Pirates of Penzance

I'm convinced: The Pasadena Playhouse knows how to do their opening nights. Upon arriving at the theater, guests are welcomed and seated by a top notch hospitality team. This production instantly won me over when a taco was delivered to me at my seat. Talk about excellent service. The after parties are outside, under the moonlight on the historic patio. They are inclusive, they are free and the food and drinks are on point (although if the opportunity presents itself, they really should strike up an arrangement with Lucky Boy...jus' say'n...). This place knows how to roll out the red carpet and make everyone feel special and welcome. Other major theaters out there: take note and adjust accordingly. Danny Feldman is doing a lot of something right.

When I was fourteen years old, my father took me to a reasonably more traditional production of Pirates of Penzance at the Drury Lane Oakbrook. I would not say it was one of my favorite pieces, but it surely set the foundation for my understanding of Gilbert and Sullivan. YEARS later, I find myself at the Pasadena Playhouse for the transplant production of Chicago's very own Hypocrites take on the old classic. A few years back when the production was still developing, my good friend Ally had assistant directed it and had only marvelous things to say about her experience. When she and cast member Mario Aivazian were explaining the show's in-the-round/immersive staging to me over drinks at Steppenwolf's Front Bar two months ago, I was shocked. "That's not going to work for that venue," I told them. The Pasadena Playhouse is possibly the most traditional proscenium stage in all of California, so I was concerned for the style of show that was about to enter into this venue. 

However, this "cold" January night in Pasadena, my friend Sarah (who is currently costuming this musical at her alma mater, Pepperdine University) and I walked into a house I never could have identified as the historic theatre. Surrounding the playing area in somewhat of a thrust-type arrangement, beachy folding chairs were laid out in rows, while the rest of the audience could move about the stage, sitting on benches, in kiddy pools, on top of raised levels, on the ground or literally anywhere they could fit. Beach balls glided through the air, glistening string lights hung overhead, musicians mingled about the audience and an on stage bar supplied especially boozy cocktails for the animated crowd. The atmosphere was high on fun, bursting with energy and excitement. Complete Spongebob Squarepants vibes. And the show that eventually transpired was an absolute riot. Every time the actors needed to move to a new space in the theatre, if you were sitting where they needed to be, you just had to fall out and move! 

No matter where you look in this show, something is happening. Because the historical text is melded with modern design elements and even some contemporary references...it is not always clear what's going on. And I can't believe I'm saying this...but that's kind of ok. Sometimes I didn't know exactly what was happening in the story, but things move so quickly and the specticle is so fascinating that you get what you need. If I was a younger Isabella, maybe one of the kindergarten through fourth grade Isabellas, I would have had no idea what was going on, BUT I still would have been having the time of my life. There was an especially touching and beautiful moment in the show when a little girl (age 6?) seated in one of the kiddy pools where the actors were acting decided to stay and participate, instead of moving out with her family. Matt Kahler playing the role of the Major General nearly had his heart melted as he sung to her, while the two played with an itty bitty pirate rubber ducky. It was supremely cute and spontaneous. It was like those moments you live for, when the actors break character on SNL but everyone is still rooting for them because you can see what an amazing time they're having. And that's what's so fascinating about this production; these actors never know what kind of people they'll get in the audience and the show is different every night because of that. Which on the other hand made me realize how challenging this show might be with an audience not as willing to participate in the hilarity, and wonder whether demographically if LA were a more restrained audience than Chicago. These are the kind of theatre production questions that try my soul!  

I should also mention that I thought Shawn Pfautsch was especially strong as the Pirate King. Very funny. Excellent comedic timing. Bravo. In a world of stuffy interpretations of this musical, he reminds us how funny this show actually is.

Does the show make me want to change anything about myself? No. But it is an artistic inspiration for its truly visionary inception and technical design. This is the kind of show I probably saw as a six year old that confirmed my career in the theatre. Even if you're holding back, even if you're not a "break the 4th wall' kind of person which I ABSOLUTELY AM NOT, I guarantee you will lighten up by the end of the show.

I am really sorry that I'm so late with these posts (a lot has been going on this month) but this is your last weekend to catch Pirates of Penzance at the Pasadena Playhouse; it closes on Sunday the 25th! Regardless of how you feel about the text, this is one that will really blow you away stylistically and design-wise. The Hypocrites have taken a beautiful risk with this one and I hope they will continue to own up to their innovative style in their future inceptions. As a lover of adaptations, I would love to create something like this! Check it out because I bet you have never seen anything like this.

A Delicate Ship

To date, I've had very moving experiences with the work of Anna Ziegler. The Geffen Playhouse world premiere production of Actually last May was one of the best plays I saw in 2017 and I'm on my knees praying for Jerry MacKinnon to rightfully collect the Ovation Award for Best Actor in a Play next week. It's clear why a lot of actors (particularly actors my age) are drawn to her work; she gives many of her characters the freedom to express their outlook on the situation at hand directly. Plenty of "allow me to explain this, from my perspective" breaking the 4th wall kind of moments. 

Just one night after opening, I ventured over the hill to The Road's Magnolia space at the NoHo Senior Arts Colony for the West Coast premiere of Anna Ziegler's A Delicate Ship, directed by Andre Barron. There I was reunited with my acting homegirl Candace and her darling husband Pat, as well as my friend and champion of the Urban Theatre Movement, Spencer. Candace had also seen and loved Actually and Spencer was unfamiliar with Ziegler's work. And then there's me, the theatre nerd, who knows probably way too much about everything...

Philip Orazio, Paris Perrault & Josh Zuckerman. Photo by Brian M. Cole

"Everyone we pretend to be was some version of our parents."

The Road Theatre loves their West Coast premieres. And why not? With the right resources, I'd like to claim a few of those titles myself. And again, I can see why this play would be attractive to audiences ranging from about 25-55 (with some wiggle room). In this play we watch three thirty-somethings on the cusp of confirming their life partners with some flashback memories to simpler times as well as some flash forwards into a more "stable" future. "It brings up a lot," Road company member Janet expressed to me as we processed the show's messages in the lobby. It certainly did for me at this stage of my life, as someone running as fast as I can on a treadmill outside a doorway leading into my thirties. I notice men in my life that fit the roles of Sam and Nate... and there's drawbacks to both. It can be terrifying. Do I choose passion and spontaneity or safety and commitment? And I'm sure the same characters would raise evolved emotions for someone that has already been through marriage, children and possibly divorce. 

"I can't have kids. I am a child. But you have them anyway. And then you grow up."

Philip Orazio, Josh Zuckerman & Paris Perrault. Photo by Brian M. Cole

I'm adding a SPOILER ALERT here in case you are unfamiliar with the story***

This play confirmed how much I love Anna Ziegler and how much I want to work with her. However, after wrestling with the content for the past few days, I'm still left unsatisfied with the female character Sarah. Which is fascinating, because again, even though I LOVE Actually, so much that I want to be in it someday (soon), I felt similarly after that show. After being so incredibly moved by MacKinnon's performance (even though Samantha Ressler was also awesome) I had to go back to the text to figure out whether or not he in fact been written the better role.

Outside the theatre after I made Spencer take forty million pictures of me, we had a chance to talk about the play. "So, why didn't she get with Nate after she had such mind-blowing sex with him back in February?" I asked him. "What was her reason for not being with him?"

"Yeah...I don't know."

"I mean, I started to think, after he like, cussed her out, was he manipulating her the whole time and pressuring her into something she didn't want to be in?"

"...Maybe?"

"That doesn't make total sense though. Because she doesn't deny any of the things he claims to be true. He is so convinced of their love and she says nothing. And she says a lot of good about him too, mostly privately to the audience, you know? I'm trying to figure out what the subtext is here for her."

I could totally be missing something here. But until a particular moment, Nate is definitely the character you want to be in this play. I'm not entirely convinced of this yet, and Ziegler is an extremely talented, dynamic playwright who is on the up and up for completely valid reasons, but I am starting to wonder maybe she writes better for men...

END SPOILER ALERT***

Josh Zuckerman & Paris Perrault. Photo by Brian M. Cole. Zuckerman's character is portrayed as basically the love child of Nick Moore and Alex P. Keaton from "Family Ties." And of course, how could I not fall in love with that?!

"I sometimes wonder why we can't just choose to be happy."

For a weird, fleeting moment I asked myself if maybe the play was about a woman who needs more than one man, because they each provided for her in different ways, awakening different aspects of her emotions and charisma. Maybe this wasn't a character flaw after all, but honoring that we can't have it all, no matter how "good" we are. I also wrote down that I thought the play could be commenting on men claiming women. Word up.

A Delicate Ship runs a the Road Theatre Company's Magnolia space at the NoHo Senior Arts Colony through Sunday March 11th. This finely polished production give you a lot to think about, but I would encourage you to think about it, and how it relates to your relationships, both past and present.

Small Mouth Sounds

For my first theatre adventure of 2018, Arianne and I didn’t have to travel far from our West Side cocoons. We polished off some drinks and snacks at Bodega Wine Bar on Broadway & Lincoln before rolling in just on time for our 7:30PM opening night at the Broad Stage. It had been a few years since my last visit, their 2014 production of A Midsummer Night’s Dream, devised by the Handspring Puppet Company, most famous for their revolutionary theatrical creation, War Horse. The Broad Stage can be a challenging venue to follow. Not only do they show productions all across the performing arts spectrum (they are not exclusive to theatre) but their runs constantly vary in length. While they may have a one-night-only sold-out evening with the musical talents of Josh Groban one weekend, they may run a full-length drama running for weeks at another point in the season. You never can tell what to expect, which has its pros and cons. 

The Cast of Small Mouth Sounds - left to right: Brenna Palughi (Alicia), Ben Beckley (Ned), Edward Chin-Lyn (Rodney), Connor Barrett (Jan), Cherene Snow (Judy), Socorro Santiago (Joan). Photo by Ben Gibbs

I had seen a lot of advertising around town for Bess Wohl’s Small Mouth Sounds, and wondered what the hype was about. It was noticeable because I had never seen so many billboards, bus adverts and print ads for a Broad Stage show since my move to LA, but maybe it’s just me.

In Small Mouth Sounds, we follow six city-dwellers to a secluded silent retreat. As you might imagine, this silence and abundance of “downtime” could warrant lulls from a theatrical standpoint. And that did happen in certain moments of the play. However, this use of stillness and listening allowed for powerful moments of reflection and connection within the audience. So what does that mean? I think there is something for everyone in this play; there is a character for everyone to connect with. We don't get a lot of background, only what we see going on in the silence. In a certain respect, the play is "show don't tell" to the max. Embarrassingly, I related to the overly basic white girl (Alicia played by Brenna Palughi). We learn a lot about her through the silence, which her entire character opposes. She arrives late, stumbling in with about four or five bags, breaks the rule of eating outside of meal time, breaks the no cell phone rule and has plenty of substantial private melt-downs that let us know, there's something going on. I understood...because I had been there. But it also made me realize that her (and my) concerns and trials were not any more significant than any the others were trying to live through. Everyone is trying to get through something. No matter how together they seem. I think that is what this show changed in me; to be more aware of what other people are facing though my own struggle. 

 Ben Beckley as Ned. Photo by Ben Gibbs

Although some moments seem to move a bit slowly (rightfully so based on the environment, but perhaps a bit lagging in the theatrical realm) there were others that were completely hilarious. The way the group learns to communicate in the silence, and with and for each other proved for some adorable interactions and some you couldn't help laughing out loud for. Also how we begin to learn that the guru/yogi guiding them is not so perfect either, and even though we never see this character, Orville Mendoza's voiceovers were especially funny. I was surprised by how funny the show was as a whole, but really, this show is kind of full of surprises. 

All the characters have voluntarily signed up for the retreat for a reason. Since many of us have not experienced this environment before, we find ourselves in a fascinating, new, theatrical situation. For the newness (and renewness) it brings to the stage, I would encourage you to catch  Small Mouth Sounds at the Broad Stage before it closes Sunday January 28. Don't go if you're super tired, as the silence may encourage the "quiet time" you're craving, and you don't want to miss the power that resonates, even in the quiet.

BLKS

After having dinner with my cousins and their babies at Gemini in Lincoln Park, I met my sister Flora at Steppenwolf. In case you didn't notice, this was my second night in a row visiting the venue. I got us started on some cocktails, because I'm the big sister and that's my role in the family now.

"I haven't been to a play since...since I saw one with you, last summer." Flora told me.

"I know. And that was two summers ago."

"...right. Two summers ago."

Flora lives in Bucktown now. I guess. So it was easy for her to meet up with me for this world premiere of Aziza Barnes BLKS at Steppenwolf's upstairs theatre.

Nora Carroll, Leea Ayers and Celeste M. Cooper. Photo by Michael Brosilow

My sister and I are like night and day. But night and day in the same city, where even though it's dark out, you might go back to a bar you noticed during the day, that wasn't open yet. And in the day you see the same beautiful park you saw at night, but now it's full of life, more action. We like a lot of the same things, but we use them differently. We have expensive taste, but we've learned how to be practical and still have a good time. We have different beliefs, and we both have a lot of opinion on that, but we try to respect each other in that. Most of the time. Flora did some theatre with me growing up, but pretty swiftly found her way into visual arts from there. She now works as a graphic designer and I look forward to watching her work evolve. Seeing how my own work has evolved over the years, I am excited for Flora to begin to claim her style and values as she is impacted by her environment and life story. 

Nora Carroll and ensemble member Namir Smallwood. Photo by Michael Brosilow

"Family's some of the biggest haters, what'choo know about it?"

Surprisingly Flora and I had very similar feelings on the production. We definitely enjoyed it, related to it, and laughed a lot. We were both very impressed with the set and the stage itself is one I could only dream of using for the show I'm writing. The high ceilings are awesome and the space itself is big although quite cozy, maybe because there were couches all over the walls! Design-wise across the board: winning in this production. 

Script-wise, as a whole, we both agreed that it felt like the pilot episode of a TV show and we were not the only ones at the post show discussion to compare the play to HBO's GIRLS. In this play we get a taste of three very different women sharing a common habitat. However, there are some relationships in the play that are done away with fairly quickly and without resolve. I suppose you could argue that life works like that sometimes, but as an audience member I was craving resolve within some of the interactions and it felt like something that might happen in the next episode. Overall I thought the cast was excellent and Flora and I each connected with different character moments. In a program note, the playwright informs us that "This is a play by blk people and for blk people." This is true, she honors that in the text, and I think that people of all colors can relate to this play on some level. One of my favorite parts was when Ry (Danielle Davis) expresses her frustration with Octavia (Nora Carroll) for not acknowledging what they are or where they stand in their relationship. She doesn't care what it is necessarily, she just wants to know what it is so she can adjust her feelings accordingly. I wish I could say I haven't been there myself. Why do we so often find ourselves in these overly-complicated situations in this generation?

Kelly O’Sullivan, Danielle Davis, Nora Carroll and Leea Ayers. Photo by Michael Brosilow

If you're in your twenties and need to get out of the Chicago cold for an evening, instead of staying in and watching GIRLS alone on your laptop with your bottle of pinot noir, get some friends together, hit up Front Bar for some pre-show drinks and check out BLKS. Ally asked me if this show was one to see with a date, or with your crew. I would have to say crew.  BLKS runs through January 28, in the upstairs theatre at Steppenwolf Theatre. This is a clever, timely script that will leave you asking for more; I look forward to seeing what Aziza Barnes brings to the stage next.

The Minutes

Even though it was 16 degrees outside, I just couldn’t make another trip to Chicago without a visit to the Steppenwolf Theatre. Nearly since high school I’ve dreamed of performing at this venue, and you'd better believe I’m not giving up yet. In the meantime, as long as I'm in the neighborhood, I wouldn’t think of passing up a performance there. This is arguably one of the best theaters in the country and their bookstore leaves me salivating. Such incredible, moving art has been made in this place.

An hour before the performance, I had a very happy reunion with Ally, my top dog underdog of the Chicago theatre community, my Chicago theatre nerd, main slice and confidante on all things related to theatre and our frustration with men. Someday we will have an offshoot theatre company in Chicago (The 5th Wall) of my theatre company in LA (BAE Theatre). This woman is really a dynamic presence in the community (Probably Chicago’s next Martha Lavey) and wonderful friend of mine. So I was more than delighted to catch a cocktail with her at Steppenwolf’s fairly new Front Bar before the show. We also ran into an old friend of hers, funny enough, a Hypocrite’s Theatre Company member who will be performing in their famous interpretation of The Pirates of Penzance at the Pasadena Playhouse in early 2018. “Oh my gosh, I was just talking to Danny Feldman about that show,” (I wasn’t) “And I’ll be at opening and see you there!” (I will) I told Mario. I am looking forward to that production and the innovative programming coming up at the Pasadena Playhouse in 2018. It will be neat to see Mario again, this time in action on stage, really partying down for this truly outside the box production of an old classic.

See, LA Theatre finds me even in Chicago. But back to Steppenwolf. Ally had already seen the production of Tracy Lett's The Minutes I was about to watch which is why shortly after our drinks she departed for a quasi-date* to a sold-out Andrew Bird concert. But before she headed out into the cold, dark Chicago night, I asked her what she had thought of the show.

"It's really good. But the ending is bizarre." 

Hmm. This resonated with me, as I have a great amount of respect for Ally's well-read/practiced/studied opinions on theatre. Endings are challenging. But this point, I'd say Letts is a veteran contemporary American Playwright. I'd just have to see for myself!

Cliff Chamberlain (Mr. Peel) and Brittany Burch (Ms. Johnson) Photo by Michael Brosilow

After Ally left, I had another happy reunion inside the theatre with my friend from high school, Missy. Missy is a Chicago native and talented culinary artist, currently brainstorming a concept for a line of inventive ice cream sandwiches. I'd told her I'd be more than happy to test any prototypes on one of my summer visits. I hadn’t seen her for at least two years, so it was not only a positive reunion, but an inspiring one as we renewed inspiration in each other for projects we’re working on in the new year. Our meet up also proved for a fresh voices on the topic of the show: theatre nerd and culinary nerd. Passion is passion baby!

I am not a big fan of Tracy Lett's style, however he is a true champion of the American Theatre that I really look up to in a MAJOR way. He's an underdog who really worked his way to the top, with patience and diligence. And even though I don't really "love" most of his plays like I do some other playwrights, I honor that he has honed his style and claimed it as his own. That's something I dream of accomplishing as a writer and an artist. So if you want to read my senior year research project on him...which pretty much ended up becoming an ode to Tracy Letts...because I could find no fault in him in the public research I was able to uncover...so my professor gave me a B because it was pretty much a one-sided argument...email me and I can send it to you!

In the case of The Minutes, I had to say that I agreed with Ally's succinct but direct impression of this show. It's clever, it has some excellent humor, it makes an impression, it delivers a message and the performances were strong. Cliff Chamberlain's performance as the unassuming protagonist Mr. Peel was played with clear choices and honest dedication to the comedy of the piece. I couldn't help but imagine Paul Dano in this role as well. But maybe that's just because I'm obsessed with Paul Dano.

 But that ending though!

Jeff Still (Mr. Assalone), Danny McCarthy (Hanratty), Cliff Chamberlain (Mr. Peel), ensemble member William Petersen (Mayor Superba) and ensemble member James Vincent Meredith (Mr. Blake). Photo by Michael Brosilow

I won't go deep into my qualm with the ending in order to keep it special for those that have not yet seen the show. I'm not so dense that I can't imagine its significance, as we contemplated at the public post show conversation. However after such a compelling body of text, I felt that it could have landed more powerfully, in a way that could be a bit clearer for the general Chicago theatre-going audience. I am definitely a fan of director Anna Shapiro's work, however I also wrote in my notes that I would be interested to see how the ending of the play was expressed on the page versus how it was presented, just out of my own curiosity. Also, not the absolute worst case of this I have ever seen, but I would have liked a little more substance from the female roles in the play. They represented 27% of the cast, which in this case I would argue could be an accurate representation of a group like this, in certain communities. 

"What kind of community do you want to live in?"

Now when I see shows I also ask myself if they could be performed on a community theatre level. I don’t know why, but I do. And this is one of them. The set can be somewhat easily created on a community theatre budget, although Tony Award-winning set designer David Zinn certainly did a lovey job, especially with the relation of the curved high ceilings to the roles the characters in the play are trying to fulfill. For a play it's a generally big cast, where everyone is on stage for most of the play. And it would be interesting to see how actors in community theatre communities may even lend themselves to these roles based upon their own roles in the community. 

Ensemble member James Vincent Meredith (Mr. Blake), Cliff Chamberlain (Mr. Peel) and Jeff Still (Mr. Assalone). Photo by Michael Brosilow

As a theatre-goer I would encourage you to check out all of Tracy Lett's work, so don't miss out. Especially for the issues this play raises on the topic of appropriation, ownership and who gets credit for writing our history. I'm sorry to my LA Theatre community but  The Minutes runs through January 7th at the Steppenwolf Theatre in Chicago's Lincoln Park neighborhood. Check it out if you can, however I wouldn't be surprised to find this at the Mark Taper Forum in the future. It seems to fit the vibe of the venue.

*quasi-date in this use of the word refers to going out on a date-type situation with a man you have been friends with for years, yet it is clear you have always been mutually attracted to each other, while his girlfriend is studying abroad in Paris.

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.