Never is Now

This year it’s starting to hit me. That by “industry standards” I’ve been in LA for a “long time.” I’m coping, trying to see the light and not get my hopes down, but at the same time, I’m starting to realize the people and places that have been good to me. The places that feel like home. The Skylight Theatre is one of those places.

“For me, the political is personal.”

Opening night of Wendy Kout’s revamped, Never Is Now maintained the Skylight’s standard warm and welcoming atmosphere. Even with some turbulence and adjusting of the space over the years, the Skylight holds up. The staff is always gracious, accommodating and kind and it’s clear that everyone wants to be there, patrons and staff alike. It’s kind of thee place to be in Los Feliz on opening night. The space has a cozy, tucked away feeling where you’d want to hide away on a rainy evening, hidden between the epic Skylight Bookstore and the new luminous Atrium bar and restaurant. I gave a break-a-leg hug to co-directors of the piece, Tony Abatemarco (Co-Artistic Director of Skylight) and Celia Mandela Rivera, artists and people that I care about and have worked with over these years in LA. I trust that whatever they have created will be true to their beliefs and artistic integrity. And that is how I know I’m in a great place.

In this iteration of Never Is Now, a journey through a multitude of Holocaust survivor testimonies, the cast and creative team has worked with the playwright to parallel their own stories of struggle in light (or dark) of the present administration. What a way to kick off the High Holidays in LA. In this design, everyone in the ensemble kind of has their own little featured moment to shine. I was especially moved by Sarah Tubert’s monologue which had me in tears, as she voiced discrimination in the deaf community in both the present and past. That’s just one example, but this show is full of tear-jerking truths so pack your Kleenex.

“Some news may be fake but my fear is real.”

Evie Abat, Eliza Blair, Sarah Tubert, photo by Ed Krieger

“Anger is killing me. It’s killing my joy.”

After the performance I had a few minutes to chat with the enthusiastic, impassioned playwright, Ms. Wendy Kout. She mentioned how the team hopes to bring the production to schools, which seems like a fabulous idea, especially with the modern parallels and youthful energy of the cast. As a theatre lover, I agreed that seeing this production at museums like the Skirball and the Museum of Tolerance would be an incredible enhancement to the museum experience. The minimalist set design also allows for easy transport in that case. This is one of those shows that only needs a little, by way of costumes and set, to pack a big punch in the text. I LOVE shows where less is more and this is definitely one of those.

“With hope we keep fighting and change the world.”

This is not a pick-me-up show. A few times while watching I wrote down, “emotionally painful.” However, we do close out on a ray of hope. These people are survivors, and we can be survivors too, as long as we can prevent history from repeating itself. Thank you again Skylight for bringing this piece of theatre history to our community, and hopefully to our schools. I’ve been late in getting the word out, as I’ve been traveling through NY and Chi Town this fall, but you still have a few more chances to catch and support Never is Now at the Skylight Theatre until Oct 27th. The content is not an easy pill to swallow, but this is history we can’t ignore. And the welcoming, accepting, progressive Skylight Theatre is the perfect place to be for a show like this.

Mysterious Circumstances

Mysterious Circumstances. Mysterious circumstances indeed…

It was my second time visiting the Geffen Playhouse that day, after watching a captivating matinee performance of Invisible Tango with my uncle earlier that afternoon. One granola bar, iced tea, outfit change and lipstick reapplication later, I found myself seated inside the Gil Cates Theater with a new companion. The personal stakes were a bit higher for this evening’s show. I straighten the hem of my dress against my knees as I watch him flip through the program out of the corner of my eye. I resist touching my hair, knowing I will eventually fail, but for the moment I try. After a near magical first outing a week earlier, I am nervous, but strangely optimistic that our time could be that good, again.

I notice that his energy seems down, comparatively, but I try to keep the conversation upbeat. This is his first visit to the Geffen. I asked him how his day went, what he got up to. He tells me that he spent time working on his garden, went to Equinox and sustained a 8:15 mile time for three miles and that he also went to therapy. I ask him what he goes to therapy for.

“Oh. You know. Life.”

“Sure. But like, why? Is everything ok? What are you working on?” and just an instant too late for me to take the thought back, I am already regretting what is coming out of my mouth.

When he replies, a moment passes that feels like five minutes but in actuality was probably like 0.05 seconds. I catch myself gaping before quickly replying, “Oh! How fascinating!”

The handsome, intellectual, intriguing man with incredible taste in music that I have been spending time with has just told me that he is divorced. The whimsical backstory I had imagined for him is swiftly erased without warning.

And the game’s afoot.

Ramiz Monsef and Alan Tudyk as Watson and Holmes

Usually when I watch theatre, I want to fully surrender my imagination to the world of the play, the story that the production is delivering to me in that time and space. But on this particular night, I found myself parlaying the play’s clues, circumstances and stakes into those of my own. Smartly woven between the reality of events leading up to the strange death of a leading Sherlock Holmes scholar and the literary fantasy of Holmes and Watson, playwright Michael Mitnick has certainly done his research. The play is inspired by The New Yorker article “Mysterious Circumstances: The Strange Death of a Sherlock Holmes Fanatic” by David Grann. Although the play seems to primarily focus on the last days of Richard Lancelyn Green (Alan Tudyk) and his quest to uncover a highly sought-after collection of never before seen Holmes artifacts, the genuine human connection to the magnitude and mystery of the circumstances are found in Holmes and Watson’s relentless (often comically so) search for justice.

Helen Sadler, Hugo Armstrong, Alan Tudyk and Leo Marks

I have always been a big fan of Alan Tudyk. He’s truly an incredible actor, someone I would dream of working with. If you haven’t seen him in the original British version of Death at a Funeral, please do yourself a favor and go watch it right now. Absolutely brilliant. Many also know him for his role as Pastor Veal in Arrested Development. But my favorite performance of his was a number of years ago in a show at La Mama in the East Village called That Beautiful Laugh, created and directed by one of my then acting teachers, Orlando Pabotoy. At the end of that show, Tudyk proceeded to imitate the laughs of different audience members; gosh it was so beautiful and utterly hilarious. My gentleman friend, although not as familiar with Tudyk’s work, was surprised and delighted to recognize him in the program. Tudyk once again proves his love and skill for the craft with some very smart and endearing choices in this role. Although there were certainly moments that nodded to Lancelyn Green’s “fanatic” nature, Tudyk purely shows us the meaning behind the love for Sherlock Holmes, humanizing the scholar in a beautiful way. Like that beautiful laugh; I guess some things never change, in a good way : ) Even when introduced to an “obsession” that might be challenging for some patrons to get behind, Tudyk illuminates his character so that we can get behind it, so that we can plug in the things we are so relentlessly searching for. So we’re rooting for him : )

Austin Druant and Helen Sadler

As we exit the theatre, although I am still a bit on edge, I am happy to find that my companion has enjoyed the show and was impressed by the scope of the production. Before leaving the Geffen, I ask him take my photo. He doesn’t know that I write a theatre blog, so I fear that the request seems mildly self-involved, or basic. We move to the sign that says Gil Cates Theater, which will soon result in the picture you see at the top of this piece. Even though I feel pretty, I smile sheepishly before deciding that if I look like I’m laughing, it will at least seem like I’m having a really good time. Even though I’m the protagonist in my own story, I’ve decided to tamper with the evidence a little. Similar to the last five minutes of the play we just watched, I’m rapidly running through all the clues I’ve collected. Every piece points to something different about my future, about this guy’s future. I’m not sure if it will be a happy ending, for either of us respectively. But maybe it’s the thrill of the hunt for truth that leads us down the back alley past the theatre, along Glendon Avenue to a bar, where we will spend another hour of our time together, trying to solve the mystery of us.

Mysterious Circumstances (not to be confused with The Curious Incident…Night Time) has now been extended through July 21st at the Geffen Playhouse. Secure your tickets to experience this captivating mystery told by a tight ensemble and shining Alan Tudyk. It may even lead you to uncovering some clues of your own.

Ready Steady Yeti Go

LA Theatre peeps. I know. It has been a minute. I went to NY all the way back in January, I was very inspired and then I continued to take a big ass break. As I mentioned previously, I’ve been trying to cut back on seeing shows a bit so that I could work on and complete some theatre projects I’ve had brewing. Still working on all that, but fingers crossed...I do have something potentially super cool in the works and I don’t want to say too much, but if this works out it will be pretty dope and it would be an awesome piece of theatre for anyone to experience. To be continued. 

Jasmine St. Clair & Randolph Thompson

So, this is the show that’s caused me to emerge from under my theatre rock. Last week Arianne (one of my patron saints of LA theatre, LA Stage Alliance take note) and my friend Noah (who I call Noh, like theatre Noh, who has sound designed for me amongst many other theatre makers)...we all went to a show. Sorry. I realized that was a really long sentence. Anyway, I was very intrigued by the synopsis of Ready Steady Yeti Go by David Jacobi, which basically boils down to a group of middle schoolers putting on a play to describe a hate crime that happened in their neighborhood. Also, never saw a Rogue Machine show I didn’t like. And I’m a fan of director Guillermo Cienfuegos. So all those things, combined with two of my favorite trusted theatre buddies, are what helped me to emerge : )

Kenney Selvey, Randolph Thompson, Ryan Brophy and Jasmine St. Clair

When I describe this play to people, they ask me if I have watched the new Hulu show Pen15, which is something I now want to do. They play (as well as the performances and direction) does an incredible job displaying the joys and struggles of this time of life. Props to this team for really nailing some 12 year old vocal nuisances, physicality and the onsets of sexual discovery. For me at least, the play really pulled at my heartstrings of how either we suppress some of these emotional instincts as adults or how, have things even really changed that much at all? 

“I wish I could be more like you.” -Gandry

My favorite moment in the whole play was when Goon (another fab performance by Ryan Brophy, keep an eye on this kid), the prantagonist, is confronted with some not great news. Some news he does not like, from someone that he really likes, a lot. It’s hard to put this into words (please go see this play) but he basically has this very violent, physical, guttural, instant reaction to the news, he kind of bursts into this 4 second personal fit of rage before calmly replying to her, “I really don’t like that.” What he did with his body, I feel in my brain, when one of my best friends tells me that they’re moving to New York. Or someone starts ghosting me. Or breaks up with me. Or when my sister borrows my clothes without asking. That physicality was such a natural release of frustration. I really appreciated that. Also there was something about the spirit of competition that rang very true for me, especially as exhibited in a relationship context. In this case I related to Goon’s frustration in the relationship...as a 12 year old lol. The play does an excellent job of breaking down that “being mean to people you actually like” concept. I guess I’m sitting there and it’s weird how all these things we do as kids...it kind of all comes back around. 

Morgan Wildly, Kenney Selvey, Jasmine St. Clair, Ryan Brophy, and Rori Flynn

“I want to be around you. I like being around you.” -Goon

I really enjoyed this show. Thank you Rogue Machine, for delivering a refreshing break from the heady scripts that can sometimes overwhelm this town’s theatre programming. You have until Monday July 29th to catch a performance of David Jacobi’s Ready Steady Yeti Go at the Electric Lodge. Check the calendar, there are some $10 ticket nights tucked in there, although the show is worth far more than that. And by all means, GO!

New York, with a focus on “The Ferryman”

I recently returned from an absolutely wonderful trip to New York. It was everything I didn’t know I needed it to be.

I confess, I can be somewhat of a jealous artist. I’ll leave a show mostly enjoying it but partially envying the performers, imagining how I could be living in their shoes. However, on this trip, I wasn’t feeling that singe of jealousy. Just pure motivation, inspiration and the power of theatre. Just a little bit of that “how lucky we are to be alive right now” mindset if you catch my drift : ) Even though it was pretty freezing, this January was an amazing time to be seeing theatre in New York. I was telling my mom, seeing the work just, reaffirmed why I do what I do. Why I’m writing about this now to let you know that the magic of theatre is still alive and well.

On my trip I was lucky to see five plays. Bryan Cranston in the Ivo Van Hove directed adaptation of Network, Ethan Hawke and Paul Dano in Sam Shepard’s True West, Elaine May as part of a stellar cast in Kenneth Lonergan’s The Waverly Gallery, Aaron Sorkin’s adaptation of Harper Lee’s To Kill A Mockingbird and fresh from the West End, Jez Butterworth’s latest, The Ferryman directed by the Sam Mendes. Typically I will make myself go see at least one musical but it just wasn’t in the cards this time. I also enjoyed the absolute treat of watching two plays at the Lincoln Center Library for the Performing Arts theatre and film archive. If you’re a theatre nerd and you’ve never done this before, I would strongly encourage you to check it out. I spent the day watching Cherry Jones in the 2014 Broadway production of The Glass Menagerie and the infamous 2005 Broadway production of The Pillowman by Martin McDonagh. I wanted to watch The Glass Menagerie because I’ve actually never been able to get through the script on my own and I know it’s an important play in American theatre history. I went in thinking I was watching the recent Sally Fields, Sam Gold directed version and it ended up being Cherry Jones and Zachary Quinto. It did not disappoint. The Pillowman I have been hearing about from patrons for years now. People want to know why this play is (with the exception of some smaller, more off the radar productions) rarely done in LA. I didn’t know why. I assumed that the script had either been optioned for film, since it does have somewhat of a theatre cult following or that a larger theatre company had a hold on it. But for years now…why? I read it when I was 19 and the humor and themes went completely over my head. But now that I’m older than 19, and I’m more familiar with McDonagh’s work, I was ready to try and make a better understanding of it. And of course a video of a full scale Broadway production will help with that.

Someone recently asked me to rank the shows I had watched. I told them I didn’t think I could rank them, but that I knew The Ferryman was my favorite. (I could be convinced to write about the other shows I saw…but this is the one I feel theatre-lovers need to know about.)

On my last visit to New York, far too long ago, I also paid a visit to Lincoln Center’s film and theatre archive. For some time, a stage manager friend of mine had been raving about Jez Butterworth’s Jerusalem. She had mentioned it was the best show she had ever seen. That phrase always peaks my interest, so I set out to read the play, and I set it down after about five pages because I could not understand the language, written in thick Pewsey/country English accents and slang. At the library a few years later, I told the librarian that I wanted to watch the recent Chris O’Dowd (LOVE) and James Franco production of Of Mice and Men, Bryan Cranston in All The Way and Mark Rylance in Jerusalem.

“If you want to watch Jerusalem you’re going to be here all day. It’s over three hours long.”

“…um…”

“But it’s worth it.”

This was a true dilemma for me. I could capitalize on watching two shows in one day, which was very valuable since I didn’t come to New York that often. Or I could see one show…that I was already nervous I might not even understand.

“Ok I’ll do it. I’ll watch Jerusalem.”

And to this day it is one of the best plays I have ever seen. Even from an itty-bitty TV while wearing headphones in a library. The theatre magic transcended the TV set. The plays that I remember forever are the plays that helped me to discover a new feeling foreign to my body, mind or spirit. Jerusalem is one of those plays.

The Ferryman I had been following since its inception at the Royal Court Theatre in London in spring of 2017. Content-wise this is one of the greatest venues in England, if not the world. I had also seen the Broadway premiere of Jez Butterworth’s The River on Broadway a few years earlier, and yes, embarrassing, but my college buddy and I were mostly there to sit in the front row with the hopes of Hugh Jackman’s spit landing on us. The River was still very, very good and well done, but fell just shy of living up to the enormous reputation that Jerusalem had established. One of my great theatre companions and frequent traveler to London, Arianne, had a chance to see The Ferryman at the Royal Court and picked me up a copy of the script from their bookshop. I devoured it immediately. I must admit, I was just a tiny bit nervous. It was a challenge to keep track of the twenty-two characters along with their Irish brogues and on the page, and there was a part that I felt kind of came out of nowhere. Arianne assured me that this part of the play had much more of an onstage presence in the production than I had interpreted. The Ferryman moved from its sold out run at the Royal Court to the West End, and then on to Broadway this past fall. Was the hype true? Could it stand strong next to Jerusalem? I had to see for myself. This show was definitely an instigating factor for my trip to New York.

The day after I landed in New York, I went to go watch The Ferryman with an old NYU actor buddy of mine, Dan. Our seats were excellent. When we left the show, we were both nearly speechless, so much so that we needed to go our own separate ways just to digest it. It took me a few days to process, but the more I thought about what an overwhelmingly gratifying experience I had at the theatre that Thursday night, the more I began to realize how The Ferryman has just about everything you could ever desire in a play. Think of something that you would like to see in a play, and I bet you that it’s in this show. A big cast with pretty even keel playing time where you get to know each character. There’s mystery, there’s romance, there’s humor, there’s kids. Singing. Dancing. City folk vs country folk. Old vs young. The mob. Accents. A taste of a foreign culture. Teenage angst. The 7 year itch. Illness. Politics. Animals. Babies. 80s fashion. Using the past as a vehicle to comment on our present. Tons of suspense. Other things I won’t say just to leave you a little bit of surprise when you see it. Maybe you’re thinking that this sounds like it would be a clusterf&$#, but leave it to Jez Butterworth to tie this cathartic play seamlessly together with his magical bow of playwrighting excellence.

Laura Donnelly as Caitlin Carney and Paddy Considine as Quinn Carney

This might sound a little pretentious, but I made this statement out loud to another theatre pal of mine this afternoon, which gave me the confidence to stand by it. Over the past few years I’ve felt a lot of external pressure to let my guard down a little bit as far as the content I create or even just stand by in the theatre. My life’s goal is to raise the standard of LA theatre. In that, I have to be honest, there’s a lot of, let’s just say “not up to standard” work out here. And I’m not talking about low production quality, I’m talking about production value. I have seen shows done at “low production quality” that still had phenomenal production value, and I really hope you have too because that is real theatre magic, where the content transcends the environment. Anyway, it’s hard for me not to notice theatre artists in the community working on any old show or concept just to keep working. Or just running off with a concept they think is on trend. Sometimes I’ll see a show and ask myself, “why?” “Why does this artist care about this?” “Why should I care about this?” Sometimes artists just want to try something that has never been done before, or just something they’ve never done before or use the art as a quick political vehicle. We get excited about an idea and we either put it on stage quickly or we spend time preparing it but the idea still isn’t necessarily complete or honed. I am guilty of this. My colleagues are guilty of this. Huge theatre organizations are guilty of this. Heck, there are even shows that have made it to Broadway that have fallen short, and probably more than the American theatre would like to admit. Everyone has done it; put up a theatre piece just because it seems “cool” but we don’t really know what it means.

Some people (even myself sometimes) might say that I’m too picky, that I could work more if I wasn’t so selective about the theatre that I work on. But once in a blue moon, you catch wind of a truly beautiful piece of theatre that reminds you why you have the standards that you do. That was The Ferryman for me. This show reminded me what a truly complete, and therefore powerful piece of theatre looks like. And that I should stand by my standards, for the sake of my community and my fellow artists that I hope I can inspire. We need more plays where every moment is fully realized and each characters’ stakes are known. Even in a cast of twenty-two characters.

The Ferryman has now been extended on Broadway through July 7, 2019. A new cast including Bryan d’Arcy James as Quinn Carney takes over February 19th. If you can find your way to New York to see it, I would love to continue this conversation about this show with you. Going to go on the record here that I think this will (at least) be nominated for Best Production of a Play this season.

Love Actually Live

When my colleague Michayla and I saw an ad for Love Actually LIVE at the Wallis Annenberg Center for the Performing Arts while flipping through a Quack program at the Kirk Douglas Theatre, we basically screamed with delight. For the Record, a production company famous for theatrically highlighting the soundtrack magic of some of the world’s greatest film directors, had decided to hybrid viewing one of the most delightful (so bad it’s good) iconic Christmas films of the past 20 years with musical theatre! Oh. Em. Gee! Love Actually is a film we ritually watch every year at Christmastime (and sometimes even not at Christmastime!). There was no way in hell we would miss out on this!

The programming at The Wallis seems to keep getting better and better every year. Even though this production is not exactly the definition of “high art,” The Wallis admins were not messing around when they strategically placed this into the season. They knew that come December, the LA audience, both young and old, would turn up for a self-proclaimed iconic Christmas movie montage masterpiece. Heck, Tom Hanks and Rita Wilson were sitting three rows ahead of us. I mean, the man probably knows over half of the original film cast personally, but still! The show has broken ticket sale records for the venue to date.

This show was just a little different from the typical For the Record model. This performance is essentially a viewing of the film, but edited down to the most key moments intertwined with actors singing songs from the original soundtrack and a few more inspired by the movie. As you watch a scene on one of the multiple screens choreographed to move in and out of the action, actors complete the moment with songs we know and love from the film and beyond. Sure, it gets a little corny, but we already expected and accepted that because we know how corny the film is. The film where lobsters and octopi are included as a part of the nativity for an elementary school Christmas pageant, remember? Music-wise the band is absolutely phenomenal and there were definitely some incredible pipes up on that stage. Not to mention…

It’s ok Steve. As they say in the movie, “To me, you are perfect.”

Tony Award winner for best actor in a musical for the role he originated in Once, Steve Kazee plays the Colin Firth character, Jaime. Similar to when I watched one of my greatest theatre inspirations and Tony Award winner John Lloyd Young in For the Record’s Scorsese: American Requiem, (also featured at The Wallis)...it was just a little bit heartbreaking. Somehow, For the Record is able to lock down some pretty incredible Broadway stars for their screen to stage adaptations. But you can see it on Kazee’s face...he’s out of place. He is a true champion of the American theatre and we know he is meant for much more substantial, transformative theatre. Don’t get me wrong, the production quality is there, but the content falls short of the life-changing art this man is capable of. He just can’t make that kind of magic with the audience flip-flopping between the film footage and him trying to interpret that same scene to the tune of a 90s Dido ballad. You can see it in his eyes that he’s a little depressed. I genuinely felt sorry for him and wanted to give him a backstage hug and tell him that everything would be ok and that he would be reinstated to his true level of greatness…hopefully in 2019. We’ve got this Steve. Seriously, we have to keep reminding ourselves that even when things look grim, we are capable of greatness.

Anyway, if you’re a fan of the film, this larger than life theatre-meets-cinema experience will definitely get you into the Christmas spirit. It’s everything you love from the film, and then some. Sure it’s as hokey as the film at times, but that’s why we love it in the first place, right? For the Record’s world premiere of Love Actually LIVE runs at The Wallis Annenberg Center for the Performing Arts through December 31st. If you’ve never seen a piece by this company before, check it out. It’s a little bit like watching a live orchestra score a film at the Hollywood Bowl, but with a little more theatre magic. Trust me, you’ve never seen anything like it.

Cost of Living

The Fountain Theatre has a ridiculously good knack for acquiring the hottest new scripts on (or off) the market. When I read that Martyna Majok’s Cost of Living had won this year’s Pulitzer Prize earlier this spring, I knew the title sounded familiar. I flipped back through my emails and sure enough, it had been mentioned in a press release announcing the Fountain Theatre’s current season. With its new prestigious international award, I imagined that Cost of Living could suddenly be stripped from the Fountain’s season, for a West Coast premiere at a larger, more mainstream company.

Fast forward to a few weeks ago, when I’m standing outside the Fountain before the show catching up with James, one of my favorite producers here in LA. He is such a man of the people and in an industry that is so ironically competitive, I love that he is out there on the sidewalk talking to his patrons and telling it how it is. He’s the best. The Fountain is so lucky to have him on their team and they know it. “We actually got the rights to the show just a day or two before it won the Pulitzer,” he told me. And once that went down there was no looking back.

Katy Sullivan and Felix Solis - Photo by Geoffrey Wade

Arianne, champion LA theatre goer and planner extraordinaire, had organized a girls group of five of us to see the show that night. A recent addition to the Road Theatre Board, Arianne is so inspiringly passionate about theatre in Los Angeles. Naturally, we get along very well. If you would like to get receive Arianne’s detailed calendar of LA theatre happenings, shoot me an email through my contact page. Anyway, thanks to Arianne’s efforts, I was so glad we could all come together to experience the theatre together, especially when it came to processing the themes of the show afterwards.

To be honest, it was a challenge for me to articulate my feelings about this play, which is why I am once again so late in getting up a response to it. Even outside after the show I struggled to make sense of what was happening in my brain and heart. Internally I felt so far removed from the struggles of the featured disabled characters, yet I related to the conflict within the relationships they had shared with us. Part of me was ashamed for even allowing myself to relate. I have full use of my natural legs, I’m not ridden to a wheelchair and for the most part I’m a pretty healthy woman. I run marathons. It would be completely ignorant for me to say that I truly relate to what these people are going through. But taking an even larger step back…I think maybe that could be the beauty of this play. As humans, we struggle in our marriages. We struggle financially. We grapple to identify our calling in life. We struggle to shape our identity. We are all human and we all struggle and Majok does a gorgeous job of illuminating that. Now take that thing you’re struggling with and add on not being able to bathe yourself without the help of another human. That next level sh%$. It kind of brings you back down to earth when you consider the sacrifices the disabled community makes every day, not by choice. So, I think this is a play we, simply as humans, need to experience, together.

Xochitl Romero and Tobias Forrest - Photo by Geoffrey Wade Photography

This show is doing a phenomenal thing for representation in theatre. Rarely do we see people with these disabilities on stage, let alone roles written specifically for people with these disabilities. We’re still far off, but Majok takes us a step in the right direction. Although I wouldn’t be surprised to find the Taper or Geffen pick this show up within the next year or two, I would recommend seeing it with the level of intimacy created by The Fountain. Although they typically extend for weeks (or months) at a time, I’m sure that many other companies are on a waiting list for rights for this one. Don’t miss your chance to see Cost of Living at the Fountain before it closes on December 16th.

A Christmas Carol

I had no desire to see A Christmas Carol. I have seen and been in more variations of A Christmas Carol than I would ever like to admit. But Geffen Playhouse, you are a genius because probably like most of the other theatre people suffering from A Christmas Carol overdose...you lured me back through your twinkling patio with the mere mention of champion of the American theatre Jefferson Mays.

Jefferson Mays stars in the Geffen Playhouse world premiere adaption of Charles Dickens’ A Christmas Carol. Directed by Michael Arden. Photo by Chris Whitaker.

If I was going to see A Christmas Carol again, I was happy to be joined by my good friend and swiftly rising LA theatre director Jonathan. Over a preshow sangria flight a few blocks down at Napa Valley Grill, I learned that this was his first time watching a Jefferson Mays performance. I warned him to brace himself for greatness, that we were about to encounter a contemporary theatrical chameleon and Tony award winning guru of transformation.

Jefferson Mays stars in the Geffen Playhouse world premiere adaption of Charles Dickens’ A Christmas Carol. Directed by Michael Arden. Photo by Chris Whitaker.

I wanted to be underwhelmed. I had heard this story a million times; how could it possibly mean anything different tonight? But leave it to Mays to transport you outside of the world you think you know. Each of the familiar characters from this timeless story were brought to life with precise choices and energy. Most importantly, by maintaining the integrity of the text Dickens himself used when performing his stories, Mays delivers this timeless text to remind us of exactly why this story is timeless. The set and lighting design of this show should also be noted for their powerful effect in bringing a sense of the victorian-gothic world come to life.

Jefferson Mays stars in the Geffen Playhouse world premiere adaption of Charles Dickens’ A Christmas Carol. Directed by Michael Arden. Photo by Chris Whitaker.

After the past two years, and this year was especially rough, I think I needed this fresh reminder. I cried, remembering how the giving is better than the getting, no matter how big or small your gift. Remembering how “ignorance” and “want” distract us and make us feel that we’ll never be good enough. The show was a reminder to take on a bit of Bob Cachet’s attitude this holiday season, that when you feel like you have nothing, your gift is all the more substantial. For me, in a time when so many people around me are struggling, it made me reconsider what I can do to help those around me, in the theatre community and beyond.

What was our business, in life?

A Christmas Carol has just been extended through December 16 at the Geffen Playhouse, so if you want to see a true champion of the American theatre transform a text you thought you knew like the back of your hand, be sure to get your tickets now for Jefferson Mays’s captivating performance.

The Woman in Black

After continuously hearing about the success of this play (and fairly recent film) from multiple patrons over the years, I was excited to finally see what all the fuss was about. West End audience’s have been freaking for this show since the 80s, so another point to Danny Feldman for plugging this American tour into the Pasadena Playhouse season, scheduled just in time for Halloween shenanigans.

For this opening night I was happily joined by my favorite Pasadenian, Ben, the art teacher/musical theatre composer I met outside the Mark Taper forum almost three years ago now. Man how time flies. Ben also likes this kind of “old-world”/spooky content, so I’m glad he was there for the ride. Plus he loves the Playhouse and lives like four blocks away.

Oh hi Adam Wesley Brown. (Photo by Roger Mastroianni)

As soon as I sat down and noticed Michael Holt’s eerie, rustic set, I noted that the era in which the story takes place was very well-suited to this gorgeous, historic, 100 year old venue. Also, note that this venue has been rumored to have ghosts of its own, but then again…what theater doesn’t? I don’t know what I was expecting, but I was surprised that there were only two characters in the play, especially with all the thrills that lie ahead. Ben and I were definitely shocked and amazed by this book turned play’s brilliantly executed twists and turns. And it’s not tons of special effects or scary imagery that makes you jump in your seat; they use elementary theatre magic to get you there in the most clever of ways. I quite enjoyed the play’s return to the basics of modern drama and theatricality and the way the characters shaped the story. It was a unique quasi-meta theatre approach that made the show more tangible/personable for audience members, and probably a tad less terrifying. I also liked that it was a story about processing trauma, and using art to get through something one might be struggling with emotionally or mentally. I’ve noticed myself doing that a lot this year, and it’s proved effective.

Bradley Armacost and Adam Wesley Brown (Photo by Roger Mastroianni)

I know that’s not a ton of information but I really don’t want to give much away. I’ll just say, you might never be so spooked in a theatre, so check it out Stephen Mallatratt’s adaptation of Susan Hill’s The Woman in Black running at the Pasadena Playhouse through Sunday November 11th. A friend of mine said her friend refused to join her for the show because she heard it was too scary. It’s not. It’s just scary enough. So don’t let that scare you ; )

Bradley Armacost and Adam Wesley Brown (Photo by Roger Mastroianni)

American Saga: Gunshot Medley Part 1

This has been a crazy month for theatre. Lots of new shows opening, seasons beginning, friends’ plays running and lots of invites to even more shows stacking up in my DMs. Meanwhile, I’m trying to to keep my nose to the grindstone on editing the second draft of my one act play, the third draft of my full length play and pitching about four different projects for potential production. Gotta make that theatre, even when there’s no time. You make the time baby. So on one hand, I’m surprised we’re already more than halfway through September, but also kind of not? However, I knew I had to bend over backwards to catch Dionna Michelle Daniel’s latest, American Saga: Gunshot Medley: Part 1. because 1) I’m a BIG fan of her contributions and diligence to shifting the dynamic of the LA theatre community (a lifetime goal of mine) and 2) this show was pretty much already the talk of the town, after only one weekend of production.

Because it was a Monday night pay-what-you-can performance, the theatre community really TURNED UP for this show. Sprinkled throughout the audience were notable theatre artists from the Echo, Boston Court, A Noise Within, South Coast Rep, Center Theatre Group and of course a number of Rogue Machine’s own. The place. Was. Packed. I could feel that people were excited to watch this show.

This first play in Dionna Michelle Daniel’s series American Saga is reminiscent in style and subject to Suzan Lori Parks Father Comes Home From the War, Parts 1, 2 and 3. So it’s no surprise to find acclaimed theatre artist and Father Comes Home From the Wars veteran Desean Kevin Terry directing this fresh new take on the underlying history informing America’s still lingering racial inequality. The lyrical flow of the piece melds comedy, history, drama, movement and music into a piece of theatre magic that is sure to affect audience members in many different ways. This isn’t exactly what I would call a “call & response” piece, however, I loved that I could hear the audience reacting a good number of times throughout the show. And yes, I was one of those people. Dionna’s writing is a truthful yet simultaneously provocative exploration of something we are all trying to make sense of, something we need to be aware of before we can begin to solve the problem. Because realizing the problem is the first part of finding the solution.

I especially loved the way contemporary music was woven into an otherwise historical setting. The Logic number was a total treat and pick me up moment that had, I’m pretty sure more than just me dancing in the seats. But we see this idea of clashing time periods presented again with characters from our historical past finding and having to clean up our contemporary, mostly branded garbage. That’s what stuck with me most from this play, the reverse analogy of African American ancestry cleaning up our messes, our mistakes, our racism. Flip that on it’s backside and you begin to open your eyes to how African Americans today are still paying the price for the irreversible effects of slavery. You hear the names, names we have heard on the news and seen in the papers, of modern day martyrs of the cause. Or not even the cause, just human beings trying to live their lives like everyone else, denied their right to life. It’s hard to watch for that reason, but that’s good because this is something we often don’t consider. Everyone needs to see this play.

Make it happen. Catch American Saga Gunshot Medley Part 1 through Sept. 23rd as the final production at Rogue Machine’s MET space before they move over to the Electric Lodge in Venice. OR support the show in Watts at the WLCAC Theatre from Oct. 5-14. Definitely one to file under “Woke Plays” in your theatre-going catalog. Also note that there are two casts for this show, which may result in wanting to see it more than just once.

Ain't Too Proud

I need to be upfront and say that I love Motown. About two years ago, I almost exclusively listened to Motown: The Four Tops, The Supremes, Smokey Robinson & The Miracles, Marvin Gaye and of course, The Temptations, among many others. It was music I could imagine to, my contemporary world exploding into the passion, freedom, romance and style of the 60s and 70s. It was, all the feels, music that connected you to another person just by groove'n. It was fun and funky, honest and political, but sexy as hell. It was music anyone could move to, groove to, no matter what your dance skills were. This music brings me joy. And I know I'm not the only one.

Ephraim Sykes, Jeremy Pope, Jawan M. Jackson, James Harkness and Derrick Baskin. Photo by Matthew Murphy.

When my father was a 16 year old punk bum'n around Sharon, PA with his crew, one night he crept into his half asleep older brother's room. "Hey Johnny...can we borrow your car tonight?" he asked. Johnny made some type of noise, that my father wishfully interpreted as a "yes." Dad and his boys bolted out of the house, hopped in the Pontiac GTO (arguably America's first muscle car) and set off on an hour and a half drive to Celveland, OH. It was 1968 and The Temptations were playing the Penthouse Club in Cleveland, OH.

Christian Thompson, Saint Aubyn, Ephraim Sykes (center), Jeremy Pope, Derrick Baskin and Jawan M. Jackson. Photo by Matthew Murphy.

Flash forward to August 2018, when I am attending opening night of the LA premiere of The Temptation's new bio-musical, Ain't Too Proud. While watching their story unfold, I learn that the concert my dad attended was the night that David Ruffin didn't show up at his own performance, bailing to watch his new girlfriend, Barbara Gail Martin (daughter of Dean Martin), perform at another venue. Despite his unearthly talent, that incident was the group's deciding factor to finally kick him out. Dad on the other hand, didn't recall any of that drama. His memories went elsewhere. "We were the only white people there. But everyone was so welcoming of us. Everyone was having a good time, dancing together. It didn't matter. It was about the music. And everyone knew that."

Ephraim Sykes, Jawan M. Jackson, Jeremy Pope, Derrick Baskin and James Harkness. Photo by Matthew Murphy.

As you may have read in previous entries, Jersey Boys is kind of my theatre guilty pleasure, I'm obsessed. At first glance, this production may seem like "the black version" of Jersey Boys however...I would argue that it's even more polished, mature, consistent and musically just... a mind-blowingly powerful production. For those of us that never got to see The Temptations perform in real life, listening to the music and falling in love with it is one thing, but watching the way these actors transform themselves and the music is another. This might be the most talented ensemble I have ever seen; every moment of this show is jam packed with performer magic. Sergio Trujillo's choreography not only enhances the story, the era and the general groove factor, but elevates the talent of the cast to a whole new level. There were a few dance moves executed that prompted an audible "mmmmmmm" from my lips. I could imagine myself there, watching these boys perform their hearts and souls out, like I was standing in the back at that same show my dad saw in Cleveland. This time travel would not be possible without Robert Brill's scenic design, and of course Peter Nigrini's projections. In the most simple, yet incredibly powerful way, the design team as a whole transports you to the fashion, politics, mood, delights and struggles of the era. I was honestly very impressed by how much the design elements lended themselves this historic storytelling.

At intermission, I got a text from my friend Nardeep who was sitting in the orchestra, while I was up in the mezzanine. 

Nardeep: I hope you're enjoying it!!

Me: Next time I come see this, which I will be seeing this again, multiple times, I will request to sit in the back row so that I can dance the whole time.

So yes, I will definitely be bringing a few different people back to experience this truly phenomenal production. Similar to Jersey Boys, watching how this now iconic group struggled against the discrimination and political tension of the times to have their story, their music be heard, was completely inspiring. It never gets easier. But when we have a story to tell, or a song to sing, we just can't give up. I needed a reminder of that message this month. And that message delivered through this music...can I get an Amen?

Ain't Too Proud runs at the Ahmanson through September 30th before making it's way to Toronto and then Broadway. It's basically impossible for me to see past my undying love for this music, so I'm very interested to see how this piece of theatre lands with a Broadway audience. The woman sitting next to me could testify that I was dancing in my seat for the entire show and knew every single word to every single song. Hopefully that added to her experience. I loved it, and nobody's opinion can shake that. This is one of the best pieces of theatre I've seen in a while. Fingers crossed that it lands well with everyone else and really cleans up during awards season.

Pump Boys and Dinettes

It's not too often that I find myself in Sierra Madre, but because my director friend Allison Bibicoff had been working so hard on directing their latest production, I braved the trip out across the 134. #westsideproblems

(L to R) Cori Cable Kidder & Emily Kay Townsend

Allison has an extensive theatre background in almost everything. LA theatre, New York, musical theatre, drama, choreography, new works: the list goes on and on. As theatre goers, we experienced some fruitful shop-talks after visiting a number of productions together earlier this year. As a theatre nerd, I can confidently say that she really knows her stuff; I have Allison to thank for introducing me to Rogue Machine, whose work I have been consistently impressed with. A few months ago I watched a staged reading of a drama that she directed at the Sierra Madre Playhouse; the content could not have been more drastically different from the show I was about to watch. 

(L to R) Cori Cable Kidder, Sean Paxton, Michael Butler Murray, Kevin Tiernan, Jimmy Villaflor

Pump Boys and Dinettes is a countrified bandstand style musical about a gas station/dinette somewhere between Frog Level and Smyrna, North Carolina. I was nervous about how the country vibe might fare with a "too cool for school" LA audience, but it was clear from the packed house of both loyal SM Playhouse peeps and word-of-of mouth newcomers that everyone was down to clap and tap their toes along with the twang'n country/rock beats. As an LA girl with a guilty pleasure for country music...as hard as it is for me to admit it, I was down for the ride through the rest stop, so to speak. 

(L to R) Emily Kay Townsend and Cori Cable Kidder

The musicianship displayed in this production is incredibly impressive. I'll start with the fact that most of the cast are playing their own instruments, insanely well and passionately at that. Wow. Secondly, this is not easy music, you've got to nail the swift rockabilly tempos in order to honor the integrity of the score. And the cast not only does that, but lands some stunning harmonies. The show is built to allow each character their moment to shine and it's easy to latch on to a favorite. Plus the ensemble uses some theatre magic that collectively makes these people completely adorable, and I mean that in the best way possible. They wholeheartedly welcome you and they want you to have the time of your life with them.

This is a show that you can't keep from rock'n in your seat too. It brings you to a place far from LA where things are simpler and you don't have to worry about how straight your hair is or how many carbs are in the pie they're serving you. That's what I loved most about this show, that you're transported to a place of working-class simple pleasure, inhabited by some freakishly good musicians. Luckily Pump Boys and Dinettes has been extended for two more weekends though August 12th, so definitely make the trip over to the Sierra Madre Playhouse for this sweet escape.

The Humans

Sometimes it's refreshing to take a "non-theatre person" to a show because it brings you back down to earth of what it must be like to just watch a story happen. And not be distracted by thoughts about the money and the hierarchy and the misogyny that went into creating it, you know?

This was Brandon's first visit to the Ahmanson and he was very excited about it; how precious is that? By day (and sometimes night) Brandon is a photographer's assistant, and a damn great one at that. And he's big into music, like crazy knowledgeable and a top shelf DJ. So naturally, venues are muy importante to him too. But you know, because I'm a theatre nerd and I can't help myself, on the way to the show I asked him if he had any idea what his favorite play was.

BRANDON: Hmm. Maybe Fiddler on the Roof? Or The Who's Tommy, is that a play? My school once did a great production of Little Shop of Horrors."

BELLA: Oh. Oy vey. Ok. You like musicals. 

L-R: Reed Birney, Cassie Beck, Jayne Houdyshell, Lauren Klein, Sarah Steele and Nick Mills in “The Humans” at the Ahmanson Theatre presented by Center Theatre Group. Written by Stephen Karam and directed by Joe Mantello, “The Humans” will run through July 29, 2018. Photo by Lawrence K. Ho.

Despite my initial concerns, later we both agreed that the show was pretty amazing. However, I think I set my expectations just a tad too high. A little over a year ago, I read this contemporary, real-time piece about the Blake Family Thanksgiving and pretty much had a transformative experience. I LOVE this play, and that is probably an understatement. On July 4, 2017, I sent a letter to the playwright's literary agent in hopes that the letter would be passed on to Stephen Karam himself. The gist of the two handwritten pages was, "I know you already know this since you already won a Tony Award, but this play had an exceptional impact on me and here is why and you probably hear this everyday but you probably should and do for a reason." I also expressed interest in auditioning for the play when it traveled to LA. I never heard back, but that's ok.

Sarah Steele and Cassie Beck in the New York production of “The Humans.” Photo by Brigitte Lacombe.

On the drive home Brandon and I discussed what drew us into the play. We agreed that we were most on board with the father's character and what he was going through. It was also interesting to find that Brandon, along with my aunt and uncle who had watched the play the previous evening, all spent more time focusing on how Rich (played by Nick Mills), Brigid Blake's (played by Sarah Steele) "older" boyfriend, tries to make a good impression on what could become his longterm extended family, while I was much more focused the socioeconomic divide he unintentionally establishes in the play. That was everything to me, because I supposed I tend to focus on that a lot in my friendships and I guess that is not always the best mindset to be in. On a different note, the portrayal of the familial relationships within the Blake family is just breathtakingly honest and beautiful. This play reminds me of times when my parents have tried to help me or teach me something and I'm like, "No, you don't get it, you don't understand," and they might not, but they do know something bigger, something that I haven't comprehended yet, and they do love me and want to help me.

Reed Birney and Jayne Houdyshell in the New York production of “The Humans.” Photo by Joan Marcus.

I was contemplating not seeing this play because I didn't want to tarnish the image I had contrived in my imagination when I read it the first time. But because it was the original Broadway cast (and if it couldn't be me, then let it be the OBC) bringing back what they did in Joe Mantello's original direction of the play, I decided to take a chance. So, back to what I was saying about my expectations being too high, there were a few moments that fell short of how they had landed with me on the page in this production. But also props to the production for maintaining an incredibly naturalistic, believable flow and delivery of the script's messages. But also...considering that I had that reaction in the aftermath...I have some motivation to see what I could do with this piece in the future. Which, on one hand, I feel totally unqualified to say something like that, but on the other hand, dream big, right?

This is one of the best pieces of theatre I have ever read, and I feel lucky to have seen it performed this summer with the original Broadway cast. Don't miss your chance to do the same; The Humans runs through July 29th at the Ahmanson. However, after dragging Brandon to Coeurage Theatre's opening of Slaughter City and then this charming dark comedy, I told him that he had earned a musical for our next theatre outing.

Soft Power

I was really glad Chloe was in town for one of the most anticipated LA theatre projects of the year, David Henry Hwang's obscure play/musical Soft Power. I had already heard from a number of different "theatre people" that the show was awesome. However, when it was first described to me...I thought OK. This is either going to be horrible or amazing. Talk about a big risk, plot-wise. The first quarter of the show is a play about David Henry Hwang, played by Francis Jue (I seriously loved him in King of the Yees and also in this), meeting with a Chinese film executive Xue Xing (played by the dreamy Conrad Ricamora) about collaborating on China's next big blockbuster. It's 2016, and the two also get the opportunity to go meet the then-running presidential candidate Hilary Clinton at a donor event at Music Center, the very place where you are watching the play in the present moment. The rest of the show is a musical lucid dream structured though the Chinese perception of American media portrayal and politics. Do you understand my reaction better now?

Conrad Ricamora and Alyse Alan Louis in the world premiere of David Henry Hwang and Jeanine Tesori’s “Soft Power” at Center Theatre Group/Ahmanson Theatre. Directed by Leigh Silverman and choreographed by Sam Pinkleton;

"Democracy has broken my heart."

So yeah, you get to intermission of this show and you think to yourself, what the f&%$ just happened? And not necessarily in a bad way, you've just A) never heard this story before and B) never seen a story presented this way, on a number of levels. As far as production content, the ensemble is incredibly strong, with DHH's trademark kooky-smart comedy style giving everyone a little shining moment. Their dancing was on point, nailing Sam Pinkleton's winning choreography. But that Conrad Ricamora in the role of Xue Xing...now there's a gorgeous man with a gorgeous voice, holy cow. I wrote this down in my notebook numerous times in numerous ways while watching the show. Besides probs being a little young, I think he played the role perfectly <3 Setting the bar for a new play/musical is a huge undertaking and I do believe the performances were very strong across the board. 

Maria-Christina Oliveras (obscured), Geena Quintos, Billy Bustamante, Conrad Ricamora, Jaygee Macapugay, Jon Hoche and Daniel May in the world premiere of David Henry Hwang and Jeanine Tesori’s “Soft Power” at Center Theatre Group/Ahmanson Theatre.

OK so look, I am a big fan of the Leigh Silverman/DHH ongoing theatre collab. Chinglish is one of my favorite plays and the only show I have seen twice on Broadway. I was a little obsessed for a minute there, with my Jennifer Lim biography project for my Asian America Theatre class. Am I as obsessed with Soft Power? No. BUT, David Henry Hwang really blows the genre out of the water with this unparalleled production. And we need more productions like this, to act as litmus tests so that eventually, we really can transform the American theatre with work that pushes bouandries in this way.

Conrad Ricamora, Austin Ku, Francis Jue, Geena Quintos, Billy Bustamante and Raymond J. Lee in the world premiere of David Henry Hwang and Jeanine Tesori’s “Soft Power” at Center Theatre Group/Ahmanson Theatre.

Out of our three visits to the theatre that weekend, Chloe said that Soft Power was her favorite. Each show we watched was so extremely different that I'm not sure I could nail down a favorite, but I did agree that this was the crazy, out-there political show LA theatre needed to step out with this summer. Maybe it didn't need to be done on such a huge budget at one of the state's largest theatre venues, but on the other hand, maybe it did. Maybe the general market needed to see that level of investment so that someday shows as out-there as this one could be the norm. It gives me hope how, based on where we stand in our political climate, that organizations might be more willing to invest in shows as imaginative in content as this one. As the show would testify, unfortunately it takes a lot of money to change the world. Soft Power by David Henry Hwang with music and additional lyrics by Jeanine Tesori ran at the Ahmanson Theatre in downtown LA from May 3-June 10th. The show is now currently running at San Francisco's Curran Theatre through July 8th. 

Bordertown Now

The next stop on our weekend LA theatre tour was a very festive opening night at the Pasadena Playhouse. I told Chloe that I was super excited for her to get a taste of Culture Cash, one of LA's most esteemed performance groups. These guys have been shaking up the theatre community forever it seems, unabashedly cultivating their own style though voicing very local issues that have punched audiences in the gut for years. In fact, it had been twenty years since the original production of their ever-poignant Bordertown. Now we found ourselves at the tremendously gorgeous state theatre of California for opening night of their fully reloaded, updated and more culturally relevant than ever: Bordertown Now.

(L-R) Culture Clash’s Ric Salinas, Herbert Sigüenza, and Richard Montoya in Bordertown Now at Pasadena Playhouse. // Photo by Philicia Endelman

Out of the patio, people were everywhere: sipping margaritas, chatting up artistic staff, posing on the red carpet. I've said it before, the Playhouse knows how to throw an opening. But this one was exceptionally hopp'in. The true LA theatre elite turn up for Culture Clash, and renowned director Diane Rodriguez. Culture Clash, composed of life-long buds Richard Montoya, Herbert Sigüenza and Ricardo Salinas, never fails to bring on the political satire in a way that rolls out a lot of laughs while hitting just close enough to the heart to make a difference. They have truly perfected the art of making an audience uncomfortable enough, yet hopeful enough that we have the tools and the power to change our society. And Diane Rodriguez, fierce renegade of the Latino-American theatre community, could not be a better person to help these guys make the urban theatre magic happen.

 (L-R) Culture Clash’s Herbert Sigüenza, Richard Montoya, and Ric Salinas in Bordertown Now at Pasadena Playhouse. // Photo by Philicia Endelm

I have only seen two Culture Clash production during my short time in LA theatre, however, I will say that I had more fun at the Chavez Ravine reboot. Yes there is certainly comic relief in Bordertown Now, but this one leans so much on the politics and history that there's a bit of a more timely message present. The show definitely raised my awareness for what's going on at our borders. I had never really considered the immense amount of perspective toeing that borderline, on both sides. The violence and the hate stems from fear. On both sides. Hmm. The show also made me want to understand this dilemma more, through research and asking more questions, from both sides of the spectrum. This is theatre that makes you question your world views and why you lean the way you do. 

We can build a wall, but that won't keep our kids safe from other kids.

Sabina Zúñiga Varela in Bordertown Now at Pasadena Playhouse. // Photo by Philicia Endelman

If you're a fan of Culture Clash, make sure you make your way over to the Pasadena Playhouse this weekend to catch their latest, greatest revamped remount: Bordertown Now. Take a step into the "new" wild west and ask yourself what we can do to raise awareness for just what happens at the border. These guys did. And with all the craziness going on in this country right now, you'll be glad you did too.

Wood Boy Dog Fish

For my first visit to Burbank’s infamous Garry Marshall Theatre, I was completely stoked to be reunited with my old friend Chloe. Although Chloe is a number of years younger than me, we both grew up putting on community theatre together at the Theatre of Western Springs. As a recent DePaul Theatre School graduate, Chloe is out in LA for the summer working with the Kingsmen Shakespeare Company. When she reached out to me asking if we could spend the weekend acclimating her to the LA Theatre community, I could barely wait to show her some of my favorite venues as well as use her as an excuse to check out some I had been meaning to explore myself.

Wood Boy (Rudy Martinez)) and Geppetto (Ben Messmer). Photo by Chelsea Sutton

Our theatre itinerary for the weekend was incredibly diverse in content: Wood Boy Dog Fish by Chelsea Sutton at the Garry Marshall Theatre in Burbank, Soft Power by David Henry Hwang (music and additional lyrics by Jeanine Tesori) at the Ahmanson and Bordertown by Culture Clast at the Pasadena Playhouse. As for our jumping off point, once you’ve seen a show by the award-winning Rogue Artists Ensemble you know there’s nothing like a Rogue Artists Ensemble production. It’s clear why Chelsea Sutton’s Wood Boy Dog Fish is back up from the Bootleg Theatre for a more traditional-space remount at the Garry Marshall. But don’t be fooled, there’s almost nothing traditional about this show. This contemporary adaptation of Pinocchio flipped on its backside caters to your whole emotional pallet, fully loaded with one surprise after the next. Sean T. Cawelti, Rogue Artist’s artistic director and unearthly talented puppet designer has established the company's already infamous reputation as the resident LA theatre community puppet masters. This holds incredibly strong in this production from costumes to craftsmanship to music & set design.

Take Kawasaki in an especially strong performance as Blue. I love her voice and I love the raw curiosity and authenticity she brought to this iconic character. Photo by Chelsea Sutton.

BLUE: Everything you're trying to ignore is always waiting inside.

Chloe and I had an amazingly wonderful time at this show. I feel like 2018 so far has proved to be a very innovative year for LA theatre, because I can once again say here on this site that you won't see any shows quite like this one elsewhere. The play features mature themes and dark elements seemingly more suitable for adults. It is scary and you will have a lot of feels! However the love was real in the audience that night because there was a kid in the second or third row who was so audibly loving everything about this show. This kid's reactions gave the audience permission to go there emotionally, receiving the humor, the drama and the weight of the story-world whole heartedly. It was a beautiful reminder that we can all benefit from a puppet show every once in a while, no matter how young or old we are. And trust me, that means a lot coming from someone who doesn’t like puppets!

Fox (Amir Levi), Fire Eater (Keiana Richàrd) and Cat (Tyler Bremer) in Rogue Artists Ensemble’s Wood Boy Dog Fish at the Garry Marshall Theatre. Photo by Chelsea Sutton.

As a whole I was really impressed with the way themes of Pinocchio (a story I wouldn't normally care for) were adapted into real-life, present-day, adult struggles in this fully-committed freak world. But I think that works because these struggles we face are life-long; they're there in childhood, they're there in adolescence, adulthood and seniority. And it's scary, but also kind of beautiful. Wood Boy Dog Fish runs at the Garry Marshall through Sunday June 24th. Get your tickets while you can and do bring friends for this immersive, riot of a fairytale. This show is sure to touch each audience member in their own special, personal way.

For the Love Of

Alex is an awesome, awesome theatre guy that I would love to spend more time with, but our schedules and geography are always pulling us in polar opposite directions. He's got a rigorous schedule at Cal State LA and I'm, you know, galavanting all across the LA theatre community every chance I get. So I was totally stoked that we FINALLY nailed down meetup for Theatre of NOTE’s completely female run production of Gina Femia’s For The Love Of. Also stoked to be seeing the work of one of my new favorite LA directors, Rhonda Kohl, who never stops creating and is really making her mark on the theatre community. I’m a big fan of the diversity of her work as well as the way her style stays true to herself in the content she chooses. You GO girl!

The company stars in Theatre of NOTE's West Coast Premiere production of "FOR THE LOVE OF (or the roller derby play) by Gina Femia, directed and choreographed by Rhonda Kohl and now playing at Theatre of NOTE in Hollywood. Photo by Darrett Sanders

We had no idea what we were in for, so the surprise ahead was absolutely thrilling. I got a little sentimental while waiting to use the bathroom in the tiny venue, which is literally attached to the stage. This was where I put up my very first Hollywood Fringe Festival show, and as crazy as those days were, I do miss those days. The space is important here though, because Rhonda's team really transformed the little joint. I was skeptical going in that a play about a rollerskating rink could happen in this...little room. But oh boy does it! Design-wise they really transformed the space and drew the audience closer to the action, which again, there is a lot of. You kind of need to jump in just to know what I'm talking about here!

 Foreground - Jenny Soo, Liesel Hanson, Cassandra Blair (with the company) star in Theatre of NOTE's West Coast Premiere production of "FOR THE LOVE OF (or the roller derby play) by Gina Femia, directed and choreographed by Rhonda Kohl and now playing at Theatre of NOTE in Hollywood. Photo by Darrett Sanders

The ensemble of For the Love Of is key, and kills it in this production. Every girl matters and this cast has proved it. As someone who has had a secret little dream of becoming a derby doll for a little while now, the team really nailed the roller girl aesthetic, from physicality to fashion to vocal delivery. Everyone in this cast is committed to the game in a major way. But I would also like to make a shoutout for the heartfelt, emotional performance of Crystal Diaz; I was always drawn to her time on stage. The choreography was also exceptional. I can't even begin to imagine the hours of rehearsal to make it look as clean, sharp and authentic as it did on opening night. Rhonda’s background in dance combined with a detailed study of the roller derby environment really shines through in a way that you have probably never seen on stage before. These girls work their asses off, bringing the reality, roughness and relationships of the rink even closer to the audience.

(Foreground) - Crystal Diaz, Cassandra Blair, Alina Phelan (with the company) star in Theatre of NOTE's West Coast Premiere production of "FOR THE LOVE OF (or the roller derby play) by Gina Femia, directed and choreographed by Rhonda Kohl and now playing at Theatre of NOTE in Hollywood. Photo by Darrett Sanders

Theatre is not easy. And seeing this show reminded me of that in a different way than I am used to. Instead of sitting around a living room, weeping, spewing emotions (which again, is my typical, BORING taste in theatre) these girls use their bodies, their brains and their voices to tell this story. The text of the play makes clear that everyone has a different story, that everyone rolls for a different reason. Good to remember, when comparing yourself to others in any industry.

No better feeling than finding an ad for the show I'm producing in the program at "For The Love Of!" We open this weekend so come check us out, AFTER you go see "For The Love Of" cuckoosnestla.com

For The Love Of has been extended for an additional two performances at Theatre of NOTE through Tuesday May 29th. You've got just TWO more chances to catch these bad-ass babes tear up the rink, so don't miss out!

Die, Mommy, Die!

As the third and final component of the Kirk Douglas Theatre’s Block Party series, I was excited to see where the content was headed next. Knowing that Charles Bush’s Die, Mommy, Die! involved a nod to the zainy melodramas of the late 60s, I was totally on board. This is one of my favorite moments in history. So much so, that I started prepping by listing to “Ultra-Lounge/Tiki Sampler.” And got really into that. But seriously, it’s a great album with a lot of variety that makes you feel totally qualified for a Mai Tai out of an extra tall tiki glass. 

Drew Droege, Julanne Chidi Hill (background), Pat Towne and Andrew Carter with audience members (seated on sofas). Photo by Craig Schwartz.

Anyway, I went to the show with my writer/musician/musical theatre composer friend Ben. You may remember him from my other theatre adventures; he really is the best. What’s more is he also has a big appreciation for 60s culture. He had no idea going into it that the show was a roarous comedy, so he was completely taken by surprise. We LOVED it. What a refreshing, simply fun ride at the theatre. Really, after seeing hundreds of dark dramas always out to make some type of deep political statement (and believe me, I love that) this was a really nice break! Drew Droege as the unsinkable Angela Arden, the strong female lead, is a tour de force. From his finely timed humor to every inch of his physicality, Mr. Droege’s transformation and interpretation of Angela is another level of commitment to character. I would say more, but you’d best be surprised. We also love, love, loved Tom DeTrinis as Lance, Angela’s larger than life flamboyant son. Such smart variety in his performance from vocal to physical. Every scene he was in, he made phenomenal. And the costume design truly adds to the already over-the-top humor. Angela’s ensembles are ab fab, but I saw more than one pair of men’s flairs I wanted to snag. Zing!

Drew Droege and Tom DeTrinis. Photo by Craig Schwartz.

"Make it big, give it class, leave ‘em with a message." -Edie, reciting Sol’s motto

After the performance, I ditched Ben and stayed after to conduct a discussion with the rest of the staff regarding potential post show discussion topics for the rest of the run. As hard as we tried to search for deeper messages within the play (and we did find a few) it really just comes down to a riotous evening of theatre, full of hilarity and homage to the swing’n sixties. The way this show pokes fun at this era of film and entertainment though many iconic styles of comedy makes for an incredible ride full of laughs. It didn’t necessarily make me want to change anything substantial about myself. However as a theatre maker, I was inspired by Charles Bush’s completely individual style, and his way of bringing the things he loves best into the text of his plays. I was reminded me that, sometimes it’s ok to just write about the things you like, to honor yourself and your spirit, whether that be of the 60s the present or something totally out there.

Julanne Chidi Hill, Tom DeTrinis and Drew Droege. Photo by Craig Schwartz.

This is definitely one of the most fun plays I’ve seen all year. If you can, get yourself to Culver City for one of your last chances to see this production. You only have a few more days to catch Die, Mommy, Die! as it closes this Sunday May 20th at the Kirk Douglas Theatre.

Ameryka

When I found out this play was chosen for remount at CTGLA's Block Party, I cracked open the script, read about three pages and then discreetly placed it somewhere near the bottom of the pile on my desk. It was not exactly easy to follow on paper. But theatre is meant to be performed, so I gave it a rest and waited until showtime.

Richard Gallegos, Valerie Spencer, Nick Santoro, Lorne Green, Liza Seneca, Russell Edge, Ray Ford and Curt Bonnem. Photo by Lawrence K. Ho

Sometimes I miss the days of seeing plays by myself in New York. When you see a play by yourself, you don't have to worry about what your partner is thinking, if they are enjoying the show or if it reflecting poorly on your taste in theatre. Since starting this website, I have made an effort to bring a guest with me on all my theatre expeditions 1) so that I can expose more people to enjoying the magic of theatre and 2) so that they can take my photo for the site. For this performance of Nancy Keystone's Ameryka, I was grateful to return to the experience of watching a play alone. 

The first thing I wrote down in my notebook was

really beautiful imagery

followed by

I want to be Nancy Keystone.

Liza Seneca, Nick Santoro, Ray Ford, Curt Bonnem, Valerie Spencer and Richard Gallegos. Photo by Lawrence K. Ho.

I was not expecting to like this play. And I ended up loving it. The way Nancy Keystone has established, created and taken ownership of style in this play is something to aspire to. And let me say, this play could not be a father leap from my traditional favorites. I'm a kitchen sink, modern realism, Arthur Miller sometimes Chekhov, mostly drama kind of gal. (Typing that out, it actually sounds boring as hell. I think my style goes much deeper than that, because I like a lot of contemporary British theatre, but that's for another post) ANYWAY, I was surprised by how much I liked this intricately stylized piece. Yes, it is stylized. It caries many stories at a time and it dances from the historical to the fantastical. I never would have dreamed of directing a show like this...until now. But the reason this all works, is that it is grounded. Keystone's choices are fully committed to. Then they get even better because they are well-dressed, well lit and immaculately staged.

I hate to say what happens in Ameryka stays in Ameryka, but this is something I would completely recommend seeing before I go off and try to explain it to you. What I will say is it deals with the Polish revolution of the 1980s, intertwining this fight and struggle for freedom with times American did the same, spanning from the 1700s to the present. If that description already got you off board, then I rebuke that spirit of disinterest and encourage you to get yourself to this show before it closes its very short run this Sunday evening. This run really is terribly short, because way more people and theatre-makers in LA need to see this show. But such is the nature of Block Party.

And look, you may not understand everything that is happening in this two hours and forty-five minutes piece, but you may also be surprised as what is cultivated in your heart as a result of this history, action and design. You might be surprised at what sticks with you.

Valerie Spencer, Liza Seneca and Richard Gallegos. Photo by Lawrence K. Ho.

I would go as far to say that the style and direction of this play has really broadened my horizons to the type of theatre I am capable of creating. As I continue to research and draft for a number of adaptations I am working on this year (be on the lookout!), Critical Mass Performance Group and Nancy Keystone have inspired me in what it means to truly go outside the box while maintaining powerful, effective story-telling. Please adjust your plans and see Ameryka before it closes this Sunday April 29 at the Kirk Douglas Theatre.

Significant Other

I love Josh Harmon. Honestly, who doesn’t? You can bet I like to defy the status quo of popular theatre, but even I am a (huge) fan of Bad Jews, the most produced play in America until its contemporary rival Disgraced by Ayad Akhtar stole its place (recently tipped off the throne by Lee Hall’s Shakespeare in Love). The kid can write. He has a true knack for capturing the contemporary language of my generation and placing it into a context the blue hairs can understand. Everyone has a good time, everybody laughs, a few people cry, and you leave thinking. He challenges our traditional views. The mark of a true American playwright. 

I visited the Geffen's production of Significant Other with Chelsie, an actor friend of mine preparing for her summer ahead at the Edinburgh Fringe Festival (what could be more magical?!). She was unfamiliar with Harmon’s work but intrigued by my passionate description of Bad Jews. Man oh man I am a sucker for Daphna and would love to play that role someday, hopefully soon. And seriously, if you live under a rock and have not seen it yet, run to go see it at the Odyssey Theatre on the west side April 21-June 17. 

JORDAN: Your wedding is my funeral.

Keilly McQuail, Will Von Vogt, Melanie Field and Vella Lovell star in the Geffen Playhouse’s production of Significant Other. Photo by Chris Whitaker.

Anyway, back to Significant Other. As usual, the Geffen delivers a high production quality, pull-out-all-stops piece grounded in timely cultural realities. And Harmon's rapid-fire, truthful storytelling is back for the win. Chelsie and I had tons of fun. We laughed really hard and we related to a multitude of struggles facing the pressures of marriage, the tolls these committed relationships take on life-long pre-existing friendships and the overall insanity/pressures of the wedding industry. 

But leave it to LA Theatre Nerd to return to the text in an attempt to try and understand the moments that seem to distract from the rest of the show. At the beginning of this script, Harmon notes that The scenes of this play should bleed into each other. Because love bleeds. Ugh.

This was not exactly the case as far as scene-to-scene transitions in this production. The flashy, automated set can’t seem to keep up with this loveflow. I think this play might be better suited for their smaller Audrey Skirball space, or possibly an even smaller black box. However the luxurious set design was only a small distraction. Because the text keeps you in. 

JORDAN: She's my friend. Maybe no one would ever be good enough.

This (quote above) is something I have definitely thought in reference to my sister and some of my closest friends. I get it Jordie.

Will Von Vogt stars in the Geffen Playhouse’s production of Significant Other. Photo by Chris Whitaker.

As an artist, my greatest takeaway from this performance was the 110% committed work of Will Von Vogt in the role of Jordan Berman. Wowwwwwwwwww. He. Is. In. It. To. Win. It. What a committed performance that every audience member can relate to on some level. No matter what your age or sexuality. Such honesty. Such truthful humor. Definitely sending Ovation-status vibes to this bright young actor : )

There was a little more to be desired textually from the female characters, however in a way I appreciated Jordan's perspective/viewpoint of his hetero-female newlywed soul-sisters. Their situations are real, yet often the butt of the jokes in this millennial dilemma. On the other hand I liked that each of the woman represented something different in Jordan's life, and their friend-love for him was completely evident. Personally, I felt a bit removed from the play on a socio-economic level, but I appreciated the glimpse into this world, because it is a real world.  Destination weddings are a thing. Spending thousands of dollars just to support a friend at their wedding is a thing. Scary to think that this world could be just around the bend for me, timeline-wise.

JORDAN: When everyone that you're young with grows up, you feel old.

Preston Martin, Will Von Vogt, Keilly McQuail and Vella Lovell star in the Geffen Playhouse’s production of Significant Other. Photo by Chris Whitaker.

For a hearty taste of Harmon, check out Significant Other on the Geffen's main stage now through May 6th. If you like what you see and want a taste of the OG, DEFINITELY check out Bad Jews at the Odyssey. I'm looking forward to seeing Noah James work his magic in that one; great casting!

Sell/Buy/Date

I was not planning on seeing Sell/Buy/Date, but my acting buddy Candace convinced me that this one was going to be worth our time. "I subscribed for a season package, just so I could see this one," she told me, "I watched her on Youtube and I was like '...oh...my...gosh.'" One-man/woman shows are definitely a challenge for both performers and audiences, but I decided to put my faith in Candace's taste in theatre. Plus I will say, the Geffen does hold a pretty impressive track record for one-man/woman shows, at least for the productions I have seen.

Sarah Jones stars in "Sell/Buy/Date" at the Geffen Playhouse. Photo by Chris Whitaker.

And what a fantastic one-woman show it was! After a totally thrilling, though-provoking ride, I was so happy to hear that the show has been extended through April 15th, because a lot of people in LA need to see this show. After the performance, the show's creator and star, Ms. Sarah Jones was very passionate about the $20 rush tickets available for nearly each of the remaining performances and that you have a good shot of nabbing one if you get to the theatre a little early and wait in line. Get'em while you can!

Everybody wants money. Everybody wants sex.

Sarah Jones stars in "Sell/Buy/Date" at the Geffen Playhouse. Photo by Chris Whitaker.

OK, so what makes this show so great? As far as the concept and writing go, you have never seen a show like this, or I even think about this. Never judge a show by its title, because I was completely surprised by the content. Ms. Jones uses her genius imagination to bring us through a fictional (yet highly inspired by actual current events) future where more than one sexual revolution has transpired. Some parts will make you nod along, yeah, that could happen, while others paint a very cringeworthy forecast of where our country could very well be headed. On that note, the characters she uses to convey her story all have stories of their own. No viewpoint is disregarded. The show represents people from all walks of life ranging in ages, nationalities, socioeconomic backgrounds and beliefs. From a performance perspective, Ms. Jones's transformations are absolutely out of this world. After the show I discussed with Candace how you can hear adjustments she's making with her throat for each character's unique voice; she goes that deep. Her ability to instantaneously switch back and forth from character to character is beyond human ability and her accent work is something to aspire to. No matter what character you end up relating to, there is so much to learn from the drastically different experiences of these characters. I for one, found their stories very educational, on both a cultural and emotional level.

This piece is a bit short and sweet because I love this show and I also don't want to spoil the surprise of what you're in for. What I can say is that you probably haven't ever seen anything like this and you probably should. Do your best to catch Sarah Jones's Sell/Buy/Date at the Geffen Playhouse before it closes on Sunday April 15th. And bring a friend along, because this is one you will want to talk about : )