Funny, I didn’t see a “Mr. Potts”. His fall from the cupboard must have proved fatal while Chip only suffered minor injuries.)

Babette was played by Brooke Rosenbloom and Mica Williams and both did extremely well but the costume was such that we were at a loss to what household item she was. More feathers for the feather duster please! Both were very funny in the role.

Mila Tigay and Sophia Martin-Straw both demonstrated a lot of poise in the role of Madame de la Grande Bouche and both were grande throughout.

The Narrators were excellent, each with their own brand of storytelling. The Narrators were Malia Reiss, Arden Malsin, Gemma Ginsburg, Elena Hilger, Grayson Lee, Bella Hilger, Makena Reiss and Sarah Hager.

I particularly liked the enchantress Kacey Oschack and Mira Saville coming out of their old costume and into their beautiful dresses, and each having their own dance to break the spell.

Monsieur d’ Arque was played by Sam Jassim and was funny, a little offbeat, and mysterious all in the same breath.

Doing a delightful job as the Bookseller was Madisen Matsuura and Anna Kite was the baker.

This was a huge cast and the other members of the ensemble who lifted the show into the stratosphere are: Evangelia Garza, Gemma Ginsburg, Sara Herscovitz, Sam Jassim, Anna Kite,Grayson Lee, Spencer Lee, Madisen Matsuura, Annelise Reilman, Caelyn Satzmann, Ben Sanderson, Reese Schiffman, Layla Starr-Weiner, Sasha Framularo, Sara Hager, Eva Hooten, Arden Malsin, Malia Reiss, Mira Saville, Sadie Tlusty, Josie Winkel, Olivia Andrews, Bella Hilger, Elena Hilger, Maya Matsuura, Colette Miller, Cosette Okker, Kacy Oschack, Makena Reiss, Natalie D’Amico, Ben Hilsberg and Misha Reiss.

I enjoy going to as many dee-Lightful Productions as possible but sometimes I miss a few performances. I did not see the Baguettes Cast but they do deserve a mention. They are by order of cast member first then actor:

Belle – Hazel Cupp

Gaston – Merrick Padilla

Lefou – Cali Kimura

Maurice – Nick Freedson

Beast – Ben Hillsberg

Cogsworth – Jessie Grimaldo

Lumiere – Lily Fanali

Mrs. Potts – Isabel Parra

Chip – Josie Hooten

Babette – Piper Samuels

Madam de la Grande Bouche – Julia Smith

Villagers – Mira Saville, Kacey Oschack, Ben Sanderson, Reese Schiffman

Enchantress – Malia Reiss

Monsieur d’Arque – Sam Jassim

Bookseller – Madisen Matsuura

Baker – Anna Kite

Ms. Aguanno has been doing dee-Lightful for many years. It sure would be nice for this company to have their own home.

www.dee-lightful.org

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By Joe Straw

“Those horrid things they call men, whether black or white, seem to me the lowest of all created beasts.” – Miss Chim – The Woggle-Bug Book by L. Frank Baum

My daughter and I, needing a diversion after church, decided to go to the Santa Monica Playhouse to find a live theatrical presentation.

The Santa Monica Playhouse, located near the 3^rdStreet Promenade, has three or four theatres and there is always something for everyone, adults and children alike, so I suggested we go and see a happening. Life imitates theatre, or the other way around, but this time she was in agreement, and there was no grousing.

When we got there, we discovered a children’s show and being fans of the Wizard of Oz we settled on “Dorothy’s Adventures in Oz” by Evelyn Rudie and Chris DeCarlo, directed by Chris DeCarlo with Serena Dolinsky.

I’m not sure what that means: “directed by Chris DeCarlo with Serena Dolinsky.” Did Serena direct it or have a hand in directing it? Why doesn’t it say directed by Chris DeCarlo and Serena Dolinsky for the love of God?

(Credits can sometimes be a painstaking endeavor with someone always getting the short shift.)

The play takes place in 1905 on a small farm in Kanasa (This is the name as it appears in the program and I’m not sure if this is a typo.) and on the road to Oz.

Uncle Henry (Aaron Burns) has lost the farm, once again, or is about to lose it, because there is no water; no rain, not a drop, and the crops are dying. And it is up to an energetic Dorothy Gale (Kate Burleigh Huerta), from Kanasa, to go back to Oz and save the drought stricken farm.

(Funny that it has a theme we can all identify here in California at this given moment, given our drought situation.)

This Dorothy is a little long in the tooth….

(Hold on a minute Toto, this is a children’s show. Don’t belittle the actors.)

(Later we find that she is indeed supposed to be older, she is an adult now. But still wearing the same dress? How does that happen?)

Look, I’m a little fed up saving the crops, the chickens, the horses and the farm. I’m an adult now and have little to show for it, except this run down farm, a geezer for an uncle, and also, my biological clock is ticking and there is not a man on the horizon!

But now, given the drought situation, Dorothy is on a mission to go back to Oz where it all happened and try to bring water to the desolate landscape. An electrical storm (somehow) throws her back into the land of, well on the road to Oz, and some rather peculiar misfits.

The consortium of characters, a mix-up of Oz characters from various L. Frank Baum books, will either help her or hinder her. And isn’t that always the case.

And then she meets Shaggy Man. A man, shaggy.

Not even a healthy lookin’ man. Why can’t I have a normal boyfriend? Someone who sees me for me? Likes me for me. That sounds ridiculously redundant, anyway.

The love magnet does not play an important role here where love is concerned. (We definitely need more love in this production.)

Shaggy Man (Aaron Burns), covered in tattered cloth, is a single man who, unattached and available, appears as dry as a bone. His threadbare clothes have seen little water. His worn clothes, in need of a good washing, are now in just shreds, tatty, and clipped. And all pieces are hanging on by the strangest of strands. It’s a bit peculiar, but he looks awfully like Uncle Henry. Still, he promises to help her on her quest. And the only thing he has is a jeweled crown to give to Dorothy, to protect her? Or, bring the rain? One is not sure.

Polychrome (Megan Combes) helps out in her fashion as well as a mixed up Queen Ann (Lauren Holiday). H.R. Wogglebug (Casey Maher) is also along for the ride as well as Ping (Mary Ann Pianka) who has very long fingers with very little to touch.

Queen Coo-ee-oh (Adya Mohanty) presented a fine figure and has a very lovely voice.

This show is for children, very small at that. It is a diversion and a good one for very small children.

But, saying that, this show needs clarity and mostly clarity of objectives because in the end no one gets anything and that’s not something you want in any show, including a children’s show. And what this show needs is a perspective so that the kids are glued to their seats in rapt attention.

But what does this all mean?

Well, the characters need somewhere to go, each fighting for their own piece of the pie. For example, and for comparison, the Scarecrow needs a brain, Tin Man needs a heart, the Cowardly Lion needs the courage, and Dorothy needs to find her way back home.

But in this version of “Dorothy…” Shaggy Man needs what? He is a character whose philosophy of life is love, love, love, and he also has a strange repugnance to material possessions. One saw little of that in Aaron Burns interpretation.

One is not sure what Polychrome needs, or how she goes about getting it. She is a fairly who dances to keep warm, and uses her magic to help, but little of this is seen in this rendition. Her father left her at the end of the rainbow stuck on earth. But given that, how does she use this to help Dorothy on her journey?

H. R. Wogglebug (Casey Maher) is a bug. Wogglebug wears colorful clothes, and has a rather distasteful view of anything human, and is looking for what? And, how does she get it. And how does she help Dorothy on her journey?

And what in the world could Queen Coo-ee-oh (Adya Mohanty) be wanting?

And what about the girl with the long fingers Ping (Mary Ann Pianka) who is under some kind of evil spell but manages to get out? What in the heck does she want?

And what has all of this got to do with rain in Kanasa?

That said, there are some very lovely voices in this show Kate Burleigh Huerta has got a wonderful voice as does Adya Mohanty, well beyond her young years, beautiful and earthly. They are well worth the price of admission.

But the key to making this show work to greater satisfaction is for the actors to define the relationships and to creatively strengthen their objectives, guided by the directors “Chris DeCarlo with Serena Dolinksy”.

The road, in this production, was not hard to travel, and the conflict was not that great. Still, my 11 year old enjoyed herself and got a great deal from watching the production.

Other members of the cast that did not perform the day I was there are as follows:

Molly Gillman– Auntie Em/Patches/Ozma

Rachel Galper– Queen Coo-ee-oh

Cydne Moore– Swing for everybody

Gray Silbert– Uncle Henry, Shaggy Man

The songs by Evelyn Rudie and Chris DeCarlo are lovely.

Ashley Hayes did an incredible job as Costume Design. George J. Vennes III was the Technical Director. James Cooper was responsible for the Lighting and Set Design. The Attic Room was responsible for the Graphic and Sound Design (I’m sure there are names responsible for that work.) Sandra Zeitzew is the Public Relation Director.

This show will be running through Halloween 2015.

Santa Monica Playhouse®1211 4th Street, Santa Monica, CA 90401
p: 310.394.9779; e: theatre@santamonicaplayhouse.com
a 501(c) (3) non-profit educational corporation

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Justin Huen, Sabina Zuniga Varela

By Joe Straw

“Thy words be gentle: but I fear me yet

Lest even now there creep some wickedness

Deep within thee.” – Creon – Euripides’s Medea

“Oh, I have tried so many thoughts of murder to my turn,

I know not which best likes me. Shall I burn

Their house with fire? Or stealing past unseen

To Jason’s bed – I have a blade made keen

For that-stab, breast to breast, that wedded pair?...

Nay,

I love the old way best, the simple way

Of poison, where we too are strong as men.” – Medea - Euripides’s Medea

Mojada A Medea in Los Angeles, a new adaptation by Luis Alfaro and directed by Jessica Kubzansky, is being performed through October 3, 2015 at the picturesque Barbara and Lawrence Fleischman Theater at the Getty Villa. The Theatre @ Boston Court marvelously produces this show.

Mojada is a perfect show for this venue given the 44,000 Greek, Roman, and Etruscan antiquities that inhabit the museum. The open-air amphitheater (with cushions for seating) is how one would expect to see a Greek play and, in an imagined vision, of how the Greeks saw Euripides’s Medea, when first produced in 431 BCE in Athens, Greece.

Luis Alfaro’s Mojada A Medea in Los Angeles stands alone in its exquisite beauty. Alfaro’s adaptation is remarkable in the manner of its flow and ebb; the method in which exhausted souls speak a profound truth, of survival, of seeking a better life, and then pushing that life to the edge of a hideous precipice. In short, Alfaro’s adaptation is a different Medea as well as one that stands uniquely on its own merits.

This is a tragic story of the end of a relationship.

Tita (VIVIS) slaps the leaves, to the sounds of the blended noises, the false gossipy whispers, which are the backdrop rumblings and clatters of living souls surviving in Boyle Heights. And in her indigenous language, Tita places a protective shield to the corners of their home against those forces known and unknown.

Living in Boyle Heights is almost a fantasy for this family and one that defies comprehension. Dreamlike, the house floats in out of nowhere, carried on spirit wheels, mightily pushed by the indigenous people who anchor it to the terra firma while various plants propagate on the porch.

And Medea (Sabina Zuniga Varela) methodically rolls her sewing machine to her special place, just off the porch, and focuses her sights on the right color of thread.

One more thing, Medea is not moving far from home.

“Hason’s dream was to come here.” – Medea

It is a dream of bitterest contradictions, of her husband, Hason (Justin Huen), who manages to find work late at night, most nights, and comes home infrequently. When he does come home, he drinks beer, spits on the ground in polite company, and kicks the soccer ball down the street for his son, Acan (Quinn Marquez), to chase. It is how all Americans behave, he tells himself, in a selfish act of assimilation.

But, despite the grumblings, life appears happy, in this home, a family, complete with the ever present and annoying servant, Tita, someone who gives a humorous respite to the daily grind of surviving in Boyle Heights, doing the dishes and bringing them beer.

Medea, the artist, an independent contractor, receives $8.00 for each item she sews that is then sold for $120.00 at Bloomindales. Even with both working, there’s not enough to go around and adequately support the family.

Not while Hason is out and about most nights.

That aside, on this day, Hason suggests they go for a family outing to the Santa Monica Pier. Medea says there’s too much work, gets sick and goes inside.

“Hason did not come home last night.” – Tita

Leave it to Tita and her outspoken thoughts to stir up trouble between Medea and Hason.

Moving away, Tita grabs the machete, an augury, foreshadowing events to be played out, but for now she trims the banana plant.

A short while later, Josefina (Zilah Mendoza) seductively blows into this family like an unwanted boa – offering more than just pan dulce – in exchange for confabulation, juicy gossip, and a new dress.

“I know Hanson…Is he a good lover?” – Josie

Josefina is very provocative and Medea is curious about the things Hason tells other women on the street. But Josefina says she has a husband, he works in the field in Oregon, and she longs for her own prodigy.

Initially, Medea sees Josefina, with her fine figure, as a threat to her family. That threat is relieved when Josefina appeals to Medea’s sewing nature to make her a new dress so that a newly Americanized “Josie” can be reintroduce to her husband, enticing him into bed, and becoming pregnant herself.

“Tita is a curandera, she can help.” – Medea

Josie steps onto a box in the middle of the yard to be measured. And while this is happening, Tita takes three leaves and medicinally places them over the various erogenous zones of her body.

Later, and in the quiet moments, Medea silently broods about the events of the day and waits for Hason to come home. She takes out a blanket and entices Hason to make love with her in the front yard. Hason, confused, suddenly become agreeable until Medea suddenly stops and says she can’t.

Hason understands this thingbetween them.

“Armida gave me another promotion. I work in the office with her.” – Hason

Medea is slightly curious about the developing relationship between them but Hason tells her that she should be grateful since Armida (Marlene Forte) is letting them stay in their house for free.

It’s a grand place considering where they came from four years earlier.

L - R Justin Huen, Quinn Marquez, Sabina Zuniga Varela, VIVIS

And so we travel to their journey four years earlier, as Tita recounts fleeing Michoacán to Boyle Heights in the back of a truck, where at times they were unable to breath. The journey was difficult and at one point the truck was held up at gunpoint.

And while Hason had a gun pointed to his head, Medea and another young woman were taken off the truck and raped.

The Getty Villa is the perfect place to see this play and, aside from the heat on this particular night, the night was as enjoyable as any night of theatre I can remember.

That said, Alfaro’s adaptation is night to Euripides’s day and comparisons must be made. And, I have some thoughts, slight tidbits, off the cuff comments about the play, the comparisons, and the actors.

Alfaro’s work is beautiful and there are interesting distinctions between his work and Euripides’ play. For example, in Euripides’ Medea, Medea is caught in the circumstances of being a woman, a sorceress at that, who is cast aside and then projected as being evil. Her dialogue suggests such and the manner in which she conducts herself is not becoming of someone who has all of her wits about her. It is a role that justifies a stronger physical Medea.

Alfaro’s Medea is unable to leave the house, suffering from a type of agoraphobia. She is timid, not forceful, and we are led to believe that this might be because of the rape when in fact it is something deeper. There is a stronger inner dialogue moving in this Medea trying to make sense of all that is happening around her.

In Alfaro’s version, the rape scene works against the strength of both Medea and Hason. Certainly one is led to believe that Medea is now extremely fragile and terrified due to the rape and Hason is emasculated from having to let an armed bandits take his wife.

And it may have been Alfaro’s intention to not make the characters resilient as they are in Euripides’s Medea where Medea is forcefully strong in her ways and Jason (adventurous, strong, and of the Argonauts fame) is strong in his manner, thus making for an ending that is grander in amplitude.

Instead, since both characters are fragile, the events of the dramatic ending are lessened; the tragedy may not be as great and they are the victims once again by the manner of their position and circumstances.

In Alfaro’s Mojada, we do not see Medea thinking out loud on stage, calling for desperate measures and action as we do in Euripides’ Medea. The moments in Mojada are nuanced and profound in subtle ways.

Medea is wronged repeatedly and one would like to see the dramatic moments accumulate in the character, emotional and physically into a frenzied state of rage. The inner dialogue is stronger, but that needs a physical accompaniment especially for the ending because Medea must get some satisfaction for what she has done, in whatever form it takes, but there was little in the way of a physical action, before the leaves, and before the final curtain.

Nevertheless, it was a grand night for director Jessica Kubzansky’s presentation that manages to capture the dramatic essence of Medea guiding the characters through their miserable indignities to capture a truth. The loudest audible gasp of the night did not come from the brutal scenes but from a word, simply spoken, that collapses a home into a crumbling mass that was once a family. And that is a true testament to Kubzansky’s work.

VIVIS as Tita give us a grand performance as the non-obsequious servant/mother/nurse to Medea. Her characterization is flawless and her humor is exquisite.

Justin Huen plays Hason and is probably one of the hardest working actor in Los Angeles (everywhere I go, there he is). That said, Huen’s Hason is not different from the other roles I’ve seen him in. They are well-performed variations of the same character. This characterization is weakened by the play’s tragic events of four years ago and Huen needs to ways to give the character strength. More can be added to the character without taking away from this fine performance.

Sabina Zuniga Varelaplays Medea, a mother and homemaker, who is hesitant to stray too far from her house. In this version, Medea hides her mystery well – coming out to show her true colors at the end of the play. Medea is concerned about her husband’s philandering ways but doesn’t do much to keep him. Only when the marriage is over does she step into opprobrious actions that are beyond reason. Varela’s Medea has her faculties about herself. We do not see the feverish agitation in her behavior from those events leading to the complete disillusion of their union. And for some reason, I think we need that.

Quinn Marquesdoes a fine comic turn as Acan, Medea’s and Hanson’s son.

Zilah Mendoza is perfect as Josefina, the pan dulce lady, who carefully watches her Boyle Heights neighbors including the men with wandering eyes who visit her stand. Despite that, she says she only has eyes for her husband. Not satisfied with her shibboleth, the indigenous dress of her native land, she enlists Medea to make her a new dress, one that will keep her husband home and get her pregnant. Unfortunately, she gets mixed up with the wrong people and when she finally finds out who Medea is she should run, absquatulate into the nether region of Boyle Heights, away rather than casually walk away as she did. Still, it was a very impressive performance.

L - R Marlene Forte, VIVIS

Marlene Forte brings the right amount of vivaciousness to the character Armida. She lives a secret, a conflict that tears her apart in the telling of the secret. And as she marches upstage in the beautiful dress Medea has made for she we should see an inkling of things that come. Forte gives a subtle yet marvelous performance.

Other member of the cast that I did not see perform the night I was there were; Anthony Gonzalez(Acan), Denise Blasor (Tita/Armida understudy), Presciliana Esparolini(Medea/Josefina understudy) and Adrian Gonzalez (Hason understudy).

The fine people who make up the marvelous crew are as follows:

Jaclyn Kalkhurst– Stage Manager

Alyssa Escalante– Assistant Stage Manager

Efren Delgadillo, Jr. – Scenic Designer/Technical Director

Raquel Barreto– Costume Design

Ben Zamora– Lighting Design

Bruno Louchouarn– Sound Design

Christopher Scott Murillo– Properties Design

Cheryl Rizzo - Production Manager

Cat Sowa - Assistant Production Manager

Rachel Clinkscales - Assistant Costume Designer

Courtney Buchan - Assistant Director

Ellen L. Sandor - Wardrobe

Bobby Gutierrez - Running Crew

The members of The Barbara and Lawrence Fleischman Theater Staff make everyone feel at home. Some of the names mentioned in the program are as follows:

Laurel Kishi– Performing Arts Manager

Ralph Flores– Project Specialist

Anna Woo– Project Coordinator

Mary Louise Hart– Dramaturge

Shelby Brown– Education Specialist

Adrienne Wohleen, Paradigm Shift Worldwide – Technical Coordinator

Steph Dirden, Heather Alvear, Michael Easley, and Bill King– Technical Production

Visitor Services Department– House Management

Diana Sanchez Martinez– Public Programs Intern

Run! Run! Run! And take someone who wants to have the best time of their life.

L - R Jessica Jade Andres, Rosie Naraski, Eddie Vona, Michael Barnum and Justin H. Min - Photo Credit: M. Palma Photography

By Joe Straw

I’m going to make about as true a statement as I can: College football and this show have what in common? Okay, that isn’t a statement but a question, and one that deserves an answer, only later. - Narrator

Artists at Play in association with The Latino Theater Company present the west coast premiere of In Love and Warcraft by Madhuri Shekar and directed by Alejandra Cisneros September 19 – October 11, 2015 at the Los Angeles Theatre Center on Spring Street in Los Angeles, California.

There are two things that make my eyes glass over quickly. Number one is an auto enthusiast talking about auto repairs and number two is computer geeks talking about computer games.

For now let’s block off car repairs and move that aside.

So, why my interest in seeing this play? Well, there is a commonality between this show and college football. Both college football and the play feature college adults living, working and surviving. The setting is ripe with conflict, new relationships, making silly mistakes, and learning from those mistakes.

My reason for attending is that simple.

In Love and Warcraft, written by Madhuri Shekar and directed by Alejandra Cisneros, is a marvelous show with some very exceptional and diverse performers giving us multiple characters that marvelously inhabit their space. There are a lot of laughs and a lot of quality acting, more than you see on television these days and that’s a good thing.

It turns out that Warcraft is a real game created by Blizzard Entertainment, first released November 23, 1994, and now a franchise of video games and novels.

And now it is evolving from TV to interactive computer games, and then back to the theatre. Funny, that’s full circle, and lots of fun.

This is a story of boy meets girl, kinda. Girl meets another boy because boy lost girl, well sort of. Girls dumps boy because she’s lonely, not really. Girl hasn’t had a date in a while so girl steals already taken boy, well sort of. Real life played like a computer game with various realities and choices. All in all, they are Avatars.

Avatar: A graphical representation of the player’s character.

Evie (Rosie Narasaki) and Ryan are Warcraft virtual girlfriend and boyfriend. Evie, a college student, makes money writing love letters for other college students that haven’t learned the art of written communication. And Ryan is an out of work young man living in his parents’ basement in San Diego, going to the top of nowhere.

Kitty (Jessica Jade Andres), Evie’s spunky tart girlfriend, wants to breakup with her boyfriend. Oh, it’s all for the best. She’s ready to move on and search for another victim, boyfriend, all in the quest of fulfilling her dramatic and unquantifiable physical needs.

Evie, ready for work, waits for Raul (Justin H. Min), so that she can write a love letter for him. Unfortunately for Evie, Raul turns out to be the hunk she has been waiting for all of her life.

That’s IRL (in real life), not virtual. But never mind that, there’s work to be done. Evie is a Healer.

Healer: Spellcasters with the power to heal other players.

Raul wants to get back with his girlfriend of two years because making up is so much fun. So Evie, with her literary powers, composes a nice letter for him. (Funny but I didn’t see payment exchange hands.)

Justin H. Min, Rosie Narasaki

Later, Evie and Ryan go on a virtual date. Given the circumstances of this long distant relationship, two hours away is about as romantic as they are going to get. Also, Evie has certain physical issues.

Kitty advises Evie that her relationship with Ryan is a lose/lose situation and sending him money is not the way to show affection.

“You could do better.” - Kitty

The next day, Raul bumps into Evie and says that he didn’t give the letter to his ex-girlfriend because “none of it was true.” And then Raul asks Evie out for a real date, not a virtual one, and Evie accepts.

Excited Evie runs off to see her Latino gay haircutter, dresser, barber (Eddie Vona as Male). Male, in his Spanish accent, flits over her like a fly over raw hamburger meat, making her feel the best she can be, all the while going into graphic details of his sexual conquest the night before.

And after Evie leaves, Female (Cheryl Umaña), in her best Puerto Rican Spanish, recounts her obnoxious date, who shows up late, wearing cheap cologne, putting his hands all over her and himself, and then exploding all over her new jeans. All this in great details while Male meekly sweeps up. But Male doesn’t understand anything she is saying. He doesn’t speak Spanish. Female says it’s all about being authentic.

Later Evie has a real date with Raul. And Evie remains not interested in sex even after dating for a month. Although Raul wants more to the relationship, he is willing to wait.

Evie thinks there is something wrong with her vagina so she visits her doctor (Cheryl Umaña) and after a lot of exploration the doctor finds…

Artists at Play (AAP) are a collective of Asian American creative professionals who curate quality theatre in Los Angeles. Truth be told,In Love and Warcraft is as fine example of a theatrical outing as you will find in Los Angeles.

AAP is filled with exceptional talent. The production has a cast of six but with costume and character changes, it seemed like there were ten or twelve actors on stage.

Jessica Jade Andresis exceptional as Kitty and is able to take that life to extremes. Kitty is witty, oversexed, and has an extremely charming personality. Andres pulls off an amazing physical life for Kitty.

Cheryl Umaña is also exceptional playing a variety of characters. Her Spanish is top rate and her ability to create differing characters offers this show a lot of creativity. Umaña is an amazing talent and one hopes to see more of her in future shows.

Eddie Vona, Cheryl Umaña

Eddie Vona is also excellent, especially as the barber where one is just stupefied by the things coming out of his mouth. This small bit is a great showcase for an actor with incredible talent and the ability to create a fantastic multi-level character.

Justin H. Min is Raul the main love interest who gets himself into a lot of trouble in the end. The character may be too nice as he waits for his companion to come around. There is more to this character, not wanting to wait, dying inside, and demonstrating humorous conflict with no bounds, while he’s waiting. Min has a great look and a very nice presence on stage. He is an actor with a natural flair and should do very well in this industry.

Michael Barnumplays Ryan. It’s hard to see him when he is stuck on the second level looking on his computer speaking geek. But there is a special quirkiness to his character when he appears on the first level and he does some fine work.

Rosie Narasaki played Evie on the night I was there. She did some interesting work but she needs to find the core of the character. Her character is caught between two worlds, the virtual and the real life world. In the virtual world, she can be anyone, do anything, and be as sexual as she wants to be. But in the real world, she thinks something is wrong with her sexually and her ability to connect with other living beings. So much so, that she visits a doctor to find out what is wrong with her parts. Never once does she consider counseling. Naytheless, Narasaki must put a definitive stamp on her virtual world, and then deeply explore her real life hang-ups via the inner and physical life of the character. Still, this is not a bad job.

Other members in the cast who did not perform the night I was there are Anita Kalathara (Evie), Ruffy Landayan (Male), Jake Matthews(Raul, Ryan) and Brenda Perez (Kitty, Female).

Alejandra Cisneros, the Director, has an impressive list of actors in Warcraft and she makes full use of the two-level stage. At times, the show plays like a teen sitcom, but moves beyond with the adult humor. It would be nice to find a way to get the character Ryan out of the rafters and on to the playing floor so that we can make more of his performance. For the most part, the virtual world was handled in the manner of a real world situation and one thinks there should be a clear distinction. The manner of how Evie feels in a real world situation versus a virtual world should be clearer. We see that late in the show, but by then it is too late. That note aside, Cisneros does a fine job.

Madhuri Shekar, Playwright, has written an exceptional play. In reality, the virtual world has only tapped a small part of our collective imagination but in Warcraft, Shekar manages to show us how much crazier real life is as opposed to a virtual life. That said, Warcraft is an exceptional idea that can even go further in its distinction between real and virtual life. Also, and just a note about the play, it is unclear why two characters in the show are named “Male” and “Female”. All characters in a professional outing should have names. That aside, the writing is superior and the night was exciting.

Art Betanzos, Set Designer, provides a very workable set very similar to teen sitcoms on television.

Magdalena Guillen, Costume Designer, along with Estrella Fernandez, Asst. Costume Designer, does fantastic work especially with the Warcraft costumes.

Other members of the crew are as follows:

Anthony Aguilar– Lighting Designer

Iris Zacarias– Sound Designer

Sasha Monge– Property Master, Asst. Set Designer

Jonathan Castanien– Stage Manager

Brandon Cheng– Production Manager

Chloe Haack– Asst. Stage Manager

Julia Cho– Producing Artistic Leader

Stefanie Lau– Producing Artistic Leader

Marie-Reine Velez– Producing Artistic Leader

Nicholas Pilapil– Producer

Members of the LATC crew are as follows:

Jose Luis Valenzuela– Artistic Director

Lori Zimmerman– Interim Gereral Manager

Dr. Chantal Rodriguez– Programming Director

Run! Run! Run! And take someone who loves UCLA football!

Carolyn Hennesy (l.), Erica Edd, Rick Friesen, Alan Naggar, Barbara Ann Howard, Kristen Egermeier, Matt Fowler, Austin Musick - Photo by Kent Minault

By Joe Straw

He owed me $138.01 and I couldn’t find him. He didn’t answer my calls and that wasn’t like him. Not paying me, that was like him, but not answering the proverbial door, well, he’s never done that. For two years he was nowhere to be found, then, as one does with a lost cause, I wrote him and the money off, when unexpectedly, he walked into my office.

I found out that, during those two years, he had died. Well, not completely. Five heart attacks couldn’t kill him, completely.

And in his smiling Middle Eastern accent: “I was dead too - and I want you to know there was no white light, no one to come get me from the other side, there was nothing but nothing, done, finished, quiet, peace.” – Narrator.

InterACTtheatre company presents No Exit, a revolutionary play by Jean Paul Sartre, directed by Ken Minault, and produced by Michele Rose Naggar from September 17 to November 1, 2015 at Oh My Ribs! Theatre, 6468 Santa Monica Blvd., Hollywood, California.

If you believe, don’t believe, think you want to believe, or don’t want to believe, you should run to see this show. Come over to the other side, the side you think is there and look into their three walls, reside in the fourth, and watch this remarkable show.

This show happens in small earthly increments.

First of all, there is a little bit of theatrics when one arrives outside the theatre. On this night, a couple stick their heads out, alá the Marx Brothers, look at me, and inform me they’ll be opening soon, slide, and bolt lock the door.

And I’m left there standing along Santa Monica Boulevard breathing in deadly VW exhaust fumes, waiting to expire, when five minutes before curtain, they allowed us entrance.

And before I enter the theatre, someone interrupts me and asks me to sign a form:

Indenture of Retainer in Reference to a Soul

(This is a Standard Contract – You don’t have to read it.)

“Standard.” Ha! Only in Hollywood.

I signed it and then had second thoughts, big thoughts.

The Valet (Rick Friesen) slides the door open of this mausoleum and with his powerful voice scares the bejesus out of me as he announces my name. It is all rather comedic and ghastly. Couples are treated semi-respectfully and Valet moves one step further to disparage the single patron, no he shames them. (Take someone with you.)

After all are seated, the play begins.

In my mind, No Exit is an illusion, of characters presenting a false front of imaginings and impressions in a place of espial, under the watchful eye of a higher power.

So, as a means of describing the play, I will offer an observation in the voice of the character you don’t see, the Valet’s Uncle. The bold quotes are from the play.

“Valet’s eternity starts with a grand beginning and Valet didn’t let me down. It is the proverbial stake in the heart, and it is also the way in, with No Exit. You may applaud.

“I’m Joseph Garcin, journalist and man of letters by profession.” - Garcin

Despite his brave front, Joseph Garcin (Matt Fowler) is a coward; there is no mistake about that. If I could engrave that one thing into your ineffectual wandering mind, it is that Garcin is a coward. And that is all. Not really all, there is a little more.

Garcin was caught running away from a fight, an important fight. They found him on the train, seated innocently. The soldiers politely took him off the train and executed him for being a deserter. Twelve bullets raced toward that coward’s heart and found a way through his abrigo, bleeding where cowards bleed, gasping for breath, face down, and in the dirt.

For Garcin, it was his peripeteia. Pity.

Garcin is here now, in my little playpen, some call it hell. There are other names. This is not what he imagined it to be but they never do. They expect instruments of torture, flames, and red-hot pincers—funny.

And Garcin expects that he is here because of something he has done and it doesn’t have anything to do with the bullets. I wonder what that could be? The others will enervate his smug confidence once they arrive.

The Valet is my nephew. He adores that name. Valet introduces Garcin into the room, with the nasty Second Empire furniture motif, and a male bronze, complete with a raging bulge, something that the ever-so-masculine-coward Garcin would like and maybe one of the others that will follow.

I took special care to provide a room filled with articles that are unmovable, including the bronze, and everything is precisely where it should be, angles and all.

Garcin and Valet don’t get along, just as I expected. Garcin has an air about him. That won’t last long.

My nephew doesn’t have his eyelids. They have atrophied and now he’s left them in a forgotten place.

This place is like that.

Garcin has not gotten the hint about the room.

“I shall never sleep again. But, then how shall I endure my own company?” – Garcin

There is no way out. Garcin may ring for the Valet, but hell is capricious. Funny to hear Garcin inquire of what lies beyond the door.

“There’s a passage.” – Valet

“And at the end of the passage?” – Garcin

“There’s more room, more passages, and stairs.” – Valet

“And what lies beyond them?” –

“That’s all.” – Valet

Not a good start for the honeymoon accommodations. No books, no windows, only a paper-knife, and I laugh every time I think about it.

One can plainly see that when Garcin is left alone, the coward peeks his head out, like the turtlehead coming out of the shell. Oh really, the paroxysm of necessity, the pounding on the door is so, unnecessary. And not the least bit provocative.

My dear Valet has to provide some comfort, it’s part of his job, so he opens the door to give the room an extra added flavor, Inez Serrano (Carolyn Hennesy), a fashionable lesbian postal clerk. Oh! How I detest that word, lesbian. How about “A lover who wings another way”

“…we should make a point of being extremely courteous to each other. That will ease the situation for us both.” – Garcin

“I’m not polite.” – Inez

“Then I must be polite for two.” – Garcin

Not only a coward but a bore as well with his weasel mouth for which Inez is not particularly fond of, and she tells him that, because that’s the type of woman she is, straightforward, to the point, and very nasty to his contradictory masculinity.

It is only when Estelle Rigault (Austin Musick) joins that Inez tempers her flair. Inez is intoxicated with the female form, her dress, and those delicate hands, which are carefully looked after. But Estelle is perplexed and it is up to Inez to help her.

“Estelle!” – Inez

“Yes?” – Estelle

“What have your done? I mean, why have they sent you here? – Inez

“That’s just it. I haven’t a notion, not the foggiest. In fact, I’m wondering if there hasn’t been some ghastly mistake.” – Estelle

Oh she knows but she is having a hard time coming to terms. This is turning out as much fun as I had planned.”

(I’m told that I should tell you that I’ve switched voices. Thank you for your indulgence.)

I’ve seen No Exit in multiple forms and on different occasions. By all means, there is no wrong or right way to execute the play. One might think there are better choices, or creatively, a better fit. Certainly, this particular production has some very nice things in it and Kent Minault, the director, presents the piece as a comedy (I think it is a comedy.) with just the right touch of frightening elements for those in need of that form of drama. On this particular night, moments were missed that will probably come together when you see it. But still, this is an outstanding night of theatre.

Matt Fowler as Garcin brings a lot of humor to the role. Garcin is afraid of his own shadow, certainly afraid of this new beginning, despite his brave front. And in the play, this weakness defines the character and movement must be made with that in mind. I didn’t see much of that in Fowler’s character. In his version, Garcin’s brave soul wants to avoid the conflict by making it an introspective process. He is not showing us the fear in his character which one must have in order to realize the truth and ultimately his salvation. In the end, we never get his full story. It’s part of his work in progress for salvation. Still, this is a fine role for Fowler and he does remarkably well.

Carolyn Hennesyplays Inez very delicately and is surprising in her manner and execution. Hennesy is very calm and relaxed, and she lets the moments play to great satisfaction. There is a question about how much she wants her female companion in hell. Does it go far enough in terms of want? She does everything in order to get the woman to wing her way. Also, Inez is not polite. The song she sings is about people being executed did not come off as an instigating dig in Garcin’s direction. It was beautifully sung but did not hit the mark with the intention it deserved. Hennesy came out during curtain call and politely curtsied but more was in her look, that things did not go accordingly as planned, that it was an off night. But this was Hennesy’s night. The work was excellent and almost flawless. (Despite my ramblings.)

Austin Musick is Estelle and there were some fine moments in her performance. But the role really requires Estelle to be dripping with want, especially for a man, any man will do, cowards included. This Estelle conveys a sinister debutante, a poor southern girl married into wealth, rather than a woman who uses her beauty to get what she wants, when she wants it. But, her choices, although sometimes interesting, kept her in the middle of the road. One would want to see her fighting off the woman one moment, and pulling the man to her every chance she got, despite his cowardly handicap.

Regarding Kent Minault’s direction the one thing that caught my attention was the lipstick scene, which did not covey the meaning of want but portrayed the scene as someone moistening her lips. Also, on the other side of the lipstick, was a woman who desperately wants Estelle and getting nowhere. This scene defines the relationship for all three, of three individuals stuck in hell, and not being able to get what they want for eternity.

Also, in the character’s want of salvation, and striving for the truth to move on, to eventually get out, none are shocked to learn the true nature of the other’s crimes. No Exits suggest they are trying to get out but won’t because they can never fully come clean. Their stories are very shaky and suspect and also, they are not reliable reporters of the truth.

Alternate cast members who did not perform the night I was there include Erica Edd (Inez), Kristen Egermeier (Estelle), Barbara Ann Howard (Valet), and Alan Naggar (Valet).

Alan Naggar served as the Executive Producer.

Michele Rose Naggar was also a Producer and the Costume Designer.

Kurtis Bedford, Set Designer, displays appropriate skills in this very workable small intimate theatre.

Carol Doehring is the Lighting Designer.

Jonathan Sacks – Musical Direction

Ari Radousky – Stage Manager

Aaron Francis – Stage Manager

Philip Sokoloff – Publicist

Run! Run! And take someone who has seen No Exit a number of times if for no other reason than to get another perspective of hell.

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By Joe Straw

When trying to reduce sexual assault, labeling all forms of sexual misconduct, including unwanted touches and sloppy kisses, as rape is alarmist and unhelpful. We need to draw distinctions between behavior that is criminal, behavior that is stupid and behavior that results from the dance of ambiguity. – Carol Tavris, social psychologist - http://www.latimes.com/opinion/op-ed/la-oe-1004-tavris-what-is-rape-20151004-story.html

Josefina Lópezsays this show is not about male bashing. No males were bashed in the making of this production. Still, being male, one gets uncomfortable.

In the set, by Set Designer Marco De Leon, it is interesting to note the words “POWER”, in art deco-like paintings, on flats layered to form a “V” shape. Those flats are standing above a drawn symbol of a uterus, complete with the spiral shapes of fallopian tubes.

While I love Josefina Lopez’s work, I prefer her full-length plays, which may not be possible, given her busy schedule. Still, her vignettes are a tasty treat on this night.

One waits for the main course on another day.

Casa 0101 Theater presents Drunk Girl written by Josefina López, additional plays written by Rocío Díaz and Libette Garcia, directed by Claudia Duran, Elvia Susana Rubalcava, María G. Martínez and produced by Josefina López, Claudia Duran, Lindsey Haley through October 18, 2015.

This production is brutally honest in its presentation of rape. López’s intention was to make the reference loud and clear. Yet the pain and destruction caused by rape may be more powerfully presented using subtlety and nuance. In a theatrical production, frequently “less is more”, and that wins the theatrical day.

Still, despite the seriousness of the subject matter, the show had funny moments, with some fine actors working on their craft. One can applaud Casa 0101 for giving Latinos the forum to act, write, and direct. And I admit that I go to these performances to see the small gems.

Red Flag Game Show by Josefina López and directed by Claudia Duran is about Apa (Henry Aceves Madrid) and his daughter Teenage Girl (Maria Villa) who wants to date boys. Apa doesn’t think she is ready but agrees to let her date only if she wins a TV game show where she will need to buzz in to guess the various types of men: stalkers, sociopaths, and serial killers. (TV these days.)

Asking For It by Josefina López and directed by Elvia Susana Rubalcava finds a couple of men hanging out in the park and throwing out lewd remarks to women running in the park. Nobody wins in this unpleasant exchange between strangers.

Stick-Her by Josefina López and directed by María G. Martínez. Stick-Her takes sandwich boards and personal post it notes to a new level. During her night of salsa, after having too much to drink, a woman gets drunk plastered with ugly signs on her back saying “Warning I’m drunk…” or “I have herpes” so men won’t take advantage of her. Nice friends.

Alex, The Self Defense Instructor by Josefina López and directed by María G. Martínez finds Alex (Rosa Navarrete), a self defense instructor, who has been arrested for fighting, defending herself, and then having to explain why she did what she did.

Unlucky Man by Josefina López and directed by Claudia Duran is the story of John (Alex “Alpharoah” Alfaro) who misinterprets signals from a sexual partner and later finds himself in prison. And while he is there he tells someone what it is liked being raped in prison.

I Want You by Josefina López and directed by Claudia Duran is the story of three exotic dancers—how they feel about dancing, being in control of the men on the dance floor, and wanting to be sexy, but not necessarily wanting to have sex.

Can Finally Laugh About It by Josefina López and directed by María G. Martínez is the story of a stand up comedian Altagracias (Jasia Topete) doing her set at a comedy club when her story of her rape becomes uncomfortable and then a heavily padded owner (Henry Aceves Madrid) breaks it up and gets her off the stage but not before she makes her point.

Second Chance by Josefina López and directed by Claudia Duran is the story of self-defense instructor, Mr. Black (Samuel Solorio) and Shy Female Student (Maia Villa) who is asked to come back, after hours, to get a second chance to pass the self-defense test.

Pink Scars by Rocío Díaz and directed by Gina Median is a play about three women and their stories of being raped at various ages in their life.

Lolita Corazón by Josefina López and directed by Claudia Duran is a story with a lot of depth and poignancy. Dolores (Rosa Lisbeth Navarrete) is at a pharmacy to have a prescription filled for a female contraceptive. She is one woman, with two different personalities, Dolores is cautious and her other personality, Lolita (Maia Villa), is outgoing and fearless; yet both are the same woman.

A Real Man by Josefina López and directed by María Martínez is one that I especially enjoyed. Nacho (Samuel Solonio) plays a man giving a talk about being a real man, finding the answers that make it so, and breaking down in the process. Solonio does some terrific work in this play that doesn’t have a strong finale.

Life Is Not A Fairy Tale by Josefina López and directed by Elvia Susana Rubalcava is another wonderful story of a girl who wants to go out dancing (Jasia Topete) and her mother (Juanita Gina Medina) who tries to talk her out of it. The mother shares her story about the time when she has the same desires with a disastrous outcome. Medina and Topete give terrific turns as mother and daughter with a surprising ending.

Stand Up for Women by Josefina López and directed by María G. Martinez is the story of students and Professor Avila (Juanita Gina Medina) who lectures on rape and how women are controlled.

Devil Insider Her by Josefina López and directed by Elvia Susana Rubalcava is one I found absolutely fascinating. Looking like an SNL skit, this is a story about three women in a bar who cannot stop talking about their one friend who embarrassed them the night before after she had a drink. Debbie (Melissa Perl) then joins them and apologizes to everyone, well, not really, as her apology is a vacuous wordy stare, and to no one in particular. And then, after the one drink, she behaves much worse, worse than how the others described. Think feeding Gremlins after midnight. Debbie is like Dr. Jekyll and Mrs. Hyde and men had better hold on. The actors’ work is stylized and the play was a joy to watch.

Drunk Girl by Lisbette Garcia and directed by Claudia Duran is the story of Lucia (Melissa Perl) sharing at an AA meeting about how she got to this moment in time.

Yes! Let’s Have Sex! By Josefina López, created by the Ensemble, and directed by Claudia Duran is a mishmash of ideas from the cast including the “Bill Cosby” Jello bit on video interestingly performed by Henry Kelly Alexander (who also was in a number of other skits during the night). Alexander has a nice stage presence.

All through the night and during the scene changes, the characters came acting out as if they were in various stages of inebriation. One is not sure why the director did this or what lessons were to be learned. Some were funny movements on and off stage, yet the point should have been clearer.

Ideally, it is probably a better idea to stay sober, and to bring a friend, and or a designated driver.

Alex “Alpharoah” Alfaro has some nice moments, but needs to do more work in character and backstory to add to the characters’ depth.

Henry Alexander Kellyhas a good look and I can see him doing Saturday Night Live given more work and character study. I saw some this in the Cosby skit and Devil Insider Her.

Henry Aceves Madridis always a pleasure to watch. I’m not sure about his padded outfit or his voice in Can Laugh About It that does not ring true.

Jasia Topete is an actor that can do many things and she is surprising in her roles on stage. She is a fresh face and everyone loves fresh faces.

Juanita Gina Medina really gives her all to the various scenes she is in.

Maia Villa has a wonderful presence and expressive eyes, and does some nice work in her scenes.

Melissa Perl is outstanding in the Devil Inside Her and comical in Stick-Her. She is thin, with a wry sense of humor, and has expressive green eyes. She also has a lovely voice. One can only imagine watching her do other fantastic things.

Rosa Lisbeth Navarrete has an unassuming character as Dolores in Lolita Corazón but is outstanding in the role.

Samuel Soloriodoes some outstanding work throughout the various pieces he is in but he also does the small things when he is not in the scenes that bring a lot of life to a character. These are the intangible things that make an actor shine on stage.

Other members of the production team are as follows:

Wendy Castro– Assistant Director

Sophia Sanchez– Stage Manager

Estibaliz Giron– Assistant Stage Managers

Sohail e. Najafi– Technical Director

Marco De Leon– Set Design

Rafael O. Calerón– Set Builder Assistant

Joshua Cuellar– Lighting Design

Jorge Villanueva– Light Board Operator

Abel Alvarado– Costume Designer

Julius Bronola– Assistant Costume Designer

Vincent A. Sanchez– Sound Designer & Projections

Steve Moyer Public Relations– Press Representative

Ed Krieger– Photography

Soap Studio, Inc.– Graphic Design

Run! Have fun! And take a designator driver/body guard.

Reservations: 323-263-7684

email tickets: tickets@casa0101.org

buy online: www.casa0101.org

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Daniel Kaemon, Madeline Fair

By Joe Straw

“She said she didn’t love him – five kids later.”

“Well, why did they have five kids if she didn’t love him? And, why doesn’t she mend their own socks? She sends them here, to the farm, every summer so she can have some time alone to find a husband.”

“Hush now. Not so loud – ‘kids are in the living room watching TV.”

“They cain’t hear us, they got their ears and eyes glued to that damn TV, sittin’ around, eatin' sugar butter biscuits, and not doin’ nothin’.” – Narrator – Overheard a conversation from my time in the south.

The Group Rep presents Cat on a Hot Tin Roof by Tennessee Williams, directed by L. Flint Esquerra, and wonderfully produced by Kevin Dobson through November 14, 2015 at The Lonny Chapman Theatre in North Hollywood, California.

Like a soft summer breeze, this Cat on a Hot Tin Roof starts as a breath, a whisper, and a small zephyr of spoken thoughts that enter the fractured crevices of a character’s moral imperfections. It only takes one trifling odious word said in haste to gather momentum, and unable to stop, these words are like humid winds blown under unlocked doors and out through open windows for all to hear.

In short, this Cat on a Hot Tin Roof, once seen, is like a perceptual gift that keeps on giving, days after you have seen it. L. Flint Esquerra, director, leads a skilled ensemble that first elevates the imaginative spirit, first in small increments, and then builds creating a tumultuous storm, lifting to create a truly visual, emotional, and pleasurable feast.

I don’t remember the sound of the bathroom shower running as Margaret (Madeline Fair) enters upstage through the French doors. Her beautiful dress marked with a buttered biscuit stain by one of them “no-neck monsters”. But, I do remember the image of Brick (Daniel Kaemon) coming out, soaking wet, with a towel wrapped around his waist shambling over to get a drink.

Margaret, or Maggie, acts as though this was not a pleasant sight; possibly an accustomed sight, but still one imagines the indecent thoughts coming from her of what she could do with this man, in any type of scenario she could be thinking.

Margaret and Brick occupy a bedroom in Big Daddy Pollitt’s house and, yes, it is his house. The house sits in the Mississippi Delta, a cotton plantation of 28,000 acres of the finest farmland “this side of the valley Nile”.

The Mississippi Delta slides along the Mississippi River in the north and western section of the state of Mississippi. The river battles the banks, constantly pushing the reservoirs forward on its way into the Gulf of Mexico.

Maggie and Brick share the bedroom once occupied by previous owners, Jack Straw and Peter Ochello (not seen), two male lovers from a forgotten time that secretly walked, hand in hand, hidden among the white balustrades of the gallery and the Spanish moss.

But now, Brick, a former professional football player and sportscaster, has few words for Maggie who has enough for both of them. And Brick, listening to her despairing reflections, grabs a drink and waits for the alcohol to “click” in his brain in an effort to ease his mental suffering.

But, there is no relaxing with Maggie on the prowl especially when she takes off her stained buttered dress. And with her sultry demeanor, in her rhythm of walking nylons, she stalks around in her slip, opening her legs and inviting a wet Brick to enter the gates of pleasure. She pushes, like a purring cat at his ankles, wanting something. Her biological clock is running and at this moment any moisture coming, permeating from either body, is an open invitation for touch.

After all, this is the south and not the barren aridity of the Sahara.

But like an old bubbling coffee pot, there’s more problems brewing. Big Daddy (Kent Butler) is dying from an advance form of colon cancer. How everybody knows except Big Daddy, Big Mama (Diane Frank), and Brick is a cause for concern, but Maggie is there to tell Brick and she wants him to know that they should start working on an offspring.

L to R: Kyra Schwartz, Todd Andrew Ball, Lily Daugherty, Jacob Accardo, Diane Frank, Andrew C. Grigorian, Mia Banham

Most importantly Maggie doesn’t want Gooper (Todd Andrew Ball) also known as “Brother Man,” his wife Mae (Kyra Schwartz) also known as “Sister Woman,” or their kids, three seen – Buster (Jacob Accardo), Sonny (Andrew C. Grigorian), Trixie (Lily Daugherty), two others (not seen), and with one more on the way, to inherit the 28,000 acres.

Brick’s been drinking too much especially after the death of his friend Skipper, Maggie says that Brother Man and Sister Woman have come down and are making references to Rainbow Hill.

“Place that’s famous for treatin’ alcoholics an’ dope fiends in the movies!” – Margaret

But Maggie, a poor girl from Nashville with no money, does not want Gooper to get the inheritance, and to that end she wants a child, now.

“Then Brother Man could get ahold of the purse strings and dole out remittances to us, maybe get power of attorney and sign checks for us and cut off our credit wherever, whenever he wanted!” – Margaret

“But, Brick? You still have one big advantage.” – Margaret

Maggie is smart to recognize that Big Daddy dotes on Brick. She compares that to Big Daddy’s relationship with Gooper and Mae, which Maggie, in catlike fashion, believes to be soiled.

And while they are discussing relationships, Maggie notes they haven’t made love in a long while and that’s not going to work if they want the farm.

You know, if I thought you would never, never, never make love to me again-I would go downstairs to the kitchen and pick out the longest and sharpest knife and stick it straight into my heart…” – Maggie

It is good that Maggie still believes there’s hope in the relationship and is among the living. But, one is not sure what Brick is thinking as he internalizes most of his dialogue.

Still it is Big Daddy’s birthday and Maggie bought a present from Brick for Big Daddy, But Brick believes in his own truth and will not take responsibility for the cashmere bathrobe or sign the card.

“Just write “Love Brick!” for God’s” – Margaret

“No.” – Brick

“You’ve got to.” – Margaret

“I don’t have to do anything. I don’t want to do. You keep forgetting the conditions on which I agreed to stay on living with you.” – Brick

Ouch, and very interesting comment that reveals much about their relationship.

Meanwhile, outside on the porch, Mae has practically got her ear glued to the door eavesdropping in on the conversation. She enters with a bow in her hands, concerned about her children hurting themselves with, just the bow, no arrows.

Mae is up to more than the welfare of her children.

With Mae gone, Maggie appeals for better judgment in the bedroom.

“…I served my term, can’t I apply for a – pardon?” – Margaret

No such luck. Brick doesn’t want to have anything to do with her and he even goes so far as to tell Maggie to take a lover. But Maggie can’t see making love to anyone except him. She quietly locks the door and moves into Brick's direction and tries, mightily, until Big Mama starts banging on the locked door.

Brick, glad for the interruption, makes his way into the bathroom knowing Big Mama will find a way in. And she does, practically ignoring Maggie, as she walks in through another door to find Brick in the bathroom. She tells him that Big Daddy has a spastic colon and everything’s going to be okay.

Everyone knows that’s not the case Mae and Gooper, instead of going on vacation, have managed to show up - with the will in tow. Reverend Tooker (Scott Dewey) feeling God’s graces of bequeath is looking for a new addition to the church. And Dr. Baugh (Bruce Nehlson) is there. And they are all there for the celebration of Big Daddy’s birthday? One thinks, not.

Madeline Fair is tremendous as Margaret, Maggie the cat. Maggie floats in, like a soft breeze, but manages to get all that she wants. Fair gives the character a tremendous arc, demanding in the first act but manages to control the events of the final act with such grace and natural abilities. Maggie has an intuitive knowledge of all the characters in her life and Fair creates a grand distinction for each relationship on stage. Fair is a stunning creature and this is a performance you must run to see.

Daniel Kaemon is Brick and gives another remarkable performance. So much is needed for the silent dialogue in the first act when Brick, drinks, and has little to say. Brick has a tremendous amount going on underneath, a silent dialogue filled with humor and a truth that he cannot release, trapped in a body wanting to get out, to come out, and not finding the will or the way. Kaemon does an extraordinary job of confessing his physical hunger for Skipper without coming right out and saying it. Oh! The mendacity! Kaemon's performance is terrific!

I was caught up in the performance of Kyra Schwartz as Mae. Schwartz manages to take that self-important Southern charm and uses it to her advantage in appearance and in the deeds as the character. Mae wants the farm and will stop at nothing to get it including dropping six kids like a common house cat, to prove her love to the entire family. She eavesdrops to secure an advantage and listens in on her sister-in-law's bedroom to find out what’s not going on in there. Schwartz gives a brilliant performance and one that is truly recognizable from my time in the south.

One would think that Todd Andrew Ball would have the most difficult role as Gooper. He is in an invidious position coming in with his nice fancy Memphis lawyer suit, dragging his wife and kids with him, and with a will in tow knowing full well that Big Daddy is dying. We know what he wants; he’s got six kids and a wife to support. But he’s got a problem, Big Daddy doesn’t like him, and he’s almost regarded as an adopted child. So Gooper has to overcome a lot of obstacles to get what he wants. Ball nicely handles the role and there may be more to add to an already fine performance.

Diane Frank does some good work as Big Mama and there are some wonderful funny moments in her performance. At first glance this Big Mama is thin and unlike the character portrayed in the play. But Frank manages to pull off the performance in grand style.

Daniel Kaemon, Kent Butler

Kent Butleraccomplishes a dramatic turn in Big Daddy in his search for the truth. He sees a lot of his son in himself, someone who is as honest as he can be. Still, Big Daddy is looking for the truth. And it doesn’t matter that his son had a relationship with his best friend, after all, he's had friends similar in nature, those that gave him the plantation. Still, Big Daddy needs it, the truth, and no one is willing to offer it to him. Butler is tremendous in the role. The breakdown is something unexpected but worked in this production, but to what end, I’m not quite sure.

Scott Dewey, with a perpetual smile, does a grand job as Reverend Tooker and who could blame him. He wants for the church and he is standing like a vulture over a not quite dead carcass, waiting for the inevitable. And it’s all about his church, needing something, wanting something for the church and what better place to be. Looking back, his performance was extremely funny!

Sometimes one wonders about the objective of a performer and what a character is doing in the show. Case in point Bruce Nehlsenas Dr. Baugh. And looking back, he is the one with the definitive truth that must be shared, must be concise, and point blank in a place where one can be comfortable to receive the information. Trying to give comfort and structure to an end of day scenario in a house reeking of a disorderly formality is a trying job that someone must do and why not him.

Felicia Taylor E. does a fine job as Sookie but more could be made of her fine southern sensibilities. Still, she has a very nice presence on stage.

Much can be said about the performances of the children in this show. Mia Banham creates a fine character in Dixie, Jacob Accardo is also very credible as Buster, and AndrewC. Grigorian does some fine work as Sonny. In the south, the children are mostly underfoot while adults want to have more than a polite conversation and in this play the children give it just the right touch, being in the moment, and providing excellent background voices and sounds.

I don’t remember seeing Lily Daugherty perform as Trixie the night I was there, and some of the smaller members of the cast were not present at curtain call.

SteveShaw plays Tooker as well but did not perform the night I was there.

Harold Clurman talks about a strong through line in his book On Directing and in L. Flint Esquerra’sversion the strong theme of “want” justifies the entire look of the show. From the gossamer charms of Reverend Tooker to the impertinent lawyer son with the will in hand, all of the characters are greedy with want. Esquerra brings out the additional flavors of adultery, the secrets of homosexuality, and the human vanities of not being wanted at the peak of a characters sexual prime. The show needs wind to blow the Spanish moss and more wind during the storm as is typical with southern storms.

Dialect Coach Glenda Morgan Brown does a fine job with the actors but more could be made of the accents from Mississippi, Nashville, and Memphis, which are all very different in tone and manner.

The Set Design by Chris Winfield is sublime and does not overpower the actors. In fact the set is an actor’s delight.

Angela M. Eads is responsible for the Costume Design and each character was costumed marvelously and perfectly suited for the time.

J. Kent Inasy, Lighting Design, had a slight problem with the upstage light, specifically behind the bed, where the actors were in partial shadow – a minor glitch that will be fixed by the time you see this.

Other members of the crew are as follows:

Ceirra Burton and Pascale Gigon – Assistant Producers

Debi Tinsley– Assistant Director

Steve Shaw– Sound Design

Christian Ackerman– Videographer

Eddie Liu– Fight Choreographer

Nora Feldman– Public Relations

Dough Haverty - Art & Soul Design – Graphic Design

Drina Durazo– Program

Run! Run! Run! And take someone who lusts for you.

Through November 14, 2015

The Lonny Chapman Theatre

10900 Burbank Boulevard

North Hollywood, CA 91601

Reservations: 818-763-5990

www.thegrouprep.com

L - R Tarnue Massaquoi, Terry Woodberry - Photos Daniel Martin

By Joe Straw

Now I lay me down to sleep

I pray the lord by soul to keep

If I should die, before I wake

I pray the lord my soul to take

I can’t begin to know what it is like to be a slave. I don’t have those eyes and have not walked with calloused feet and ankles chained. But, three hundred years, three hundred years, of first walking towards justice, and then marching for freedom, until finally, the boots hit the ground.

Slavery was wrong, slavery remains wrong. – Narrator

On Sunday, August 21, 1831, a slave known as The Prophet gathered a group of 70 enslaved and free blacks, marched out of the forest toward the pre-dawn horizon, and entered the quiet homes of unsuspecting plantation owners with one purpose in mind.

A determination was made that all the white residents of those homes would be slain, including women and children, because rebellion is harsh and harsh rebellion takes no prisoners.

The Southampton Insurrection was in fact a crepuscular moment in a series of movements leading to the end of slavery in the United States.

There were over twenty suppressed rebellions in all. Navtheless, this rebellion sent a strong message to those bystanders unwilling to consider the abolition of slavery.

Three hundred years.

In certain circumstances, lessons must be taught, messages must be absorbed, and enlightened steps must be taken in the pursuit of human justice.

Certainly, a lot of human beings died on this day, August 21, 1831, white and black, although black lives were mostly lost as an act of reprisal, not counted, and one last act of indignation.

Art of Wordz presents the World Premiere of Nat Turner: Following Faith, written by Paula Neiman, directed by Dan Martin, and produced by Paula Neiman & Vanja Renne in association with Rogue Machine Theatre at Theatre/Theater through December 6^th, 2015.

The play suggests that Nat Turner (Tarnue Massaquoi) had free blood in him, that he is the creation of a free man raping his mother. The rape was an indecorous act resulting in horrible imprecations.

And on October 2, 1800, moments after Nat’s birth, his mother Nancy (Sade Moore) takes his body, swathed in rags, places him in a bucket of water and tries to end his life before her mother, Bridget (Baadja-Lyne Ouba), and Bridget’s father, Hubbard (Darius Dudley), sojourns her deed.

“A baby is a gift of God.” – Bridget

Within the room, the nurturing light of a newborn is offset by the darkness of death, and we are made aware of the execution of Gabriel Prosser (Asante Jones), a blacksmith, who on October 10, 1800 was executed for planning a slave rebellion in Richmond, Virginia.

Prosser appears as though he were a vision, or a dream, a symbolic coruscation of freedom. He narrates as a poetic raconteur of the truth. And he is always watching Nat, who, now in a childlike bliss and with an ethereal smile, is unaware of the relationships that will develop later in life, especially those with his white counterparts.

The words came to Nat, it is as if he knew how to read and write without learning. And, seeing the shadows of freedom he reported having “visions” or suggestions by unknown voices encouraging him to follow the path of liberty.

“… I surely would be a prophet, as the Lord had shewn me things that had happened before my birth.” - Nat Turner - The Confessions of Nat Turner by Thomas Gray

Slave owner Benjamin Turner (Darrell Philip) wants to know how Nat learned to read.

“It just came to me.” – Nat

Nat says it innocently, seemingly unaware of the repercussions of sharing this knowledge. (This is a very interesting moment, but says little about Nat’s relationship to Ben Turner and where it’s all leading.) Still Benjamin gives him the Bible to study and read.

And still the image of Gabriel Prosser, and his legend, is prevalent throughout. And these ideas whispered, learned, handed down by nothing more than osmosis, were circulated among those in bondage. It is a lesson of insurrection that Nat instinctively pursues.

Paula Neiman, the writer, presents a stimulating play, one that has me searching for more information on Nat Turner’s insurrection. Certainly, the play is presented in a grand historical fashion. But the connection between Gabriel Prosser and Nat Turner is diaphanous; a solid connection is recommended. Secondly, there is a strong visual throughout the play of marching, and it is that march toward freedom that we must see in the writing. Also, the Prophet’s speeches must be uplifting and the words need to find ground, inspiration from the ground up, to give us the power Nat Turner had. It is a story about following faith, as the title implies, but that faith must feed the Prophet in order for the audience to get the most out of the event.

The acting in this production is well above par. Their strengths are in the power of their voices and in the nuance of a moment. Most of the actors take on numerous roles and in various wonderful costumes by Mauva Gacitua, Costume Designer.

“And about this time I had a vision – and I saw white spirits and black spirits engaged in battle, and the sun was darkened – the thunder rolled in the Heavens, and blood flowed in streams – and I heard a voice saying, “Such is your luck, such you are called to see, and let it come rough or smooth, you must surely bare it.” – Nat Turner - The Confessions of Nat Turner by Thomas Gray

Tarnue Massaquoidoes a nice turn as Nat Turner, taking the role from a very young age to the time of his death. Massaquoi has a strong stage aura. But Massaquoi must find the power in Nat Turner’s words, the power that have the ability to lead 70 men. Also, Turner is a spiritual man who looked for symbols in events. (It’s odd that we don’t see him in prayer.) Still, Massaquoi should be searching for those symbols on stage. But, these are just a few things to add to an already fine performance.

Assante Jones is Gabriel Prosser, the narrator of the truth. Jones has a strong presence and makes it a point to have a deep connection so that one understands that truth.

Baadja-Lyne Oubais Bridget as well as other women. She makes each character separate and unique. In each role, Ouba brings a passion for humanity and understand the uniqueness of diversity of each individual character.

Darrell Philipplays William Parker and a number of other roles in the ensemble and did a fine job although it is a task to get a fix on the craft when an actor comes in and out in many roles.

“The judgment of the court is, that you be taken hence to the jail from whence you came, thence to the place of execution, and on Friday next, between the hours of 10:00A.M. and 2 P.M. be hung by the neck until you are dead! dead! dead! And may the Lord have mercy upon your soul.” – Judge Jeremiah Cobb, Esq. Chairman - The Confessions of Nat Turner by Thomas Gray

Dennis Delsingplays the Jerusalem, Virginia Judge Cobb, who declares Nat Turner to be “dead, dead, dead”. Three times dead, not one time, three times in a grand southern accent.

Sade Moore is Nancy, Nat’s mother. Moore is a stunning creature who gives a subtle and brave performance, and she is an actor for which I would rush to see in future performances.

L - R Tarnue Massaquoi, Dominique Washington

Dominique Washingtonplays Cherry, Nat Turner’s wife, and is exceptional.

Jaimyon Parkerplays Will, the man with the hatchet. Parker has a very distinctive look on stage and a strong presence. That aside, he needs to do more work on character, and setting the character in that time. Parker gave us a character from 2015 in the setting of 1831. The work is good but an adjustment must be made.

Jennifer Liebermandoes a fine job as Nancy Parson, and presents strong characters in a variety of other roles on stage.

Sara Davenportdoes an exceptional job as Mrs. Whitehead and also as a member of the ensemble.

PhredericSemaj does an excellent job as Hark and has a fantastic voice. This is also an actor I would like to see in another play.

“You are intended for a great purpose.” - Moses

Terry Woodberryplays Moses, Nat’s father figure who escapes the bondage of slavery never to be seen again. Moses has had it with the beatings and needs to escape, but in a final act, and in an emotional goodbye, this Moses does not lead the slaves from bondage. Woodberry needs to make more of that moment by giving faith, providing hope, and finally saying goodbye before running off into the unknown.

Cydney Wayne Davisplays Bridget but did not perform the night I was there. I was disappointed because I always like to get my dose of Davis when she is performing in a play.

Justin Greenbergplays John Clark, the bad guy with the whip. Also, Hunter C. Smith plays John Clark and served as the Fight Choreographer for some bloodless brutally depicted scenes that were well done on stage. Marston Fobbs is Jack as well is in the ensemble. Glenn Bond II also plays Jack. And Darius Dudley is Hubbard.

Dan Martin, the director, makes a lot of interesting choices in the direction of the play. And while most of the action was pleasurable to watch, more could have been made to bring the actors downstage, in their glory, rather than having the action taking place far stage left (e.g., the rocking chair scene), and far upstage left (e.g., the birth). Also, Nat Turner should be downstage center as well as his prison cell, that places him in a pressured environment while the judge and others convict him, rather than having him on the upstage wall. Also, Martin has the men marching on that faithful day, from one house to the next, but we never get a sense (on stage) of what is pushing these men, the force that leads them to do what they do, the background of their lives that propel them. We just have them marching, blank faced, and without cause. (As audience members we know the reasons, but the actors must bring the backstory into the march.) There is a lot to be had with symbols that carry forth the actor’s intention and that will lead to a stronger conclusion. Still, there is a lot here to enjoy, to learn, and to take stock in. Certainly, I’ve been enlightened.

Vanja Renee, Producer, does us a great service in bringing this show to Los Angeles and to this venue.

Phaedra Harris, Casting Director, must be commended for bringing exceptional talent to this production.

Other members of the crew are as follows:

Tamir Elbassir– Production Stage Manager

Vali Tirsoaga– Scenic Design

Sammie Wayne IV– Light Design

Jaimyon Parker– Sound Design

Louie Zegarra– Graphic Design

Tara Hillary – Make-up Artist

Vanoy Burnough– Casting Consultant

Sheila Gilmore– Marketing Consultant

Philip Sokoloff– Publicist

Run! Run! And take a history professor with you!

Reservations: 213-529-5153

Online Ticketing: http://buytickets.at/natturner

Theatre/Theater

5041 W. Pico Blvd.

Los Angeles, CA 90019

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By Joe Straw

“This isn’t heaven but it is my home.” - Dalia

The road to Boyle Height from the Westside is not a tough one. Eating is important for some and there is enough time to stop for a bite. And then it’s onto the 10 Freeway, which mysteriously turns into the 5 Freeway.

Caught in thick traffic, moving too far over to the right lane, and after a quick miss-directed instruction, I swerve off the freeway on to Boyle Avenue and immediately know this is not the street I wanted to exit.

But I make a crazy left and see a part of Boyle Heights I have not experienced. The view is pleasant as I progress to 1^st Street, and then a sweet east for a few moments in almost no traffic. An agreeable swerve into an empty parking meter, and voilà, the theatre stands waiting, only a few yards away.

(And if you can’t find a place out front, there’s always free parking behind city offices right around the corner.)

I’ve been to a number of shows at Casa 0101 and each time I get a tingling sensation similar to the anticipation of going home, of a light from the kitchen, coffee on, and smell of flaky buttered biscuits.

And there she sits, Casa 0101, a small lighthouse beacon in Boyle Heights, the light from art figuratively streams out of the glass doors, and out onto the street. Looking up, I noticed the streetlights flickering, a spark flashing on life’s faces. And the passing smiles are from patrons anticipating the theatre. Surely, Casa 0101 is now the bedrock, the light, and the draw of life into the community.

Boyle Heights, written by Josefina López and marvelously directed by Edward Padilla, is a feel-good comedy about coming home, going home, and finding home. And it is just in time for the holidays, that feeling of togetherness, and being home without the accouterments of the holiday trappings this time of year.

The play’s journey to Boyle Heights starts in Mexico and told by the writer, the conveyor of the truth, as she knows it. It is a beautiful story of a beginning without an end and an end for a new beginning.

Dalia (Brenda Perez) knows. She takes a moment and meticulously creates a storied event. She is a logophile, a lover of words, as long as the words ring true and pure, she has no problem writing them in her notebook. There is a certain level of detachment when the words on the page sting, but she is a poet, and words have their place.

“I will return when I have something to give back.” - Dalia

And Dalia, with suitcase in tow, is home now. It is the broken end of another relationship.Her heart is not entirely frangible; she takes the end in stride. But, after twenty-something failed relationships, which her relatives are happy to count one by one, she is back home, safe and sound.

Daila’s parents, Ruben (Javier Ronceros) and Carmela (Yolanda Gonzales), are still surviving Boyle Heights but Ruben, soon to be retired at the age of 62, wants to move back to Mexico, to a simpler life where the roses don’t talk back to him or his wife and kids either, for that matter.But Carmela doesn’t want to leave, she is happy with the home they have created.

Sitting on the porch, pondering her next move into the house, Dalia observes the stars, contemplating current events, and recounting stories of how all of this came to be. And looking back on it all, history keeps repeating itself in this family.

Rosana (Karina Bustillos), the oldest daughter, is married and lives in the suburbs with her non-adventurous husband, Jaime (Felix Hernandez), a man who likes drinking, remodeling his kitchen, and flirting a little too much.

“My wife has a crazy sister.” - Jaime

Ernie (Erick Chajon), the slightly misguided son who wanders in and out confused about events of the household, can only scratch the back of his head and move on.

Meanwhile Margie (Delmi Gaitan), the youngest sister, has a boyfriend, Juan (Juan De La Cruz). She doesn’t allow him to enter the house through the front door. That implies too much formality and too much of a relationship. She prefers Juan to come in the back way.

Outside on her roof, Dalia stares into the open skies and scratches the empyreal archives into her notebook tracking the heavenly moments which others might regard as mundane, searching for the special words for family and home while thinking about the man of her dreams.

And, with that said, in steps Chava (Amador Plascencia), a man, the man, slightly inconnu, possibly by forgotten features that have been slightly altered by time, and words.

Karina Bustilloscreates an extremely satisfying character in Rosana, a woman who wants more out of life than her husband can provide. Rosana sees home as someplace to get away from and I think it’s all in the matter of tasting life and coming back to appreciate home all the more. Bustillos is stunning on stage, her craft is not visible, and her movements, from one part of the stage to the other, are very specific.

Erick Chajon, as Ernie – the younger brother, has a very nice appeal on stage. This is an interesting character but one that appears to be a follower and happy to go along with his parents and others. But those choices chosen are generally not as successful. Chajon should employ a stronger objective in the character. Also, more work needs to be done on his voice, which falls to the wayside from time to time.

Juan De La Cruzis Juan, a character that has a hard time standing up for what he believes in, like coming in through the front door. His conflict should be as great as his love.

Delmi Gaitan, as Margie – the younger sister, has reasons for not letting her boyfriend come into the front of the house. Yes, it’s there in the writing, but more could be made of her reasons and the physical actions of sneaking him into the back.

Yolanda Gonzalezis quite amusing as Carmela, Dalia’s mom. And she could help her character by trying a little harder to keep her husband from leaving.

Felix Hernandezplays Jaime, Rosana’s mixed-up husband. Hernandez has a very nice presence on stage. Jaime can be overbearing and loud just to get his point across. It is hard feeling sympathy for a character that berates his partner. Hernandez needs to find a balance for the triads on stage, a reason for feeling the way he feels. The verbal abuse of the character comes off very badly. That aside Hernandez is very appealing on stage.

Brenda Perez does an incredible job as Dalia. Dalia, the poet, and observer of nature, is a creator of life through words. It is necessary for her to experience life and if it takes 21 boyfriends, so be it. She cannot ponder what others think about her, her manner of dress, and her roads taken, she can only absorb life. Perez captures the character and her work is marvelous.

AmadorPlascencia is Chava, Dalia’s love interest. If mural art were his only interest, he probably wouldn’t have gotten into trouble. Chava is a kind of character that spreads his ideas of art to the world. And he has an aura, a sparkle in his eyes, of someone who is not long for this world. Plascencia does a remarkable job with this character.

JavierRonceros is quite amusing as Ruben, the dad. Ronceros’s craft is marvelous, his intentions are clear, and his actions on stage show a splendid attention to detail. He has also created a carefully crafted character. And it is the small moments, of standing by the door just listening to the sound of his family in his home. Ronceros also creates a marvelous relationship with all of his children. Seeing this kind of acting keeps me coming back to the theatre for more.

Edward Padilla, the director, has done a marvelous job with the actors, some who are members of the community, with little acting skills. But for all involved, it is a wonderful showcase. The opening is fantastic with only the frame of the house on view and then, in the time continuum; the inhabitants add their color to the home. This symbolism goes a long way. Padilla shows us how the home is an important to the structure of the family.

Boyle Heights is one of JosefinaLópez’s finest work of art. In this family, we see the makeup of a normal Mexican American family, how similar they are to each other, and how the art translates to Dalia’s story. The story is a family in love (not that they would ever mention that to each other) and despite their differences; it is a story of home. And this is a marvelous homecoming, starting with the end of a relationship, and the start of a new beginning.

Emmanuel Deleageand Josefina López are also the Producers.

The Scenic Design by Cesar Holguin was exquisite and worked effectively for the actors.

Also, as an added benefit, in “The Jean Deleage Gallery” there is a photo exhibit on “Roots of the Eastside Sound 1955 – 1965 which I enjoyed.

Other members of the crew are as follows:

Sohail e. Najafi– Lighting Design

Abel Alvarado– Costume Design

Crispy Carrillo– Stage Manager

AngelGalvan– Asst. Stage Manager

Jorge Villaneuva– Technical Operator

Run! Run! Run! And grab a homebody, someone who doesn’t like to get out much, and rediscover the word “home”.

Reservations: 323-263-7684

www.casa0101.org

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L to R - Diana Yanez, Maria Russell, Sandra Valls - Photo by: Xavi Moreno

By Joe Straw

The Latina Christmas Special, written and performed by Maria Russell, Diana Yanez, and Sandra Valls, is a wonderful way to start the Christmas holidays. Created by Diana Yanez, directed by Geoffrey Rivas, and presented at the Latino Theater Center, this holiday special is a Latina take on celebrating the holiday season and I couldn’t be happier to have seen it.

For this production, the theatre chairs have been moved around to face eastwardly (toward the Star of Bethlehem); it makes the intimate stories all that more engaging in this black box venue.

Sandra’s (Sandra Valls) couch sits in the middle of the living room and provides just enough for the other two guests who are invited to her home on this night. Her coffee table sits over a nice Persian rug that is stretched to protect the hardwood flooring. And her beautiful Christmas tree adorns a corner of the room, while the bar, away from the sanctity of a Christmas symbol, the tree, graciously accommodates two guests for spirited drinking. And there will be Christmas cheer tonight.

Also, there is a Virgen de Guadalupe rotating lamp on the bar reminding guests to drink responsibly.

The set, nicely designed by Michael Navarro, gives the actors free reign in a night of reminiscences, of Christmas past, present, and a hint of Christmas futures.

The night starts with the three amigas singing “Feliz Navidad” with Sandra on the piano, Maria (Maria Russell) on the maracas, and Diana (Diana Yanez) on the bongos. The instruments give us a hint of their histories, the maracas give new meaning internal cogitative spirited memories.

Squeals and laughter are heard as the three women exchange gifts; Maria gives a pink flamingo ornament to Sandra and then a R2D2 ornament to Diana.

Diana presents a disco ball ornament to Sandra and then a Silence of The Lamb ornament to Maria, which on second thought says interesting things about their relationships and what they know of each other. (Just a note: Silence of the Lambs, referenced in the play as a Christmas movie, was released February 13, 1991.)

Sandra gives a vintageSanta to Diana. (If it was a reference to her age, one has to see that reaction.) And she gives a nutcracker to Maria. (Is the nutcracker an ornament or a tool? I’ve never had one that got past the first nut.) Also, Maria’s reaction to receiving the nutcracker should lead us into her strong holiday memories.

And for these ladies, it is a night for remembrances, of showing photos, sharing how they’ve managed to find themselves here and on this night.

How did they get here? Well, it’s a questions better left for later.

In the meantime, they breakout the photos of their lives, the large ballerina, the photo of a unibrow-Frida Kahlo look, a nothing but braces photo, the drag queen dad, and the karate kid; all are on display from Yee Sun Nam’s video display and production design projected on the upstage screen.

These photos give us a glimpse of the remembrances, the stories, of the three women and their lives up to this point.

Maria, half Lithuanian and half Mexican, was breastfed until the age of five, which is probably why she is so healthy. And who could blame the mother, who is so close to her daughter that they slept in a family bed until they couldn’t fit everyone in bed anymore. So the Lithuanian Daddy had to find other accommodations elsewhere in the house.

The closeness of mother to daughter is probably the reason mom can’t let go of her only daughter to that “pinche Crack”. Her Mexican mother claims that the fiance, “Crack”, well, his real name is “Craig”, is trying to steal her lovely daughter away from her.

“I would go back to my mom, but she’s dead!” – Maria’s mom

Guilt trip 101.

Diana’s family is Cuban. Her mother was a 911 operator and not a life reaffirming one.

“Chu gonna die!” – Diana’s mom.

Just what you need to hear – when you’ve swallowed something you shouldn’t have – and are on the phone, in a dire emergency, with this 911 operator.

Diana grew up in Florida thinking everyone was Cuban including Donny and Marie Osmond. Her story is not haunting, disturbing or traumatic, just Donny and Marie in their wonder winter land of ice and snow (the studio) making everyday look like Christmas.

But, Florida never looked like Christmas, what with the fake snow, chancletas, arroz con cerdo, yucca, tostadas, flan, and Santa’s sled pulled by dolphins.

And Diana is happy to introduce us to a word that describes everything, “coño”. It’s a bad word, said out of anger, happiness, or fear, but can be used to describe something good.

“Christmas is going to be perfect, coño.” – Diana

Everyone in the family had a dramatic gene embedded in their makeup especially when it came time to rid the family of an uninvited guest.

And lastly, Sandra loved lights, the room, the tree, and especially loved the figures around the nativity manger. But growing up, and even after all these years, she was still puzzled by one figurine. Along side of Mary, Joseph, the Baby Jesus, and the three wise men, was the conspicuous of figurine of a guy holding chickens.

Christmas was always a slight disappointment for Sandra. She was the one who wanted trucks, and other toys that were generally for boys but was gracious when receiving the Farrah Fawcett makeup doll, only to push it to the side for her siblings to enjoy. The parents were insistent to move her in one direction while she wanted to swing another way.

The family is musical and Sandra shares their talent. She wanted a piano, and they gave her an inadequate substitute, an electric organ. But, she made the best of it and with her 8-track tapes in hand; she learned to play music by ear.

L - R - Maria Russell, Sandra Valls - Photo: Xavi Moreno

Sandra did not like going out, or menudo, but she did like dancing with girls and especially liked dancing the boy parts.

Not all of the memories are happy, there are tears of joy, pain and suffering, but it all makes for interesting Christmas memories shared and for all the right reasons.

One thing I look for in a play are the relationships, how they fit together, and where they lead. As it is now, The Latina Christmas Special stories are separate and independent of each other without the one thing that ties it all together, their relationship.

For example, without reading the program (and I didn’t), I wouldn’t have known this was Sandra’s home. An action, to strongly suggest this is Sandra’s space, is needed.

Secondly, we really have to know the foundation of their relationships. In real life, they are actors and comediennes, and in real life, they have come together to create the show. But how does that translate on stage? And, why are they here on this night?

So, this needs to be evident in the first few minutes of Geoffrey Rivas’ direction, when the audience is working feverously to figure it out. Theatre is about the immediacy of the moment. Why did they come together on this night? Why are they telling each other their life stories? How, does the conflict keep the show moving? And, what needs to be figured out on this very night? (Let’s throw in an objective and a stronger through line while we are at it.) One might not see this as a full fledge play but rather as three comediennes having the time of their life on stage.

This is only a slight critique to a night that was well done, funny, and enlightening. Rivas has given the show a stronger through line and substance but more could be added to round out this wonderful show. For example: Are they here to create the show? And could there be a built in conflict in that scenario?

The actors Maria Russell,Diana Yanez and Sandra Valls are all funny; each having their own brand of humor with marvelous facial expressions, and it was a joy to speak to them after the performance. A meet and greet is the best way to go for this type of venue if only to say “the work was splendid”.

Reservations: 866-811-4111

www.thelatc.org

Ric Salinas

By Joe Straw

I almost didn’t come to this show.

The description of ’57 Chevy” sounded too similar to Sal Lopez’s one-man show “This is a Man’s World.” The two shows take place during similar time frames and the setting of Sal’s show is down the street from the setting of “57 Chevy”.

But the performer is Ric Salinas, of Culture Clash. Yes! Ric – Culture Clash – Salinas, sans es Latino compadres.

So, we’re in the lobby at LATC a few weeks earlier, my partner said, “Why aren’t we seeing this? You’ve got the tickets, right?”

At this point, I’m catching the serious stare.

“Well, no, not really, we saw Sal’s and…

Stare.

“I’ll try for next weekend.” – Narrator

As the play starts, Cris Franco, Jr. (Ric Salinas) is in a Hollywood office. The furniture is break room drab, and the view is less than inspiring surrounded by objects that arouse little creativity. (No one is credited for the Set Design in the program.)

And this could be the reason that Cris is having so many problems writing the simplest of sentences for his current project. The wadded up papers, thrown in or around the trashcan, are signs of the vertiginous thoughts and of a highly inactive imagination.

So he just sits, stares, twists in his chair, and waits for a spark to drive his conceptual engine.

The spark, maybe that’s it, maybe there’s a story here. A story that, at first, seems benign but a story that could grow into something substantial. Rolling around the office on his chair, trying to get a firm grasp of his cerebral wheel, taking a breath and looking back at the imaginary stars, he rolls back in time, slowly recreating that which has not been created.

Cris back peddles his chair around the room, in an effort to jump-start his thinking. Suddenly a door slams shut, a quiet sound envelops the cab until the key slips into the ignition, a heavy turn, the sound of a rumbling engine, and a modicum roar of contemplation as the fins and wings of open thoughts transport him into the distant past.

This is a story of an obsequious son, an observant author, now a man, who narrates the significant moments, dreams, and visions of his father.

The story begins with the purchase of a brand new 57 Chevy – and sitting, in the back seat of a car is a boy, wide-eyed, taking it all in trundling through memory highway.

The Latino Theater Company presents 57 Chevy, written by Cris Franco and directed by Valerie Dunlap, at the Los Angeles Theatre Center through December 20, 2015.

Cris Franco, Sr. was only four years old in Mexico when he got his first job, painting faces on plastic toy soldiers. This was part of the family lore, a story that never goes away when the topic of hard workingmen are spoken. Yes, lore is all in the telling.

And adding color commentary to his story is a very important woman, Didi Barnes, who, on this day, visits their home in South Central Los Angeles.

“La Didi, muy importante.” – Cris, Sr.

Ahh! Didi’s grabs her Lucky Strikes, gathers the kids around the floor, and recounts in her broken Spanglish the story of being caught in the Mexico desert with a busted car, “el caro, no go oh”. Stuck there with no one to help until “your Papa” drove by and offered assistance. Didi is so grateful she gave Cris, Sr. the name of someone in the USA who needed help repairing automobiles.

“I take my job very, very seriously.” – Cris, Sr.

And so Cris, Sr. found his way to El Norte, and worked at Felix Chevrolet at Figueroa & Jefferson in Los Angeles, California.

Back home in Mexico, his wife had another baby, Cris, Jr. But Cris, Sr. couldn’t go back, needing to stay in the United States because of work.

And in the following year, Cris saved $1,802 for a beautiful new 57 Chevy, chrome and wings included. The car was the one thing that represented the idea of being an American, a brand spanking new American car, for a big American family.

But, in order for Cris to realize his dream of an American family, he had to get them from Mexico. The long arduous journey requires meticulous planning and staying awake. So he concocts a formula for staying conscious on the long trip, the “magic no-sleep recipe” of drinking coffee and eating chilies.

Bringing everyone back into the United States proved to be slightly problematic. Particularly when a border patrol agent didn’t believe they were entering through the Bracero Program. But the guard admired his 57 Chevy, and with the admiration dripping, like water out of a tailpipe, the agent lets them proceed.

And away they went to their home in the culturally diverse South Central Los Angeles where it was Dad’s dream for his son to become a doctor. Unfortunately, things did not turn out as Dad had anticipated.

And when Dad decided to move the family out of South Central to the San Fernando Valley, he loaded up the 57 Chevy, and made things a little more interesting for everyone.

One-man shows are difficult to perform successfully. Ric Salinas inhabits a myriad of characters while playing one character, Cris Franco, Jr. There are no actors to play off of, and there is no one to relate to with the exception of the audience.

But, Salinas is a master chameleon and is able to give creative life to all of the very different characters – the father, Didi Barnes, the daughter, Father John O’ Sullivan, and the mother—Raquel. The sisters, Luisa, Marta, Maria and Raquel, are all there in various forms. At times, the roles come out in small vignettes, rather than a collection as a whole. This is from the remembrances and imagination of the main character, the son, Cris, Jr. And for the most part, we see the characters through the eyes of the son. Salinas could go even farther explaining what happened, before his eyes, with each individual character.

Valerie Dunlap, the director, has Salinas moving the set pieces, not out of imagination and not through the eyes of the character, but through practicality. The imagination and life of the character should be enough to move the set pieces. And we have to find a way to see the events played out before Cris, Jr.’s eyes, that these events could be better defined in the way he deals with his father, the car, the Mother at the door on Halloween, and the “bumper stickie” event with the oldest daughter.

Cris Franco, the writer, is a funny playwright. He was present at the performance that I attended. And I immediately knew it was him because he ran from person to person, hugging and kissing everyone. The real giveaway was the 57 Chevy model he was holding in his hands.

If I had a criticism of the play, it’s that we lose sight of the 57 Chevy from time to time. The story is best suited when the life is about, or around the automobile, in every manner, and in every moment on stage. (Is it possible to have a model car in the office?) Also, if there is something that should be added, in feel and characterization, is the boy’s want of the car. Want helps the character with his objective and helps in creating a dramatic conflict in the play. (Also, somewhere in this play Cris Franco, Jr. should describe the car in loving detail giving color to his memory. This play needs the bright vibrant colors of Mexico.) Yes, the father loves the car, takes great care of it, it is in pristine condition, and the son should have those same feelings, so that when the ends comes, we feel more for each character, the father, the son, the mother, and the sisters.

Lastly, one couldn’t ask for a better tribute than to have a play written honoring a man with a dream, a vision, and a strong work ethic. This is the story of an American Dream seen through the eyes of an admiring son. Certainly, and on this night in particular, one could not have asked for a better honor to Cris Franco, Sr., than having his entire family—wife, son, and daughters—on stage, and on this night paying homage to a man who lived the American dream.

Run! Run! And take your father or a mentor.

Other members of the crew are as follows:

Yee Eun Nam– Projection Design

Philip W. Powers– Lighting Design

Ivan Robles– Sound Design

Pablo Prietto– Additional Sound FX

Jonathan Castanien– Stage Manager

Somewhere, and in a my imagination, there is a prodigious pristine chrome stature of a working Dad hunched over an automobile, a wrench in one hand, and a book of dreams in the other.

www.thelatc.org

Reservations: 866-811-4111

By Joe Straw

Mercedes De Acosta (Odalys Nanin) reclined on her luxurious couch, comforted by the warm soft spots that caressed her aging backside while trying to forget the pain from her recent surgery. A fresh bandage was wrapped around her head. And no doubt, this was not a style she particularly liked. Not only that, the throbbing was so great she had trouble concentrating on the things that made her happy.

Yet, despite her pain, there was still life in De Acosta. She closed her eyes and embraced the darkness for relief but coruscations always triggered a deep yearning to open her eyes, and see beyond the shadows.

Tonight her mind was playing tricks on her, possibly drug induced, but she saw the things that “were”, at first a silhouette, and then the lovely form of a female dancer. Embracing the image, appreciating it more than some could imagine, De Acosta’s eyes formed the voluptuous figure of Isadora Duncan (Jacqueline Rae), once a friend, and a lover, but now, in benevolent ecstasy, her imaginary plaything.

Lifted by the cold fog memories, Duncan’s physical presence fluttered in an enclosed case, until that paradigm could not contain her any longer. And in step with an imaginary initiative, Isadora Duncan danced her way to De Acosta and stripped off her bandages, the emblematic implements of her impairment, and also her outer layer of clothing, leaving her wearing nothing, but a brand new tuxedo.

And, precipitously, De Acosta’s mind became clear, her body was able to move about, and she felt as limber as if she were a child. And so they danced until the thoughts came back, and her mind was clear once again.

In her condition De Acosta’s memories are spoken to the muse if only to tell her stories of a reality that exist in De Acosta’s mind, the truth, the whens, and wherefores.

And certainly the ideas of De Acosta telling her memories would lift almost any lifeless soul to dance, to once again feel the touch of another woman, the hands, the cheeks, and the hips precipitating a night of nocturnal quivering.

Macha Theatre/Films presents the re-imagined version of Garbo’s Cuban Lover and original play by Odalys Nanin, produced, directed and written by Odalys Nanin and co-directed by Laura Butler. The show had 4 performances only December 12th, 13th, 18^th , and 19^th, 2015.

I saw this show in 2011 (Please see the earlier review on my blog.) and came back to see it again with a whole new set of actors with one exception of Odalys Nanin who wonderfully reprises her role as De Acosta.

Garbo’s Cuban Lover was just as marvelous as the first time I saw it. There were little differences in the staging if there was any at all. One would have to question why only four performances this holiday season when there are so many things to enjoy about the show.

Be that as it may one would like to address the performances, by the individual actors, and the direction of the show by Odalys Nanin and Laura Butler.

Odalys Nanin was charming as De Acosta. Nanin is funny and brings the best elements to the character. There is always more to add, to strengthen the conflict, and to apply elements of want to the craft. Simply put, to win Garbo, to keep Garbo, and to then fight off the others who want to come between them.

Clementine Heathis a stunning actor with an amazing craft. Her Garbo is inspiring, a complex character, and she brings enough of the backstory to make Garbo an exciting three-dimension personality. There is certainly more to add, especially with the bad luck component to her character and to accentuate that element only to add to the comedy.

Jacqueline Raehas some very funny moments as Isabela and was also Isadora Duncan. She definitely needs more to do as Isadora besides dancing and being a muse earpiece. Conflict drives a relationship on stage and Rae needs to find that conflict most particularly her relationship with De Acosta. At this point Duncan is dead, she is a ghost, a figment of an imagination. This should not preclude conflict; the audience (me) needs to understand why she is back, how she feels about De Acosta, and what needs to be done. Without a clear objective an actor will flounder with no place to go. Not picking on Rae but definitive choices need to be made to give this dancer form and acuity.

Lianne Schirmeris Salka Viertel and brings a sinister element to the role. Viertel is someone who will stop at nothing to get what she wants. Viertel is a player, someone deeply connected into the inner workings of Hollywood. She is a meet and greet conniver to get what she wants. It is hard to see anything likeable about the character, but there are the grand moments of her relationship with Garbo, their history, their first film together, and those moments by Schirmer hit the mark and are superb.

Margo Alisonplays Marlene Dietrich a woman who wants De Acosta if only to steal her away from Garbo. I didn’t hear much of a German accent but she made up for it with a strong objective, getting what she came for without hesitation. And, oh yes, she got it.

Gary Gunter plays Thalberg. It is an interesting role, fast, furious, and loud. But Gunter does not bring the element that makes him tick, the motives for his rants, the sly undertones of a man who makes it his business to be on top of everything, his hands in every aspect of production. Still, I enjoyed Gunter’s performance but wanted a little bit more, something that would give the character an edge, something that would ring true to his motives and objective. There is an interesting scene with Thalberg shouting from the rafters at De Acosta while she is in the throws of lovemaking. What if he were in the room doing the same thing, not caring about what they were doing, only wanting the script, now? Gunter also had the roles of the editor and Mr. Van Stein.

Chala Savino does some very nice work as Poppy Kirk and has a marvelous dance number. Also, the fight scene was marvelous.

Members of the crew are as follows:

John Toom - Set and Light Designer

Eric Bridges– Stage Manager, Tech Operator

Chris Hume– Video and Images

Monica Orozco– Dan Choreographer

Jane Owen– Publicist

The show only had four performances this time around. Run! Run! And bring a friend that likes the trappings of Hollywood.

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P.D. Soinski - Photo by Chuck Everts

By Joe Straw

In these times of ours, no need to be precise, cira 2015, and particularly this holiday time of year, we casually, if not caustically, come upon the human stragglers created from the artistic mind of Charles Dickens.

Escape is fruitless on this early December morning. Those trapped are the residues of ordinary lives and immediately are identified as human beings who have lived in monetary and emotional squalor. They move from place to place trying to make the best of the day despite their poverty and persistent cough.

Oh, and let’s not forget that they live in various stages of want.

Still, they have duties to perform. And in doing so they wear the ragged clothes enmeshed in loam. Oftentimes these characters are the dregs of humanity, caught here today – some say - by the victim of their own circumstances.

Amongst those wretched human beings lives a man, Ebenezer Scrooge (P.D. Soinski). He is impeccably dressed and moving fast to avoid the masses. An unmistakable scowl is plastered on his face. Those lines permanently etched on his face are by the passing of foul time. And also engraved, in his forehead, are the contours of his tragedies partially committed by his own making. Something he does not care to admit.

Scrooge passes these people as if they don’t exist and is quick to avoid them for fear of something jumping from their bodies to his, be it animal or viral.

The Dickens You Say! – Narrator

The International Printing Museum present Dickens Day Celebration produced by Mark Barbour. The Dickens You Say! A Christmas Carol was conceived and adapted by P.D. Soinski.

I had heard there was a theatre at the International Printing Museum for quite some time but really didn’t give it much thought.

The theatre is slightly off of theatre row, well, Torrance, California to be precise, and one doesn’t usually get out that way. But, I thought, what a great holiday outing for my girls. The Printing Museum is only 22 minutes out of Culver City, next to Alpine Village. It is a jaunt for our carriage, over the river and through the woods.

It’s interesting to know Mark Barbour sees the validity of theatre to promote the Printing Museum. After all, when one thinks about it, theatre is an important element and valid endeavor in any capital enterprise to promote a business, non-profit or otherwise. Oh the entrepreneurial spirit of the man.

That aside, I’m thinking we’re going to have some fun and frivolity here this holiday season and this theatre is going to be an eye opening experience.

On a personal note: I haven’t had this much fun in a long time.

As soon as the doors opened everyone greeted us like we were long lost friends. Mr. Barbour decorated the Museum straight out of the Fessiwig scene in A Christmas Carol. The entire Museum was very festive, with all the clinquant finery, and the characters, showing off the printing machines, were dressed as characters right out of a Dicken’s novel, costumes exquisitely designed by Debbie Bush.

George Bush (Father Time) and two young patrons of the museum.

Not only that, there were a number of patrons who came dressed in wonderful period costumes just to get into the spirit of the day. Remarkable!

L - Ken Riedel (Fagin), Keefer Blakeslee (Artful Dodger)

Fagin (Ken Riedel) immediately introduced himself asking me if I wanted to make a purchase of some fine necklaces. Neglecting to notice the rock from which he crawled out from, I politely informed him that I wasn’t in the market. Also, Fagin was looking for the Artful Dodger (Keefer Blakeslee) who just happened to arrive on the scene. Mr. Dodger politely asked if he would take my picture, and he did, only to run away with my iphone. He didn’t get far.

I made a discretionary inquiry to Miss Havisham (Trish Ryan), complete with soiled wedding dress, as to the whereabouts of her husband. A mistake I regretted immediately. Her response was boisterously brash which cause my embarrassed daughters to ask me what I had done to that poor woman. Miss Havisham’s consoling adopted daughter Estella (Yasmin Walker) was not far behind.

Candace Blakeslee (Queen Victoria)

Finding a quite corner, while my daughters were involved in making letterpress printing, I found Queen Victoria (Candice Blakeslee). She motioned for me to come forward to speak. I found our discourse to be very uncomfortable (mostly me) but she managed to make me feel right at ease.

Other performers out in the museum were Wilkins Micawber (Peter Hay), Dr. Miles (Dr. Leland Whitson), Uriah Heep (Peter Small), Betsy Trotwood (Debbie Bush) and Father Christmas (George Bush) performing a variety of functions and staying in character all the while. Captain Jack (Jack Conway) was also there explaining the 1895 Concert Roller Organ. James Steerforth (Mark Barbour), noted for his wit and romantic charm, managed in his best tradition.

But the highlight of the show was Charles Dickens (P.D. Soinski) performing in the black box theatre in the center of the museum. Three shows were scheduled for Saturday and Sunday. Soinski’s wonderful performance touches all the right bases playing Charles Dickens and Ebenezer Scrooge and the presentation becomes interactive at times as he enlists members of the audience to fill out the cast, including myself. A Christmas Carol, in this one-hour version, highlights the significant moments in the book and it was a day that touched me emotionally as the character Scrooge does. Also, the singing and playing games added to everything that makes Christmas joyful.

The acting, by professionals, was well above par as they stayed in character throughout their inactions with the museum patrons. This made for a terrific day.

I haven’t had this much fun in a long time. That said, The International Printing Museum is a grand outing for young and old alike wanting to make this excursion an enlightening and educational experience.

The other upcoming events are as follows:

Franklin’s Electric Birthday Celebration – January 16^th, 2016

Kids Krazy Krafts Day – Saturday March 19^th, 2016

Independence Day Celebration – Saturday October 1, 2016

Dickens Holiday Celebration December 10^th& 11^th, 2016

For more information: www.printmuseum.org/events.

The International Printing Museum

315 Torrance Blvd.

Carson, CA 90745

Phone: 310-515-7166

Paul Coates & Delta Rae Giordano In PAIN City

By Joe Straw

My sister is dying, stage 4 cancer, it’s everywhere.

She is in good spirits and laughs all the time.

I call her on my way home from work on most days, to see how she is doing. Her phone doesn’t work. Well, she can’t make calls; she can only receive them. It’s one of those “pay as you go” phones and the paying part is just part of the problem.

And at this point in her life it’s the little things, like getting a phone that works that become an insurmountable obstacle to her daily living.

Also, I’ve been speaking to her about her end of life and what she should be doing. Well, she’s headstrong and hardly listens to anything I have to say. “Get a new phone. Sign your will. Take care of the cremation stuff and, for the love of God, call the real estate lady.”

She takes the notes; writes big, because she is blind in one eye and can hardly see from the other. Her thinking is not all that clear, after the stroke.

She is homebound, can’t drive, and relies on others for help. Little gets done.

I’ve arranged food to be delivered to her home, Meals on Wheels, for which I am thankful.

But, I am numb with pain at this point. I can only do what I can do from California. And I’ve come to the conclusion that dying is easy, it’s just that the living part is so exasperating and painful. - Narrator

The Theatre Academy- Los Angeles City College presented Pain, a world premiere written and directed by Paul Coates on Saturday November 7^th, 2015 in the Caminito Theatre.

Walking into the theatre taking my seats, I noticed five dissimilar chairs on stage. Black music stands, remind of me of some incredibly happy times, and are carefully placed in front of the chairs.

And, PAIN, drawn in what appeared to be a bright red lipstick, was projected on the upstage wall.

Five chairs – not really what I expected – seeing other incarnations of this reading, photographs, on Facebook. I surmised this would be a scaled back version, an intimate night, with an intimate cast.

When life moves, things change in a heartbeat. And as the lights go up, five chairs suddenly become more than twenty chairs. And actors move fastidiously, sidestepping to not bump into the furniture and land on their place like blebs on a spider’s web.

Elizabeth Reilly, David Youse, Bill Barker and the cast of PAIN City.

The show is to be presented in the style of “Reader’s Theatre” and the actors, most knowing their dialogue while some read, will present in a fashion that was comfortable to them. They are made up of professors, professional actors, and students.

Pain by Paul Coates is a labyrinth, a web, a dollop of interconnecting nerve that is captured by the emotional core of the willing and unwilling. And Pain is also a deeply fascinating work of art in which the characters are finding ways to relieve the pain through human interaction. Their interconnected physical lives are linked in various ways, and in life’s fashion, and their emotional connectivity lingers long after they have parted ways.

At the core of Painare the feelings one releases when caught up in the emotion of someone’s agony. Some situations are easily identifiable when watching human interactions in the theatre. It’s the thing that places you in their time and space, caught in the character’s expression. At times, Painis funny, and other times you are invited to be riveted inside the life of the character.

The interesting part of it all is that Pain has no boundaries, and one anticipates the emotional solution from the interconnecting weave. And that is what makes Pain so fascinating – it is filled with delightful surprises.

People come and go with their pain.

Pain begins with the loss of a child, Chloe (not seen). She dies suddenly under the care of another, Becky (Persephone Laird). Everyone regarded Chloe a problem child and no one is sure how she died, just that it happened. This doesn’t sit to well with the mother of the child, Linda (Rene Michelle). She is grieving, in her way, and she lets it be known that she can never see that childcare woman again.

Linda confines to her best friend Mark (David Youse).

“Can you see a hole?” – Linda

“Yes, I do.” – Mark

In these trying times, only a friend would comfort her in the best way he knows how.

Moments later, a father, Frankie (Al Rossi) buries his son, Danny (Not seen) and deeply mourns him, carries his photo around while neglecting his other son, Seth (Bryson Jones Allman). Seth, in deep turmoil (he’s right there!), is at a loss as to why he doesn’t count in their relationship and appears to have emotional problems of his own.

The nurse (Christelle Baguidy) tells Seth that his father is doing better. She knows pain firsthand being brought in 17 years ago with 200 broken bones ultimately relieved by the morphine drip.

But, Seth doesn’t feel anything.

“What do you want, Seth?” – young man

“I want to feel pain.” – Seth

And while Seth might not feel pain, his sister Chris (Jessica Atkinson) is as she is screaming in labor, too late for the epidural while the nurse is speaking suggestively about her husband.

Angela 2 (Megan Gomez) plays basketball and is not sure about her emotional life and her physical needs, why she can’t communicate with others around her, the pain of being isolated, forgetting there is someone watching her. And that someone is Miles (Michael Macrae) who playfully throws a paper airplane clear across infinity (the stage) directly into her hands, professes his love, but is completely misunderstood by the receiver. (Blame the young writer.)

“Miles is inside my heart… I hate him. I love him.” – Angela 2

Corinne (Elizabeth Reilly) is not related to the bartender (Brendan Broms) but imparts the information that one does to a complete stranger serving drinks. The bartender is a receptacle for information for barflies to belly up and unload a lot of pain. The Oral Surgeon (Fred Fate) joins the party to relieve the nonsense he has to put up with. A little mind numbing liquid refreshment would do his trick.

And then, coming out of the proverbial wings, is Phil (Paul Coates) playing Willie Lohman in Death of A Salesman. Phil is forgetting his lines and he doesn’t know if he is up to the task of playing the role after the recent passing of his wife Susan (not seen) but the director (Fred Fate) convinces him that now is the time to do this, that he has to work, he has the emotional requirement now to convey the pain in the role. The director implores Phil not to leave.

The first act draws to a close at this point and the particular scene is so wonderful that everyone in the audience takes a deep breath before leaving the theatre.

Reader’s theatre is an acute instrument but ideally I would have wanted the actors up on their feet and interacting to get a feel of the relationships and a sense of place. Still, this night served a purpose – a benefit for the Los Angeles Community College – and a chance at least to hear the words of Paul Coates.

Fred Fate does some marvelous work here, not only in this scene but also as the wacked out oral surgeon, a dotard, and not working on all cylinders. Fate is a master craftsman, a teacher of the craft, and outstanding on the stage. He puts it all out there that at times his face turns bright red, hair drenched, sweat pouring from his face, and one gets a little concerned for his safety at his emotional outpouring. Fate is wonderful to watch.

Paul Coates, the actor, also does some marvelous work on stage, pushing a lot of emotional buttons, and never letting go of the pain. It’s the mark of a true craftsman when everyone is feeling what he is feeling inside.

Lisa Beezleyplays Lisa and Charlotte, the agent. Juggling is what agents do. Ten things on her mind while trying to make the deal, book the client, manage your life (what little there is), and make sure the employees do the right thing. Beezley is a remarkable actor that manages the agent’s life, the employee, and her mother all with an exquisite finesse.

Brendan Bromsplays Steve, the bartender. Broms has a nice presence on stage and plays host to other characters at the bar. (If this hadn’t been Reader’s theatre, I would have included a bar center stage and had the other actors belly up to the bar.) Other than that, one wasn’t sure how this character fits in the overall scheme of the play.

David Youse & April Audia in PAIN City

“…he was a mean son of a bitch, but I loved him. I’m 53, Marty. I loved you but it’s time to cut you lose.” - Elaine

April Audia plays Elaine, one of Steve’s customers. She imparts her pain, telling him, in a manner of speaking, that her husband committed suicide. It’s not a particularly good time with their three kids in grade school. Despite the passing of time, she doesn’t seem too broken up over it. It is something that happens, life. Audia’s performance was natural and nuanced, profound, and to the point. It was simply, a marvelous job.

Christelle Baguidyplayed the Nurses, various nurses for various situations. And in those roles she did really well. In a slight call out for more diversity, one would have like to have had Baguidy have a more substantial role. That aside, Baguidy is extremely appealing and natural on stage. She is also stunning.

Megan Gomez plays Angela 2, a basketball player who may or may not be in love. A clearer objective would help understand the character. We know that she is in love. But the reason for her conflict is puzzling and we need to understand her predicament. And, if she knew how to handle a basketball, convince us that she is a player that would also help with the character’s intention.

Michael Macraeplays Miles, the young man who is in love with the basketball player, but really doesn’t understand her final outcome. The most he can do is tell his boss. But if he is not feeling it then we are not feeling it as well. Still, Macrae has a good look but more work needs to be done.

Persephone Lairdplays Becky, the woman who was in charge of the child who died. There is something wrong with Becky and I’m not sure we got to the bottom of it during this reading. With the death of the child she loses everything, her business, her job, and even her own kids but feels little about what happened. Or, so, that is the interpretation I got on this night. This performance did not work for me and I think it has something to do with apology and relationship to her counterpart.

Al Rossi plays Frankie, the father who carries the picture of his dead son, neglecting his other children. This is definitely one role that I would have liked the actors up on their feet on. Pain is a private moment, but having it private in this instance, doesn’t work to its best advantage, especially when there are two other lives in play here, his children. What good is pain if you cannot share it?

“Once upon a time there was a little girl Dina who had some issues…she looked like a princess but felt like a prince.” – Dean

Frank Salinasplays Dean. Salinas has a good look and an interesting way about the stage. But, the character Dean requires more definition, a nuanced personality, mistakes in mannerism, and a stronger core. The play is called Pain and we’ve really got to feel it from this character.

David Youse plays Mark as a character that you want to run to, if only to share your pain. Youse is a very appealing actor and makes the most of Mark, a character which one is not totally convinced of his overall objective.

Bill Barker does yeoman’s work as Mr. Goldstein, the friendly, trusting patient to an out of control dentist.

Lisa Beezley, Michael MacRae, Ben Rovner and the cast of PAIN City

Christopher Callenas Angela has exceptional appeal on stage and was wonderful to watch. Delta Rae Giordano plays Vicky for whom the stage seemed comfortable to her. The painful presence of someone not forgotten. Maria Rangel was very appealing as Isla. ElizabethReilly plays Corinne and Ben Rovner also has a nice turn as Coal.

An interesting thing about this type of theatre is understanding the relationships as the actors read or perform behind music stands. Preferably one would like the actors on their feet throughout, attached by a string or lights to completely understand their relationship, positioned in a way to have them in and out of the scene, defined in such a way that we get the relationship e.g., father/son, father/daughter, employer/employee, etc. We see, in traditional theatre, how relationships manifest themselves in place and in the passage of time. We get the actor/director relationship, the dentist/patient relationship because of their proximity of space.

The other types of relationships we have to figure out, like Dean and Dina. The program said, “Dina is friends with Dean”. My impression was that Dina had become Dean. Also, Mark had an ex-lover Randall (we do not see) and Randall had two sisters Charlotte and Corinne. But’s Mark’s relationship to Charlotte and Corinne was minimal and I don’t remember them being together in the same place.

That aside Paul Coate’s direction was marvelous, and his words always hit home, the natural chords of life. And the play manages to hit those chords. But one would ultimately like to have the final moment where the point of the play, the through line, hits solid. Still, I loved the work and felt the pain, deeply.

The production manager was Jenny Bacon.

Run! Run! Run! See it in New York in the next incarnation.

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By Joe Straw

I remember shows for years. Not every infinitesimal detail but the general outline of the show, what worked, what didn’t, the moments that made the audience gasp in surprise, or in horror. But mostly I remember the moments that propelled the actors onto the stage, and those moments when actors proudly came off stage – supremely satisfied by what they had done.

Meeting an actor after a successful performance is extremely fulfilling and I wish there were many more meet-and-greets after shows. Because, that’s what this business is all about, being seen.

In any case, these are the actors, writers, and directors whose work I considered exceptional.

Actors:

Proof By David Auburn - Moth Theatre

Amanda Brooks - Catherine

Felicity Price– Claire

Hellman v. McCarthy by Brian Richard Mori – Theatre 40

Dick Cavett– himself

finding Nick by Nicholas Guest – Zephyr Theatre

Nicholas Guest– himself

The Glass Menagerie by Tennessee Williams – The Renegade Theatre

Wilson Better– Tom

The Pied Pipers of the Lower East Side by Derek Ahonen – The Matrix

Patrick Scott Lewis– Donovan

The Woodsman by Steven Fechter – The Coeurage Theatre Company

Tim Cummings– Walter

Cesar Ramos– Carlos

Joey Nicole Thomas– Nikki

Light Sensitive by Jim Geoghan – The Moth

Preston Acuff– Tom

Sasha Kapustina– Edna

Ned Liebl– Lou

Oh My God by Anat Gov

Mike Burstyn– God

André & Dorine by Jose Dault and Garbine Iñsausti – Los Angeles Theatre Center

Jose Dault

Garbiñe Insausti

Edu Carcamo

This is a Man’s World by Sal Lopez – Los Angeles Theatre Center

Sal Lopez

The Misanthrope by Moliere – adapted by Tony Tanner

Kathy Bell Denton– Arsinoe

Little Red – Book by Anthony Aguilar & Oscar T. Basulto – Music by Quetzal Flores – Lyrics by Anthony Aguilar & Quetzal Flores – Casa 0101

Xolo Maridueña– Corky

Ray Steward-De La Fuenta– Don Coyote

King Dick by Christian Levatino – Gangbusters Theatre Company

Christian Levatino– E

Corryn Cummins– Dottie Stevens

Richard III by William Shakespeare– The Eclectic Company Theatre

Jesse Merlin– Buckingham

David Pinion– George Duke of Clarence

Orphans by Lyle Kessler– Theatre of NOTE

Darrett Sanders– Harold

The Great Divide by Lyle Kessler – The Lillian

Mark McClain Wilson– Noah

Mojada A Medea in Los Angeles– a new adaptation by Luis Alfaro – Boston Court at The Getty Villa

Marlene Forte– Armida

VIVIS – Tita

Cat On a Hot Tin Roof by Tennessee Williams– The Lonny Chapman Theatre

Madeline Fair– Margaret

Daniel Kaemon– Brick

Kyra Schwartz– Mae

No Exit by Jean Paul Sartre – Oh My Ribs! Theatre

Carolyn Hennesy– Inez

Boyle Height by Josefina López– Casa 0101

Javier Ronceros– Ruben

Karina Bustillos– Rosana

Nat Turner: Following Faith by Paula Neiman– Theatre/Theater

Sade Moore– Nancy

Phrederic Semaj– Hark

Garbo’s Cuban Lover by Odalys Nanin – Macha Theatre

Clementine Heath– Garbo

57 Chevy by Cris Franco – Los Angeles Theatre Center

Ric Salinas– Cris, Jr.

Pain by Paul Coates – Caminito Theatre

Fred Fate – Various roles

Paul Coates - actor

Lisa Beezley – Charlotte

Writers:

Clean Start– writers Kathy Fischer & Josefina López

King Dick– writer Christian Levatino

In Love and Warcraft– writer Madhuri Shekar

Mojada A Medea in Los Angeles– writer Luis Alfaro

The Latina Christmas Special– writers by Maria Russell, Diana Yanez, and Sandra Valls

Pain– Writer Paul Coates

Directors:

John Markland– Proof by David Auburn

Jeremy Lelliott– The Woodsman By Steven Fechter

John Markland– Light Sensitive by Jim Geoghan

Christian Levatino– King Dick by Christian Levatino

Jessica Kubzansky– Mojada A Medea in Los Angeles by Luis Alfaro

L Flint Esquerra– Cat on a Hot Tin Roof by Tennessee Williams

Edward Padilla– Boyle Heights by Josefina López

And the Ortiz Award 2015, representing diversity in a theatrical presentation goes to

Boyle Heights– Casa 0101

Thank you to the Los Angeles Theatre Community.

Robert Standley and Tanna Frederick - Photos: Adrien Carr

By Joe Straw

Jack and Jill went up the hill

To fetch a pail of water.

Jack fell down and broke his crown,

And Jill came tumbling after.

They were young, so very young.

Jack, a small boy in kaki shorts with an active imagination, wanted to impress a little girl in a frilly embroidered dress, by taking his empty wooden bucket up the hill to “fetch” a pail of water.

Jill, knowing that wasn’t the way, followed Jack anyway. Jill had enough sense to know that the water was always at the bottom of the hill, but kept quiet and enjoyed his way.

Young Jack suddenly realized, through observation, that he had misjudged the water in the elevated space. There was no spigot, fountain, or water magically pouring out from the trunk of the tree but he didn’t want Jill to know that he had made a mistake.

So, Jack dropped the bucket, got his foot entangled in the handle, fell, and plunged much farther than expected.

Jill, deeply in love, saw Jack rolling down the hill and well, by now, it’s too late, Jack is rolling faster than Jill can keep up. She stumbles, trying to catch him, slightly causing him to change his direction when his head rolls onto a rock, breaking his nose.

Crying and bleeding, Jack runs home, leaving Jill with an empty bucket and thinking that it all could have been avoided if she had only used her words. – Narrator

They were young, well not so young, and in the library, or a bookstore. Jill (Tanna Frederick) was reading Sylvia Plath and Jack (Robert Standley) appeared suddenly out of nowhere surrounded by a pile of books he would probably never read.

The light on Jill elevated her looks, slightly. No matter, he simply thought she was divine. And she, well, she couldn’t see what anyone saw in her.

That was just her thing.

“I was, from over there in the stacks, struck, stuck by you… viscerally struck… as if you cared, right?” – Jack

The moment didn’t matter. The fact that she was in front of him, that they were both there together, sharing a moment, however inarticulate, seemed right.

But, right now, they were both verbally awkward as though the English language had deserted them.

“I’m not in the market for the wrong compliment, Jack.” – Jill

Ouch. Well, okay so things are not going well, at least for him, or her, depending how you view the situation. Funny, but she controls the strings, and he seems to be caught in her snare.

“So, please, and I mean this, don’t take leaving me alone personally…” – Jill

But struck by his insistence or charm, Jill invites him up to her apartment. And it is no secret to anyone within shouting distance that Jill is a little offbeat, everything that happens, happens on her terms, her rules, down to the minute details, including wearing a condom and having no penetration.

Later in their relationship, things change. Jack believes that they should move to California, that she should follow him, because her job is transferable, and he will be the breadwinner as an imagist. What this really means is that Jill doesn’t understand what it means, or doesn’t care what it means. All she sees is that he carries a few boards around with him from time to time. Jill, not really thinking about his moment, is not too hot about picking up and leaving, especially since she is thinking about going to medical school.

“Jill, stop reacting and listen…” – Jack

“Don’t give me your “I’m dealing with a barely rational creature” voice. It’s demeaning.” – Jill

This is probably not a conversation you want to have with a woman.

“I really must not. Build a life around somebody else…” - Jill

That’s when Jack pops the question, you know the question, and really Jill is not in the mood for that. She wants something different in from their relationship.

“What, then?” – Jack

“Companions.” – Jill

“Yes.” – Jack

“Meaning…” – Jill

“Yes?” – Jack

“Equal voice.” – Jill

Jack throws the equal voice argument to the side as he says that she makes most of the decisions. And it’s kind of interesting because she does, except for the moving part. But strange as it seems Jill suggests that they flip a coin to make a solid decision, “Heads it’s California, tails it’s here”. And then suggests they not look at the results of the coin toss. First they go out to dinner, come back, have penetration, grill up some “horrible meat” in the morning, draw up a prenuptial agreement and then look at the coin.

(All that time without looking! For the love of God Jack, go look at the coin, at least make an attempt, to satisfy all male instincts!)

Later Jack has second thoughts about getting married, good thoughts while alone with a beer and talking to himself.

“So, why would you get married in the first place…why?...why would you do that?” – Jack

And a determined Jack confronts Jill.

“I can’t marry you, I’m a bad person.” – Jack

“I see.” – Jill

And as Jill listens to all of his faults, she somehow manages, tenderly mind you, to throw the rope and wrangle him back to the stable.

“I love you… or something.” - Jill

Things never last; the desiderata one seeks in a partner never comes to pass. One might blame her inability to articulate her wants, and his inability to express his feelings.

Jack and Jill by Jane Martin, directed by Jack Heller, produced by Tanna Frederick, Lauren Beck, and Rosemary is playing at the Santa Monica Playhouse through March 27^th, 2016.

Jack and Jill is a fantastic romantic comedy with standout performances by Tanna Frederick and Robert Standley. The intimate moments, when the actors break the fourth wall to find a reassuring ear in the audience, are absolutely amazing. It is a testament to intimate theatre in an intimate space.

There is something different about Jack Heller’s (the director) vision. Gone are the dressers (characters written as part of the play) that play a fundamentally important part of the process that solidly defines the through line. It elucidates the devotion the characters have to each other while neglecting the unimportant things around their life. Naytheless, Heller guides the actors, and the pugnacious characters, in his version, to give a sophisticated nuance to the roles. And those moments are clearly defined.

All right, so what doesn’t work? Well, the opening needs work. We are rushed into the moment without having the characters clearly identified – where they are, who they are, and what they want. We go straight into dialogue without letting the moments happen.

(And, as an aside, this is a play specifically written for the characters to listen carefully and then react. There are just a few moments, at various points in the play that need special attention to listening.)

For Jack in the opening moments, it is the look, the stalk, the introduction, and the insistence that should take time. For Jill in those same moments, it is the look, the avoidance, and the complete disregard of another human being in the room.

Tanna Frederick

Tanna Frederick, as Jill, gives a fantastic performance and the moments to the fourth wall are outstanding giving us the “thing” that defines the character in one dramatic fell swoop. That said, one would appreciate Jill with more strength, someone who definitely knows what she wants, but is inarticulate when expressing those thoughts. There are moments in Frederick’s performance where I want to stand and applaud.

Robert Standley

Robert Standley, as Jack, does some outstanding work on stage. Jack says he’s an imagist and one would like to see how that translates to his character on stage in manner and dialogue. He speaks in images, not words, inarticulate visions that are indescribable. There is a lot to be said about a character that stands next to a beautiful Greek girl, shoulders touching, and just enjoying the moment, without finding the words, for nine straight hours. That aside, Standley gives a remarkable performance and the finest work I have seen from him to date.

The play’s author Jane Martin may be a pseudonym, collaboration from the likes of Marcia Dixey and Jon Jory. It certainly feels like a specific kind of truth written for two sides of the gender coin. They speak a gendered language that rings true to the core. Also, the characters don’t hear each other. One talks over the other. They speak in short sentences, in dramatic aposiopesis, except when talking to the fourth wall. And the greater conflict in this piece is a character not getting a grasp on what the other character is feeling.

And all of this makes for fantastic theatre.

Fritz Davis is responsible for the Video Projection (the running scene was fantastic). Also, the cityscapes on the upstage walls added a lot to the look of the production although I was lost at one point determining what city they were in. Davis was also responsible for the Sound Design, which were comprised of pop standards that worked effectively.

Other members of the crew are as follows:

Donny Jackson– Lighting Designer

James Cooper– Set Design

Victor Sonnora– Scenic Design

George J. Vennes III– Production Stage Manager

Fangyuan Liu– Costume Design/Production Assistant

Anaid Gutierrez– Make-up

Tanna Frederick, Lauren Beck and Rosemary Marks produced the show in the fine intimate setting of the Santa Monica Playhouse.

Run! Run! Run! And take a long lost lover.

One more thing, this exciting show will only get better as time progresses.

Santa Monica Playhouse Main Stage

A Guest Production

1211 4^th Street

Santa Monica, CA 90401

Reservations: 323-960-1055

Online Ticketing: www.Plays411.com

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L. Dolores Aguanno and Irene Muzzy - Photos: dee-Lightful

By Joe Straw

It is tough being “famous” – ask any college professor. – Narrator

At first glance, her seams were slightly weathered; the glasses were a dead giveaway that life was catching her. Overall, she was tailored and kept, and one would think, looking at this woman, that she had all her ducks in a row.

But Laurie Jameson (Dolores Aguanno), a famous professor at a liberal New England college, is unaware that her life is slowly falling apart at the seams.

In this quiet New England town, she toddles about the campus in an independent fashion, a self-assured woman who is most certainly aware of life around her and is able to appreciate life’s peculiarities. And in her whole life, she is not shy about taking control of every situation for a cause, her cause.

Laurie was as “famous” as they come, a “superstar” in her ranks, and academia never had it so good.

But life has a way of presenting problems. And they come to this professor, in small increments, languorous, and in the very quiet, bewildering moments.

In her reality, conflict is a moment waiting for that unexpected jolt.

Actors Workout Studio and dee-Lightful Productions present Third by Wendy Wasserstein directed by Robert Cicchini and Produced by Dolores Aguanno/dee-Lightful Productions, and Fran Montano/Actors Workout Studio through March 6^th, 2016 at The Actors Workout Studio in North Hollywood.

Third by Wendy Wasserstein is an extremely satisfying night of theatre with exceptional performances. Wasserstein brings a satisfying comedic truth to strong women who are in various stages of physical and emotional disarray.

Cicchini, the director, skillfully directs the five-member ensemble, hitting some very high marks with the actors and their poignant interactions. And all of this makes for a great night of adult comedy.

On this first day of new academic year, Laurie starts with a lecture that she’s given many times before, the one about Shakespeare’s King Lear – not thinking that there will be any cause for concern so early in the term.

But, at the end of her lecture, something disrupts her social order.

Woodson Bull the Third (Drew Hellenthal) approaches Professor Laurie Jameson. He is a nice looking student, collectively wise, and comes with a pedigree. Third is a wrestler on scholarship, a recent graduate of Groton,(*) and he has a small favor to ask.

(*Groton is a private school for those who can afford $56,000 per year – not including books.)

“How, can I help you, Mr…?” – Laurie

“Bull. Woodson Bull.” – Third

“You’re kidding!” – Laurie

“No, ma’am.” – Third

“You don’t have to call me ma’am, Mr. Bull. This isn’t The Citadel.” – Laurie

“I know that, ma’am.” - Third

Ouch! This is the moment when one wants to get things off on the right foot, but doesn’t. These two clash at the first outing. And as the imaginative dark clouds start moving in, we learn that Third’s father and grandfather went to this very same college back when it was a “men’s college”.

The way he said it, “men’s college”.

And although it is very subtle action, a ridged wall raises. It is slightly imperceptible at first glance, but there is a separation. Laurie’s shoulders are squared, and her head tilts slightly as she recognizes the sound of the unmistakable tone of “white privilege”.

Be that as it may, Third can’t make the required film screening of Dr. Jonathan Miller’s production of King Lear because of a wrestling match obligation. But Laurie is not cutting anyone any slack – if he misses the screening, he will suffer the consequences.

“I am not going to play ‘in loco parentis’ with you.” – Laurie

It is rather pretentious action for this former Oxford Fulbright scholar who has no plans of being a nurturing parent to any of her students, and in particular, this one.

A few weeks later in Laurie’s home, George W. Bush is speaking to the United Nations on television, and Laurie, listening intently, understands that every unfortunate word spoken, provokes action, from speech, to step, to marching boot, the country is going off to war yet again. And she is not happy about it.

That’s when Emily (Taylor Solomon) enters and sees her mother screaming at the TV. She decides to take action and turn it off.

Even after calming down a bit, Laurie doesn’t understand why her youngest daughter isn’t out there protesting the war. But Emily can only be cynical about the war, cynical about her lesbian sister Zooey (not seen), and cynical about Zooey’s partner Rena (also not seen). By Emily’s notion, Zooey and Rena are also not fighting the war by making organic cheese in Vermont.

“It’s not Zooey I have a problem with. It’s her girlfriend Rena.” – Emily

“How could you have a problem with Rena? She’s a Guggenheim poet.” –Laurie

“Mother, there’s more to life than prizes.” - Emily

There is a subtle point made here.

Naytheless, Emily comes home, after six weeks away at college, and finds that her upstairs bedroom is now her father’s noisy gym. Grousing about that tidbit of information Emily lets loose that she is romantically involved with a college dropout, from the less than prestigious Trenton State.

Perturbed by the noise upstairs, Emily’s grandfather Jack (Christopher Pennock) wakes from his nap. He cringes at the sound of one more noise in his head disrupting his mental faculties. But notes that he tries very hard to keep focus by recognizing his surroundings and counting backwards, with little success.

And, later, to top everything else off, Laurie’s best friend and colleague, Nancy (Irene Muzzy), is fighting a reoccurring bout with cancer. Laurie wants to take up the fight right along side of her.

“You are my best friend here. Your doctor told me you had difficult choices to make.” – Laurie

“What?” – Nancy

“I hope you don’t mind, but I called your doctor the other day. I told him I was very concern.” – Laurie

Nancy, taken aback, says, “I deserve the privilege of my privacy.”

Suddenly, in their discomforting intimacy, they are interrupted by Third, and a substantial private moment between the two vanishes into thin air. Nancy, leaves in a slight wisp of light, and without a resolution. And Third’s timing, and his privileged antics annoy Laurie.

Laurie is at the crossroads of her life. Not completely understanding her inscrutable intentions, she needs help and seeks the advice of her mute Freudian analyst (not seen). Overall she is losing unwinnable battles, and having hot flashes, which is not helping her.

Weeks later, after grading Third’s paper on King Lear, Laurie does not believe that he wrote the paper. She accuses Third of plagiarism and tells him that she will bring him up on academic charges.

There is a tremendous amount of light in Cicchini’s direction. His genius of having Laurie prance about the board meeting with flashing lights was a complete joy to watch and totally unexpected.

And while most things in Cicchini’s direction worked, some things needed additional attention. In a play such as this, momentum is important and the interminable scene changes alters the momentum of the play. A college is always in a constant state of flux and perhaps there is an imaginative way of dressing the set while the action is taking place on stage. (The Set Design was credited as “A collaboration”.)

Dolores Aguannodoes an admirable job as Laurie Jameson, a professor with a very strong will. More work needs to be done in the second scene when she is speaking with her daughter but for the most part the acting is solid. The scene with the analyst, and the time Aguanno took to get a reaction from her, was especially strong. No, it was perfection.

L. Taylor Solomon, Drew Hellenthal

Drew Hellenthalis Woodson Bull, the Third. He is a very interesting character, a freshman, and a product from a very good private school. He is an athlete on a wrestling scholarship; he is also smart although at times not very articulate. Hellenthal, while very appealing on stage, doesn’t go far enough with the character. There are many more layers to the character of a wrestler, the celerity of movement, of making weight (which wrestlers are always trying to do), and running to and from classes would more to add to the character. Also, the conflict between him and the professor is not entirely solid and should be clearly defined.

Taylor Solomondoes a fine job as Emily Imbrie and adds a nice quirky quality to the character. One particularly likes the shorter haircut to the longer hair in the photos. The scene in the bar needs additional layers. Emily needs to somehow tie her connection to her mother to really get Third down on his knees in this scene. A photograph perhaps?

Christopher Pennockpresents a large majestic figure as Jack Jameson. His final scene is poignant but one that must overtly convince his daughter into action and into the final scene. Still, some very nice work.

Irene Muzzy, as Professor Nancy Gordon, is exceptional as someone who battles cancer. Nancy, frazzled and worn, rides a different horse of complicity; of understanding the problem but letting the combatants work it out on their own terms. Very nice work!

Other members of the cast that did not perform on this night are Allegra Williams (Emily Imbrie) and Stephen Mendillo (Jack Jameson).

Fran Montano welcomed me to his beautiful theatre in North Hollywood and we had a great time talking about my former teacher Michael Shurtleff.

Other members of the crew are as follows:

Robert Cicchini – Sound Design

John Stirrat, Graydon Stroud, Sergiu Iva – Lighting Crew

John Stirrat – Light and Sound Board Operator

Elise Robertson – Set Consultant and Scenic Painter

John Stirrat, Graydon Stroud, Allegra – Set Crew

Graydon Stroud – Stage Manager

Graydon Stroud and The Actors – Backstage Crew

Laura Petersen – Program

Caitlin Michael Riley – Theater Administrator

Run! Run! Run! And take your favorite professor with you!

Reservations: 800-838-3006

Online Ticketing: http://www.third.brownpapertickets.com

Actors Workout Studio
4735 Lankershim Blvd.
North Hollywood, CA 91602

Jay Lee and Melinda deKay

By Joe Straw

A house breathes

inhales and exhales,

rises and reconciles.

It moves

effectively

when

battered shadows

release.

A house

is a living

breathing thing. – Narrator

coeurage theatre company presents Vieux Carré by Tennessee Williams and directed by Jeremy Lelliott through March 12th, 2016.

The ghosts inhabit 722 Rue Toulouse Street in New Orleans. In Tennessee Williams’ writings, the shadows moved from room to room to witness a re-awakening from long ago. In the writing, they are still there; they haunt; the shadows slip through the tiny narrow passageways and up stairwells, trying to find comfort before moving on.

The house still breathes, slowly, in and out, until an exasperated breath satiates the room.

Or maybe the house breathes because of the balmy weather, the clouds that roll by highlighting the shadows, exacerbated by the winds off both Lake Pontchartrain, to the north, and the Mississippi River to the east.

This house with a misfit band of boarders residing in tattered rooms was briefly home to Tennessee Williams. And nineteen thirty-nine left a lasting impression on Williams.

Vieux Carré directed by Jeremy Lelliott is a theatrical masterpiece. This surprising, alluring version of the play attacks the visceral senses. It is Lelliott’s extraordinary vision that captures a fascinating period of time and place. The actors are mesmerizing, living, breathing, three-dimensional characters that occupy the space so perfectly that one gets a tingling sensation, caught up and absorbing every desperate moment.

And to encapsulate it all: The breathless loneliness is personified in that one lone creature, The Writer.

“Once this house was alive, it was occupied once. In my recollection, it still is but by shadowy occupants like ghosts. Now they enter the lighter areas of my memory.” – Writer

They are there. Mrs. Wire (Melinda deKay) yelling at Nursie (Leontine Guilliard) to get her a pillow.

Nursie enters from the darkness screaming because there’s a bat in her kitchen, like the ones hanging outside from the banana tree.

“…they all scream at once and fly up like a explosion of damned souls out of a graveyard.” – Nursie

“If such a thing was true!” – Mrs. Wire.

“As God’s word is true.” – Nursie

Nursie is getting old and thinking about retiring but Mrs. Wire won’t let her. Mrs. Wire is getting old too and needs someone to tend to her. Anyway, Mrs. Wire pounds the pillows and lies on the cot in the hallway in front of the door keeping an eye on the occupants as they enter and leave the house.

Writer (Jay Lee) comes in and after a brief interrogation from Mrs. Wire. She tells him to take Sky’s sack upstairs. And she also lets on that she’s got plans for him.

L - Sammi Smith, Jay Lee, Leontine Guilliard

Angelical Jane (Sammi Smith) casually strolls into the house with a paper bag in hand and Mrs. Wire has words for her too, about coming in after midnight, which no self-respecting single girl would do. Jane said she was out getting Black Flag because the flying cockroaches are flying into her face from her window that does not have a screen.

“…if a screen has not been put in that window by tomorrow, I will buy one for it myself and deduct the cost from the next month’s rent.” – Jane

Mrs. Wire goes on to complain about the man sharing her room, Tye McCool (Shaun Taylor-Corbett). Jane is smart enough to understand that she might have made a mistake with him but she’s tired and moves on.

No sooner has Jane has left the room, Nightingale (Dieterich Gray) saunters in with a young man he has picked up at the bus station. His cousin Jake, or Blake (Graham Kurtz), he is not sure which. Anyway, Nightingale has family things to discuss with his cousin up in his room but Mrs. Wire immediately put a stop to that in her house.

Mary Maude (Carryl Lynn) and Miss Carrie (Sandy Mansson), two crones, make their way into the kitchen bringing bags of goodies. Well, greasy bags of rotting food they find in garbage pails. They suggest the leftovers of the “steak Diane” and the chicken “bonne femme” should go into the icebox. Nursie says to leave it but knows that it’s going directly into the trash where it belongs.

Jane wonders out loud if their pride would be offended if she bought them groceries. Nursie just laughs.

“Honey, they gone as far past pride as they gone past mistaking a buzzard for a bluebird.” – Nursie

Tye comes stumbling in. He is an addict, and a barker at a strip joint. His effluvium is enough to give him away but Jane ignores him and feels free to talk about him and his faults.

The cast is exceptional as well as diverse.

Jay Lee is very appealing as The Writer and has a charming way about the character’s persona. His Southern accent is mixed by way of Saint Louis to Memphis and then to New Orleans. As his accent changes from time to time, by living in various locals, it is either genius or accidental. Still, Lee produces some very nice work.

Melinda deKaypresents a grand figure as Mrs. Wire, a voyeur masquerading as a landlady. It is a role in which deKay presents the right balance of being kind one moment and oppressive the next. Her portrayal is moving and sympathetic, dastardly and unsympathetic. Actors covet these kinds of roles and deKay makes the most of her opportunity. Overall, a tremendous job.

Leontine Guilliardas Nursie provides just the right blend to support all the boarders in the house. Guilliard does fine work in her relationship and her interaction will the other characters in the play.

Sammi Smith is extraordinary as Jane. Smart and wholesome, she has just enough wherewithals to get by. Once thought of as unwholesome, Jane is always thinking about her next move and relies on the others to help her through her current predicament. And yes, there is that progressive blood disease, gnawing in the back of her mind. If only she could relieve herself of her carnal desires and her boyfriend. Smith provides just the right touch to the character, the historical background, and a solid objective.

L - Dieterich Gray, Jay Lee

Dieterich Gray, as Nightingale, is marvelous as a campy gay man who wants to go out swinging before tuberculosis takes him out. He is barely able to survive by being a quick-sketch artist but his curiosity about wanting to know everything gay is profound. Nightingale probably knows that he is dying but wants to have fun living life before he reaches his expiration date. Gray's work is solid and exceptional.

Graham Kurtzplays Pickup (Jake or Blake) and has some interesting moments in the short time he is on stage.

Carryl Lynn is Mary Maude and Sandy Mansson is Miss Carrie and both add a delightful touch to the production.

L - Shaun Taylor-Corbett, Jay Lee, Sammi Smith

Shaun Taylor-Corbettbrings an outstanding physical life to Tye. He is a strip show barker, addicted to drugs and beautiful smart women. His current life is on a downward spiral. He has acuity of vision – to look at someone and find fault, but is really trying to find someone to save him from himself. Taylor-Corbett moves about the stage with confidence and precision. The work is exceptional.

Tony Brown brings some much-needed humor as the Judge. He is also the photographer.

L - Jonathan Kells Phillips, Jay Lee

Jonathan Kells Phillips is also exceptional as Sky, a jazz clarinetist, who captures the adventurous soul of The Writer and takes him with him. Phillips manages to project the everyman ideals on stage. And Phillip’s craft has an extreme clarity with a grand mixture of a physical life, mixed with an emotional core, and a historical background. Although he does not appear until late in the play, this is one performance you do not want to miss!

On top of everything else the actors breathing at the beginning and the end is spectacular!

Lelliott has Jeff Gardner doing foley as though this were a radio play adding sound effects, the sound of rain, someone pouring liquids into a cup, matches being lit, and doors opening. All of this was exceptional but could have had a little more volume.

Alternates who are in the play but did not perform the night I was there are JohnKlopping (The Writer), Candace Hammer (Jane), Noel Olken (Nightingale/Photographer/Judge), Zach Kanner (Pickup/Sky), Roses Prichard (Mrs. Wire), Toni Trenton (Mary Maude/Miss Carrie), and Charles Britton as Tye.

The Scenic Design by JR Bruce was exceptional – just enough symbolism and realism to complete the set and give the actors a marvelous place to play.

The Costume Design by Magdalena Guillen was also exceptional that provided the actors one extra element to their respective character. The Costume Assistant, Estrella Fernandez was also instrumental in bringing the character to life.

Lighting Design by Brandon Baruch provided just enough light to have characters hiding in the shadows when they needed to be and profoundly exhibited when the need arose. His work was also exceptional.

Other members of the crew are as follows:

Megan Laughlin– Stage Manager

Malika Williams– Assistant Director/Dramaturg

Charles Britton– Prop Design

James Ferrero– Recorded Sound Design

TJ Marchbank– Fight Choreography

Donna Eshelman– Movement Coach/Choreography

Nardeep Khurmi, John Klopping– Production Photographers

Melissa Pryor– Casting Consultant

Ken Werther– Press Representative

Run! Run! Run! And take someone who is curious and lonely.

The Historic Lankershim Arts Center - 5108 Lankershim Blvd. North Hollywood

Tickets:https://coeurage.secure.force.com/ticket

Oh My God by Anat Gov

Richard III by William Shakespeare

Disney Beauty and the Beast Jr. – Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book by Linda Woolverton

Dorothy’s Adventures in Oz – Book, Words and Music by Evelyn Rudie and Chris DeCarlo

Mojada A Medea in Los Angeles – A New Adaptation by Luis Alfaro

In Love and Warcraft by Madhuri Shekar

No Exit by Jean Paul Sartre

Drunk Girl by Josefina López – Additional Plays written by Rocío Díaz and Libette Garcia

Cat on a Hot Tin Roof by Tennessee Williams

Nat Turner: Following Faith by Paula Neiman

Boyle Heights by Josefina López

The Latina Christmas Special – Written & Performed by Maria Russell, Diana Yanez, and Sandra Valls

57 Chevy by Cris Franco

Garbo’s Cuban Lover – by Odalys Nanin

The Dickens You Say! A Christmas Carol – Conceived & Adapted by P.D. Soinski

Pain by Paul Coates

The Last Straw Awards 2015

Jack and Jill A Romance by Jane Martin

Third by Wendy Wasserstein

Vieux Carré by Tennessee Williams