District 798

Hey all you beautiful theatre people. This will probably be the most brief piece I ever write, and if you want to know why then you have to go see District 798 at the Think Tank Gallery in DTLA before it closes this weekend. If you're not going to see it, that's a shame, and you can just call me or email me and I'll tell you why. Unless you plan on seeing it in another city, then don't ask me.

I was totally blessed to watch this show with Nardeep Khurmi, one of LA's most promising theatre/cinema artists. It was an honor just to talk with him and digest the performance afterwards. Even though he considers himself more of a filmmaker, he has already become a very present and important voice in the LA Theatre community. And I'm not the only one that has noticed that; a number of other patrons, fellow collaborators and theatre artists greeted him during our time at the gallery, asking about his latest projects. The accomplishments he's made in such a short amount of time are astonishing, but in a good way. His progress has certainly inspired me (while equally intimidating me simultaneously). He's one of those people you're flattered would even take the time to talk to you. Yeah ok, I'll stop swooning before this becomes a sonnet praising the artistic achievements and philosophies of Nardeep...

ANYWAY, the Think Tank Gallery is known for pushing innovative, current content in many different forms, from visual art, to theatre to performance art and beyond. I had been there once before a year ago for a workshop on theatre of the oppressed put up by Emerging Arts Leaders Los Angeles (which is also an organization that I am a part of). For District 798 devised by Christopher Chen with Firefly Theatre & Films, even though it was still a visual art gallery set up in essence, the space looked completely different than the way I had seen it before. I will say that you need to go see this show in its final weekend, Thursdays through Sundays at 7:30PM through December 10, and I apologize that this doesn't leave you much notice or time. "Apply" for tickets here and you will receive a message and survey as they become available.

But that's about all I can say. Have fun, keep an open mind and let me know what you think. Oh, and don't forget to wear black and white.

Something Rotten

This particular Tuesday evening I was honored to turn up at the Ahmanson for opening night of Something Rotten with some of the best of my girl crew: Zoë, Kaitlin and good old Brenda, bless her heart. This time I went for more of a country-chic look: pretty minimal makeup, with hair once again by the incredibly talented Michelle Burchelle. I received so many compliments on my hair that evening, and after three beyond successful opening night hairdos, I’m definitely obsessed. I want her to do my hair every day. I’m so spoiled by her art, and she is a true hair artist!

Josh Grisetti and Rob McClure with the cast of Something Rotten. Photo by Jeremy Daniel.

It was a to treat to watch this show after seeing Spamilton just a week earlier. Spamilton is a fantastic musical parody, while Something Rotten does a clever job of weaving America’s obsession with contemporary musicals into its own upbeat tunes. Personally it’s not my favorite style of humor, but I could understand why 1) a musical theatre person 2) a Shakespeare person or 3) a family could really get a kick out of this show. Although I do wonder if kids may be out of the loop on the jokes referencing Shakespeare or even the renaissance genre for that matter. There is definitely a market for this type of musical. I mean, obviously, CTG is running it for their holiday show at their largest venue. The show is ridiculous, but it’s very aware of that, beckoning you to join in its merriment. Brenda and I (we sat together in the mezzanine and I don’t know where Zoë and Kaitlin ended up) would have to say our favorite part was the tap/verse battle between Shakespeare and Nick Bottom. Their comedic timing balanced with the choreography was absolutely hilarious. Also, it would appear that everyone in the show was a pretty outstanding dancer, principals and chorus alike.

Adam Pascal, photo by Jeremy Daniel.

Despite that the stye of the show was not exactly my cup of tea, there is something to be said for the themes and ideas presented in this cooky story. As a playwright, I empathize with Nick Bottom's frustration with Shakespeare's popularity. He asks what it takes to be noticed, and to be seen. He asks if Shakespeare's work is really that good. I've definitely been there and asked myself what it takes to get a play noticed by someone with enough money to send it to another level. Nick ponders just how Shakespeare got so freaking popular, in a time where word traveled slow: no social media, no TV, no telephones. Life is so not fair. On an even weirder note, as I continue to fine tune the second draft of my full length play, I was inspired by the two comic love interests to strengthen the romance between my two romantic characters! The intensity of the necessary bond between Nigel and Portia was certainly unusual, but truthful, and caused me to realized how I needed more magnetism and undeniable chemistry between the two characters I am currently writing about. 

Rob McClure and Blake Hammond with the cast of Something Rotten. Photo by Jeremy Daniel.

It may not have the intensity and timeless reputation of a Shakespeare play, but it's certainly going to keep you giggling.  Something Rotten runs at the Ahmanson through December 31st. If you’re looking for a fun, current show to escape from seasonal disorder for two hours, bring a friend and enjoy a generous helping of solid belly laughs.

King Charles III

It had been a hot minute since my last visit to the Pasadena Playhouse. Not since February for Al Pacino's highly anticipated performance in God Looked Away to be exact. Pasadena is a bit of a hike from my typical west side haunts, but since it had also been a while since my last time watching Adam Haas Hunter perform, I was further inspired to make a return. Also another major incentive is that I'm obsessed with the avocado (w/ beans, no cheese) burritos at Lucky Boy, a divey little burrito joint off Arroyo Parkway. The are also famous for their breakfast burritos, served all day, and their homemade salsa/sauce. I'll never leave Pasadena without scooping up one of those addicting little avo bad boys with a side of fresh onion rings and a medium Coke. Even if it means saving it for lunch the next day. Absolutely delish.

Jim Abele killing it as Charles. Surrounded by Meghan Andrews, J. Paul Boehmer, Laura Gardner, Adam Haas Hunter and Dylan Saunders. 

Ok, so before my whole piece on Mike Bartlett's King Charles III becomes an ode to Lucky Boy, let me get back on track. I was lucky enough (lolz) to attend the opening night performance complements of my friend Emily who was working as a production assistant on the show. I was accompanied by my good friend Ben, a Pasadena local who is both a teacher and musical theatre artist. Ben is a very creative, peaceful, motivating guy and as another theatre practitioner,  I love hearing his options and feedback on the shows we visit. Also Ben understands and honors my obsession with Lucky Boy. I need more friends like that in my life.

William and Kate, played by Adam Haas Hunter and Meghan Andrews. I miss Adam's beard. He says he misses it more. But that's the type of sacrifice this champion of the American theatre is willing to make for the sake of his most excellent performance.

Moving right along, my greatest takeaway from this show was the experience of watching real historical figures, who are still alive, living on stage under imaginary circumstances. It's a pretty crazy feeling and it makes me WISH I could have watched this with a British audience, to feel their reactions and perception of the show. I dream about getting in a time machine and watching this at the Almedia Theatre back when it all started in 2014. Ben noted that this show was essentially a fan fiction of the Royal Family. We know these people and the play emphasizes how they are celebrities by birth. To suggest that the current queen has died from the very first scene of the play is ballzy, but this is the theatre and you've got our attention. The structure made me wonder what would happen if someone were to write a fictional, yet non-satirical account of popular, semi-respectable American figures. How would something like that be received by American audiences and what would it say about our relationship with celebrity culture? It's a rough comparison because really, no one can compare with the stature and legacy of the Royals.

As someone that had a fairly negative opinion of Charles, Prince of Wales (that was 100% influenced by primarily American media) I liked that the story allowed me to see him as a more graceful ruler and the protagonist of the story. For the first time in my life, I felt for Charles. Although the story is told in contemporary, yet proper English, the play unfolds in a fashion very reminiscent of Shakespeare. At one point I wrote down "Hamlet vibes" in my notebook. The show succeeds in reading like a Shakespearian play because it nails the drama as well as the humor. The play was funny! At times, at the right times. And equally dramatic in other peak climactic moments. There were times when I feared I was falling out of understanding exactly what was happening, as I am highly out of touch with the structure of the British government, but the play does a good job of explaining itself just enough. Ben and I did find ourselves in conversation with a random couple while exiting the theatre, trying to talk out the dynamics of the Royal Family line. It definitely got us chatting. Anyway, all this innovative storytelling is exactly why I need to get back on track with reading ALL the Tony nominees for best play every year. So much theatre, so little time.

Dylan Saunders and Sarah Hollis as Harry and Jess. The Harry subplot really is quite fun. Although I wanted to have more respect for his character as an audience member. 

This is not the best play I have ever seen, but I would recommend seeing it for the truly unique risk in storytelling Bartlett takes in his perception of the Royal Family and the community surrounding them. The play makes a very bold statement in asking why they are still necessary. I can say that I have never seen a play like this, and we're lucky to have something so innovative in both its delivery and content running in the LA theatre community. The wide range of content of Michael Michetti's work as a director speaks to his talent and continued effort to bring much-needed cutting-edge storytelling to greater Los Angeles.  King Charles III runs at the Pasadena Playhouse through December 3, and I would recommend you see it while it is still at the height of its timeliness.

Spamilton

As a woman of the American theatre (about town), for years I had been hearing about the hilarity that is Forbidden Broadway. Typically it is favored by an older crowd, but through my middle and high school educations, while in the process of self-teaching myself the musical theatre classics, I dreamed of attending one of these parody performances. In musical theatre, you knew you had made it if you were mentioned in a Forbidden Broadway number.

L-R: Zakiya Young, Wilkie Ferguson III, William Cooper Howell, John Devereaux and Dedrick A Bonner. Photo by Craig Schwartz

Spamiltion: An American Parody, created by Gerard Alessandrini, the father of Forbidden Broadway, is the franchises's latest inception, capitalizing on the popularity of Hamilton: An American Musical's gargantuan success. Although present-day me still longed to actually see a Forbidden Broadway performance (even though my genre preference has since drifted from the toe-tapping musical numbers of old Broadway to the cringe-worthy reveals of contemporary family dramas) there was something about the show riding off of the coattails of Hamilton that irked me. But, I am LA Theatre Nerd after all, so I wouldn't miss it for the world. I took a swing of my astoundingly strong "Gin Manuel Miranda" craft cocktail and took my seat in the fourth row, in hopes that the production would "blow us all away." 

Clockwise from the left: John Devereaux, Dedrick A. Bonner, Wilkie Ferguson III and William Cooper Howell. Photo by Craig Schwartz

It was clear from my continuous belly laughs and reeling forward in giggles that I was delighted by the show. I laughed heartily through many magically transformed Hamilton-inspired melodies. Apart from the Hamdemonium, there are clever nods to both classic and contemporary shows and stars. Susanne Blakeslee, a Forbidden Broadway, veteran has a whole slew of Broadway divas up her sleeve. William Cooper Howell's Lin-Manuel Miranda voice work is ON point. John Deveraux's Daveed Diggs: I died. The cast as a whole is not only tight, but multitalented in their abilities to portray a plethora of roles, sound beautiful and shake their groove things like there's no tomorrow. There were even parts of the show that proved educational. I had never considered the opportunities that must have been thrust, hard, at Lin-Manuel Miranda as a result of his Hamilton success, and how one wrong move could change his reputation and future forever. Think about it; everyone loves him. Even in his newly-acquired wealth, his imaged has remained overwhelmingly positive.

On a deeper level, the show is aware of the parody within itself. Thank God, the show rips on the capitalism of Broadway, how unfortunately producers and directors can't keep themselves from producing safe work that will sell. We're talking about jukebox musicals, movie-to-musicals, overdone revivals and reimagined revival spin-offs. On the other hand, this show is doing exactly that, taking a safe bet by capitalizing on a parody of a show that is already enormously successful. And the show's creator has made a career out of doing that! That is funny. To me it's both frustrating and funny at the same time, as a theatre practitioner and aspiring revolutionary of the theatre community. But if I had to choose one way or another, I'm glad this story, this parody, is being told because we need to be aware of what is happening on Broadway. Lin-Manuel Miranda took a big risk by defying the norms of contemporary Broadway, and ironically profited in an incredible way. He deserves compensation for the amazing art he created, and he's an inspiration to artists who want to create momentous work while also providing for a family.

Wilkie Ferguson III, John Devereaux (featured as Daveed Diggs as Thomas Jefferson) and Zakiya Young. Photo by Craig Schwartz

The production quality isn't on par with the rest of this venue's work. Extremely minimal set, intentionally spoofy props and a one man band (albeit an incredibly talented one doubling as the music director, James Lent). However, the production value is right on the mark for a fun, energetic satire, just in time for seasonal disorder. It only takes a little to give a lot, of laughs that is. I can see the show lending itself to a more intimate space, like its Chicago home at the Royal George. However, I'm glad it can reach the larger audience it deserves at the Kirk Douglas. Spamilton runs at the Kirk Douglas Theatre through January 7, 2018. And jump on it while you can; ticket prices jumped up after just a few preview performances.

Bright Star

Opening night of Bright Star by Steve Martin and Edie Brickell ended up being one of LA Theatre Nerd’s special edition theatrical events of 2017, for no particular reason. I guess you could say I just felt like dressing up. Luckily, I have a truly amazing hairdresser, Michelle, here in Santa Monica (seriously, she goes beyond just cuts with her magical styling). She knows how much I love big hair and really mastered my mane with a modern spin on a 60s classic tease. She laughs at me because both times she has done my hair for theatrical events, she says I am the complete opposite of a nerd, looks-wise. I tell her that she’s confusing geeks with nerds, that it’s a mentality, that it’s a lifestyle and then she laughs at me even more. I also have my friend Abby, who completed my million dollar look, giving me a full face of makeup, lashes, contouring and all, in fifteen minutes! Wowie! These girls are real artists and professionals at that, so feel free to contact me if you ever need hair or makeup for special events.

I had the honor of bringing fabulous Abby with me to opening night. I was a little nervous of how she would like the show because we had a hard act to follow; our last hang out was Chance the Rapper at the Hollywood Bowl, where I pretty much died and went to heaven. Bright Star was new to both of us and I had intentionally not looked at any content or plot description of the show. I wanted to be surprised. And considering the Tony buzz that the show had received over a year ago, I had a good feeling about that.

I had a very positive impression of this production. At the end of the day, the story is a bit predictable and holds more to be desired from a progressive theatre-making standpoint, topically. There are a few components plot-wise that were close, but for a new musical, could have better served our contemporary concerns, even though the show takes place in the past. That one thing aside, I would recommend seeing this musical because this is as close as an original musical can get to truly honoring the style, themes and objectives of traditional American musical theatre. Plus we get a strong female lead, playing a range of levels throughout her character’s story arch. It is very clear why Carmen Cusack was nominated for a Tony award in this role. If it hadn’t been the year of the Hamilton, she might have had a shot. But she certainly didn’t throw away her shot (ha). She is clearly extensively trained and her voice is actually flawless! Her performance is something to be praised on a number of levels, so please go to this show for that alone! Apart from her fabulousity, as mentioned briefly before, Steve Martin and Edie Brickell’s score will sweep you off your feet and into the heartland of the American South, in not an overwhelmingly southern way. Beautiful score. There was also some jaw-droppingly delightful choreography to complement, thanks to Josh Rhodes. Very innovative choreography that really animated the story, paying homage to the era and the region. Well done team.

It was not so much the message of the show but the production value and talent that encouraged change within me this time. I was so inspired by the sound and movement of these musical theatre actors that it encouraged me to get back up on my musical theatre A-game a bit. The cast is exceptional, and the ensemble served the development of the story in a major way. Part of me was intimidated by their talent, while another part encourage a resurgence of music in my theatre life. Musical theatre is the instigating factor of my theatre interests from the start, and maybe it’s time to swing back to the roots.  Bright Star runs at the Ahmanson Theatre through November 19th.

I love this dress. I love these shoes. I love this purse. I love my hair. I love this theatre.

Runaway Home

I was long overdue for a trip to the Fountain Theatre and Arianne finally made it happen! Let me just say, I am IN LOVE with this space. Although I highly doubt they do rentals, with all the captivating content they are constantly producing, and extending. The venue is cozy AF. I love this little theatre and would love to do a show here. Maybe someday I'll be that lucky : )

Camille Spirlin as Kali, and Maya Lynne Robinson to the right playing her mother, Eunice

On this visit, we watched the world premiere of Runaway Home by Jeremy J. Kamps. By what I've gandered so far, co-artistic director Stephen Sachs really likes world premieres and he really likes adapting content. Not only is that important to the LA theatre community, but the global theatre community; we need to keep creating newness and we need to keep making it our own. And as I'm continuing to draft my own adaptation, I have been inspired by his consistency and ability to honor mounting his own adaptations. I appreciate someone else out there in the field who is doing that successfully and without hesitation. It's not easy!

Leith Burke as Tat and Maya Lynne Robinson as Eunice. Both were excellent and I was surprised and delighted to find Leith back on stage after watching him play one of my favorite roles in Citizen: An American Lyric just a few months earlier at the Kirk Douglas Theatre remount of the production.

It took me a moment to warm up to the style of the piece, and to bring myself back to the days of Katrina. If anything, the post show conversation proved that these so-called "days of Katrina" are not over; the New Orleans community is still suffering the repercussions and aftermath of this devastating storm. More so, parts of the community have been lost through the "healing," where rebuilding often leads to an increase in gentrification. Although we can assume this was unplanned when the show was picked for the current season many months back, this play brings many concerns to the surface in light of more recent hurricanes this fall, many of which we are removed from in Los Angeles. Once again, I appreciated seeing a "poor people problems" play, and one very much outside of our own community.

Maya Lynne Robinson as Eunice and Karen Malina White as Shana

There's a lot going on in this little play in its little home at The Fountain. It's refreshing to watch a story unfold from the point of view of a little girl with a lot to say and a lot she can't find a way to say. And how could you, when your home has been destroyed, your family taken from you in a world that tells you, "you can't"? However, she uses her imagination, the flow of her prose and the people around her to try and find her own healing. The playful tone of both the set and sound design magically compliment Kali's storytelling and rebellious attitude. I'm interested to see how the Fountain's creative team transforms and embodies this space next, especially with Chaim Potok's The Chosen adapted for the stage by the theatrically notable Aaron Posner. If you can squeeze it in over the next two weekends, Runaway Home runs at the Fountain Theatre through November 5. You'll appreciate the history, the relevancy and the honest human need for strength and healing.

Stupid Kid

Funny to think that my last visit to this NoHo venue back in February had also been one of my first run-ins with Arianne, who quickly became one of my most esteemed theatre-going buddies. She is a loyal The Road Theatre subscriber and I was happy to tag along with her to this world premiere production of Stupid Kid by Sharr White. Plus as someone that sees possibly even more theatre than me, I really trust her opinion as a "civilian" theatre-goer.

Joe Hart, Taylor Gilbert, Rob Nagle, Allison Blaize and Ben Theobald (Photo by Brian Cole)

Through my extensive theatre visits over the past year, I can say that The Road has become one of my favorite LA theatre companies. They are very good at both acquiring and cultivating contemporary content trending in the theatre world. I've been impressed with the scripts they have brought to life or even acquired as West Coast and world premieres. They have a way of getting their hands on New York level content and making it accessible to the community. Which is why I like going there!

Ben Theobald, Taylor Gilbert and Rob Nagle (Photo by Brian Cole)

I can understand why a company would be anxious to jump into production for this show, even before reading the script. Stupid Kid is the second in Sharr White's planned trilogy of Colorado plays (Annapurna was the first), and was originally commissioned by Steppenwolf Theatre Company. He's definitely a hot playwright with his hit production of The Other Place making it's way from off Broadway over to Manhattan Theatre Club, directed by theatre great Joe Mantello and also sweeping up a Tony nomination for leading actress Laurie Metcalfe (LOVE her). He also writes for the hit Showtime series, The Affair. I thought I read somewhere that this playwright has also established a special working relationship with the Road, although I am having a difficult time locating that blurb at the moment. These are all great things which would also lead me to put my faith in a world premiere by this writer. However, theatre nerd alert; script-wise, Stupid Kid has an uncanny similarity to Tracy Lett's Killer Joe. 

Taylor Gilbert, Joe Hart, Ben Theobald and Allison Blaize (Photo by Brian Cole)

There are a few things I really liked about this show. Number one being Taylor Glibert's performance as Gigi. Her commitment to her character was impressive and her delivery was incredibly engaging. I was with her story, stance and obstacles as Chick's mother the entire time. For that I empathized with her more than any other character. Her southern dialect was also the best in show. Gold star for you. Gold star for you. Number two was that this was a "poor people problems" play because none of this would be happening to a family with a more elevated socioeconomic status. I'm just over "rich people plays" because I've been seeing it too much lately and sorry...it just reminds me of Trump's America. So thank you Sharr White for that and it makes me mildly curious to see how the other stories in this Colorado plays cycle equate. Otherwise, and again I think this is a theatre nerd problem, but I was just so distracted by how similar the play was to Killer Joe. Even so, I think the reveal could have been accomplished in a more crafty way. I would be curious to look at the last few pages of this script, as I was also confused by some of the intent there and I'm not sure if that was the director's doing or not.  Besides the theater's working relationship with this trending playwright, I don't understand the intention for bringing this piece of theatre to life at this point in time. I don't get the "why now."

Stupid Kid runs at The Road Theatre Company's NoHo Senior Arts Colony space on Magnolia through November 12th. The play has its strengths in some strong performances and some moments that will definitely make you feel uncomfortable as an audience member, in the best way possible. But, I'd like to hear how someone who has never seen Killer Joe is affected by this play. If that's you, let me know!

Head of Passes

As one of the resident Center Theatre Group artists, Phylicia Rashad has always been esteemed by the LA theatre community. I'm a fan. Four years ago, her direction of August Wilson's Joe Turner's Come and Gone was one of my favorite experiences at the Mark Taper Forum. For her starring role in Tarell Alvin McCraney's Head of Passes, I was joined by my theatre and church buddy Chelsie, as she is also a big fan of Ms. Rashad. Also, although we didn't get to see him perform, I was so proud of find my friend Brad in the program, understudying three roles. It's one step closer to living the dream for us theatre dreamers; so thank you Brad for hanging in there and giving us all the hope that it is possible! Plus he'd better make it on stage because he's a really talented, super hard-working, charming, humble, amazing guy!

Kyle Beltran, John Earl Jelks, Phylicia Rashad and Jacqueline Williams (Photo by Craig Schwartz)

Head of Passes begins as a sort of family drama about forgiveness, moving on and accepting family for being messed up, but for also being family. It was't too long into the performance that I wrote down, "total Fences vibes going on" in my notebook. And in a weird way, it's almost as if the playwright chose to begin the play where Fences left off, except instead of Pittsburgh, at the Head of Passes, where the Mississippi River meets the Gulf of Mexico. There's a very similar family dynamic going on. The play has also received a lot of hype as the playwright already has an Oscar under his belt for his Best Adapted Screenplay for Moonlight, based on his play In Moonlight Black Boys Look Blue. His writing is powerful, especially so in a number of Ms. Rashad's prayer monologues. But whip out your boxes of Kleenex for a super dark turn in Act II. And one hell of a transformation from set designer, G.W. Mercier.

Alana Arenas and Phylicia Rashad (Photo by Craig Schwartz)

It's difficult to express my feelings on the show without giving away what's up in act II, which you may already be aware of, but just in case: *SPOILER ALERT* So the play holds inspiration in one of the Old Testaments's most uplifting books (wink), the story of Job. If you want to make this show a more personal experience, just imagine the worst possible thing that could happen to you, and in the second act of this play, that is pretty much what actually happens. If you come from a more spiritual background and are familiar with the story of Job, after the antagonizing trials and horrific devastation thrust upon him, in the end God blesses him back for his losses tenfold. Job has a happy ending. This play ends in tragedy mode. And it is up to the viewer to decide where the story goes from there. Does Shelah continue to collapse and fall apart, suffering in her illness and loss? Does death put her out of the misery of her hell on earth? Or does God turn her present circumstances around 180 degrees and bless her plentifully? Chelsie, Brad and I discussed this for a while outside on the plaza after the performance. Because we share a common spiritual background, we are all mostly on the same page as far as the ending; we wanted to believe that she would move forward in strength and be blessed in her future. However, we agreed that to someone without a practicing faith, the ending might come off as a case in support of no god. I talked with another friend who had seen the show that comes from a more agnostic background. She disagreed, saying that the ending did not support the no-God argument, but more that the more we put our faith in something, the stronger we become. I'd be curious to see how audiences from different backgrounds respond to this show. *END SPOILER ALERT*

Champion of the American Theatre, right therrrrrrreeeeeeeeeeee

"I had given up chaos and He gave me room."

Phylicia Rashad upholds her incredibly high standard of delivering powerful art. Her performances and dedication to the American theatre are constantly inspiring to me. In this story she reminded me a lot of my own grandmother, Mumča, and how Mumča is constantly being judged for the way she carries out family business, and being asked for help when someone in the family needs it. It's a lot to bear, but she does it out of love for her family. Over the years I have watched this become more and more challenging for her, as the family grows and gets tested in new and more difficult ways. But somehow Mumča always pulls it off with dignity, and takes care of everyone. This play made me think about writing a play about that, about Mumča and all she does for us.

Head of Passes runs through October 22 at the Mark Taper Forum. Either take a drink or hit up a comedy club after because you're going to need it. This is heavy.

I'm Not A Comedian...I'm Lenny Bruce

One morning on my bike ride to work I was on the phone with my dad in Chicago. He’s off on Fridays.
“Have you ever heard of Lenny Bruce?” I asked him.
“Isabella,” he said, mildly stunned, “if there were a Mount Rushmore of comedy greats, he would be on it.”

Going in to Ronnie Marmo’s one-man performance of his historical adaptation of the life of Lenny Bruce, I'm Not A Comedian... I'm Lenny Bruce, I knew nothing but what my father had told me. That evening I showed up at Theatre 68 (directly next door to the Lankershim Arts Center) with Candace, the star of the production of Blackbird I had just closed, and Danice, a new actor friend of mine from the organization I'm a part of, Emerging Arts Leaders Los Angeles. This website is actually made possible by EAL/LA. Also, one of our main reason's for visiting NoHo's Theatre 68 is because Ronnie, who is also the company's artistic director, was kind enough to lend us the space for a staged reading we are remounting on the first day of November. To come see our free performance of Behind the Ides, RSVP here. I'm really looking forward to seeing this performance again with a new audience, in such a lovely space and you are more than welcome to join us!

Ronnie Marmo as Lenny Bruce (Photo by Doren Sorell)

"All I wanted to be was the hip Jew version of James Dean."

Anyway, after the performance had commenced, we stood outside the theatre and discussed for quite a bit. Hands down, we had all just witnessed a thoroughly entertaining and quite educational evening of theatre. Personally, I learned so much about Lenny Bruce's life, style and lifestyle that it made me more curious to learn more about him. He is an intriguing guy. Even if the very program is literally giving you the middle finger, you know from the start that you're about to hear a story of someone who tests the limits of so-called authority. Ronnie's portrayal of Lenny Bruce is entirely captivating, from his language, to his honest, up close and personal encounters with the audience to the very content he chooses to share with us. Usually I am not a fan of breaking the fourth wall, but with this real-life character, it would be foolish not to. Props to Tony Award-winning director Joe Mantegna for breaking down that barrier to the next level. I also appreciated the levels of storytelling used in the piece. We get the humor and the tragedy, the victories and the failures. His life was certainly not easy, but it was fun. Which I liked, because that kind of reminds me of my own life. A lot of blessings and really fun experiences combined with a ton defeat and discouragement. I get you Lenny. But through all the trials, we see how Lenny Bruce's struggle paved the way for freedom of speech in the comedy sector and beyond, and that's the real victory. That's his version of changing the world. And that encourages me to press forward in changing the face of the American theatre, even when it feels like I'm up against the world and things seem impossible. 

Ronnie Marmo as Lenny Bruce (Photo by Doren Sorell)

The girls and I discussed how when you see a play based on a true event that you have no prior knowledge of, you are able to accept everything as truth. So I'm glad I went in knowing nothing, because the story became as real as it could be. What I especially liked about Ronnie's script is that if you are familiar with Lenny Bruce's comedy, it goes beyond just the comedy. A large component of this show is Lenny's connection to his family; his mother, wife and daughter. Even though we never see them on stage, Lenny's love for each of them is clear and their impact on his lifestyle and career shows what valuable, powerful women each of them were in their own respect. There is a lot of "language" in the show, so it's not exactly a family-friendly performance, but the language is necessary for this historical account to transpire. Because without the sacrifices, struggles and words of Lenny Bruce, we wouldn't be hearing half of the silly, naughty, boundary-pushing, provocative things in comedy that make us laugh today.

I'm Not A Comedian...I'm Lenny Bruce runs at Theatre 68 has been extended yet again through the month of November. If I were you, I'd try to fit this one in before it potentially takes off for NYC!

Once

Last weekend was my very first trip to South Coast Repertory, a venue I had heard nothing but good things about from numerous LA theatre patrons for years. This Orange County venue has hosted a plethora of notable theatrical works and seems to do a great job of balancing their seasons with old favorites and new, contemporary content. 

This particular Sunday I drove down to Costa Mesa with my life-long buddy and entertainer Zoe, a recent graduate of the Loyola Marymount University screenwriting program. Once was not new territory for either of us. When I was 17 years old, after seeing it once himself, my dad took me to watch the film (my very first R rated movie in the theaters) and I instantly fell in love. Never before had I seen a love story that was so real, that I truly believed could actually happen. For that reason alone the film would resonate with me for life. It's an honest and musical storytelling of real love that had to be silenced. I LOVE this movie; it's definitely in my top ten and pulls at my heartstrings for personal reasons. I had already seen the original Broadway Cast performance a few years ago and was delighted by the stage adaptation and of course wowed by Steve Kazoo's Tony-award-winning performance. The musical adaptation certainly captured a more hopeful, maybe even lighter vibe than the film's more tragic (yet realistic) tone. I like the film better than the stage show, although I was still content with the adaptation. Plus Edna Walsh is on book, so the Irish humor is on point. Zoe had seen the film once before and was not fully invested in it at the time. She listened to the Original Broadway Cast recording more often than the film soundtrack, although she had never seen the show performed on stage before. "Leave," was already one of our favorite numbers.

Later that week, I was talking to a set designer friend of mine on the phone about my experience. "It's like even though the production was good, what was happening on stage to me was almost irrelevant," I told him. I was nearly shocked to hear myself saying this, as a theatre practitioner that typically values every aspect of theatre for how it serves the production and tells the story. "I could have closed my eyes for the whole show. It's the music that I'm connecting to, assigning meaning to, remembering moments from the film, remembering something some guy said to me or the way he looked at me or the fist time he touched my shoulder," I said,  "The music from this show is all it takes to get me there. It's a very emotional experience for me." He was impressed and told me that he had never been that deeply impacted by a film before. And this is coming from a guy who watches like EVERY movie. My heart breaks for this couple, because I know that this situation is very real and happens a lot more frequently than people have the strength to write about. The play doesn't necessarily make me want to change anything about myself, but it does honor and validate the notion that even when something, something like love seems right, there are some times when it has to be hidden, to be put away for the sake of others at stake. There is something beautiful about that sacrifice that makes the love even more real. 

Zoe had a deeper appreciation for the production over all, as someone who was not distracted from the work of the theatre by their own emotions and pre-assigned feelings for the story and music. She enjoyed the choreography, the subtlety in the delivery and the humor and also found all of the actors doubling as musicians to be incredibly talented. And I do agree with her about all those things, I was just lost in a world of my previous experience. She, on a different note, is highly anticipating SCR's next musical production of Ella Enchanted.

I realize I've hardly talked about this production specifically. I apologize if this piece of writing seemed too self-involved, but that's what art does. It affects you personally. What can I say? I'm enraptured by this music. And to the production's credit, they got me there. If you have never seen this show or film, I would encourage you to experience the magic of this story. About two people who meet each other in the right place at the wrong time. Ugh, I want to cry just thinking about it; it's so beautiful. Once runs through Sept. 30 at South Coast Repertory. 

Big Night

I have always been a fan of Paul Rudnick, as a playwright and as a more journalistic writer; I've especially enjoyed some of his pieces in The New Yorker over the years. Theatre Nerd throwback: I have him to thank for my acceptance to NYU, as I used a monologue from his political comedy, Regrets Only in the audition portion of my application, and it delivered! He's an especially strong comedic writer that I've had the honor of growing up with in my theatre education. So when I found out the Kirk Douglas Theatre would be premiering his freshest creation, not only was I excited, but I felt a level of comfort and trust that you might with family. I trusted he would write something new, funny, heartfelt and politically charged that I could laugh along with like an old friend.

Brian Hutchinson and Max Jenkins. Photo by Craig Schwartz.

So when I read the synopsis for Big Night I was surprised by the instant similarity to Regrets Only. An elite man is faced with the decision to either publicly defend LGBTQ rights, or remain neutral. When I read the full script, the suspected similarities came true and for other reasons, I also found myself just a little nervous for the story's transition to the stage, although mildly hopefully with re-writes leading up to opening night. Maybe it would turn around, and find itself. 

Despite my wishful thinking, I was sorely disappointed by the production on a number of levels. But I think the base of its weakness is that the play attempts to discuss too many topics and issues in one 90 minute show. We’ve got LGBTQ rights, hate crimes, female empowerment, gun control, star power, Black Lives Matter, marriage equality...honestly the list goes on and on and on. These are all topics crucial to discussion in our society, however in the scope of the play some are grazed over or forgotten far too quickly just because there’s so much happening. That was the number one issue I heard from audiences at multiple post show conversations I attended and participated in. I was craving a bit more development from certain characters, although I honor that this is a “new play” that’s probably somewhat still in development. Somewhat. On the other hand, this is a huge organization working with a comfortable budget on a show that was announced as a part of the season many months ago. And this ain't Paul Rudnick’s first rodeo.

Wendie Malick, Brian Hutchinson and Luke Macfarlane. Photo by Craig Schwartz.

The production does have some redeeming qualities that did allow for numerous gratifying moments. The set by John Lee Beatty is absolutely stunning. I want to live in this hotel and he really painted a gorgeous picture of luxury and glamour in LA. Aside from that, the show's greatest strength is its humor. Paul Rudnick has a talent for developing humor that speaks to both the younger crowd and the more seasoned subscribers and donors. I enjoyed that and I was definitely laughing a lot. The audience responded through laughter quite generously. The main character's young, ambitious and fabulous agent Cary (played by Max Jenkins) was particularly on point in his comedic timing. His performance as a whole was both the most convincing and most hilarious; funny how that works out ; ) Wendie Malick as the headliner plays a convincing Upper West Side Jewish mother. Sometimes her role steals the spotlight, in true commitment to the character, while other moments tend to be more passive. And despite the abundance of topical content, I am left wanting just a little bit more from her as a dynamic character.

Tom Phelan, Kecia Lewis, Wendie Malick, Brian Hutchison, Max Jenkins and Luke Macfarlane. Photo by Craig Schwartz. 

Big Night runs at the Kirk Douglas Theatre through October 8th. If you're already a season ticket holder, show up for some well executed comedic moments, but if not I'd give this show a pass with more intriguing productions coming up later this season.

The Red Shoes

About three years ago I took a solo journey to the Ahmanson to watch Matthew Bourne's direction of Sleeping Beauty: A Gothic Romance. It ended up being the best performance I had ever seen at this venue. Although I was somewhat new to the idea of "dance theatre" and at first off-put by the lack of speaking in the performance, as I would quickly learn, the genre did what it does best and served the story with premium effect. In act 1, Aurora fell asleep in 1913 and in act 2 she woke up in 2013. I loved that unexpected surprise, combined with the dancers effortless movement connected to strong story moments and captivating production design style, from costumes to set and musical flourish. Bourne had once again blessed Center Theatre Group with his English charm and charisma. So when I found out his adaptation of The Red Shoes would be making a brief engagement in LA, there was no way I wouldn't be found at the opening night performance, sporting a ballet bun and a red lip. And I'm not gonna lie; I was super stoked when a woman in the bathroom at intermission asked me if I was IN THE SHOW. Winning.

It wasn't until the first act was complete that I realized I hadn't even taken out my notebook to make performance notes! Which ended up being totally fine. My friend Jonathan and I were so mesmerized by the end of the act one that we were just gaping with joy for a few minutes at intermission. Jonathan, by the way, is an amazing champion of the American Theatre and a wonderfully supportive enthusiast of my theatre career. He is an associate producer over at the Skylight Theatre in Los Feliz and I am consistently wowed by his work as a director. I'm super looking forward to his production of Annie Baker's Circle Mirror Transformation at the USC graduate acting program this November. He's definitely a kid to watch in the LA theatre scene.

ANYWAY, before I continue to go gaga over Jonathan, the Jack to my Karen, we both agreed that the show was gorgeous and that the dancers were breathtakingly talented (literally, they'd take a running jump up into each others arms and I'd find myself holding my breath)...but there were some second act problems! Jonathan mentioned that he had never seen a show with such direct specificity that was still so unclear! Out on the plaza after the show we caught up with two friends of mine, a theatrical agent an actress; they also did not understand what had happened in act two and we all had our own interpretations. Look, it was still an astonishingly good show, but I do think I appreciated the clarity within the storytelling of Sleeping Beauty just a little bit more. 

Does the show make me want to change anything about myself? That I'm not sure. I appreciated the two men fighting over the same girl...which made me hopeful that that could be a possibility for me in certain situations...ok yes, so it kind of fulfilled my Tina a la Bob's Burgers status daydreams of having two hot, well-grooving men fighting for my affections. There could also be something in there about working hard to make it to the top and killing yourself for your art and when to stop and breathe and focus on the people around you. But no, instead the play fulfilled my dreams of men fighting over me, wow Isabella. That's what I took away from this play. That and gorgeous artistry on a budget that I can only dream of being blessed with someday. Thanks to donors like you.

If you get the chance, the American premiere of The Red Shoes runs for a very limited engagement at the Ahmanson through October 1st. It won't be here long, so catch it if you can, to get a taste of Matthew Bourne's prolific work and a very strong opening to the Ahmanson's new season.

A Funny Thing Happened on the Way to the Gynecologic Oncology Unity at Memorial Sloan Kettering Cancer Center of New York

After catching a matinee of Once down at South Coast Repertory, I drove back up to LA County for a 7PM performance at one of my favorite local haunts, The Geffen Playhouse. Seeing two shows in a row is really my idea of the perfect Sunday. Actually, probably seeing one show, then being in another show would be ideal. And if it was a Sunday in June in New York, also winning a Tony Award in the evening would be the cherry on top. But for now I can be grateful for a two show viewing day in LA, accompanied by some very classy theatre broads.

This evening I met Julie at the theater, a friend of mine who lives just two blocks away from the Geffen and works as a costumer for TV. She's been a season ticket holder for a number of years (with the proximity, how could she not?) and is also an amazing, encouraging, stylish and hilarious mother of three gorgeous girls and I just love being around her. At this outing we would be watching A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York, written by and starring Halley Feiffer. Yeah, I know, by the time you finish saying the title the play is already over. But once you get used to the pacing and tone of humor in the show, it actually makes a lot of sense. 

The production has some very strategically placed transition interlude tracks off the 2015 mellow, new-wave folk album "Carrie & Lowell" by Sufjan Stevens, which pretty much had me hooked in from curtain up. After the show I immediately knew that I liked it. But my inner theatre savant was shaking her head at me in embarrassment. This entire show is a cliche, she said, wagging her pencil at me. It's the most stereotypical, predictable, rom-com archetype, the man of course saves the day with his money, the girl's got daddy issues, as well as a bunch of other issues that negate her status as a functional member of society. Plus, I mean, Isabella, it's a play about white people! She had a point. But I still really liked this play, and even worse, I wanted to be in it.

KARLA: I cannot let anyone have success at what I love doing who isn't me.

After reading a mediocre review of a different production in The Chicago Tribune a few weeks ago, I did not go into this performance with high expectations. However, I can see how having the writer act in her own production probably made all the difference. Feiffer claims that she's glad she did not originate the role in New York, that she was amazed by Beth Behrs's interpretation and development and that she finds it challenging to step into a role she's written as the playwright without judging the character from all vantage points of the play. That being said, I found her representation of Karla to be an absolute treat. Her mannerisms, physicality and vocal nuances give Karla an equally unique and hilarious interpretation that will keep you laughing, constantly. Maybe because she wrote it, in Karla, Feiffer has just really nailed the self-deprecating humor. I loved watching her and her choices were always surprising and amusing in the best way possible. 

In the story we get a glimpse into the highly relatable, tough-love relationships many of us have with our parents. It's clear that Karla's mother's (played by JoBeth Williams) illness has caused her to behave far worse towards her daughter than we can imagine their pre-cancer relationship to be. We say things we don't mean, even when we love each other, and sometimes we hurt those we love the most. Sometimes parents can't see what their kids really need and sometimes what kids want to give doesn't level out with their parents' expectations. Not too far off from Karla's age and career path, I can relate to the dissonance she experiences with her mother. The play reminds me that I can't always fix things, and that I won't always see eye to eye with my parents, but that sometimes being there is enough. I don't always trust myself to do that little; I feel like I need to fix everything. Sometimes hearing someone out is enough, even if it can be painful. Also sometimes taking care of yourself is as important as caring for someone with a serious illness. There are different kinds of pain.

Because Julie has a daughter that is battling cancer, I will say that I was just a little bit terrified walking into this show with her. But she absolutely loved it. And I think it's because the show goes beyond the cancer, beyond the illness and uses humor and happenstance to bring us all back to the reality that we're all human. We're all struggling, wether we're sick or well, parent or child, rich or poor. Yes, in future productions it would be cool to see more people of color on stage, and I think that is a possibility. But I'm glad I got to see Feiffer bringing her role to life. And I still would also like to be in this play.

 A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York, runs at the Geffen Playhouse through October 8th and I highly recommend this one. A dark comedy meets a feel-good story; it's pretty weird but it kind of rocks!

Emilie: La Marquise Du Chatelet Defends Her Life Tonight

A recent discovery of mine, I love the Greenway Court Theatre venue! What a wonderful space. The lobby feels like you're waiting in line at Disneyland for Mr. Toad's Wild Ride or something. Inside the house, the stage itself is lovely, but something about the high beams and structure of the ceiling make it feel so cozy, like you're watching a show in a furnished barn with air conditioning. It's a great venue, so I'm glad that their awesome space has now been utilized by an equally interesting and magical LA theatre staple, Coeurage Theatre Company. Coeurage always goes above and beyond in choosing content that really challenges the theatre community (in the best way possible) and eagerly invites conversation. 

Sammi Smith, Marc Forget and Nardeep Khurmi (photo by John Koppling)

My companion for the night's performance was my friend Chelsie from church, who is also an actor, currently writing a show to be shown at the Edinburgh Fringe Festival 2018. I will admit I am both jealous and excited for her! Also grateful to have such an active working artist accompanying me for Coeurage's opening night of Emelie: La Marquis Do Chatelet Defends Her Life Tonight by the young and championed playwright, Lauren Gunderson. 

Chelsie and I both agreed that it took us a bit to warm up to the style and tone of the play. I'm not a big fan of the classical era, but as soon as I shut that opinion down, I was able to realize the power of this script and this often overlooked moment in history. 

EMILIE: He's only seeing what he wants to see; that's not science, that's drama.

Kim Reed & Sammi Smith (Photography by Jim Koppling)

In short, this is the story of a woman of the past, fighting a battle still present in today's culture. She is trying to establish her rightful place in a traditionally male dominated world while taking authority to tell her own story. There are a lot of things I like about this script actually, and it may be my favorite element of this production. At first I was afraid. I'm not scientifically minded. I was nervous I wouldn't understand the scientific theories mentioned. But the text explains everything just enough for you to get it and just enough for you not to get bored. I'm jumping over a lot here, and there is a lot going on in this story, but I want to jump to my favorite moment that seems to deviate from the more major themes. My favorite part of the show was when the playwright chose to include Emilie's neglect for her daughter. As an audience, we're so busy cheering and rooting for Emilie's exciting scientific, academic, romantic endeavors, her fight towards equality, that we, nearly as much as her, completely overlook the impact she could have made on her daughter until it is literally too late. It was heartbreaking, for everyone, because for a woman making such a dynamic impact on society and eventually history, she nearly, and from the play's perspective unintentionally, swims upstream past her motherly responsibilities. This moment can be conceptualized into a modern context in many different ways, and I love that about it. For me, on a very human level, it was a gentle yet powerful reminder of how family, who we should be giving our utmost to, can often get swept under the rug while we branch out and pursue our dreams. Or sometimes simply, we treat our friends better than our family. And I know, you can't pick your family and everyone's different. But, it reminded me of when my siblings and I would come home from school, our parents telling us "We ran into so-and-so at the grocery store and they couldn't stop telling us how kind and well-mannered and helpful our kids are. And we were like, 'you can't be talking about our kids.' Why can't you be as well behaved for us and you are for our neighbors?!" Emilie's daughter probably heard similar dialogue about her prolific mother. We should be treating our family better giving them our first. So this play inspires me to go back and do that. And also to aim to be a total boss across all fronts like Emilie. An Emilie of the American Theatre.

Kari Lee Cartwright, Marc Forget and Kim Reed (Photography by John Koppling)

Emilie: We have nothing in common but our offspring, but he's a good man.

After seeing him in a number of Coeurage productions I can confidently say that I am a fan of Nardeep Khurmi. In this performance, listed in the program as Gentleman, he effortlessly convinces us as a plethora of characters, from Emilie's ridged husband the general to the man she might call her greatest, truest love. Plus, he's fun to watch in all his characters. Bravo! And the boy works, with other theatre companies (Rogue Machine to name one) as well as keeping busy in the film world. He's just finishing up post production on one of many short films he's created. Super excited to see his work on this latest film Pagg (following a Sikh man's response to a terrible hate crime and how it affects his identity) and anxious to see him in the LA Theatre scene even more. Get it Khurmi!

Emilie: La Marquis Du Chatelet Defends Her Life Tonight runs at the Greenway Court Theatre through September 17th. Go for the history lesson, go for the well-told story and go for the reminder that women are still fighting for equality, across many different fronts. 

The Curious Incident of the Dog in the Night-Time

I apologize again for my tardiness in getting these posts up. This time my legitimate excuse is that I've been producing a show, which you should come see for sure, David Harrower's Blackbird at the Grove Theatre Center in Burbank. It did just make Stage Raw's Top Ten by the way, up there with Hamilton & the show I'm about to write about. Also putting up a reading of a play I've been writing for the past five months this Friday: I'll keep you posted on that one as it is a work in progress.

Anyway, way back at the beginning of August, I was joined by my youngest LA Theatre Nerd companion to date, Miss Roxy. Having previously seen this show on Broadway, just before it swept up the Tony's for Best Play and Best Actor (the amazing Alex Sharp), I already knew what a truly unique book to stage adaptation we were about to experience (leave it the National Theatre to floor you every time). Although it does deal with some heavy, timeless themes, for the most part the show is kid-appropriate. So, I wanted to bring along my bright young friend and get her first-time-fresh feedback on it. 

"A good day is a day for projects and planning things." -Christopher

It was good to revisit this piece of theatre. It is a very specific, crafted interpretation of one boy's journey through life with autism and the obstacles that arise both his family and himself. As I wrote down in my notebook, "This is a play about dealing with shit." Christopher's struggle with his disorder, for me at least, was a parallel to how we fight against or sometimes flow with disorder itself in our own lives. And it's about achieving little things in life, new things, that at first seemed insurmountable but now prove to us that we can do even greater things that we believed possible. At the end of the show, Christopher tells his counselor that he now has the confidence to become a physicist or an astronaut, making great discoveries, all because he survived getting on a train from his home to central London, a task that his personality and disorder had previously deemed terrifying. The play brought me back to moments in my life like that, where I was faced with a challenge I had already rationalized I simply could not do, and then somehow life throws you into a backflip and you've done it. I think we've all been through that at some point. This time around, the play doesn't necessarily make me want to change anything about myself, but it motivates, which I suppose in essence is a change in attitude. As I'm workshopping my new play, I recently reached out to a residency program at a local venue. I started to get just a tiny bit discouraged when I read that the venue challenged applying companies to champion new works or works new to LA. I knew that was possible, but a challenge, considering that there are definitely previously published works that I'm interested in mounting. But what really got me down was the next brief, blunt statement that required that the company provide "sufficient independent funding" in the costs necessary to mount their productions. That was a bit of a buzzkill and I thought to myself, "Ok. Well that will never work out...How will I ever be able to mount another show?" BUT, recalling on this play helps me remember all the other times in my life when I jumped to negative conclusions and was then surprised that when something needs to happen, and when one needs to grow, it just happens. As a wise artist once told me, "When art is supposed to exist, there is nothing that can stop it from being made. It just has to be made."

Technically speaking, the show is a set and lighting designers dream. Paul Constable's projections and nearly animated lighting fixtures truly bring Christopher's imagination to life. And Bunny Christie's set design matches that and of course Marianne Elliott's visionary and visual direction of the play. When you see the show, you'll see what I mean in that apart from the story's gripping, relatable journey, visually the show is an absolute treat and a pioneer for technical design in modern theatre.

This we are pretty sure was Roxy's first ever straight play experience. And she absolutely loved it. On the ride home, the show triggered a dialogue about our experiences with Autism at school. Roxy also felt highly motivated by Christopher's journey and achievements as she jumps feet first into her new school year. 

The Curious Incident of the Dog in the Night-time runs through September 10 at the Ahmanson Theatre. Definitely one to knock off the bucket-list of Tony-awarded best play viewings, and hopefully remind you that sometimes, when it's necessary, we go out there and prove the impossible.

King of the Yees

People have been asking me what I think of this show. I apologize for being late to the game (again) with this review. So, I know I had a good time. I did laugh a lot, it was much funnier than I had anticipated. I think I wanted a little bit more from the play, but overall its starkly contrasting first and second act had me very entertained and left me somewhat enlightened.

Daniel Smith, Francis Jue, Stephanie Soohyun Park, and Angela Lin under that dancing lion costume.

Larry: You would rather not do something than do it incorrect.

Lauren: Incorrectly, Dad.

Lauren Yee's King of the Yees is her story of coming to terms with her cultural roots and grasping what her culture means to her as an adult. Specifically through her relationship with her father, she pinpoints where she assigns meaning to her cultural history and where the meaning is already present, like an open book, just waiting to be read. The first act is possibly the most prime example of meta theatre I have ever seen. This works for some people, for others its anti-traditional nature is a deal-breaker. We meet two actors (Angela Lin and Daniel Smith) working on Lauren Yee's new play, when we are suddenly interrupted by a walk-in audience member, Lauren's dad, Larry Yee (played with great honesty, humor and commitment by Francis Jue). I enjoyed the change of pace and thought this style of story-telling was engaging and well executed. The second act is completely different, and my personal favorite. While others have described it as a Alice in Wonderland style plot, to me it feels more like an action-adventure video game. The pacing, combined with the music, lighting and set design in this one really bring the dark mischief of Chinatown to life in a very captivating way. Very unexpected in comparison to the first act. The whole show is pretty much one big surprise after another, which makes for a great time. But...for such a grand show, I wanted just a little bit more of a grander take-away.

Rammel Chan, Stephanie Soohyun Park and Francis Jue.

Leading conversations about this show has been a very interesting process. From what I've noticed, half of our Chinese American audience loves it, thinks it's hilarious, and the other half is up in arms, very offended by "overtly stereotypical" characters and cliché content. I'm embarrassed to say, I don't know enough about this culture to be offended. And maybe that's the point, maybe I'm supposed to know more. Actually, I'm sure I am. But this show definitely taught me a thing or two about the work ethic, loyalty and familial structure of the Chinese American community. Similar to a popular topic of conversation taking place at Zoot Suit earlier this year, second generationers expressed the complexity of relating to a culture as Americans, not being from "the old country." People that couldn't speak the language, but still cherished their roots, and how they felt discriminated against not only by whites, for looking different, but by people of their native culture, for not having "earned" it the hard way.

Angela Lin, Francis Jue and Daniel Smith

"I'm afraid I will have loved someone that I never really knew."

-Lauren to her Dad

Personally, I especially appreciated the father/daughter themes of the show. It was a bit of a wake-up call, watching when we choose to be invested in our familial relationships. It makes me want to be closer to my dad, and especially to learn more about our Italian family I never knew. Also what is important to him, why it is, and why it might be important to me too.

Speaking of, the show makes me want to reach back even farther to understand more about my own heritage. Like, on my mom's side, my grandma, or my Mumča, I should say, is renowned in the Slovenian community for her strudel. A number of years ago there was a huge picture of her, followed by an extensive article on the front page of the Cooking section of the Chicago Tribune. Of course this was framed in her home for all to see and was the main topic of conversation at the Petek residence for probably over a year. For banquets at the Slovenian Cultural Center growing up, Mumča would spend days making the strudel. Putting a huge ply board on top of the kitchen table and and rolling out the dough paper thin. The result would yield a hot, flakey pastry in the flavors of apple or sweet cheese, sprinkled lovingly with powdered sugar. Whenever I return to California after a trip to Chicago, everyone expects me to haul home a few logs of Mumča's frozen strudel. Recently, my cousin and I realized, that if Mumča were ever to pass away, her strudel would be extinct to the world forever. There's no written recipe for this thing, and even if there was, the technique is...that of a strudel master alone. So...I must become a master. I must learn from her and carry on the delicious tradition that has blessed (probably) thousands. 

I would recommend this show if you're ready to roll up for a high energy, good time and want to get a little Chinese history lite rolled in there too. King of the Yees runs at the Kirk Douglas Theatre through August 6th.

Heisenberg

I love the Taper. I love dressing up for openings. I love seeing theatre with new friends. And lately I've really been digging the British playwright scene. But it was rough for me to figure out what write about this show, Heisenberg by Simon Stephens. I didn't hate it. There were things I liked about the performances and things I loved about the writing...but at the same time, there were also parts of both those elements that I did not really go for.

This time I was joined by my actor friend Spencer, one of the front-runners of the Urban Theatre Movement, who's show I had seen and loved just a few weeks earlier at Fringe. He ended up liking the show much more than I did, and that is the beauty of theatre folks! I think I was at a disadvantage from reading the play beforehand. It's not like I had memorized any part of it, but some of the moments the opening night audience seemed to be eating up, I wasn't enjoying as much because I knew they were coming. After reading the play and not really connecting to it (and finding myself pretty frustrated with the female character overall), I had hoped that a performance from two theatre renegades would turn my perception around. Tony Award winner Mary Louise Parker and this year's Tony nominee for his role in this very show, Denis Arndt bring this show straight from its relatively warm reception on Broadway earlier this spring. Similar to Nick Payne's Constellations, this is one of those two-handers that gets blown up at a big venue, when really it could be performed in a much smaller, up-close and personal space. Even a blackbox would serve the content in a major way. Although I'm not sure if a change of locale would exactly improve the content of the show in this case.

"We hold very different perspectives on experiences we imagine we're sharing." -Alex 

So I'll just get down to it. This play is about the evolution of an obscure yet redeeming relationship between Georgie, an American expat in her forties working as a grade school secretary in London (played by MLP) and Alex, a seemingly "shy" butcher originally from Ireland in his seventies. Although their friendship/relationship does transform in a surprising and somewhat beautiful way, Georgie's sporadicalness and compulsive lying made it very difficult for me to buy in to the viability of this couple. I wanted to be for her sometimes, but I was pretty much aways against her. Although Mary Lousie Parker has certainly earned her Broadway street cred in the past, her take on this character did not help with my already overwhelmingly negative perception of Georgie. Arndt's portrayal of Alex is soft, charming and smart. As an esteemed actor he delivers a lovely performance, although perhaps not demanding enough to land him the award he was nominated for. In this show, I want to hug Alex and I want to push Georgie sometimes, but there are some engaging moments of two people simply assuring each other that inspire and solidify our need for a variety of human relationships. 

I wanted to like this. I'm a fan of Simon Stephen's work and his dedication to the Young Writers Programme at the Royal Court Theatre. I really enjoyed his theatrical adaptation of the book The Curious Incident of the Dog in the Nighttime when I saw it on Broadway a few years ago (I'll be seeing it again at the Ahmanson in just a few weeks). I'll hand it to him that tucked into the show, there is an arms' load of powerful, insightful dialogue, one being Alex's gorgeous monologue near the end of the show. The play does make me want to read more of Stephen's writing. Like a number of other CTG show's this season, it makes me want to learn more from adults that went before me. Alex's history might seem heartbreaking to some, and inspiring to others. But what allows us to even hear his story on this stage is Georgie's provoking and needing to hear it. It makes me wonder what I don't know about my close friends and family, what they need to tell and what they don't.

Heisenberg runs at the Mark Taper Forum through August 6th. 

Letters From A Nut

Back in February, I got promotional email from the Geffen about their theatrical adaptation of the popular book series Letter From a Nut. I immediately forwarded the message to Erik. Erik is basically my stand-in West LA dad. He's known me and made fun of me since I was born. He LOVES these books and has been trying to get me and everyone he knows to read them for years. So naturally, I knew I had to experience this production with Erik.

He is delightful.

This is not your typical Geffen production. The author, under the pen name Ted L. Nancy, is a comedian more akin to standup culture than traditional theatre acting. However, his delivery and way of calmly encouraging and complimenting the audience was refreshing, as well as a testament to his excellent comedic timing. He's not trying to prove anything about his talent, just telling a story and I love that. Plus I love his voice. The seventy minute show consists of Thee Ted L. Nancy reading aloud his inquisitive yet astonishingly sincere letters written to companies, corporations and even diplomats, the more random, the better. In tandem, Beth Kennedy expertly responds to his inquiries as EACH of the many, diverse customer service representatives. She handles many wigs, many accents and many forms of reply with an amazing amount of energy and attitude. While this show may be a celebration of Ted L. Nancy's brilliant correspondence skills, it's also a challenging, hilarious character showcase for Beth. And she kills it.

With its slide-show style projections, quirky re-enactment video segments and the act of letter-writing itself, the style and format of the show might seem a bit dated. However, this only enhances the comedy. This is a show that belongs in the era of Office Space. And in a way this makes sense, since many of the letters were written in the late 90s/early 2000s. What's so amazing about Ted L. Nancy's process, and what kind of deems this a piece of documentary theatre is that he has a way of getting companies to actually reply to him. My personal favorite segment was when he wrote to a hotel manager in Amsterdam, inquiring on housing hamsters in his room for a theatrical production of "Hamsterdam" that he would be staging there. When the manager replied that those types of animals could not be housed in the hotel, Ted L. Nancy earnestly inquires again, asking if he can substitute with clams for a newly edited production of "Clamsterdam." I can see how my description might sound very dumb on paper, but I was laughing so hard I could barely breathe. There are all kinds of letters to look forward to, and the way he sells his ideas is really like no other. 

I love Beth Kennedy and I really hope to see her on stage more at the Geffen!

Out in the lobby after the show, I apologized to comedian, Barry Marder, for potentially messing up the show with all of my crazy loud laughter. By his smile and humble attitude, it was clear that was quite the opposite; he was honored. And luckily for us, not only was Erik a huge fan of the writing, but an old college theatre buddy of Beth's from LMU! She told us that the rehearsal process for the show pretty much began with the compiling the letters into a theatrical format. I mean, how lucky for an actor to be a part of the script drafting process when you think you're just signing up to perform! We asked her if the show might continue on to New York or Chicago; we had enjoyed it so much that we could see it's honest, smart humor playing well with those audiences. Since Barry is not exactly a theatre actor by trade, they had never really expected the show to become as big as it had. But with Barry's close bud Jerry Seinfeld signed on as a producer, the name really helped the show take off, and rightfully so because the content is hysterical. It has potential to take off in other cities; but it's up to Barry and how far he wants to bring it.

Did this show make me want to change anything about myself? It makes me want to write more letters, but that's not really a new thing. That's' one of the main reasons I love this show so much: letters and mail are my jam. It makes me kind of want to test authority on this level, because yes, the customer is always right and we can probably get away with more than we think, maybe even making someone's day for even trying. But mostly, this show just gave me a good laugh, that I really needed. It did give me an idea for a potential fringe show regarding a incidental documentary comedy, but only time will tell.

Letters from a Nut runs at the Geffen Playhouse through July 30th. If you need to escape to some air conditioning and get a few good belly laughs this July, I would definitely recommend paying a visit to this hilarious show. Too much fun for a weekday night fo sho.

Urban Unrest

With this visit to the Sacred Fools Black Box being somewhat of a last minute addition to my Fringe schedule (so last minute that I bounced out of closing night bows of Jersey Boys at the Ahmanson a tinse early to make this 11:30PM performance) I was honored to be invited to the Urban Theatre Movement's premiere selection of short plays, Urban Unrest. Similar to my feelings about showcases and monologue jams, I am not all about that "collection of short plays" life. Kind of like how I prefer long distance running to a circuit workout, I feel more accomplished and complete as a result of watching a full-length play. So I was very pleased to find that the show completely flipped my expectations upside-down. They really picked the best of the best material for this compilation production.

Championed by the Pulitzer Prize -winning playwright of The Mother F$@&er With the Hat, the infamously ballzy yet equally poignant Stephen Adly Guirgis, the Urban Theatre Movement strives to elevate the conversation of how we handle contemporary racism in all its forms. In this particular lineup, we see four short plays in which minorities are featured in truthfully developed roles that serve up these topics directly to audience, both literally and metaphorically up close and personal. The more dramatic of the bunch, Obscuridad written and directed by Brenda Banda seemed slightly out of place in the otherwise collection of stinging dark comedies. Nonetheless, it still made a pressing statement about the power dynamic within the family home and its domino effect in crisis. Not only are these stories ones that have a pertinent need to be told, but the voices used to tell them fairly execute the message from all culturally relevant viewpoints. It's clear that the company is committed to that very ideal, continuing to press forward with content dedicated to both expressing and defending all voices. And the other three writers do a great job of sending that message home through some pretty smartly written comedy.

Aileen Alfaro in Obscuridad by Brenda Banda. But very similar to how I might look while watching the Tony Awards. 

Each of the shorts has their own charm and humor although the company really saved the best for last with Replica, written, directed and acted by Paul Tully. Total Stephen Adly Guirgis vibes from this one, to say the least, and its explosive energy really shuts the whole place down. In this very high stakes, high tension, high energy short, Spencer Weitzel portrays... pretty much a methed-up Thomas Middleditch, which actually isn't so difficult to imagine, right? We watch him, under the affectations of both drugs and alcohol struggle to battle temptation that could cost him a friendship, an ally, and consequently his life. Superb acting all around in this scene (probably because they had a stellar script to work with) but Weitzel, with a delivery so committed he's pretty much sweating buckets by lights out, really closes this one out with a bang. Very cool bro.

Gisla Stringer & Spencer Weitzel in Replica by Paul Tully.

Thank God this show earned itself the encore award (along with the Rogue Machine West Coast Premiere Award) so you have two more chances to see it this Friday June 30th and Saturday July 1st at 8PM at Sacred Fools as a part of the Hollywood Fringe Festival. Do not hesitate to support this very smart, culturally relevant independent production. As for me, as I'm drafting a full-length four act drama currently, the edgy-ness of this show, both stylistically and textually have made me think differently about the presentation of some of the scenes, in a good way. The style has inspired me. Anyway,  I would love to see more work come to life through these writers, directors, actors at the Urban Theatre Movement in the very near future, but the present is now so check out Urban Unrest while you still can!

The Lyons

This entry is so long overdue; I apologize for being so backed up on shows! Nearly a month ago I went to a performance of The Lyons by Nicky Silver. Put up by The Road Theatre in North Hollywood, I attended the show with my friend Arianne, who is an exceptionally active and participating civilian LA theatre-goer. I met her earlier this year at the kick-off party for the Kirk Douglas Block Party series, and then again at The Road's winter production of White Guy on the Bus. This was right around the time I started going public with this site. We started following each other's theatre journeys on social media and every time I'd run into her at the Mark Taper Forum or Kirk Douglas Theatre, we'd promise we'd try to experience a show together soon. After a lot of theatre trains passing in the night (we would often be at the same shows just a few days apart) we organized a time to see Arianne's friend Janet Chamberlain go on for her understudy performance as Rita in The Lyons.

On our walk over to the theatre, Arianne told me that when she goes to shows on her own, she has no problem talking to strangers she meets in the audience. "I meet all kinds of interesting people," she told me. She had even met the friend we were seeing perform tonight from simply striking up a conversation with her at another Road performance! How cool is that?! In her experience, she has found that many people are very receptive to discussing the performance while in the theater. I was so impressed by her fearless nature because that's definitely something I struggle to muster up the courage to do. So I'm going to try and push myself outside of my comfort zone with that from now on, when I do have the opportunity to attend theatre solo-rider style. You never know who you're going to meet and really, you've got nothing to lose. Although Arianne is an absolutely amazing angel of the American Theatre, this piece is supposed to be about The Lyons, so I will discuss her impact on the theatre community further in another piece coming soon! 

OK, so, The Lyons. It had been a few years since I read this script, back when it was originally nominated for a Tony award for best play in 2012, although I never had the chance to see it performed live. Which makes sense, because unbeknownst to me, as The Road Theatre's artistic director Sam Anderson told me, Linda Lavin who had originated the role of Rita, had custody of the rights and had been holding on to them for years. I had no idea a performer could hold the rights to a theatrical script, but there's some food for thought. The Road really wanted to put on this show though, and stuck to their guns until they finally got the OK. 

Now, finally seeing the show transformed on stage, I remembered that I really like this play, and this writer, who I definitely need to revisit very soon (but I have to get through all those Anna Zigler plays first). This family reminds me of my own family's dark humor and those parallels make it extra funny. As one of my best Jewish friends once told me, "Irish Catholics and Jews get along incredibly well considering the immense amount of guilt they have to deal with on a daily basis." I'm sure I'm not the only audience member to relate on that level. I like the style of the first act better than the second. It happens in real time, grounded in modern realism, in one scene and we are really forced to get to know this family. I thought the acting was top notch across the board, so much so that it was shocking to learn we were watching an entire cast of understudies. Excellent job everyone; we were with you the whole time. If the regular cast is this great, the company should really consider just double casting the production so that everyone gets equal playing time, because the understudies are really freaking good. My personal favorite was Allan Wasserman as Ben, the family patriarch on his deathbed, who reminded me a lot my very negative yet equally lovable grandpa. The second act gets a little more creative with the scene structure. We watch a thought-provoking scene between Ben's son Curtis (awesome understudy performance by Ray Paolantonio) and a handsome young realtor named Brian (Tim Wardell) that is the only one to take place outside the hospital. We also get a soliloquy-type visit from Ben, who has now passed away, not surprisingly. There's a bit of subtextual commentary going on about eventually becoming our parents. And mostly in a negative way. Arianne and I, with about a thirty year age difference between the two of us, had very differing views and interpretations on the outcome of Rita, the matriarch's trajectory at the end of the play; I just love that about the theatre! It's interesting how every glimmer of positivity in this play kind of gets shut down, and it is a humorous experience when that happens. I think one of the reasons I really like this play is because each of the characters is seeking something from one of their other family members, that they will essentially never get. Attention, approval, admiration, quality time, support; it's just not happening. And I can definitely relate to that. It's frustrating. That frustration invites dramatic action. So, going forward, not only will I try to keep myself from entering into family engagements begging for this type of attention, but enter honoring everyone else for their crazy crap and what they need to just stand being around each other for a few hours, let alone have a good time. Sorry if that sounds a little dark, but see the show and I think you'll get what page I'm turning from.

Not surprisingly, The Lyons has now been extended at the Road Theatre at the Lankershim Arts Center location through July 16th. Don't miss this great piece of American dark comedy. With an understudy cast this good, you may even want to see it twice. Go with a family member, either to thank God yours isn't that bad, or thank God that you're not alone.