Joe Straw #9

No Good Deed by Matt Pelfrey

2012-01-30T08:54:00.000-08:00

By Joe Straw

Furious Theatre Company presents No Good Deed by MattPelfrey and directed by Damaso Rodriguez, is having its world premiere atInside the Ford in Hollywood through February 4^th, 2012.

The press release suggests that this gritty play is “parttheater and part graphic novel”. Ithought this was a fantastic idea. A smaller, west-coast version of Spidermanwith graphics and battles of good against evil seemed promising. On paper, this looks great, in reality; I’lllet theatergoers decide for themselves.

The Furious Theatre Company has issued a #1 Hellbound Heroescomic by Matt Pelfrey and Ben Matsuya that is graphically just fantastic.

And in this medium, one can turn a dead person into a superheroif they fit these criteria.

First, an ordinary person dramatically saves a life. Second, he gets notoriety. Third he dies ahorrible death. These are theprerequisites for becoming a Hellbound Hero. Mysteriously, they are brought back to life by an evil figure whobreathes super-hero life into them.

The play opens with a conglomerate of media personnelreporting on the death of Josh Jaxon (Nick Cernoch) who earlier had bravelysaved a girl from certain death by a vagrant (Dana Kelly, Jr.). We travel backin time to find out the backstory.

Josh Jaxon (Nick Cernoch) is a very creative graphic artistwho is harangued by his friend Bandon (Danny Lacy) into drawing bigger boobs onthe women of the artwork for his pure bedroom enjoyment. Brandon is paying good money to have theboobs just right. There are some creative differences but Josh complies.

Both are infatuated with Danielle (Katie Marie Davies), apretty schoolmate. She discards Brandonand takes a liking to Josh.

And just as Josh thinks love and happiness are around thecorner, he is accosted by two football players Drew (David C. Hernandez) and Kyle(Adam Critchlow) and beaten senseless. They push his face into the toilet.

But coming to his rescue is Hellbound Hero (Robert Pescovits)who takes on the football players, ripping the heart out of Guy and fryingDrew’s eyeballs out of his sockets. Behind the players are graphicrepresentations of the action being performed on stage. It is fun.

Josh’s situation at home is much dire. His poverty stricken stepfather, Ron (RobertPercovitz), sits on the couch all day long with a bad back while his mother,Linda (Johanna McKay), is the breadwinner of the family. Ron accuses Josh of stealing his pain medication,which Josh denies. Linda loves her sonbut wants them all to get along.

Josh gets out of the house to be with Brandon to partake ina little decadence, Brandon choose a cheap wine as his drug of choice but Josh inhalesa dangerous aerosol. In the distance,Josh hears a cry for help and runs to find Danielle threatened by a vagrantwith a knife. When Josh orders him toback off, the knife-wielding assailant comes after him. After a fight, Josh bashes the vagrant’sskull in until he is just a stain in the alleyway.

When the Media Vultures find out about his heroic deed, Joshis invited onto every talk show in town. One of those shows is the Poppy Show(Johanna McKay). She introduces threeguests. A fireman (Shawn Lee) who is responsiblefor pulling a baby out of a well. Asecurity guard (Troy Metcalf) who is the man responsible for saving a lot ofpeople by discovering an explosive device in a theme park. And Josh who hassaved the young girl’s life.

“If it wasn’t for you, that girl would have been dead or much, much,worse.” – Talk Show Host

With all the money he makes appearing on Letterman (RobertPescovitz) and Leno (Brian Danner), Josh buys his mother a car. It is something his stepfather doesn’t likeand they get into a tussle. Josh leaves the house and tries to stay with hisfriend. But Brandon lives in a nice homewith two loving parents and he doesn’t want to get involved.

That’s when the roof starts caving in on our heroes. The media attention is overwhelming, thepress discredits them, and people start questioning their motives. The SecurityGuard commits suicide.

There are a lot of good things to be said about DamasoRodriguez’s direction and Matt Pelfrey’s play. There is a sincere message about how the media builds and worships heroesand then tears them down.

Judicious editing would make the play more focused. The directormight concentrate into turning his ideas into something more concrete. Forinstance, Hellbound Hero mysteriously appears and disappears without giving theaudience a clue as to his actions and his reason for being.

Drop the second news-reporting segment. We’ve seen it once and we don’t need to seeit again. Also, make the first one graphically intriguing and understandable. To have them speaking all at the same time isconfusing for the audience.

The graphic illustrations by Ben Matsuya are incredible.

Nick Cernoch asJosh Jaxon does some nice things. Thisis a physically demanding role in which Cernoch get beaten up quite a bit. It’s not clear if the super hero stuff workedsince I don’t know what his super power was all about.

Shawn Lee as theFireman also had some nice things. Ilike the idea that his axe was his instrument of his superpower. Thor has a hammer, Lee’s got an axe. Okay, I’ll buy that.

Troy Metcalf asDanny Diamond and Security Guard did a nice job. Again I’m not sure what hissuper power was about.

Katie Marie Daviesas Danielle was effective. It’s unclearwhat she was doing out late at night, in an alleyway, on a bed, under the knifeof a vagrant.

Robert Perscovitzhad a variety of rolls. One of them was Letterman which was nice but went ontoo long. He played Ron, Josh’sstepfather and was pretty sinister in a comic book way.

Johanna McKay hasa strong voice and was pleasing as both Linda, Josh’s mom, and the talk showhost. She was delightful in both roles.

Dana Kelly, Jr.has a very nice voice and played a number of characters, Media Vulture 2,Pruitt, Lawyer, Vagrant and Senator. He had a lot of costume changes and he isin all sense of the word a trouper.

Danny Lacy asBrandon has a good look about him. Hewas very effective as Josh’s friend. Hisemotional commitment and his backstory were very effective.

Stefanie Demetriadesas Media Vulture 1 was a typical broadcaster. They are the reasons I don’t watch television anymore. Still, she did a fine job.

Adam Critchlowplays Kyle and has a nice fight scene with Josh.

David C. Hernandezplays Drew and was also involved in the fight.

Brian Dannerplayed the Media Vulture 3, Leno, Krank, Paul, Guy, and was the FightChoreography. The fight scenes were verywell done.

All Thursday performances are Pay-What-You-Can and at thoseprices I suggest you run down and get your tickets. And bring a adult friend who loves comic books!

Parking is free!

www.fordtheatres.com

Our Town by Thornton Wilder

2012-01-29T00:18:00.000-08:00

By Joe Straw

Walking into The Broad Theatre, one notices all the seatsare gone. Scenic Designer Stephen Dobayhas placed them underneath a huge thrust stage.

At first glance, the setting looks like a gymnasium, a smallbasketball court of a small town and what a perfect way to showcase thisproduction in a venue that is almost familiar to everyone. This setting exemplifies the place of ourfirst recital; our first basketball game, the sock hop, our Christmas pageant, andthe place our parents got teary eyed watching us perform. And, for some oddreason, I felt right at home. And then…

“The name of the town is Grover’sCorners, New Hampshire-just across the Massachusetts line: latitude 42 degrees 40 minutes; longitude 70degrees 37 minutes…The day is May 7, 1901. This time is just before dawn. The sky is beginning to show some streaksof light over in the East there, behind our mount’in. The morning star alwaysgets wonderful bright the minute before it has to go, - doesn’t it?” – ThorntonWilder

Helen Hunt takes the stage with extraordinary confidence onecannot imagine. Her words as the StageManager leave you breathless, the imagery is specific, and her movements areconcise without a misstep. She takeslittle time in taking us back to images of a long forgotten past.

And those images are a bleb that encapsulates a small partof the world we know as Grover’s Corner, New Hampshire.

One feels a sense of pride watching this play, and with myhead held erect, my chin lowered, my eyes looking forward, I take a deepbreath, and I absorb all that this play is willing to give. It is a magnificentplay where one yearns for the words. And slowly the words of that forgottenplace become blurred images that become crystal clear as the play progresses.

Our Town, a play by Thornton Wilder, starring Helen Hunt anddirected by David Cromer at The Broad Stage, is a miraculous achievement. So much so that it is, literally, difficultto leave. You sit after taking in everymoment, and at the end of it wondering if it possible to leave this warm placefor the cool chill of the Santa Monica air.

Cromer, the director, hits all the right notes, taking the precisepath, never wasting a minute of our time, and keeping a tight focus on whatneeds to be said. The ending is quitemarvelous and the olfactory stimulations send you home in a state ofenlightenment and with a light heart. This production is beautiful beyondcomprehension.

As the morning begins, Mrs. Gibbs (Lori Myers) and Mrs. Webb(Kati Brazda) work to keep their households running. Never in competition, they work their familieswith the approach of a loud monarchy.

A tired Doc Gibbs (Jeff Still) comes home after workingthrough the wee small hours in “Polish Town,” delivering a set of twins. But heis never too busy to speak with the paperboy, Joe Crowell Jr. (Coby Getzug),and the milkman, Howie Newsome (Maximilian Asinski).

“I do wish I could get you to go away someplace and take a rest. Ithink it would do you good.” – Mrs. Gibbs

Not satisfied with her present situation, Mrs. Gibbs wants herlife to be better but most of all she wants those darn kids, George Gibbs(James McMenamin) and Rebecca Gibbs (Ronete Levenson), to get up and eat thebreakfast that she has lovingly prepared!

But fifteen-year-old George Gibbs has got only one thing onhis mind, baseball. Okay, so, maybe two things.

Mrs. Webb has similar struggles with her children, EmilyWebb (Jennifer Grace) and Wally Webb (Daniel David Stewart). She scolds Wally becausehe’s reading a book at the breakfast table.

“You know the rule’s well as I do – no books at table. As for me, I’d rather have my childrenhealthy than bright.” – Mrs. Webb.

After sending the kids off to school, Mrs. Webb and Mrs.Gibb get together to prepare string beans for the winter and discuss how theycan make their lives better. There is a trick to string beans of that era. You break off one end and pull the stringdown. Then you break the other end andpull the string down the other side. Throwing the ends for use in compost.

“Y’know, Myrtle, it’s been the dream of my life to see Paris, France.”– Mrs. Gibbs

But Doc Gibbs doesn’t want to go traipsing off toFrance. He is right at home in Gettysburg. He is, in fact, a dissatisfied doctor who isalso a living, breathing, historian of the Civil War. He takes a two-week trip eachyear to visit the battlefields but Mrs. Gibbs doesn’t think this is much of avacation.

And just as we are to get into the most intimate details oftheir worried lives, the Stage Manager interrupts to introduce ProfessorWillard (David LM McIntyre) to provide a history lesson about Grover’s Corners.In fact, it’s too much information. Buthe’s more than happy to impart his knowledge and not stop talking until theStage Manager introduces Mr. Webb, the editor, who is stuck back stage for amoment that seems to last forever.

“All males vote at the age of twenty-one. Women vote indirect.” - Mr. Webb

If those words don’t knock you back to 1901, nothing will.Just one more layer to set you smack dab in the middle of Grover’s Corner.

“My, isn’t themoonlight terrible?” - Emily

And, as life continues, George and Emily find they havesomething in common and their relationship continues to grow.

“This is the way we were: in ourgrowing up and in our marrying and in our living and in our dying.” – The StageManager

Later Simon Stimson (Jonathan Mastro), the inebriateddisgruntled choir director, directs the overly loud choir as George and Emilyfind a way to get closer through the window of their second story homes.

Love finds a way. Italways does.

And as Mrs. Soames (Donna Jay Fulks) and Mrs. Gibbs gossipabout Simon Stimson, their husbands are pacing the floors at home wonderingwhat they are up to.

“You think we’d been to a dance the way the menfolk carry on.” – Mrs.Soames

Neither likes the idea of their wives doing God-knows-whaton a night like this.

And as the day comes to a close, Mr. Webb, closing shop,runs into Constable Warren, and tries to pry information, more grist for themill, his newspaper. He is very curious andalso wants to know if his son Wally is smoking cigarettes.

And when Mr. Webb gets home…

“Why aren’t you in bed?” – Mr. Webb

“I don’t know. I just can sleep yet, Papa. The moonlight’s so won-derful. – Emily

Makes you wonder if she talking about the moon or George.

I haven’t stop thinking about this production. It is marvelous in so many ways.

Helen Hunt is atrue professional of stage and screen. As the Stage Manager, she is marvelous to watch and her technique isflawless. Her concentration is spot onand her commitment to the truth is evident. She captures each moment with anemotional dedication that has her running from one end of the stage to theother. This is a magnificent performance that should not be missed.

Lori Myers asMrs. Gibbs is marvelous in that she wants more from her marital relationship. Sheis a very strong woman who wants the best for her family but in the end, her desiresare not met even though she certainly tries.

Kati Brazda asMrs. Webb does her best to keep the kids on the right path. The ending is just marvelous, as she,performing in shadow, loves her children in the best way she knows how. Shedoes not emotionally indulge her kids and it is a marvelous characterization.

Jeff Still as DocGibbs is a very soothing character. Heis stern when he wants to be but is an ideal nurturing father one could only want. He scolds George one moment and gives him araise all in the same breath. This is a marvelous performance.

James McMenaminas George Gibbs has many nice moments. One is at the breakfast table when his father is giving him a stronglecture about chopping wood. The otheris having his sister sit on his lap and not knowing where to put his hands.

Jennifer Grace asEmily Webb also has remarkable moments. Sheallows George to carry her books and, as her ponytail bobs back and forth, shestops to tell him how “stuck up” he is. She is slightly confused about love and forthright in her approach tosuch matters. Her characterizations are delightful.

Daniel David Stewartas Wally Webb has quite a presence. Hisentrance in the last act is shocking because it is unexpected. And as he sits silently, stoic in manner, inhis Boy Scout uniform, he seems proud that this is the last image you will see. This was a marvelous performance.

David LM McIntyreas the befuddled Professor Willard had an interesting characterization. He was pleasant but his voice was not boomingas college professors are supposed to be. Maybe it was just the sound problem thisparticular night.

Tim Curtis asEditor Webb had some marvelous moments especially at the breakfast table givingGeorge advice on the morning of George’s wedding to his daughter. Just thatlong lasting moment before he speaks to George is worth the price of admission.

Ronete Levensonas Rebecca Gibbs was quite delightful. Hercharacter is never at a loss for words and very imaginative. She is the rumble in the room, the constant noise,which feeds in intensity as she goes off to school. She is the quiet you hear when she leaves theroom and she is the smile on one’s face moments after that has happened.

Jonathan Mastroas Simon Stimson—the choir director is marvelous. He is focused and makes his point. There is amoment where he stands not saying a word waiting for someone to take care ofhim. It is a marvelous moment. Also, he does a fine job as the musicaldirector of this production and does some really fine work with the choir.

Donna Jay Fulksas Mrs. Soames is very funny as the gossipy neighbor and equally funny in themarriage scene.

Maximillian Osinskias Howie Newsome does a fine job as the milkman though there seems to besomething missing from his character since his wife doesn’t want to be seenwith him. Also, it seems his relationship with his customers Mrs. Webb and Mrs.Gibbs could have added an additional element. Still his work was fine.

Coby Cetzug asJoe Crowell, Jr. and Nicholas R. Gravaas Si Crowell are the paperboy who are always happy to give anyone informationthey desire. They are watched over asthe village of Grover’s Corner watches over their children.

Matthew Kimbroughas Constable Warren seems to fit the profile of a modern day constable. It wasa nice performance in need of another characterization to fill out the role.

Jeffrey Hutchinsonas Joe Stoddard the undertaker and NathanDame as Sam Craig fill in some of the small details in the graveyard scene inAct Three. In it, the living talk aboutthe dying as though it would never happen to them.

Dana Jacks, Elizabeth Audley, Lesley Fera, and LisaGoodman are part of the choir that sings beautifully.

Jonathan Edwardsplays Mr. Carter and Gordon Wellsplays Farmer McCarty.

And the other cast members who fill in as citizens in thiswonderful cast are: Dan Alemshah, WayneBaldwin, Timothy Howard Davis, George Ketsios, Jonathan Palmer, VincentSelhorst-Jones, Kathy Forsman, Vallean Mann, Margaret Miller, Pamela Munro,Sheila Raznick and Audrey Wishnick. In a grand moment, the dead citizensbring their chairs and sit on stage and among us. Some of the dead we recognize and it shocksus to see that they’ve passed. They are part of us, stationery, and want us toremember them. They are you and I, we. It is grand to see these actors supportingthis production.

David Cromer doesa brilliant job of putting this all together. He does this by making us wait for the moments and providing them with afull head of steam. It is profound work, moving and gripping in its finest of details.Children enter and exit with so much noise that we appreciate the quiet. (Anyonewith kids will understand the preciousness of quiet time.) Cromer lets moments come to you before hemoves on—some of these stunning moments are the introduction of Editor Webb,the conversation with Simon Stimson, and the Webbs having breakfast the morningof the wedding.

Cromer hits allthe right notes in Thornton Wilder’s play as Emily observes in the last scenethat it is time to re-reassess life. Take a moment to examine the small things because in the end these arethe things that matter most.

Run to see this production and take a friend who loves goinghome for the holidays.

Through Feb 13, 2012

www.thebroadstage.com/ourtown

God’s Ear by Jenny Schwartz

2012-01-22T22:28:00.000-08:00

By Joe Straw

My first wife died 17 years ago this month. At that time, my life became a series ofemotional ups and downs, mostly downs. Grievingalone was necessary but I also needed help. It was too much for me tohandle. The Wellness Foundation in SantaMonica recommended a grieving group and it was from this group that I recoveredenough to move on.

The Echo Theater Company presents God’s Ear written by JennySchwartz. It is directed by Rory Kozoll andis playing through February 19, 2012 at the Zephyr Theatre.

Schwartz’s work is a wonderful word fest. The main character speaks a subconsciousstream of thought in the process of getting over her grief. And although grieving differs for everyone,the words in this play examine the subconscious complexities of grieving.

I’m not sure who coined the phrase “From your lips to God’s ear”. But I suspect the title has something to dowith that phrase. Jenny Schwartz’s play is remarkable in that the grieving takesover the lives of the tormented characters. They speak without communicating; their wordsare a call to action not given. Eachcharacter is looking for a way to get out of the emotional mess they are in,but they don’t know how or who to ask for help.

In the opening of the play, Mel (Amanda Saunders) has thephone to her ear. She is in a hospitalroom and behind her is the curtain to her sons’ room. Her husband is on the other end of the line andhe is traveling somewhere in America. Mel tells him that their young son gotpulled under the water while swimming in the ocean and now he is behind thecurtain hooked up to life support systems and not expected to survive. The “nice doctors” have already suggested theremoval of his organs.

Ted (Paul Caramagno) listens, casually, with little emotionor feeling. The small phone is nestledagainst his ear, but oddly enough he is not reaching for information. He takes what Mel offers in the way of doctorspeak expressed in short staccato sounds bites, burst of information that wouldnormally send anyone into a panic. Still, Ted listens. He shouts at heron one occasion. The shout seemsnon-specific. Their son’s situation ishopeless.

It is their time, their moment, to start the emotionalnightmare of grieving. It will be a journey that will test the limits of theirmarriage.

In a nice bit of action, Mel pulls the hospital room curtainand we are suddenly transformed to their bedroom at home. The bed occupies the middle of the stage and asMel slips into her bedroom attire, her lonely process of grieving begins.

Grieving is difficult and unique for each individual so itis not unusual to see these two struggle as they pursue their different pathsof grief. But their lives are now inchaotic mode. And Mel speaks to Ted in a strange cliché ridden assault of excessiveverbiage that probably was cute when they first met. But after their son’s death, this seems likean exercise in triteness. Still, Tedplays along.

But, all Ted can do to comfort her is offer her a pair of pinkfuzzy bedroom slippers from one of his trips.

And to make matters worse they have another child. Lainie, (AlanaDietze). She is small child and repeatedlyasks kid questions like “Why? Why? Why?” Lainie does not understand the death of herbrother or what her parents are going through.

It is difficult to see RoryKozoll’s (the director) through line, point of view, or perspective. Characters appear without purpose or meaning. The first scene propels the actors into therest of the play. Instead, the openinghas two characters having a “casual conversation” when in fact it is a very traumaticsituation. This scene establishes astrong relationship and creates a conflict that remains with the characterthrough the conclusion. If the opening isn’t spot on, the play has a hard timeworking.

The staging is awkward at times and the relationships arenot justified. For example Mel buries the toy soldiers in the back yard becausethey are a reminder. So when G.I. Joe (JeremyShranko) unburies himself and appears as human flesh, Mel has little or noreaction. More should have been made of this scene and the relationships.

There are a lot of unanswered questions in this play. While there is a resolution to the grieving,the problem is in the getting to the resolution and in a manner that speaks thetruth about grieving. All actions on stage must lead to this point.

I speak of moments as if they are obscure intangible thingsbut they are events that, when worked to perfection, can be a beautiful thing.

Also, the relationship the parents have with their son must be visible and concrete. Even though he does not appear in the play he must always be in their thoughts. This gives the characters a richer physical life if only one can imagine carrying a son who who has passed.

Maybe this was opening night jitters and moments didn’tquite carry us the way it should have. And possibly these moments have been fixed. If so, go out and have a good time.

Amanda Saundersgive a poignant performance. She is verystoic, strong, but has been left stranded, grieving, without seeking help. She is hurting and hateful, her jagged wordson the phone sting like serrated knives that are buried deep into the intendedvictim. And her husband is the recipientof those thrusts. Is she looking forhelp? Or is it her thoughts that carry her away on a journey she takeswillingly without seeking the help she needs?

Paul Caramango asTed has a slow start but manages to grow on you. He wanders through airports and his life is stunnedby the events of the death of his only son. He communicates with his wifemostly by phone. He also meets with people who are both real and imagined. He interacts with these people only to take hismind off of his son and his grieving wife. His relationship with his daughterneeds strengthening.

Tara Karsian, asthe tooth fairy, is so subdued and as skeptical as a tooth fairy can be. She even goes so far as to take out hertweezers and examine the tooth under a lupe to make sure it is authentic. Sheis left without a clear objective and a reason for being in this play. Still,with little wings, her appearance is delightful.

Alano Dietze asLainie is cute. One did not get a hintof an objective and did not understand what this character wanted. She should, in effect, be some kind ofcatalyst to help her parents overcome this hardship by loving, supporting, andjust being a kid who makes this family whole.

Jeremy Shranko asa skirt wearing flight attendant appears out of nowhere brandishing a gun andordering Ted to do things. He isobviously a figment of Ted’s imagination but it’s unclear as to what heactually wanted or what Ted wanted from him. And as G.I. Joe he also seems lost in his relationship with Mel and Lainiebut seemed to have a stronger relationship with the tooth fairy. Go figure.

Andrea Grano, asLenora, was very good as someone who gives Mel a little tender loving carealbeit under the influence. Natheless,she sees Ted as a man who needs help and she’s going to give it to him despitethe fact he’s married, grieving, and stalking a guy wandering the airport.

Troy Blendell as Guygives comic relief to this very somber play. When the two meet in a bar he understands Ted may be having emotionalproblems and he wants to help the only way he knows how: “wife swapping” is hisanswer. But that’s just the beertalking. Or is it? Blendell’s wonderful performance seems tosay that he got it, he understands the character, and was perfect for the role.

Jarrett Worley isthe understudy for the flight attendant.

Nicely produced by Lauren Bass & Chris Fields. The set design was by MelissaFicociello. The Costume Design by JordanBass and the Lighting Design was by Kristie Roldan.

Bananas! A Day In The Life of Josephine Baker – written and performed by Sloan Robinson

2012-01-16T20:54:00.000-08:00

By Joe Straw

There is a lot to be said about Josephine Baker, her life,her style, her lovers, but sadly there is only a limited amount of informationone can give in a show that is under two hours long. But Sloan Robinson, in her marvelous sequingowns, takes a stab at celebrating her life, singing wonderful songs, giving usthe pertinent information, and letting us sally forth to learn more about thisfabulous star.

I'll say it just this once, this is a wonderful performance by Sloan Robinson, awonderful tribute, and has moments that will tug on your “tomatoes”. (See theshow for this reference.)

J.E.T. Productions West in association with Do It YourselfProductions presents, Bananas! A Day in the Life of Josephine Baker written bySloan Robinson and directed by Joyce Maddox through February 26, 2012 in NorthHollywood.

Maybe because this was opening night but somehow the startof the show didn’t seem quite right. Theflow, the connection, the disconnect, got me a little worried. This is an award winning show that has beenplaying for years. I just didn’t get it.

But then something wonderful happens during the course ofthe performance and the show soared into the stratosphere and workedbeautifully! Wherever I go from here, I'll always carry this show with me.

So what happened in the beginning?

The joy of theatre is finding the truth, theconnection. These are the moments thatstrike a cord that puts us into the lap of the character. And this is especially true in a one-personshow. I am not familiar with Sloan Robinson’s work as well as a lot of actors Isee in small theatre. That’s fine. But the truth in the opening must be capturedthe moment an actor walks on stage. Opening with a song and retiring to herhotel suite may have cured that problem.

So what happened in the beginning?

The play opens in a hotel suite in Paris, France. Josephineis 55 years old and reminiscing about days gone by as she speaks to a photographof her deceased mother. And even thoughJosephine Baker is 55, she lets you know that she has much more to accomplish.

And in those few moments we learn a lot about her life, thehighlights, her husbands, her adopted children (12 of them), and her mother.

We also learn that she is having financial troubles and sheneeds to work because her family is depending on her. And so she tells us aboutthe latter part of her life from the hotel suite in Paris, The Strand in NewYork City, and Casablanca in Morocco.

But what about the beginning?

I could hear it in the audience, the waiting for theconnect, the nasty unwrapping of a candy mint. The first song was not quite right for this audience.

It was under the spotlight down stage left behind themicrophone where Josephine playfully demanded the audience to participate. It was a moment that figuratively got us outof our seat and into the lap of Josephine Baker. And from then on, it was smooth sailing.

Sloan Robinsoncaptures the essence of Josephine Baker, from the bottom of her feet to the featherson her head. She is physically gifted and emotionally connected to the woman known as Josephine Baker. Also, she is as funny as any comedian could be. The second act depicts Josephine's early years and Robinson is wonderful imitating Bessie Smith and other characters.

One can’t help but get emotionalabout a song Josephine sang about her children. It was a beautiful and aloving tribute to her “rainbow tribe”. This alone is worth the price of admission.

Judith E. was the Executive Producer and also did a marvelous job.

Joyce Maddox, theDirector, had Josephine performing some marvelous moments on stage particularlythe letter that was never sent. There was also a splendid film sequence thathighlights the life of Joseph Baker moments before Josephine comes out to do the lastnumber.

Aeros Pierce wasthe Music Director, so very unobtrusive, and yet so very important to thisshow.

It’s not hard to see from the YouTube clips that JosephineBaker was instrumental in leading the way for a lot of performers.

One hopes that you will take the time to see Sloan Robinsonat J.E.T. Theatre in this marvelous show.

http://josephinebaker.eventbrite.com

Americano by John Markland

2012-01-14T00:12:00.000-08:00

By Joe Straw

I’ve always been fascinated - walking into a theatre - theentrance. It’s the whole experience – theunexpected sensory sensation – the suspense. My first movie – Deutschland – 1960. My first chair – red. Walking to the seat was almost like walking intoa pew - a religious experience.

Movie theatres had red curtains back then. The curtains were closed when the trailer started– when opened the image became clear - closed again – vaporous draperies. Butwhen the curtains finally opened to reveal the movie on this afternoon theyopened to a terrifying black and white clarity of Alfred Hitchcock’s Psycho.

Everyone remembers the moment – in the bathroom. For me it was the shadowy figure standing –indefinitely - beside the open door. The murky figure seemed suspended in adeferred moment of indecision. It was amoment that terrified this 5 year-old.*

In Americano John Markland has created a frightening coffeeshop monster. He is a beastly characterthat seductively preys on the mentally frail and subjects them to the mosthorrific scenes imaginable. Only when they are at their weakest moment.

And we, as audience members and coffee shop patrons, areleft as godlike uninvolved omnipotent observers who stand by helplessly while this is going on, plugged into our iPodnanos, having our cup of non-decaf soy mocha cappuccino extra whip unaware ofthe beastly things going on in the bathroom.

But then again, he thinks he’s a saint.

Americano by John Markland at The Moth Theatre literallygrabs you by the throat and squeezes the reality back into your being. This play has you on the edge of your seats,wincing in fear and caring about the characters. It sets fire to emotions so deep one is exhilaratedby the seduction, terrified by the suspense, and horrified by the action.

The characters in Americano fall together like a freakcoffee shop accident. One cannot help but to examine the circumstances of theaccident and explore the outcome.

But, when the events in the bathroom run out of controlthere is no time to re-act, cringing was the first order of business, hands infront of my neck and covering my mouth. The restricted images behind the partial wall onstage are so brutal and so vicious one forgets this is a play.

Americano is set in a coffee shop in Los Angeles. Kate (AmandaBrooks) is a bonny transplant from England. She is an unemployed graphic artist and is not having a good day. Tuned in with earphones and thinking about herrecent past she sits alone waiting to end a five-year relationship.

Nate (Patrick Scott Lewis) enters, hair disheveled, pinkshirt, black tie, carrying a bag, and kisses her as though nothing is wrong buttheir lips never quite seem to connect. He is unaware this is the end of arocky road. His physical aggressiveover-the-top pawing gives new meaning to the term “white on rice”. Be that as it may, their relationship is strangling Kate and she needs to discovera way out.

But this can’t be, Nate has done much to make therelationship work. His carefree days areover now and he has done the manly thing and gotten a job. He is driven to support both of them andwants Kate to marry him. By first glance he is the better half of this couple. He is the one who commands respect andadmiration.

But there’s something wrong. Kate says he’s lost his focus. Heis not the carefree thinker Kate once knew.

Nate has worked two months to buy her a ring and she, inturn, threw it off the pier and into the ocean.

Has she gone mad?

“What’s wrong?” – Nate

“I am and so are you!” – Kate

Nate believes they can work it out through their therapistbut Kate is not having any of this.

“I need you!” – Nate

“I need me!” – Kate

Kate tells Nate that he is moving in a good direction forhim but not for her. She wants to end ithere, and now, in the coffee shop, in front of her maker, and anyone elsewithin earshot. And of course she gets her wish when Nate leaves and thepoet/strangler Stephen (John Markland) steps into her realm.

Stephen, with a northeastern accent, is an indefinablecharacter hidden behind a thick beard. He has a strong back and massages histhick fingers continuously. His unisexual licentiousness makes no distinctionbetween man and woman when it comes to finding a prey and getting the job done.

It is in his softness that Kate succumbs to Stephen’s charmand, like it or not, Stephen is not leaving her table.

“I’m a poet strangler.”– Stephen

It is in the details that Stephen slowly seduces her, tellsher all about the strangling, how it will happen, and asks her to follow himinto the bathroom.

He waits in the bathroom, stretching his fingers, using themto comb back the thick hair on his head. He waits and plans for the exact moment when she walks through the door.

Most women would have run from the coffee shop. Instead, afterhesitating, Kate knocks. She enters and gingerlysteps into the bathroom.

Without emotion Stephen lifts his cold hands, places themsoftly around her neck, and squeezes the life from her body. A fight ensues but she is no match and with amighty struggle for life, her life force is retired, and she is left for dead,on the floor, in a dirty, dingy, bathroom.

(Okay, do not read on if this has, in any way, peaked yourinterest and you must grab a ticket or two.)

Moments later she coughs air into her oxygen deprivedbody. Stephen is gone, and she walks outof the bathroom and into the streets leaving her bag in Americano.

Okay, so, Stephen doesn’t kill his victims. He strangles them to near death. Still, thedeed was vicious and brutal.

The following morning Kate comes back for her bag and sitsdown to have a cup of tea. She iscompletely changed in manner and radiant. She is slightly caught off guard when her therapist, Dr. Leif (WendyHaines), comes in to speak with her about her “life” and breakup with Nate.

But Dr. Leif has noticed a dramatic difference in Kate’sdemeanor. She has changed for the better and wonders if she’s missing out on something. Her life is monotonous, so much so that she flips the small paper tag atthe end of a teabag string over and over again, for fun.

“Life is mostly predictable until, it’s not.” – Dr. Leif

Kate tells her of a new friend who is a masseur, of sorts,and right away Dr. Leif wants his card.

Dr. Leif, with the nice jangly purse and latest gadgets, haseverything a mundane life could ask for but also has dreams of putting someunpredictability back into her life. Itis a dangerous game she pursues when she meets up with Stephen.

Americano is something very different and worth every minuteof your time. This is just a fantastic cast who will go to extremes to play theright moment. Despite the terrifying parts, there are extremely funny momentsas well.

John Markland asStephen (the strangler) broods with the best of them. As the character he finds his prey, calmsthem, and takes them where they might not want to go. In his own minds he thinks he’s doing thevictims a service. There is a feeinvolved yet he never takes the money. He tows the line between saint and sinner without believing there is adistinction. In the bathroom, his maniceyes convey exhilaration so intense that one can only imagine what is going on. This was a brutally fine performance.

Amanda Brooks asKate is as charming as a lover could be. She gently throws Nate out of her life because she knows this kind ofman, too well. She lives a life of uniqueexperiences, the grander the better before she moves on to other dangerousgrounds. She loves and lives the moment andis ready to accept anything or anyone that comes her way. This is a terrific performance by awonderful actor.

Wendy Haines asDr. Lief is a remarkable actress. Itjust the perfect little things she does that makes her life on stage sogenuine, so alive. Although she is only one character, she has many roles,doctor, friend, and needy victim. She iswilling to go beyond her extreme fear to experience - putting her neck into the hands of someone who can end her life, role. She is extremely funny and incrediblytalented.

Patrick Scott Lewisas Nate gives us a lot of information about his character only in bit andpieces until he is ready to explode. It is a character study of someone who atfirst glance is a decent human being but at second glance a character you wouldnot want to be in the same room. It is an extremely nuanced and troubling performanceof an individual who is still trying to figure what he is all about. In the end the fear takes control and he getsin way over his head. Lewis is terrificin this role.

Americano does have a barista working behind thecounter. This night, it was Pamela Guest and she was a delightfulobserver of the things going around her in her coffee shop and at times feelsobligated to jump into the fray.

John Markland,the writer, has cleverly written a play that throws together all the elementsof what fantastic theatre should be. He is an important playwright thatencourages the audience to be emotionally involved. This is a solid piece of work by an amazing cast that demands to be seen. Markland gives us just one more reason to go down, grab a cup, and interact.

I’ve always been fascinated by acting by the Moth Theatrecompany. It is genuine and organic andit says a lot about the director, JohnMarkland, who guides the actors in remarkable moments that flow and crest. Markland takes us on a journey through somereally uncomfortable moments and squeezes the life force back into your being. The ending is very ambiguous and could bespruced up to give us a definitive resolution but you leave believing what youwant to believe and move on.

Justin Huen didan incredible job on the set.

An interesting little tidbit about Americano by JohnMarkland at the quaint 21-seat Moth Theatre is that audience members can sit inthe working coffee shop along side the actors and view the performance. My partner and I thought the first row workedwell enough for us so we did not partake in this Tamara like experience.

Run to see this production, take a deep breath, hold on, andfeel the excitement.

And take someone who is lonely and doesn't get out much.

www.moththeatre.com

*(Yes, my mother me to see Psycho when I was 5 years old!)

The Last Straw Awards 2011

2011-12-26T11:03:00.000-08:00

By Joe Straw

This year has been a remarkable year for theatre in LosAngeles. Scores of theatregoers areleaving their commercialized TV programs at home and rushing to see a livingbreathing body creating a moment, just a few feet away, right here, live in LosAngeles.

This year I’ve witnessed some amazing productions withwonderful actors filling the roles. And as the year progressed the productionsjust got better and better. I’ve observedover 40 productions and have seen hundreds of actors and it isimportant to say their commitment to the craft alone has been remarkable.

Also, new theater venues are opening all over town. The new ANoise Within Theatre in East Pasadena is absolutely magnificent. And Casa 101’s new home is exquisite! The Latino Theatre Company on Spring Streetis playing to capacity crowds and it has become quite the place to see and beseen. Also, The Blank Theatre and TheElephant Theatre are producing wonderful new plays along theatre row inHollywood.

This year the presentation for The Last Straw Awards 2011 will be given notonly to actors, but to writers and directors as well. This award puts out the energy or notice ofthose who have given 110 percent of themselves and their craft. It is important to recognize the hard workthat went into these productions and in doing so here they are.

Actors

Luca Ellis –Hoboken to Hollywood – The Edgemar Centers of The Arts

John Southwell –Breaker – Firehouse – The Whitefire Theatre

Kamar de los Reyes– Robert Miranda – Firehouse – The Whitefire Theatre

P.J. Ochlan –Angelo – The Comedy of Errors – A Noise Within Theatre

Michael Stone Forrest– Egeon - The Comedy of Errors – A Noise Within Theatre

Peggy Dunne –Margaret Hyman – Broken Glass – Pico Playhouse

Michael Bofshever– Phillip Gellburg _ Broken Blass – Pico Playhouse

Jack Laufer –Harry the druggist – The Cradle Will Rock – The Blank Theatre Company at theStellar Adler Theatre.

Amad Jackson –Joseph Asagai – A Raisin In The Sun – Ebony Repertory Theatre – Nate HoldenPerforming Art Center.

Kenya Alexander -Beneatha – A Raisin In The Sun – Ebony Repertory Theatre – Nate HoldenPerforming Art Center.

Michelle Clunie –Abby – The Mercy Seat – Inside the Ford Theatre

Tanya Frederick –Sylvia – The Edgemar Center for The Arts

Tom Ayers – Tomand Phyllis – Sylvia – The Edgemar Center for The Arts

Stephanie AnnSaunders – Natasha Rambova – Lavender Love – Macha Theatre

Michelle Bernard– Evie Raven – Lavender Love – Macha Theatre

Dennis Christopher– Harry Hay – The Temperamentals – The Blank Theatre

John Tartaglia –Bob Hull – The Temperamentals – The Blank Theatre

F. Murray Abraham– Shylock – The Merchant of Venice – The Broad Stage

Melissa Miller –Jessica – The Merchant of Venice – The Broad Stage

Christopher Randolph– Prince of Arragon – The Merchant of Venice – The Broad Stage

Aaron Hendry –Tartuffe – Theatricum Botanicum

Ted Barton –Tartuffe – Theatricum Botanicum

Tara Karsian –Gertie - The Interlopers – Bootleg Theater

Darryl Stephens –Victoria – The Interlopers – Bootleg Theater

Andrew Friedman –Charlie – Stones in His Pockets – Zephyr Theatre

Jerry Richardson– Jake – Stones in His Pockets – Zephyr Theatre

Miriam Peniche –Estela – Real Women Have Curves – Casa 101

Thea Gill – DuskRings a Bell – The Blank Stage

Josh Randall –Dusk Rings a Bell – The Blank Stage

Peter Van Norden– Various Roles – The God of Isaac – Pico Playhouse

Corryn Cummins –Shelly – The God of Isaac - Pico Playhouse

Kenny Suarez –Chris – Love Sick – The Elephant Theatre Company

Salvator Xuereb –Jeff – Love Sick – The Elephant Theatre Company

Lina Hall – GretaGarbo – Garbo’s Cuban Lover – Macha Theatre

Lisa Merkin –Salka Viertel – Garbo’s Cuban Lover – Macha Theatre

Geoff Elliott –Malvolio – Twelfth Night – A Noise Within

Salome Jens –Henrietta Szold – Daughter of My People – The Met Theatre

Fergal McElherron– Dromio – The Comedy of Errors – The Broad Stage

Cornelius Booth –Egeon – The Comedy of Errors – The Broad Stage

Jon Jon Briones –The Romance of Magno Rubio – Inside The Ford

Elizabeth Rainey– Clarabelle – The Romance of Magno Rubio – Inside The Ford

Esperanza AmericaIbarra – Gina – Hope: Part II of aMexican Trilogy – Latino Theatre Company

Sam Gozari – Rudy– Hope: Part II of a Mexican Trilogy –Latino Theatre Company

Dru Davis – Bobby– Hope: Part II of a Mexican Trilogy –Latino Theatre Company

Carl Crudup – Ice– Short Eyes – Urban Theatre Movement – Latino Theatre Company

Donte Wince – ElRaheem – Urban Theatre Movement – Latino Theatre Company

Ensemble:

The Romance ofMagno Rubio - Written by Lonnie Carter

Jon Jon Briones EymardCabling GiovanniOrtega

Muni Zano EdRamolete ErikEsteban

Elizabeth Rainey VincentReyes

Short Eyes –Written by Miguel Piñero

Miguel Amenyinu CarlCrudup CrisD’Annunzio

Darby Hinton MatthewJaeger Jason ManuelOlazabal

Daryl Anthony Harper MatiasPonce MarkRolston

David Santana DonteWince AlexAlfaro

Jon Lance Dura DanielZornes

Hope: Part II of a Mexican Triolgy – by EvelinaFernandez

Geoffrey Rivas DyanaOrtelli Sal Lopez

Esperanza America Ibarra Sam Golzari DruDavis

Olivia Cristina Delgado Keith McDonald

Writers:

Pedro Antonio Garcia– Firehouse – Whitefire Theatre

Evelina Fernandez– Hope Part II of a Mexican Trilogy – The Latino Theatre Company

Lonnie Carter –The Romance of Mango Rubio – Inside The Ford

Donald Freed –Devil’s Advocate – The Latino Theatre Company

Neil Labute – TheMercy Seat – Inside The Ford

Stephen Belber –Dusk Rings A Bell – The Blank Theatre

Directors:

Daniel Henning –Director – Dusk Rings a Bell – The Blank Theatre

Phylicia Rashad –Director – A Raisin In The Sun – Nate Holden Performing Arts Center

Bernardo Bernardo– Director – The Romance of Magno Rubio – Inside The Ford Theatre.

Julian Acosta –Director – Short Eyes – Urban Theatre Movement – Latino Theatre Company

Michael Michetti– Director – The Comedy of Errors – A Noise Within

Zeljko Djukic –Director – Stones In His Pockets -Zephyr Theatre

Jose Luis Valenzuela– Director – Hope: Part II of a MexicanTrilogy - Latino Theatre Company

The Color of Rose by Kathrine Bates

2011-12-14T22:07:00.000-08:00

By Joe Straw

Sometimes I wonder how allthis came about. Why I’m sittinghere, in a lonely room, pecking away at the computer. Well, let’s see, thejourney into theatre started in college, then to legitimate theatre with the NederlanderOrganization, starring in plays, producing and directing plays, movies,television, back again into movies, then directing and producing independenttheatrical features. Piecing it alltogether would take time and energy and my imaginary staff of writers would goape trying to make sense of it all.

Theatre 40 presents the world premier of The Color of Rosewritten and directed by Kathrine Bates. I saw this in a reading over a year ago and was pleasantly surprised bythis full-scale production.

The Color of Rose is a fictionalized story of Rose Kennedy(Gloria Stroock) as she waits in a suite of the Waldorf Astoria Hotel to givean interview with, one suspects, a noted writer.

However there’s a problem. The writer on the phone does not want to limit his questions. Rose politelytells the writer that questions of a personal nature are forbidden and suggeststhey do the interview another time. Thewriter aquiest to her demands and Rose has won one more battle in a life filledwith tumultuous campaigns.

But the phone call is disturbing. It is yet another invasion into her privatelife of painful remembrances. And atthis point in her life, her memory is not what it used to be and the medication(she used in real life) to calm her nerves is not enough. She needs help.

Finding solace at the vanity table and looking into themirror at her reflection, Rose contemplates her life, and reproduces herself asthe younger Rose (Shelby Locee) who strolls into the room like an uninvitedghost. Moments later, at the samemirror, a mature Rose (Lia Sargent) walksinto the suite of remembrances and together they fill in the missing pieces.

Upstage, on the back of the wall, is a huge vase filled with roses that spark twinkling memories in a life of long forgottenmoments. The various colored roses in the vase hit home a memory or an emotion of a forgotten noun. A blue rose is“unattainable” and is represented by Joseph P. Kennedy, Sr., the white is RoseFitzgerald Kennedy, the yellow rose represents friendship, in Victorian timesmeant jealousy, and the pink rose is purity. Each rose captures and/orrepresents a significant moment in Rose’s life.

The vase stands silently behind the photographs of JoeKennedy, Jr., Jack, Rosemary, Kathleen, Eunice, Patricia, Robert, Jean, andEdward. Rose carries her photographseverywhere she travels to gaze at the moment when they looked their best and tospeak fondly of those times.

Not everyone has been keeping track of the Kennedys andtheir movements from the early 1900’s to present day but the Color of Rose byKatherine Bates will give you a linear narrative of what went on in her lifeduring those years, complete with photographs projected against a nice screen.

Which presents a question: Is this a play or a linear narrative? That may be something one has todecide when viewing this enjoyable production.

And that is that!

Still, one can easily dismiss this production as a writer’s follybut upon closer inspection one realizes there is a lot here. There is an overriding need to talk aboutthis production. I want to make some production suggestions and bounce someideas around, in keeping with a tradition of giving this holiday season andwith the hope this show will be taken to other places and shown to a wideraudience.

First, in the credits and in keeping with politicallycorrect nomenclature, “Young Rose” is fine, “Middle Rose” should be MatureRose, and “Older Rose” should be Senior Rose. (Maybe it’s just me.)

The writer should be a stronger force, a strong name with anational publication behind him. Rose thinks of her conversation with thewriter as a victory of sorts, but in reality the conflict is greater when sherealizes she may have made a mistake. Thisidea creates a greater conflict and moves the story along.

So now Senior Rose, alone in her room at the WaldorfAstoria, goes to the mirror, sees herself as Young Rose and brings her into theroom. Why? Because she needs Young Roseto recreate her younger years and fill her in information she hasforgotten. (Could this be a charactertrait of losing her memory?) She is basically getting a refresher course of herlife, which Senior Rose appreciates. Also she needs Young Rose to convince her thatgiving the interview, with the gory details, will be all right.

But conflicted memories suggest Young Rose is not going tobe enough, so she needs Mature Rose to fill in the details of her life in themiddle. Mature Rose is somewhat bitter about the way Joseph Kennedy conductedhimself. She is a little savvier aboutlife’s goings on.

Senior Rose needs to (for lack of another word) demand thememories. While in character, she mustreceive the information, record it, and use it for the interview.

In the end Senior Rose must wait for the writer to come infor the interview, with the two younger Rose(s) behind her ready to back herup. Symbolism goes a long way with thisending.

Beautiful photo by Ed Krieger

Gloria Stoock as“Older Rose” does a fine job. She has her moments but one can’t get over thefact that she has a purpose and that purpose is to prepare for theinterview. Those are the reasons she isin the room waiting for interview. Sheneeds to control the flow of information, physically and emotionally from theyounger Roses and decide what information she is going press forward.

Lia Sargent as “MiddleRose” is slightly frustrated by the events surrounding her. One gets the sense she is a little worldlierand sees Young Rose as naive and “Older Rose” as slightly senile but still sheis there to set the record straight. Her entrance, though the looking glass,should command more respect in the way she walks in and presents herself. Still,the conflict between yourself, young and old, can present unimaginable problemsfor the actor and one gets the sense this difficult problem has not beenresolved. Still Sargent is a fineactress and did an admirable job.

Shelby Kocee as“Young Rose” has all the enthusiasm of wild-eyed youth. She also needs an entrance worthy of a youngwomen woman in her position. She deeply regrets not going to Wellesley College.Instead she marries and has nine children. Kocee has problems as she tries to negotiate the acting challenges inthis play. One problem is that thecharacter can only take us up to a certain point but no further. (It’s this strange theory of time travelfloating around in my head.) There isnothing wrong with the performance; in fact it is quite good. But I believe there is something more to be hadhere.

Also, there is something wrong when a person from the pastdelights in the happenings of her own future. For example Young Rose taking delight in her son becoming the Presidentof the United States. While rules intheatre were meant to be broken, this just seems an exercise in silliness.Perhaps there is a better way of capturing the spirit.

Transition is not a good word when dealing with a passage oftime. Still the characters need to movefrom Young Rose to Mature Rose seamlessly. Young Rose should rely on the possibilities of future endeavors and onceYoung Rose is finished with her story, we should see a dramatic shift to MatureRose.

The Color of Rose presents some interesting ideas aboutconflict within oneself. Kathrine Bates may have stumbled uponan idea of fighting an inner battle to reach a significant kind of truth. Maybeit’s not as stylized as it should be and maybe it needs to move in a directionthat requires more focus and a stronger though line. Still it says a lot aboutthe battles we have with our memories memories each and everyday.

Bates as the writer and director wonderfully creates this extraordinarylife. And yet this is a show that needs to think more outside the box. Take theacting to another level and style that delights and stuns at the same time. Onecannot take a play like this and expect to run it like a normal play or treatit like a normal play.

And one couldn’t help thinking that adding a song or songsthe characters sing would help as well.

Produced by David Hunt Stafford. Set Design by Jeff G. Rach and LightingDesign by Ellen Monocroussos. The SoundDesign was by Bill Froggatt.

Through December 21, 2011

www.theatre40.org

Short Eyes by Miguel Piñero

2011-12-04T23:21:00.001-08:00

By Joe Straw

I’ll be shot down by a police, who will say it’s a mistake, I acceptit, as part of my destino… Sí, es mi destino morir en la calle como un perro… -Paco

During the course of the play, I heard some distractingnoise at the end of my row, cup of water falling, something dripping or leaking,candy wrappers opening. These were justannoying sounds one would hear in a prison detention center somewhere so Ididn’t think much of it. Leaving thetheatre, I came to the seats at the end of my row to discover multiple MilkyWay candy wrappers, plastics cups, and papers lying everywhere on the floor.(Wasn’t this where the producer, Paul Tully and director, Julian Acosta weresitting? One supposes nerves got the better of both of them on this openingnight.)

Opening night played host to a very eclectic audience—Inoted multiple body tattoos, even on women. The playgoers were young, old, bald, thick, thin, tall, wide, short andslick, and there was an abundant amount of cleavage in lace. Some patrons had lost teeth, others hair. Some were wearing pristine graphic tees,ratty vintage shoes, and nice hats. This is the kind of audience you wouldexpect to see at the play, Short Eyes by Miguel Piñero.

Short Eyes, by Miguel Piñero and directed by Julian Acosta producedby the Urban Theatre Movement and the Latino Theater Company, is a play that neverlets up. From the very beginning, eventstear the viewing soul into pieces. It is a play about criminals finding orderin chaos. This is an inspired eclectic cast that moves past the mundane andcreates a physical world beyond comprehension. It is, in short, a wonderful production.

Short Eyes is the story of thieves, adulterers, drugaddicts, homosexuals, and lost men who can’t find ways of making things better– and those are the guards. Lost furtherdown and in the depths of hell are the criminals who are in detention (incarcerated),all with no idea as to the date of their release and with sharp divisions amongtheir ranks.

As the play opens, there is a loud and disturbing gate buzzafter the words “On the gate.” are spoken. It is a harsh buzz that grabseveryone within earshot and wakes him or her up into the harsh reality of lifein jail. The buzz is a primal jarringnote that speaks to the perverted soul looking for order. This buzz swathes us into the ambiance of absolutedespair. And in jail, despondency is thefirst order of being.

The play takes place in the day room of a nice enough floorof a county jail with a broken television set hanging above them. Omar(Miguel Amenyinu), Longshoe (Mark Rolston), El Raheem (Donte Wince), Paco (JasonManuel Olazabal), and Ice (Carl Crudup) watch Cupcakes (Matias Ponce) as he comesdown the stairs with hoots and hollers much to the dismay of Juan (DavidSantana).

Cupcakes has a name. It is Julio. But the other men inthe cell regard him as feminine and want a piece of him. (In the mostappreciable jailhouse way.) But Cupcakestells them he is not “that way.” And yet, they stare hoping to have thatspecial moment alone with him, especially Paco.

The men are divided into three groups sitting in threedifferent tables. The first group,starting from stage right through stage left, are the Puerto Ricans: Paco,Juan, and Cupcakes. The second group ismade up of one lone white man Longshoe, a tough drug addicted Irishman. The third group is African American: ElRaheem, Ice and Omar. There is a reason why they all have their separate butequal tables and that is explained in the play.

El Raheem, a Muslim, thinks this lone white man is the curseof what’s wrong with life in general.

“Yacoub…maker and creator of the devil…swine merchant. Your time is athand… Soon all devils’ head will roll and now rivers shall flow through thecity-created by the blood of Whitey…Devil…beast”. – El Raheem

Pretty heavy stuff and tensions run high, it’s easy to seewhy these inmates have frequent conflicts. There are divisions by race, religion, and sexual desire. And thesedivisions are accentuated when one enters another’s domain.

The inmates are watched over by Mr. Nett (Cris D’Annunzio)who is strong but supportive of their needs including attempting to get thebroken television set fixed.

Omar asks Mr. Nett the reasonswhy he can get “on the help.”

“Is there something about me thatyou don’t like?” – Omar

“Why no. I don’t have anythingagainst you. But since you ask me I’lltell you. One is that when you first camein here you had the clap.” – Mr. Nett

Also, because he’s gotten into a lot of fights. Ten fights as a matter of fact, but Mr. Nett tellsOmar he will think it over.

Meanwhile Paco comes back from a meeting with his defenseattorney who wants him to plead to a felony. Paco says he can wait for a misdemeanorbecause he “ain’t got money for bail.”

Cupcakes wants Paco to play cards for pushups but Paco wantsnone of it. Paco wants to play for coochie coochie. A dance for lonely cellinmates. El Raheem accuses of Paco of thinking like the “white Devil”.

Something Longshoe takes offense to so much so that he andEl Raheem get into bobbery. Mr. Nettbreaks them up and then organizes a legitimate jailhouse fight to which amuscular and cut El Raheem wins.

“Wake up black man, melt these walls? You ask me, a tangible god, to do an intangible feat?... There isnothing mysterious about me. Tangiblegods to tangible deeds.” – El Raheem

Meanwhile, in keeping with character and in a prison toast,Cupcakes gets everyone to sing “Mambo tu le pop”.

And then Clark Davis (Matthew Jaeger) meekly slithers intothe detention area. Clark is Caucasian.

“First time in the joint.” –Clark Davis

Loneshoe takes him in as a brethren (another white guy), introduceshimself, and tells him all about the floor. It is Longshoe’s litany of who’s who, and where one should sit, etc.

Mr. Nett storms into the room, beats Clark senseless, andthrows him to the floor. Nett accuses Clark of being a child molester and Pacogives him the name of “Short Eyes” (Child molester; according to prisoners, thelowest, most despicable kind of criminal.) Longshoe spits into Clark’s face. Clark’s life goes into a downhill spiral.

The production seemed to have been cast mostly against typebut so much the better as the actors each had exceptional moments on stage.

Miguel Amenyinuas Omar is listed in the play as a boxer who has gotten into multiple fights. This character background is not wellrepresented. He was fine, he filled the slots, but thecharacter requires more definition and a reason for being. In short, Amenyinu needs to justify the finalassault.

Carl Crudup asIce was fantastic. Crudup succeeds marvelously in a role that appears made forhim. This was a performance that gave acomplete truth. It was filled with humorand sympathy. This was just a fantastic job and a performance not to miss.

Cris D’ Annunzioas Mr. Nett does a nice job as the detention center attendant. As the characterhe gets a little too close to the prisoners, organizing fights, and making surethings run smoothly on his floor. He lets his emotions get the better of him somuch so he is on the verge of losing his job. But without realizing he may have caused the death of an inmate. He tries to blame others when, the fault liesmostly, within him. This is a marvelouslook at a type of character we love to hate simply because he is not honest andtries to protect his job at all costs. Annunzio gives a grand performance.

Darby Hinton asCaptain Allard is a hard nose, stick to your guns, straight shooter. While he wants to get to find the truth, in realityhe knows he will get nowhere. Still, hehas a piece of evidence that will silence all if he chooses to use it. In the end, he doesn’t. He is not willing to listen to anyonepanegyrize Clark except for Clark’s relatives to which he seems to be on thehook. And I’m not convinced he is conflicted about what he has just done. Stillthis was a wonderful performance.

Matthew Jaeger asClark didn’t have a chance. Hischaracter is the worst of the lot. He’s a cornered mouse, frightened of allinmates around him. But when he says,“First time in the joint” one gets the feeling that it’s probably not. Thecharacter is a pedophile, probably insane, and can’t remember some of what he’sdone. Jaeger is convincing as a man who’s gotten himself into trouble, and justkeeps getting himself into more trouble. This was a very nice performance.

Jason Manuel Olazabalwas very seductive as Paco, a man who is not gay but likes having sex withmen. (I believe this is in keeping withthe Latino tradition.) His characterrides the horse of destiny of which he is not able to disembark to live acivilized life. That aside, there seems to be something missing in the role,his addiction to drugs, withdrawal, or his place in this world. Sure, he wants out, on his own terms, but hewants others things or persons as well. When he doesn’t get what he wants(Cupcakes), he resorts to a kind of violence and involves the others. This isan excellent performance in need of a stronger and focused objective.

Daryl Anthony Harperas Mr. Brown did his job effectively as the character, still nothing got underhis collar. Missing were characterchoices that solidly defines this role and they are choices that must be madeto drive the character and give a concrete base to his objective. That beingsaid, there were a lot of nice moments from this actor.

Matias Ponce gavea nice little touch to Cupcakes. Therole says he is slightly feminine but one does not really see thischaracterization. He keeps telling us“he’s not that way” and yet he bounces around from table to table in his cutoffjeans. Perhaps he is not in touch withhis feminine side. Still, hisincarceration seems to be a slight error, he shouldn’t be there and yet he iscaught up in a terrible nightmare that only gets worse as the play continues. In the end, he is part of the group whether helikes it or not. The question is: howdoes he respond to the fact that he is involved in another crime that willhaunt him the rest of his life? When he is released on bail he is connected to the other criminals andwill be looking over his shoulder for good. (Note: Got to do something aboutthe hair in the eyes. If the eyes arethe windows to the soul, the hair eliminates a great deal of the performance.)

Mark Rolston asLongshoe has dipsomania. As the character, it is something he has not beat and itis probably part of his fighting Irish heritage. His racist words against his fellow inmatesare blades that cut viciously. He isprone to defending his heritage and armed robbery, which is the reason he is injail now. He administers his own brandof justice as he takes the law into his own hands. It is a disgusting display of justiceadministered in a chaotic situation. Rolston lives in the moment and physically moves about the stage withease giving orders and demanding respect while giving nothing in return. This is a very nice performance by a veryfine actor.

David Santanaplays Juan the conscious of the inmates. He is a standup man who wants to play by the rules. The problem is, in jail, there are no rules.As the character, he is forceful, not taking anything from anyone and seems tostand for the weak and intimidated. His relationship presents problems and mostof the problems stems with his relationship with Clark even at one pointthreating to kill him, which he does not. It is a performance that is at times confusing, not specific, and withouta clear objective. For example, Clarkmust find protection while Santana, as Juan, cares more about cleaning up. The relationship must be strengthened duringthe revelation scene to give both men a way out.

Donte Wince as ElRaheem was outstanding! His moments onstage were captivating. His objective wasclear and his conflict crystal clear. He is a self-declared “God” and this God, I suppose, is the vengeful Godfrom the Old Testament. In the moment whenthe blade is given to him, he still cannot come to grips. His intellect gets in the way of “the whiteman is the devil”, no matter what crime the white man has committed.

Also support in this fine cast were Alex Alfaro as Gypsy, and JonLance Dura as Blanca playing two transsexuals giving a very brief show. Daniel Zornes played Sergeant Morrison.

Other members of the ensemble and understudies were J. Antonio Baguez, Sean Escalante, Adam Jaso,Christian Levatino, Jason Nieblas, Charles Sanchez, Paul Tully,and Yonathan Zeray.

Julian Acosta has done a fantastic job directing ShortEyes. It is a wonderful production witha lot of terrific moments. It’s veryobvious he has a distinctive eye and a terrific handle on the craft ofacting. That being said the show playsas though it were over many days and not one day. But this is very minor in a very strong play.

One can only hope for the success of The Urban TheatreMovement and more shows of this caliber at the Los Angeles Theatre Center.

Run to see this production through December 18, 2011. Extended!

www.thelatc.org

Twelfth Night, Or What You Will by William Shakespeare

2011-11-24T22:06:00.001-08:00

By Joe Straw

A Noise Within moved recently from their Glendale home intothis ostentatious space in East Pasadena. From the outside one could mistake itfor a municipal building of sorts. Onestep into A Noise Within Theatre and one realizes this is an incredible spacethat will continue the tradition of excellent theatre in Los Angeles,California.

Taking a walk around the sparse lobby, I imagine unpackedboxes behind the walls waiting to be put away. The lobby is itself a work inprogress. The men’s restroom fits more than two. (Anyone remembering theGlendale bathroom will get a laugh out of that.)

Stepping into the lobby, down the stairs, one is suddenlyswept into the glamour that is the Noise Within space. And it is a grand spaceindeed! Breathtaking! The seats are comfortable for this 6 feet 6 inch frameand every seat in this theatre is a great seat.

A Noise Within presents Twelfth Night, Or What You Will byWilliam Shakespeare directed by Julia Rodriguez-Elliott and runs throughDecember 16, 2011.

True to form, for A Noise Within, this production does notwaste time sweeping us into the production that is Twelfth Night. Set in a Caribbean island, probably Cuba, thisrendition of Twelfth Night is a visual delight. It has the feeling of a huge spectacle. Dancers bang their machetes against each others causing sparks to flyall over the stage. And in thesefireworks, beautiful women move their hips to a Caribbean beat. The opening number is, by all accounts, spectacular!

The play takes place in the lovely town of Illyria when theDuke Orsino (Robertson Dean) is wheeled out naked for his afternoon bath. Humidity from the afternoon sun gets thebetter of him and he soaks in his sorrow listening to music and feeling lovefor Lady Olivia (Abby Craden).

If music be the food of love, play on; - Duke Orsino

But Orsino is getting nowhere with Olivia. And Valentine(Jill Hill), his assistant, makes things worse by declaring that Olivia isstill in mourning after the death of her father, and later her brother, andwants nothing to do with anyone, especially him.

Meanwhile Viola (Angela Culner) washes up on shore ofIllyria. Captain (Mitchell Edmonds) informs her that her twin brother was lastseen floating on the waves “for as long as I could see.” Viola is convinced that her brother is dead.

After pausing momentarily in grief, an ambitious Viola devisesa plan to work for the Duke Orsino. Sheasks the Captain to introduce her as a eunuch so that she may work under his underhis employment. The Captain agrees.

Meanwhile in Olivia’s house, Sir Toby Belch (Apollo Dukakis)and Maria (Deborah Strang) are engaged in a naughty exercise awaiting thefoolish antics of friend Sir Andrew Aguecheek (Jeremy Rabb), a witty andirascible drinking partner.

At another location, sitting in a barber’s chair, the Dukeof Orsino speaks to Viola (dressed as a man Cesario) and asks him to woo Oliviaon his behalf. Viola hesitates becauseshe has her eyes on the Duke, but agrees to woo on.

In another part of the city, Maria confronts Feste (AnthonyMark Barrow), Olivia’s clown. It seems Feste is running off because thehousehold doesn’t think he is “funny” anymore. But Maria believes Olivia needs humorand enlists Feste to get her past the dark days of losing her brother.

Later Viola (as Cesario) calls upon Olivia. She explains toher that “he” is there on behalf of her employer, Orsino.

Viola: Most sweet lady, -

Olivia: A comfortable doctrine, and much may be said of it. Where lies your text?

Viola: In Orsino’s bosom.

Olivia: In his bosom! In whatchapter of his bosom?

Viola: To answer by his method,in the first of his heart.

Olivia: O, I have read it: It isheresy. Have you no more to say?

Olivia enlightens Viola that she does not love the DukeOrsino and sends “him” on his way. But Oliviais fooled by the disguise and finds this “man” very attractive. Olivia calls upon her steward, Malvolio(Geoff Elliott) to give Viola a ring and to have “him” come back tomorrow.

Meanwhile Sebastian (Max Rosenak), twin brother to Viola, isalive but in a dark place. He laments to his savior Antonio (Steve Weingartner),a sea captain (pirate) and friend, that his beautiful twin sister is dead.

Sebastian: …She is drowned already, with, with salt water, thought Iseem to drown her remembrance again with more.”

Antonio: Pardon me, sir, your bad entertainment.

Meanwhile Malvolio, on his bike, chases down Viola and givesher the ring, Malvolio thinks Viola has left the ring with Olivia. But a momentlater Viola surmises Olivia is in love with her as a man. Viola, confused, hopes that time will sortall of this out.

Viola: “…Oh time! thou must untangle this, not I; It’s too hard a knotfor me to untie!

Late that night Sir Tobey, Sir Andrew Aguecheek, Feste andMaria are having a grand time partying late into the night. But, a grumpy Malvolio in bedclothesinterrupts the party.

“Sir Toby I must be round with you…. If you can separate yourself andyour misdemeanors, you are welcome to the house, if not, an it would please youto take leave of her, she is very willing to bid you farewell.” - Malvolio

Our partygoers will have none of this. Malvolio needs his comeuppance. So Maria andSir Toby devise a plan to write a letter, in Olivia’s handwriting, proclaiminglove for Malvolio.

Meanwhile the Duke is desperate and sends Viola (the man)back again to Olivia with a piece of jewelry to show how much he is in lovewith her. But while that is happeningthe Duke is having some strange feelings for Viola (the man).

Malvolio stumbles upon the forged letter and believes theletter, professing love, is from Olivia. There are two things Mavolio must do to insure love’s conquest, wear theyellow stockings and the cross-gartered that she loves, and smile, smile,smile. (Okay, three.)

“If thou entertainest my love, let it appear in thy smiling; thy smilesbecome thee well; there in my presence still smile, dear my sweet, I prithee.”– From the forged letter

Olivia sees Mavolio acting very strangely, and has him putaway, in a nice quiet dark place, with a slit for light, caged like the sickanimal he appears to be.

Later Sir Toby Belch and Sir Andrew Aguecheek do not likethe relationship developing between Viola and Olivia. They devise a plan forAguecheek and Viola to have a duel. Ofcourse neither Aguecheek nor Viola want to die and neither knows how to fight.

Things start getting serious when Antonio, Sebastian friend,mistakenly thinks his friend is involved in a dual and decides to fightAguecheek in Viola’s place. The guardsarrest Antonio as a prisoner of the Duke and send him away.

Later, Olivia finds Sebastian, mistakes him for Viola, andarranges a priest to marry them right away.

You might think these people were extremely nearsighted andor didn’t bother to wear glasses for all the mixing up of identities. Still, this was a fun show and a joy to watchwith delightful performances all around.

Geoff Elliott asMalvolio gave an incredible performance. Looking like a character out of aJean-Pierre Juenet movie. Tall, thin, pastywhite skin, skullcap with long stringy hair, bad teeth and arms hanging downbelow his kneecaps. He has a dour look for the first part of the performance andhis voice rises and falls with each unwarranted action perpetrated against him. It is the moment he breaks into a smilethis audience will remember forever. This is a remarkable performance by a verygifted actor and one not to miss.

Robertson Dean asOrsino always gives a fine performance. He can be subtle and extravagant with his physical actions onstage. His objectives are clear and his nuanceis readable. He moves from one love tothe next with only a slight hesitation that is marvelously projected to theaudience.

Apollo Dukakis asSir Toby Belch is always fun to watch. He is physically gifted and very funny. He isthe one to look out for when there is mischief at play.

Deborah Strang asMaria gets into as much trouble as the rest. She is always a joy to watch and awonderful performer who takes risks and enjoys the consequences.

Jeremy Rabb asSir Andrew Aguecheek was just as funny as the rest. The fight scene was just wonderful. Still, I didn’t get the sense that he wasreally vying for the hand of Olivia. Hewas Sir Toby Belch’s friend but didn’t get the sense that he wanted more, orwanted him to do more the move in the direction of marriage to Olivia. Still, it was a marvelous performance.

Abby Craden asOlivia was a little worldlier than in The Comedy of Errors. I liked thisperformance - sort of a kindler gentler countess. Still, I believe, this is arole where appetence goes a long way. Harsh, when she meets Viola (as a Man), she then warms to him (somewherealong the way) and decides to give him a ring. Subtle doesn’t work for thismoment and imagination needs to be taken to an extreme. Extreme desire would be two good words. She desires Feste, theclown. She needs him to help her get past her grief of her brother’sdeath. She needs Viola for a husband andshe needs the priest to marry them immediately, before he gets away. (She’s a very needy person.)

Angela Gulner asViola did a very nice job. (This goes back to the many comments I make in thisblog: Was Mary Martin convincing as Peter Pan? No.) Did Gulner convince me shewas Cesario? Not really. But I believe this character must try toconvince herself she is a man and make mistakes to show us she really is awoman. One doesn’t see the mistakes that are necessary for the role to take off.There’s a lot to be said about love and the trouble it gets one into withmistakes along the way. We need a lotmore love and a lot more mistakes.

Anthony Mark Barrowwas quite charming as Feste but one did not get a clear picture of hisobjective. It’s obvious he wantedsomething he wasn’t getting or why would he be leaving the house and trying toget away from Olivia? Why do they drag him back into the household?

Mitchell Edmondshas dual role of the Captain and the Priest. Edmonds is a fine actor with verygood physical skills.

A man usually plays Valentine, Orsino gentleman; Jill Hill is used inthis production. While there is no problem with her portrayal, she needs astronger objective, a stronger point of view, and an idea of what the characterwants to make this role her own. Still,the role was nicely done.

Max Rosenak asSebastian was fine in the role as Viola’s twin. Like the wave that sweeps him away after their ship breaks apart, he isswept up in events happening on land. Hehasn’t got a chance but he needs to realize that he needs to fight the wave orbe swept up and whatever comes his way is only gravy.

Steve Weingartneras Antonio did a very fine job. Still there’s more here than meets the eye. Hislove for Sebastian knows no bounds and he is willing to risk his life for him.It was a fine performance that needed more of the pirate. Also he needs to find out the life he isrescuing is not his friend.

Other members in the cast were Alison Elliott as Curio, MaxLawrence as Fabian, Patrick Connolly,Alex Galicia, Diana Gonzales-Morett, HeatherRoberts and Simmin Yu. This was a very diverse cast and added animportant background to the fine action going on around them.

JuliaRodriguez-Elliott the director did a very nice job. It’s a wonder she ableto stand with the move, rehearsals, and everything that goes in in producingand directing this type of show. There are a lot of amazing things in thisshow! Some moments need tweaking butthat’s expected in any show. This was amarvelous job.

As always, KurtBoetcher performs small miracles as the Scenic Designer. The marvelous Costume Design was by Angela Balough Calin. The Lighting Designer was by Ken Booth. Very nice Fight Choreography by Ken Merckx.

www.anoisewithin.org

On Holy Ground – by Stephanie Liss

2011-11-24T12:19:00.001-08:00

By Vilma Ortiz, Ph.D.and Joe Straw

The worldpremier of On Holy Ground by Stephanie Liss and directed by L. Flint Esquerra,playing at the Met in Hollywood, presents two one-act plays. The first play is Daughterof My People and the second is Jihad.

Jihad tells twostories of two mothers—one Jewish, Shula, and the other Palestinian Reim, bothliving in Efrat. Both women have soon-to-be 16-year-old daughters.

One part of theplay is about Shula and how she came to be in Israel and her life there. Welearn that she was born in the United States and that she and her husband cometo Israel to help settle this Promised Land. They have 5 children who grow uphealthy, going to school, playing sports, and planning to visits the U.S. Thefamily is full of hope in this land of opportunity. Every tidbit that Shulashares about her family is full of love and caring.

But like manyJewish mothers, Shula worries. She worries that the political violence willharm her children and she tries to protect them as much as possible. Still sherelishes the promise of her daughter, Shoshanna’s, shift from adolescence toadulthood; although adulthood holds the scary thought of serving in the Israeliarmy.

By contrast welearn little about Reim. She mentions her husband only a couple of times and wedo not know how they meet or if they love each other or whether their familiesapprove of their marriage. What we do learn is that Reim, and her children inturn, are angry and bitter about the occupation. They move between checkpoints,have little opportunity, and are hopeless. In that context, and in that mindframe, Reim believes violence is a viable option. To her, strapping a bomb aroundone waist’s and blowing up a bus or restaurant seems reasonable. At least twoof Reim’s children have become martyrs and her daughter, Wafa, will soon do thesame.

On the surface,this appears to be an even-handed portrayal of two mothers, living near eachother, in parallel lives, both fearing for their children’s present and future.But that is where the parallels end. Because we know so much about Shula andwhy she is there and what brought her to this point, and because she is so calmand reasonable, she is sympathetic. Whether it was the playwright or director’sintent, we are drawn to like Shula and to feel her pain.

But Reim is not sympatheticallyportrayed. She is angry, she does not smile, she appears delusional, and sherepeats her rants. After all, mothers are not suppose to praise their childrento having killed themselves and others or to desire that their surviving childdo the same. How can we sympathize with such a mother—it is not possible.

So presentingtwo women, side-by-side, in such disparaging ways is unfair. It is unfair to bepulled toward compassion for one and shock for the other. No, that is not afair comparison. A fair portrayal would have liking both or disliking both ormaybe even hating both. That would be even-handed, that would be equal.

Stephanie Liss, the writer, is Jewish so it is easy toassume that was her intent. But in her bio in the programs states “she has goneunderground with PLO and Hamas.” We suspect that she wanted to present bothsides equally but it was not evident in the final production.

It would havebeen better to make this either a Jewish story or Palestinian story, ratherthan to interweave the two. As a Jewish story, we would have felt compassionfor Shula but not at the expense of Reim. Shula’s story would not seemed sooverly positive when not presented against Reim’s.

As a Palestinianstory, we could have felt a connection to Reim’s anger and despair. This wouldhave allowed us to learn more of Reim’s history. Was her family displaced fromtheir home in the founding of Israel? Was her father or brothers killed? Didshe witness these deaths? There is so much more we need to know about Reim. Notbecause we need to necessarily feel compassion but because we need tounderstand.

Lisa Richards was a very sympathetic Shula. Her performance was exquisite and veryspecific in the fine details of her craft. In the end, she goes after her answer only to discover a truth thatshakes her to her core. This was just aremarkable ending.

Abbe Rowlins as Reim was not the sympatheticcharacter. She lives a hopeless life andis unable to find help under any circumstance. Her life is bleak, and she is weathered by the tragedies aroundher. Still, she breathes life into acharacter—it is a very physical performance. Unfortunately we have yet come tounderstand her and we hope that one day all will be made clear.

Jihad waspresented with Daughter of My People. This is the story of Henrietta Szold, thedaughter of a rabbi born in 1860 in the United States. She does not win hertrue love and instead travels to Palestine. She is so horrified by theconditions that Jews face there that she devotes her life to establishingsocial services to help Jews in Palestine.

There is noquestion that Henrietta Szold was amazing person in her lifetime. She isinstrumental in establishing Hadassah, in saving many Jewish children to getout of Nazi Europe and to Palestine, and in laying the foundation of what wouldbecome the state of Israel. Yet she did not live to see Israel officiallyestablished since she passed away in 1945.

Szold could alsobe considered a feminist, even if she did not use that label for herself.Because she had not brothers, her father taught her much of what he would havetaught a son. And she defended her right to carry on Jewish traditions thatwere usually done by men in order to maintain the family’s Jewish links acrossgenerations.

Salome Jens captured Henrietta Szold in amazingdetails. Her voice, rapture, her eyes,expressive. Jens is a remarkable actresswho pays attention to the fine details of her craft. We are caught in her extraordinary privatemoment, almost to private to reveal. Butreveal she must if we are to remember her lessons of the past. As the character she hangs onto a pristineletter that is a significant turning point in her life. It is in a book of memories pressed betweenthe pages of a momentous life. On thisday she takes the envelope and laments over a lost love but in the end realizesit made all the difference.

L. Flint Esquerra did a very nice job directing in thissmall intimate setting but one might rehearse the curtain call, as there wassome confusion, which left off Rowlins out of the final curtain call (of allthings).

Presenting twocompassionate stories about two different Jewish women further prejudicesReim’s story. Not only is Reim presented in a darker light than Shula, herJewish contemporary, she certainly cannot compete with the historical statureof Szold. At some point, we want to hear Reim’s story in full, the happy andthe angry, the past and the present, the desire and the despair. Maybe we will.

www.themettheatre.com

The Comedy of Errors by William Shakespeare

2011-11-20T21:11:00.001-08:00

By Joe Straw

I had been after these tickets for months and after eachtremendous knock on the door there was no response. Nothing.

“Hello? Joe Straw here.”

I swear I could almost hear: “Shhh! He’s out there. Don’t answer that door!”

And like Rodney Dangerfield, who gets (got) no respect, I passedthe time, out in the cold Santa Monica air, in the rain, with holes in myshoes, waiting patiently for tickets.

Conspiracies abound. And waiting in the cold produces irreconcilablethoughts of whys and why not’s. What wastheir reason?

The reason must have been the write up for The Merchant ofVenice starring F. Murray Abraham. Couldthat have been it? It wasn’t that bad (of a review). Was it that bad? Maybe F. was mad. (Aren’t he and fellow Oscarrecipient Dustin, friends?) That’s it. Maybe the Broads are mad too. Why couldn’t I have said good things aboutChristen Simon Marabate as Nerissa?

In this town, bad thoughts are forgotten and ill thoughts; spokento you, flow like water off a duck’s back. That’s a good thing. On the otherhand, memories linger like a festering sore and some people never forget.

And then, the call came. Two tickets, but not together.

“We’re trying to get you two together.” (Vanessa and Nina are so wonderful.)

So, we wait.

“Come back at a quarter ‘till.”

We go into the lobby. This being opening night, the lobby is filled with nicely dressedgentlemen and gentlewomen with big rocks on their fingers.

Then, back to the booth, and lo and behold two ticketstogether!

The seats are in the balcony, second row from the back. Still, at The Broad Stage, every seat is awinner and I really can’t wait to see how the Brits do Shakespeare. Really, after months of waiting, I honestly cannotwait.

Next, a fortunate turn of events. An usher asks if we wouldlike to come down and sit in the second row of the orchestra section. Quickly I grab my coat and run down thestairs, through nicely dressed ladies (with rocks on their fingers) and greetersin Elizabethan costumes, into the theatre, past another usher and down to themiddle section of the second row.

My date, not beside me now. I look up and she’s still in the balcony, gathering things, but is on herway down.

The Eli and Edythe Broad Stage, Dale Franzen—Director,Dustin Hoffman—Chair of the Artistic Advisory Board presents Shakespeare’sGlobe Theatre, The Comedy of Errors by William Shakespeare through November 27,2011 and wonderfully directed by Rebecca Gatward.

Shakespeare by the Brits, bliss.

Comedy of Errors preformed by the Globe Shakespeare Company islike watching a Warner Bros. cartoon performed by a madcap troupe of quickchange artists playing multiple roles, who one minute, are one character, andthe next second a completely different character. The characters change from head to toe, exceptfor the face part, which remains fairly constant. By the end of the play, all of the charactersare out of breath, sweat pouring off their bodies, and exhausted from the sheerforce of comedy.

Comedy is not for the weak or infirmed.

To open the show, the actors came though the lobby and downthe aisle in costumes accompanied by their own musical instruments. Multi-tasking. Oh, so this is how they do itin jolly ole England.

You know The Comedy of Errors but in this write up I think Ishould talk about the actors and the craft of acting by the British actors. Whyrehash a 400-year-old comedy?

Set in the country of Greece (where there’s a comedy oferrors going on there, of sorts.) Thus starts the tale of Egeon (CorneliusBooth), a Syracusan who is forbidden in the village of Ephesus. The Duke ofEphesus (Duncan Wisbey) discovers him breaking the law and as such condemns himto die. (On a personal note: They’d killyou for anything back then usually in the name of religion, but commerce?)

Fighting for his life, Egeon has a sad story to tell aboutlosing his wife and identical twins in a shipwreck, which now finds him in hiscurrent state of unpleasantness. (Thereis not a dry eye in the house, except those who have dry eyes.) The Duke, feeling sorry for Egeon, gives hima day, to raise a ransom, or face an unspeakable execution. Shackled, he goesoff to raise the coinage.

Meanwhile Egeon’s sons have survived the shipwreck from longago and are now in the city. Antipholus of Ephesus and Antipholus of Syracuse(Bill Buckhurst) and their respective slaves Dromio (Fergal McElherron) don’tknow the others are in the town of Ephesus.

Adriana (Laura Rodgers), wife to Antipholus of Ephesus,mistakes Antipholus of Syracuse for her husband. She drags him off to dinner and asks Dromioto guard the door. When Adriana’s husbandcomes home, he is refused entry in his own palace.

First there is a battle of words between Dromio andAntipholus of Ephesus at the revolving door. Then Antipholus of Syracuse fallsin love with Luciana (Dana Gartland), Adriana’s sister.

The revolving door scene is hilarious with actors flying allover the stage. It is one of the many highlights of an evening filled withhighlights of mistaken identities, errors in judgments, and futile attempts tocollect payment.

Bill Buckhurst asAntipholus of Syracuse and Ephesus did an admiral job. Dress as a Greektourist, kind of a geek as the Syracusan, and a man of the world as Antipholusof Ephesus. His Syracusan seem befuddledwhile his Ephesus counterpart was angered by his unfortunate’s set ofcircumstances he finds himself in. Both seemed to suit the character well. Indeed, the glasses seemed to separate the manfrom the beast. His performance is hilarious and well executed!

Fergal McElherronas Dromio(s) is a clown with extreme physical gifts. The Dromio of Ephesus seemed more “rich and bitchy”living in a wealthy enclave and not taking anything from anyone despite thefact he’s a slave. One particularlylikes the broken kneecap scene among many others. One also likes his interpretationof an ass, the likes of which I have not witness on this planet.

Cornelius Boothas Egeon was extremely engaging and as he is telling his story of woe one wasnot convinced this was a comedy in the making, because his interpretation wasvery dramatic. Nevertheless, hisperformance was marvelous. And as Dr.Pinch he was equally wonderful as a whirling dervish, trying to reach religious estacy, spinning around the room and nearly collapsingfrom dizziness, while, I suppose he was trying to cast out the devil inAntipholus of Ephesus.

Cornelius Booth also played the saucy maid withbright red lipstick stirring batter in the kitchen. But as she was stirring the batter, she was staringat me. (Or so it appeared.) I diverted my eyes, looked back, and she was still staringat me! I looked away, and then backagain, deep dark red puckering lips and eyes staring. Uncomfortable now. Sweating, profusely, still staring. She (he) moved off the stage. Thank you.

Sometimes comedy can be uncomfortable.

Duncan Wisbey dida nice job playing the Duke and Angelo. There is a moment on stage where he iscaught being both characters. It was a delightful moment. It is amazing whatthe placement of a hat can accomplish when moving from one character toanother. Also, there was a magnificent moment when Wisbey changed characters onstage into the Duke. This was a grand moment that worked to perfection.

Emma Pallant as Abbess/Courtesanhas a very unique look, dark foreboding, very large eyes and a very nice comictiming. But she can be serious and commanding as the Abbess when the rolerequires her to be, or not to be. (Pun intended.)

Sophie Scott asMerchants/Soldier/jailer did a very nice job. She also played a very meanclarinet. (That means “good” in America.)

Laura Rodgers asAdriana is a joy to watch and pleasing to the eye. Her demands are not so much she would beconsidered a demanding wife. Nor is herjealousy so much to provoke her into crimes of passion against her sister (Onlygoing as far as tearing a page out of a book.). Still, giving that extra push into unchartered comedic territories wouldonly add to an already fine performance.

Dana Garland asLuciana kind of fit into that geek mold. One is not really sure her characterization as a bibliophage reallyworked in the complete erroneous scheme of things. Nevertheless, she and Antipholus of Syracusemade a perfect match. They were, by allaccounts, made for each other but their relationship never took off either oneway or another and playing a little too hard to get and letting her hair down inthe end was a little too late. Still,she did some marvelous work on stage.

Overall the acting was brilliant. They all seemed to realize the errors oftheir ways, which make The Comedy of Errors so delightful, so engaging, and somesmerizing.

Rebecca Gatward,the director, does a marvelous job in putting this all together and having theactors run at full speed during the course of the evening. There are a lot ofmarvelous actions on stage and off to keep the action going. When actors werefar stage right or far stage left they had instruments to produce sound effectsto the action on stage. This is what Ilove about the craft of acting and the spirit of directing, all for one and allfor the common good.

The Set Design by LizCooke reminded me of a beach cabana perched on a loading dock and gaveEphesus the feel of a tourist destination. It also served as the home of Antipholus of Ephesus. Ms. Cooke was also the Costume Designer. These are two jobs marvelously done andsomething you don’t see much of here in Los Angeles.

Run to see this production.

Run fast. Runlong. Run deep.

310-434-3200

www.thebroadstage.com

1310 11th Street, Santa Monica, CA 90401

The Romance of Magno Rubio – by Lonnie Carter

2011-11-13T23:20:00.001-08:00

By Joe Straw

He sat there. Quietly. A small boy in the audience watching every motion, every song, notgiving an inch to any distractions, glued to the performance on stage. Tears poured onto his tiny cheeks and sobswere heard. How could men treat othermen this way? So small he held on to the back of a seat and cried and criedwatching his father. It was touching tosee a small boy, with so much heart, loving his father doing what he doesbest. *

The Romance of Magno Rubio by Lonnie Carter and directed byBernardo Bernardo at the Ford Theatre is absolutely wonderful! In all my many years in theatre I have notseen anything like this. It is a terrificshow from the moment the actors appear on stage to the moment they leave. This show is magnificent and inspiring! It will also break your heart. Run to see this production!

Lonnie Carter’s Obie Award winning play comes to Los Angelesfor a limited engagement through December 11^th, 2011 and isperformed in both English and Tagalog. Theshow is presented by PAE Live! in association with Good Shepherd AmbulanceCompany. (What? Good Shepherd AmbulanceCompany? This is a story in and of itself!)

The Romance of Mango Rubio is a romance that takes place inthe heart of a “Filipino boy, Four foot six inches tall. Dark as a coconut. Head small on a body like a turtle’s.”

Mango Rubio (Jon Jon Briones), a small Filipino man, works harvestingcrops in the 1930’s California. He hascome to America, like other Manongs, wanting to live the American dream only todiscover life is not so easy here. He wasallowed to immigrate as a “national” since the United States colonized thePhilippines. Like Chinese and Japanese immigrants,he cannot own property or marry a Caucasian woman.

Mango Rubio is a migrant worker, living under terribleconditions. He is filthy from head totoe but lives an infectious life of optimism, curiosity, and love. From a Lonely Hearts magazine, Mango Rubio fallshopelessly in love with Clarabelle (Elizabeth Rainey). It is a love that knows no boundaries eventhough she is all the way in Arkansas.

He enlists a friend, Claro (Erick Esteban), a 2^ndgrade graduate to write letters to his girlfriend but Claro want too much money.So Rubio asks his college-educated friend, Nick (Giovanni Ortega), to read andwrite letters to the love of his life, Clarabelle.

Nick does so but when they get the letters come back fromClarabelle, Nick thinks she is up to no good.

“Western Union me. ASAP.” – Clarabelle

Clarabelle wants only his money. But Mango Rubio is so hopelessly in love heworks harder to support her ailing dad, sick brother, and anyone else dying inClarabelle’s letters. Try as they might no one can convince Mango Rubio thatall is not right with Clarabelle.

But Magno Rubio is blinded by love and the thought that, oneday, this six foot two inch bundle of woman, Clarabelle, will join him in holymatrimony. The men have a grand timetelling him that Clarabelle will eat him alive.

Jon Jon Brionesas Magno Rubio is one of the finest actors you will see bar none. Hisphysicality and characterization is second to none. He has an incredible voice and his movementson stage make you want to stand up and cheer. He takes great joy in going afterand achieving his objective one hardly believes he is doing it all inrhyme. This is one of the finest performancesI’ve seen all year.

Eymard Cabling asAtoy had a very nice personality on stage and that personality becomes veryinfectious. But we didn’t get a clearidea of his objective and seem to be one of the boys without a clear path. Still, this was a very nice job.

Giovanni Ortegawas engaging as Nick. He is thecollective conscious of the men. There was a reason this college-educated mandecides to skip college and work with the migrant workers. His thoughts are his own but that doesn’texclude him from mentally recording the farm workers actions and deeds if for apurpose he doesn’t yet understand. Still, somebody has to tell their story andit might as well be him. This was a very fine performance by a very engaging actor.

Muni Zano as the Narratorwas not as sharp as he could have been. The words did not come easily this night and it was unfortunate to seethis in a program that was incredible. Perhaps it was an off night, or possibly he was thinking in Tagalog. Oo!

Ed Ramoleteplayed Prudencio. Antoine Reynaldo Dielusually plays this role, but for whatever reason, he was not available. Ramolete had two days to fill the role. This is almost an impossible task. Ramolete had the lines in pots, in his hat,in boxes, on cards, anything that could help him remember the spokenwords. (Think Marlon Brando in theGodfather.) This was unfortunate for a play of this caliber. Still, Ramolete had a good look for the roleand the lines he did remember worked very effectively.

Erik Esteban asClaro was very ambitious in character and deeds. He thought that he was better than the otherguys because he got as far as the second grade. His words, loved by the men, were his weapons against Rubio. Still, he had a little bit of the devil inhim in trying to steal from his friends before he ran away.

Elizabeth Raineyas Clarabelle was marvelous in the role. There are many layers to her performance. Her captivating physical life turns the smallspace she occupies into a dream. A comehither dream at that. Her love only goes as far as the last dollar bill, or thelast reception to a Western Union receipt. This was a marvelous job and a wonderful performance.

Vincent Reyesplayed wonderful guitar in the show and the rest of the music was justinspiring.

Bernardo Bernardo,the director, gave us a wonderful interpretation of the play. It is the work of a true master of the craftof storytelling. This was just awonderful production and just what we need to liven the spirits this holidayseason.

Lonnie Carter,the writer, did a marvelous job. He usesclever word play and rhymes to move the story along. One would think the actors were speakingdialogue. The singing of Philippine lovesongs make you want to stand and cheer for all of the actors on stage.

Ed Ramolete did awonderful job as the producer despite problems he had filling in for a missingactor.

Additional lyrics and text were by Ralph Pena and The WorldPremiere of a New Tagalog Translation Ang Romansa Ni Magno Rubio was done byBernardo Bernardo.

Frederick A. Edwardsplays Nick, Anthony “Gelo” Franciscoplays Claro, and Jet Montelibanoplays Atoy in the Tagalog versions, which will be performed on Saturdays. Please check the listings.

The Set Design by AkeimeMitterlehner was very well done. Felix Roiles as the Martial ArtsChoreographer did an incredible job moving the actors in a wonderful fight scene.

Dori Quan as theCostume Designer did an incredible job. The costumes transported you back to another time and place. Just a wonderful job.

Inside the Ford has plenty of free parking and is a greatvenue for theatre!

Run to see this production.

* The boy is the son of Jon Jon Briones who plays the lead role of Magno Rubio.

www.fordtheatres.org

323-461-3673

Jerker – Written by Robert Chesley

2011-11-12T07:51:00.001-08:00

By Joe Straw

The journey to theatre can take one into unchartered territories,real or imagined. Either way it’s ajourney worth taking.

Space 916 is a theatre to which I have not had the pleasure. Off-the-beaten path, it is in the middleof Hollywood but hidden south of Santa Monica Boulevard. There is no sign from the street and thespace is slightly tucked away off Formosa.

It is dark. There is very little street lighting or it justseemed dark. I wasn’t sure I was in theright place and there is this “thing” in the back of my mind saying: “Provocativetheatre has this setting. Provocative theatre is like this. ”

The night was colder than usual after a day of rain.

As I pull into the parking lot, there isa man with tattoos, outside, smoking a cigarette wearing unbuttoned cut offjeans, a jock strap underneath, and slightly exposing his backside as I driveby to park. It is cold, freezing cold! Fifty-five degrees Southern Californiacold! And yet he’s out there, wearing noshirt, bouncing up and down and smoking a cigarette.

This must be the place.

I park on the other side of the building, still not sure ifI’m in the right place. A quick call toJason, I am. And as I walk inside the theatre, there’s a delightful young Asianwoman in a completely unexpected sterile box office setting. She is courteousbut tells me that I am in the wrong theatre. “Jerker is next door.” She politely says with a smile.

I walk next door. Thedoor is locked but opens slightly as someone slips around and tapes a sign onthe door, which in bold letters says, “Jerker”. “We’ll be opening the doors inabout 15 minutes.” Slam! It’s cold. Nowhere to go but next door to the otherlobby and sit in the warmth.

Jason Moyer presents the 25^th AnniversaryProduction of Jerker written by Robert Chesley, directed by Glenn Kessler, andproduced by Jason Moyer at Space 916, through November 20^th, at 916 FormosaAvenue in Hollywood.

The first thing one notices, when entering the Space 916,are the underwear-clad men sitting on couches, reading. Too dark to see what they are reading they lookup, give you a blank stare, and turn back to their book. Can they actually readin this light?

Space 916 is a nice space. It is very spacious, plenty of seats and a very wide staging area.

As far as the set is concerned there is no Set Designer listed in the credits. A bed and some furniture are at far stageright and another apartment setup is at far stage left. The apartments are great distances from eachother. (More on this later.)

Briefly, the story is about the lives of two men Bert(Gregory Allen) and JR (Glenn Kessler) who enjoy having phone sex in thebeautiful setting of 1980’s San Francisco, California. Thetitle of the play is actually Jerker orthe Helping Hand: A Pornographic Elegywith Redeeming Social Value and a Hymn to the Queer Men of San Francisco inTwenty Telephone Calls, Many of them Dirty.

JR (not his real name) has gotten Bert’s phone number. It’s on a scratch sheet of paper, sitting onhis bedside table, and it has been lying there for a while. Fondling himself isn’t cutting it anymore and heis eager to call the number. He knowswhat he likes in Bert. There was an attraction. Why can’t he get himself to call? Would Bert reciprocate in the games JR wants to play?

Still, there it lays, the number, the first jump into afantasy that could go completely wrong. JR needs something. It is a desire for human contact, sex, phonesex, and then to fall into a state of kef and slumber. Excitedly, he punches the phone number.

JR calls Bert but there’s a slight problem, Bert doesn’twant to jump in and play. In fact he isvery matter of fact and very business like. Has JR done something wrong? No,Bert wants a little build up, which he eventually gets. JR gets what he needs,hangs up the phone, and goes to sleep.

The conversation continues on another day but this time Bertwants to play his own game which really turns JR on. It is the big brother and little brother game,and this seems to be JR’s favorite. Infact as the play continues he calls Bert, Big Brother as a term of affection.

Through the various phone calls, they play out theirfantasies which include the other members of the cast: Corey Adam, GregoryBarnett, Ben Cuevas, Parnell D. Marcano and Sammy Murriam playing various rolesin various sexual situations.

There are a few things we learn through their conversations. We learn JR is a veteran of some branch ofthe military and is now a historian. Bert is a businessman, a three-piece suittype. After sex we get a glimpse of their lives and their relationship growsafter numerous tête-à-têtes.

But why is their relationship just phone sex? Why are they stuck in their rooms?

There is a problem. Bertis very emotional at times and there is something wrong with his demeanor. JR tries to find out but is rebuked.

The two men can never come together. They cannot approach each other. JR sees Bert on occasion but wants to keepthis relationship anonymous. Besides at this point in Bert’s life, the phonesex seems to be enough for him. Andthere is a reason that Bert does not pursue JR that remains a mystery until thefinal conclusion.

The phone conversations continue until JR can no longerreach Bert.

Glenn Kessler asJR is not shy about anything. This is a demanding role and requires completenudity and a lot of masturbation. Still,as the character, there is a lot of work to be done. For instance, there are crutches in theroom. He uses them once. One supposes itis a character trait and is a reason that keeps him anchored in his apartment. One believes it is critical to see this themoment he steps onto the stage. Hisfirst movement gives the audience a reason for him being there and not goingout. It affirms the character and makesthe story come to life. Also, he tells Bert that he is a historian but asidefrom the typewriter, there is nothing in his character that suggests he isworking in, on or around his profession. Still, some good work, but Kessler needs alittle more focus on his objective and character first and then worry about theerections later.

Gregory Allen asBert did a fine job. Allen connected to his counterpart in a number of ways,through the phone, and (eh hem) other ways. But, in order for him to help JR, and despitehis illness, he needs to play the game, better, longer, faster, and with afanatical fantasy desire. Still, thiswas a very demanding role and a very nice job.

Corey Adam Affronand Sammy Murrian were two of theyounger men in the ensemble. They playedout the fantasies of the older men who on the phone in conversation.

Gregory Barnettand Ben Cuevas played a brutal scenein the forest, a kind of master-slave-bondage fantasy. It was very brutal andhard to watch at times.

Parnell D. Marcanohas a very nice singing voice and was very sympathetic as the friend dying ofAIDS. Marcano is no stranger to thestage and was very capable in a demanding role.

This play presents interesting acting challenges. The concentration requires the actor to be“spot on” and in the moment. He must befocused on the relationship. And then(on top of all things) he is required to have an erection (simulated or not)and orgasm (simulated or not). And after each phone call the actor must move therelationship forward.

The physical challenges, over an hour and a half, and twentyphone conversation requires youth and to a large degree, a stamina of sorts.

One would like to speak to the technical difficulties of theperformance. The phone conversationswere sent through a speaker system and had a very nice effect. But, upon closer inspection, the conversationdid not match the movements on stage, facial and vocal. Crying seems to be coming from the speakerswhen there was no crying on stage and visa versa. So there was pantomime goingon. And when the speakers were turnedoff there was some acting going on. Thiswas a little disconcerting but not too terribly bad.

I’m not convinced the director, Glenn Kessler, can also be in his own production. There is too muchto do when focusing on a character. Toomuch is at stake when a person is trying to do two jobs at once. Moments needto be carefully scrutinized and made precise. The characters have objectivesthat need to be played out. We, asaudience members need to see the relationship change during the course of theplay. Also, we need to feel that JR haslost a very important person in his life and this loss has a dramatic effect onhim.

Secondly, the actors were so far apart; it was like watchinga Ping-Pong match. Back and forth most of the night long. My suggestion wouldbe to move the beds right next to each other center stage, headboard toheadboard, or side to side. This would focus the concentration center stagewhere the entire phone interaction would take place. (And yes, there was a lot of action going on.)

Robert Chesley died from AIDS in 1990 at the young age offorty-seven.

There is a lot of nudity in this play, full frontal, full backtal,sidle, and dimensional. If that is toyour liking come. And please bringsomeone you know that will enjoy theatre like you’ve never seen.

www.jerker25.com

Hope: Part II of a Mexican Trilogy – by Evelina Fernandez

2011-11-07T21:52:00.000-08:00

By Joe Straw

Growing up in a military family, there were seven of us inall, mother, father, two sisters, two brothers, and me. Unfortunately, myfather was always on army maneuvers, even when there weren’t any maneuvers. Gone most of the time, his true attention wasto the art of deception. And this deceptionincluded having children with multiple women on various continents while mymother was giving birth to, and caring for, the five of us. Once the truth cameout, the marriage didn’t last and the family disintegrated.

Many things are lost when a couple divorces. There is a loss of stability, a loss ofwealth, and a loss of the simple things like putting enough food on the table. It is an overwhelming situation where hope isburied in the cavernous recesses of our dreams.

But, hope is a matter of perspective. And I’ve come to the conclusion that noteveryone hopes for the same thing. Marriage starts with raging optimism. But then come the children: what’s best forthem, disagreements, infidelities, and of a broken trust that starts a downwardspiral that one can only hope to recover.

The Latino Theater Company presents Hope: Part II of aMexican Trilogy written by Evelina Fernandez and directed by Jose LuisValenzuela. Hope is a wonderful musicalwith the very difficult themes of infidelity, unwanted pregnancy, attempted suicide,and spousal and child abuse.

Hope is a grand exploration of Mexican American life. And yes, all American families are now andhave always included Latinos.

There is a lot to love about this musical, starting with theset by Scenic Designer Francois-Pierre Couture. The set is a 1960’s version of a family homein Phoenix, AZ. It is, in fact, astructure one would find out in the desert with three windows looking out intothe expanse of despair. Blinds open tocolorful rooms of life and shut quickly when moments escalate out of control.

Projected off the walls of the house are images of life inthe sixties. These are the unfocused videoimages of a time not quite remembered, but eventually fully realized as thetime comes back into focus. And shadowsof daily life are also projected on the walls displaying family secrets ofbrutal beatings, too brutal to show to sympathetic viewers.

And through the horror of kept family secrets there are thesurrounded whispers of infidelity, of hunger, desperation, and the need to grabthe one “thing” that give them what they desire, hope.

Briefly the story is about a Mexican American family livingin Phoenix, Arizona. The mother, Elena (Dyana Ortelli), is trying to keep ahandle on her four teenage children, who for the most part are as good asteenagers can be, but a bit unruly.

Gina (Esperanza Ibarra), the oldest teenager, is the “mean”sister who doesn’t smile and chases her siblings around with her shoe. She isalso the smartest, and takes great pride in knowing a multitude of facts.

Betty (Olivia Delgado) is an idealist with a highly activeimagination. She places and receives calls from President John F. Kennedy andFidel Castro and believes she is helping to save the world.

The boys are Johnny (Keith McDonald) and Bobby (Dru Davis). Johnny is a would-be ladies man and getsalong with his father while Bobby, the youngest, has little in common with hisfather. And being the baby of the family,Bobby is doted on by his mother.

Carlos (Geoffrey Rivas), the father, is gone for extendedperiods of time. He comes back only toplead forgiveness for his misgiving but denies being unfaithful. And he also comes back to beat his childrenwhen they say the slightest disrespectful remark.

While Carlos is away, Elena is seeing a friend Enrique (SalLopez) and through him tries to understand the ways of men. But it’s not difficult to see that Enriquewants to be a part of Elena’s life.

Meanwhile Rudy (Sam Golzari) has taken a liking toGina. He tells her that he wants to beher boyfriend. Gina sees nothing comingfrom this or any relationship and she can barely put up with him. Still, he conveniences her to be hisboyfriend for “two weeks”. Just enough time before he goes into the army. Just enough time for, what?

Dad comes home just in time to beg forgiveness and then startin on his brutal campaign of beatings, which sets the ball in motion for themultitude of tragic events that follow.

The book of Hope is interspersed with the wonderful music ofthe sixties sung beautifully by this strong cast of singers and actors. Wow! Ithink I’ve hit the jackpot here. This isa dream-of-a-show from which I do not want to be awakened. Jose Luis Valuenza, the director, hasgathered some remarkable actors for this musical, all who have very strongvoices.

The show includes the songs, Dedicated to the One I Love, LoveHurts, Mister Sandman, Piel Panela, Please Mr. Postman, RicoVacilon, Shout, You’ll Love a Good Thing.

Geoffrey Rivas asCarlos does a wonderful job as the philandering husband. And, as the character,he tries his best to pull it all together but in the end, the lies catch up to him.Without the focus of family on his mind, he is a lost man. This was a very enjoyable performance,despite the despicability factor.

Dyana Ortelli asElena does a very nice job in the role of the long-suffering wife. It is easyto get caught up in somebody else’s dream and not realizing his dream is notworth living. As the character she is as faithful as faithful can be but theremust be an opening, a glimpse, to show us she is ready to jump ship. Her plan, nonexistent when the play starts,must be executed during the course of the show. And it is a plan we must see, her hope.

Sal Lopez asEnrique (or Kiki), compadre to Elena and Carlos, does a wonderful job in a verynice role. Silently he slips around as afriend to the family while in his heart he longs for the woman of hisdreams. His love for her overflows likethe tap on the beer bottle that brings the foam rising over the top and ontothe floor. His emotional wants bringthem closer together, step by step, like a little dance, until the dance getsout of hand.

Esperanza AmericaIbarra as Gina is absolutely wonderful in this role. She is very sympatheticas the older sister who has helped raising her brothers and sister. And as the older sister, she is smart,loving, and full of spunk. Still, havingto look after the miscreants that are her siblings, wear on her. And seeing her mother, do the unthinkablewith another man, causes her to go places no one wants to go. This is a very heartfeltperformance that will be remembered for sometime to come.

Sam Golzari asRudy also gave a wonderful performance as the boyfriend to Gina. His moments onstage rang true and there was a lot of depth to his character. His love forGina had no bounds and that love was very visible on stage. Finding a way to be physically closer to Ginain the letter-writing scene would only add to an already wonderful performance.

Dru Davis asBobby has a phenomenal voice and was very sympathetic as the young son that haslittle in common with his father. Hetakes great pride in standing up to his father no matter the cost. And this isactually a role where you want to hear more singing from Davis. His voice isthat magnificent!

Olivia CristinaDelgado as Betty was very cute and did a marvelous job. One reallyappreciates the on-stage relationships that she creates with both JFK and FidelCastro.

Keith McDonald asJohnny is a typical teenage boy, unfocused. He spends his current life thinkingwhat girls are thinking about him and how they would be oh-so-lucky to havehim. That aside, it is a role that could grow, including making therelationships stronger on stage, not paying so much attention to the fourthwall, and paying more attention to others on stage. Finding a significant objective wouldhelp. Still, it is only a small quibbleto a very nice performance.

Jose Luis Valenzuela,the director, has created a visually exciting show. It moves at a very nicepace and is remarkable in purpose. Thisis a family on the verge of collapse. Andit is a musical about love, loss of love, and making right out of what is sovery wrong. Everything one could hopefor in a musical extravaganza. There aremoments that could be revisited, tightened on the topic of hope. For example: adream of hope in another state should propel them off the stage into the newland of opportunity so that we as audience member can’t wait to see “Faith” and“Charity”. Still, overall, this was awonderful show!

There is a truth, a sincerity, that lives and breaths Evelina Fernandez’s words. She haswritten a show that is marvelous in it’s own right. She takes us back to a period most of usremember and she does it with a sense of style and grace. She introduces us to a family that must sufferthe through the indignities of separation, divorce, and the breakup of a family. But with the family in pain they march on,and with heads held high they look westward, to California, for theirinspiration, and their hope.

Ben Crippin Taylor was the Musical Director of the show anddid a very nice job. I loved the music!

The Movement Coordinator was Urbanie Lucero and the CostumeDesign credit goes to Raquel Barreto. Cameron Mock did the Lighting Design and John Zalewski did the SoundDesign.

Run to see this production. Bring a friend who has problems understanding the lives of ordinary MexicanAmericans and Latinos.

www.thelatc.org.

La Muerte Viva Written by Tony Dominguez

2011-11-04T17:26:00.000-07:00

By Joe Straw

THIS EVENT HAS BEEN POSTPONED UNTIL DECEMBER. FOR MORE INFORMATION GO TO WWW.LAMUERTEVIVE.COM

La Muerte Viva written and directed by Tony Dominguezplaying at the beautiful Million Dollar Theatre at 307 South Broadway is a lotof fun.

After tomorrow the dead will disappear until next year. If you want to go, go tomorrow on SaturdayNovember 5, 2011. Parking is nearby and relatively inexpensive.

There are lovely ladies to greet you at the door and theywill make you feel right at home. Infact everyone will make you feel at home.

When you walk into the beautiful Million Dollar Theatre yourealize at one time or another people, lots of people, came here to watchmovies. On this particular night thevenue was set for another type of extravaganza.

Billed as “Where Rock Opera Meets Cabaret” starring the bandEl Gavachillo (featuring Wil-Dog of Ozomatli) y su Banda, The Wise Guys, andSantos de Los Angeles & his Player Saint Orchestra. And if you love brass (and I do) you’ll lovethe music in this show.

And to liven things up a bit Rudy Champagne also brought usa bit of burlesque.

The best thing I can describe about this production is, it isa production of controlled chaos. Things are not always perfect, but things doget done.

The first thing you notice when entering the orchestrasection are the Tony Dominguez’s wonderful paper mache puppets on stage, thesecond the music, and the third a little bit of acting. Just a little bit mind you.

And just as a small critique Dominguez needs to keep theaction moving on stage to keep it livelier. I’m sure things will be tightened for tomorrow night. And one hopes the sound problems (themicrophones) will be fixed.

Overall, this was a lot of fun.

You will hear some of the finest brass players in showgirlscostume on the planet!

Support the arts and have a great time.

Betrayed – Story: George Packer

2011-10-31T18:30:00.000-07:00

By Joe Straw

I’m a little confused by this title and slightlybetrayed. (Only slightly.) The press notes indicates it’s “written byGeorge Packer” but the program says something slightly different, “Story: George Packer”.

Whitmore Eclectic presents Betrayed – Story: George Packer, directed by Andrew Verderame, at the Lyric Theatre inHollywood through November 13, 2011 is a wonderful production with fantasticperformances.

It is about a subject matter that, to this day, I do notunderstand: The invasion of Iraq, the lossof American and Iraqi lives, and the idea that the American taxpayers are andhave been footing this bill. (Let’s seeif my political leanings can get me into trouble.)

This show is brutally honest with graphic videos and sounddesign, by Aliah Whitmore, and is not for the squeamish. As James Whitmore, Jr.introduces the show he says that if you’re offended, “Don’t look.”

Self-censorship is protected under the First Amendment.

Adnan (Pasha Bocarie) is a man who doesn’t fit in. His day-to-dayexistence was selling cigarettes on Mutanabi Street in old Baghdad and it was alife he was reluctant to live. With theoverthrow of Saddam Hussein he has thoughts of redirecting the focus of hislife without morbid thoughts of thanatopsis.

Adnan has a rendezvous with his friend Laith (Peter Sabri)in a hotel. It has taken both of themdays to get there.

Sadly, Laith is living on the edge. He has been getting threatening calls andwants to leave the country. But anunsuccessful attempt to cross the border results in his fake passport beingconfiscated. His objective is to reachBill Prescott (Andrew Patton), a state Department official, and an old friendfrom their Green Zone days, and have him arrange his way out. He can’t do this without the help from hisfriend, Adnan.

Thus begins a series of flashback where Adnan and Laithreminiscence about how they got to this point in their lives. Starting with how they came to work for theState Department.

With Laith it is interpreting for a soldier Jason (RobertFabiani) and his unit. But Adnan goesdirectly to the Green Zone to apply for a job. As he is there he runs into Intisar (Aliah Whitmore) who is alsoapplying for a position.

After Adnan is accepted, he is taken to a Regional SecurityOfficer (Dustin Seavey) who interrogates him using the modern up-to-date, inadmissible-in-court,lie detector.

In the meantime Prescott accepts Intisar. Adnan goes back to have lunch with Laith andtells him he has secured Laith an interview.

All three are issued yellow badges and are sworn in by theRSO who instructs them on the finer points of the Green Zone and the Red Zone.

“What is the Red Zone?” – Intisar

“The Red Zone…it’s what’s outside the Green Zone.” – RSO

“You mean – Iraq?” – Intisar

“Congratulations and welcome to the American mission in Baghdad.” – RSO

The three become working friends and discuss their dreams ofthe future in five years but things start going awry. Intisar makes a big mistake by agreeing toappear on non-stop TV news feeds to Iraq and Washington.

The Iraqis are also becoming suspicious of this trio. Our three heroes approach Prescott to getgreen badges because they feel their lives are in danger waiting in the streetsto get into the compound. The SRO denies their request for and when thishappens Intisar is gun down in the streets of Baghdad.

Next time, Adnan and Laith go directly to the Ambassador(Craig Braun) to get green badges because they feel their lives are in danger.Again, the SRO denies their request.

Prescott is so fed up he asks Adnan and Laith to take him toa restaurant, somewhere in Baghdad. Theydo so and while they are there he asks Laith to find an Iraqi leaders to open adialogue.

“What we hear is they refuse to talk to the occupiers.” – Prescott

“Some of them want to. There aredifferences within them. But they need achannel.” – Laith

“… O.K. Open up a back channel and we’ll see what happens.” –Prescott

Laith does so and this mistake gets him into a lot oftrouble.

This story highlights the differences between men and women, Americans and Iraqis, and finally Shia and Sunni with seemingly no resolution on the conflicts either now or in the near future. Setting all this aside this is a very fine cast and exceptional performances allaround.

Pasha Bocarie asAdnan is excellent. There is a very nice truth to his craft. It is understated and not overly emotional asthe character seeks a path that is different than his counterpart. Adnan is a man who wants to continue to livein Iraq. He has no thoughts of leaving,and he will do what is necessary to survive. His performance was marvelous.

Peter Sabri asLaith was also excellent. He is an actorwho is always in the moment and feels his emotion moments to his core. AsLaith, he follows a path that leads him to make a lot of mistakes. His overriding trust in his fellow humanbeing, be they American or Iraqi, gets him into a lot of trouble. Which is why he is fighting for his life. Still, Sabri needs to recognize his mistakesand make more of the moments that give creation to his downward spiral. This will only add to an already veryterrific performance.

Andrew Patton asPrescott was marvelous. Last seen inMoby Dick Rehearsed this role was a chameleon-like transformation in character. And as the character, he is a man out ofplace, out of his time and element. Try as he might he cannot overcome thatwhich is his inept government. But,guilty by association, this must included his own ineptitude caused by his ownactions of which he is unaware. First, hethrows Intisar in front of a camera feed that goes out to who knows where,publicly displaying her image. Secondly,he sends Laith out to try to find the enemy unaware of havoc he is creating. Although he is unmindful of all of theproblems he has caused, in the end, he wants to make good and it is this forceof rightness that sends him out frantically trying to save his friends. This was a job well done.

Aliah Whitmore asIntisar delivers an exceptional performance complete with Iraqi accent. As the character she fights against the inequalityof women in her country. This gets herinto a lot of trouble, which she is not able to overcome. Still she fights for what is right even if itmeans paying the ultimate price.

Dustin Seaveyplays the Regional Security Officer who does his job efficiently, possibly alittle too efficiently. It’s a nice jobfor a humorless role. This trick to therole (and yes, there are tricks) is to find the moment that is going to givethe character the human touch rather than just seeing “the machine” that is hisjob. Still, this was a very goodperformance.

Craig Braun asthe Ambassador (October 13-14) was slightly nervous on this particularnight. It was a nice performance thatneeded the “thing” that makes him the Ambassador. TimDezarn was not playing the Ambassador the night I was there.

Robert Fabiani asthe Soldier Jason did a nice job as a person who is overwhelmed with hisjob. His nerves are frayed the longer hestays in Iraq. He has come to the pointwhere he does not trust anyone, even friends. And will just as soon rifle butt you in the head if you look at him thewrong way. This is a solid performanceby a wonderful actor.

Haaz Sleiman didan admirable job as the Dialect Coach and was the Dishdasha Man and Correspondentnumber one.

Max Siam was theCursing Man and Eggplant Face (Abu Abbas).

Andrew Verderame,the director, has done a marvelous job with this show. His actors wereexceptional and the direction was exceptional and overall very enjoyable. Whilemost plays tell a story using a narrative and the narrative is a specific periodof time, George Packard’s play/storyfocuses on the use of flashback. Not myfavorite way of telling a story in most mediums but not impossible to pull offif the life and death moments out ofthe hotel room pull us in to the dramatic moments into the hotel room.

Maybe it was opening weekend, or something else, but theaction seemed to start and stop the moment we go back into the hotel. Also, we as an audience need to consider whatis behind the hotel room door and should not forget that at any single moment someonemay come in and take the characters away, for good. Focus on a time element with life or death asthe dramatic conclusion. We should neverforget that someone is coming for them and it is only a question of when.

Just as an aside, the program to the play is an outstandingcomic book like program. No credit isgiven to the person, or persons responsible for this wonderful program. It says a lot about the commitment WhitmoreEclectic pays to the actors, director and the rest of the staff.

Go! This is a verygood show about a powerful subject matter. And take a Marine with you, he or she may havesomething more to say.

www.whitmoreeclectic.com

Dusk Rings A Bell by Stephen Belber

2011-10-23T21:09:00.000-07:00

By Joe Straw

When chaotic events surround me in Los Angeles, I take amoment, close my eyes, and go to a place of my youth. I concentrate on a distant memory, lying undera shady maple tree, listening to a mockingbird repeat my every whistle. There is the silent sound of a nearby stream wheresmall frogs “bleep” before jumping into tranquil waters. I stare up at mellifluous white clouds floatingby and listen as my cat, Mouse, paddles her way to me. I use this sense memoryto relax, to let go, and hope that when I open my eyes, life around me will be lesstumultuous.

Dusk Rings a Bell by Stephen Belber and directed by DanielHenning playing at The Blank Theatre in Hollywood is brilliant! Belber’s words are a song of past remembrances,of missed opportunities, and of one soft kiss. This is the story of two souls who come together after twenty-five yearsapart.

Never have I been so moved, so touched, by the lyricalbeauty of Belber’s words. This play is sosimple, so beautiful, and so picturesque. But, as simple as it appears, it is highlycomplex and filled with so many levels. One may look back on this play time andtime again to absorb its full meaning.

There has been only a few times where emotions have overcomeme. And on this particular night, I wasnot the only one. In the intimate houseof The Blank Theatre, uncontrollable sobs were heard throughout. Gentlemen were wiping their eyes and womenwere sobbing. And this was only after thefirst few moments of the play!

This play touches emotions deep within you and sweeps youaway into the unchartered territories of your soul.

Molly (Thea Gill), age 39, is an executive at CNN. She is bright and articulate, and is open toopportunities by legal means or otherwise. Recently divorced, she embarks upon a journeyto visit a place and find a letter she wrote to herself 25 years earlier.

She speaks of herself as a stuttering child and has thefortitude to quit, cold turkey. It is thatmoment of motivation that gives her the ability to succeed later in life. She speaks reverentially of a time spent withher parents in a Delaware bungalow and of a special kiss long ago that has remainedwith her.

Ray (Josh Randall) is a guy who does guy things. He does not appear bright. He likes the outdoors and is the caretaker ofa cabin in Bethany Beach, Delaware. He describes a hawk devouring a rat in atree and thought it was cool. He speaksof kissing a particular girl and thinking what life had been like if he hadgotten into her pants. It’s the grandglorious musings of a not too bright testosterone filled gardener. Still his words have a kindness about them.

Molly parks her car, finds the place, and breaks into thebungalow. She finds the letter folded ina neat triangle in the attic, exactly where she had placed it 25 years ago. Herthoughts overcome her as slowly opens the triangle, shivering as she reads theletter to her adult self.

And at the end of the letter she asks herself the question: “Areyou happy?”

She turns the letter over and discovers that someone haswritten the word, “No”.

A short time later Ray discovers her in a bungalow. The criminal elements of the scene are laidout. He traps her into confessing her crime. He wants money for the broken window.

“I’ll pay for it. How much is it?”- Molly

“Eighty dollars.” - Ray

“I only have sixty.” - Molly

“I’ll take it.” – Ray

After paying him, she tries to leave, but he stands too closeto let her pass. He stands close enough to inhale her and does not move. Shetells him that her friends are waiting for her near the car. He’s not buying the story and after a fewtense sexually charged moments let’s her pass.

And as Molly escapes, she asks his name. “Ray”, he tells. Eyes wide open, the curiosity seeker believeshe is the boy she had a relationship with 25 years earlier. (The kiss.)

There is a “thing” Ray does with his eyes brows. The deeper the references, the closer theeyebrows get. In a state of anoesis, try as he might he’s not remembering any of it, the kiss, themoment, the excitement of spending time together. His vacuous stare is not giving anythingaway. Nothing rings a bell.

Or does it? He is soengrossed in the possibility this might be the “one” he shuts down not wantingto give one single thing away. But then, he succumbs to her charms, herinsistencies, and her desire to get to the truth only known to both of them.

But their story has a tragic middle as Ray tells Molly thathe has spent time in prison, ten years, for the death of a gay student. He tells her that he didn’t kill him, he wasjust around, when his friend repeatedly hit him. They were drunk and went off and had pizza afterwards(for twenty-five minutes!) before anyone notified the police.

Molly is mortified, angry, afraid and disgusted, and leavesimmediately. She comes back days orweeks later to get more of the details of the tragic night. Theyspend time together talking about the night of the murder. She has a physicalrelationship with him and then… (I can’t give this away.)

Their differences are night and day, possibly the reason forthe title, “Dusk Rings A Bell.”

The appeal of this play is an inherent desire to take sidesonce information is released. Movingback and forth between each character is a wonderful game. When one character shows their perspectiveyou immediately have sympathy and empathy for that person. When they are indialogue and reveal information you can decide whose side you are on, if thereis a side you wish to choose.

Age plays a different game. The games become more complicated and nuanced the older we become. Intentionsand objectives become as intricate as a fully realized chess game, by masters.

Receiving and sharing information about life’s ups and downshas its consequences. In any case, one comes away from this sensoryextravaganza a better person. Moreinformed by the complexities of life and discussions of what is real and whatis held back.

Josh Randall asRay does a remarkable job of giving this man so many layers. There is this empty-headed stare, which is mostlyof out self-preservation. He is in actuality an intelligent man who doesn’twant to reveal too much information because he knows that doing so coulddestroy a beautiful relationship. Still, he does. Randall gives us every day of his life as hetreads the lonely road of due diligence to make amends for the wrong he hascommitted. And he walks a foggy path hoping to get to a clearing. This is a remarkable role for this actor wholives and breathes this one mistake. Themistake is written on his sleeves, stamped on his forehead, inside his innerbeing and it is a job well done.

Thea Gill asMolly is remarkable as well. She has agift off telling a story and making us see the small particulars. She explores a lifecycle that has come fullcircle and she comes back expecting something magical to happen. Expecting her knight in shinning armor. One believes she works for CNN and has thehigh profile job that demands the truth in whatever form she can get. So aftershe gets this information why does she come back? It is the reason that makes this remarkableactress so intriguing, so watchable, and questioning her every move. This isjust a wonderful performance.

Daniel Henningdoes a brilliant job putting all of this together. It is a wonderful achievement and his finestwork. It is terrific storytelling at itsbest and mesmerizing in its subtle details.

Stephen Belber,the writer, has written a terrific play. It’s all about the words and the wordslead you to remarkable places. Belber’s words are so depressingly beautiful –it’s enough to make you stop punching the keys on your computer, throw downyour pen, and walk away. Or, on the flipside, an inspiration to keep scratching the hard thoughts on stone tablets.

The producers of this show are Matthew Graber, DanielHenning and Noah Wyle.

Kurt Boetcher,the Set Designer has done a fabulous job creating a beachfront with which ourcharacters can do their magic. The set is a muted color cream color that worksas the place and tells us that not all human emotions are black and white.

Costume Design by MichaelMullen worked effectively. Stephanette Smith was the Lighting Designer on this wonderful show.

The Sound Design by WarrenDavis really helps in giving the audience that extra sensory experience ofsound heard by the characters and the audience.

The Job of Casting by ScottDavid and Erica Silverman wastremendous and shows they know the craft intimately.

Kristen Lee Kelleyplays Molly and Jarret Wrightplays Ray in understudy roles.

Run to see this production! Take a long lost lover, holdhands in the dark, sit back and enjoy.

www.theblank.com

The God of Isaac by James Sherman

2011-10-16T22:07:00.000-07:00

By Joe Straw

Isaac rolled out the red carpet for his mother. It’s the second worstthing an actor can do. At least give ita week into the run, or until things settle down.

The first worst thing is inviting your Jewish mother to openingnight. What could have gotten into thisguy? Is he a meshugginer?

Actors want opening night to be special but yet here she is (introducedby him by the way) and she’s kvetching right back at him about his life and hisunwillingness to even be curious about their religion. The actors are aware she is out there and trynot to break character. Still, she is a nuisance.

Later, the patrons have had enough. They ask her to be quiet. And thesituation was getting a little out of hand. (Upon entering the theatre I had noticed a defibulatoron the wall and wondered if that was going to be needed on this particular night. Someone was going to lose it, and it wasn’tgoing to be a pretty sight.)

And then the ushers marched in to quiet her with no luck. This was followed by security wielding batons.Still, she’s not leaving. Saying something about “her only son and her constitutionalrights.”

When they heard “constitutional rights,” everyone backed away, handsoff, and walked quietly backwards toward the lobby, and the show continued.

The right to free speech is a beautiful thing.

The Lying Narrator.

You can’t believe everything you read from The LyingNarrator, still there was some truth to what he is saying.

The God of Isaac written by James Sherman and directed byDarin Anthony at the Pico Playhouse in West Los Angeles, California throughNovember 27^th, 2011, is a lot of fun and performed by a tremendouscast.

The play is about Isaac Adams (Adam Korson) who seems to bepart of a theatre group in Los Angeles in the 1980’s as referenced by the ‘80smusic before the performance. He hasinvited his mother M (Karen Kalensky) to be a part of this Los Angeles premier.(I don’t think I’m giving too much away as the mother is in the first scenesitting in the audience.)

Going back in time we get a glimpse of his early life in theMidwest.

Isaac is a writer whose eyes are not opened to the simplestthings surrounding him. An awakening, ofsorts, happen when Jewish men want to perform Tefillin approach him. It is aceremony that, at first glance, doesn’t have much of an effect on him. But theidea of awakening to his religious heritage is like an alarm clock with asnooze button. And he keeps pressing,“Snooze”.

Working as a journalist in Chicago, he falls in love withtwo ladies, Chaya (Jennifer Flaks) and Shelly (Corryn Cummins). Chaya is a nice Jewish girl that he has knownsince they were children. Shelly is a shiskseand a hot fashion model whom he has known for a short period of time. She isgreat in bed and he marries her much to the dismay of his mother.

Isaac forges on with his daily life not giving much considerationto the big picture. He plows along notthinking until the next big event. And then an event awakens his senses and opensup in his mind.

The mental time capsule here is the 1978 proposed march bythe Nazis Socialist Party of America in a heavily Jewish population of Skokie,Illinois. This march was planned afterthe organization was denied the right to march in Marquette Park in Chicago. FrankCollin headed this organization and astonishingly enough was later found tohave Jewish roots.

Still, Adams is awakened by the thought, that through hiswriting, he will take a spiritual journey that will define his life.

Judaism defines me.

Isaac and Shelly set up household. Shelly, coming home, mentions that she boughtthem a bed and “Jewed the guy down 200 bucks.” Of course this doesn’t sit well with Isaac.

Looking at the both of them and their discourse about OscarMyer non kosher salami, white bread and mayonnaise one thinks: “This ain’tgonna last.” He is never going toconvince her that rye or pumpernickel, and mustard are the perfect complimentsto kosher salami for a Jewish man.

Still, Isaac searches for a truth he cannot find but, by theend, he becomes a whole mensch who understands a little more of the worldaround him.

Adam Korson asIsaac Adams is very good in the role but as one tries to make sense of thecharacter, or the core of the character, one finds this is your averageeveryday kind of guy. Do we really come to theatre to see everyday average? Korson is a very good actor, very likeable,but not giving the character a unique perspective. Imagination and inspiration isfound in the process of making mistakes and more mistakes need to be made.

Karen Kalensky asMom was quite terrific. Finding a way tomake her scene on stage work would only add to an already terrific perperformance. Kalensky has a very strongvoice and is an accomplished actor. Sheis delightful to watch even in her quiet moments, sitting in the audience,watching the show.

Peter Van Nordenin various roles is probably one of the finest actors working in Los Angelestoday. The roots of all of hischaracters are very deep. With each role,there is a sense the character has traveled thousands of miles to get to thismoment. Nothing is wasted. His voice is commanding, and his actions arevery specific. His scene as the tailor reinforces my belief that his work istremendous and he is inspiring to watch.

Jason Weiss invarious roles has a number of good moments. He has a nice look and is capable of doing a number of impressions. TerryMalloy (On The Waterfront) “I couldn’tbeen a mensch!” Tom Joad (Grapes of Wrath), Tom Sawyer or Huck Finn (I didn’t quite get this), and the Tin Man fromThe Wizard of Oz.

Jennifer Flaks asChaya is very good and does a nice job as the Jewish girlfriend who tries tosay in touch with Isaac. When Isaac overlooksher as a suitable mate, she becomes the long-suffering girlfriend who decidesto marry a nice Jewish man. She ends up divorced but still remains friends withIsaac. The long-suffering girlfriend, as part of the character, doesn’t work.Flaks needs to find ways to get Isaac to add elements to her character whethershe gets him or not. Still, she needs to try.

Corryn Cummins asShelly was fantastic. She has a number of things going for her most importantlyher concentration. She understands being in the moment and can easily play witha character on stage as well as off stage. Cummins has a very nice look and has an accomplished way of handling herself on stage. She succeeds with all characters that she portrays. She iswonderful to watch in every role she plays in this production.

Herb Isaacs, avery nice gentlemen whom I have had the pleasure of meeting, will be takingover Peter Van Norden roles from November 17-27.

James Sherman,the playwright, has written a fun play. There were some terrific moments, actuallytoo many funny moments to count. Onerealizes this play is about the spiritual awakening of a man who hasn’t come togrips with his Jewish heritage.

One could argue the benefits of the movie references eitheradding to or taking away from the story. It works when it works but on thisopening weekend it just didn’t jell. The references were a story off on itselfand not relating to the rest of the play. They were funny, but what did this all mean?

Darin Anthony dida fine job putting this all together. There were a lot of funny moments. Somethings didn’t work but overall it was an enjoyable evening and I’m glad I went.

Kurtis Bedord was the Set Designer that worked very well for the space. Sherry Linnell did a nice job as the Costume Designer. Bill Froggatt was the Sound Designer and Raul Clayton Staggs, the Casting Director, did a remarkable job.

Silent Roar – Directed and Choreographed by Zina Bethune

2011-10-12T22:32:00.000-07:00

By Joe Straw

In 1998, I had the good fortune of attending the AcademyAwards. It was Titanic's year. But, the highlight of the eveningwas Stanley Donen accepting an Honorary Academy Award for his body of work. Charming and charismatic, Iremember him saying, “Youshow up and stay the hell out of the way. But you gotta show up or else youcan't take the credit and win one of these guys."

Showingup is winning half of the battle and on this particular night at the El PortalTheatre, somebody didn’t show up, and astheatre goes, anyone who is a part of the show is an important person in theshow.

Well,this particular technician did not show up. Something happened. This wasopening weekend and someone was going to have to call someone and get a crashcourse on how to use a technical gizmo thingy.

The show continued, late, but the show went on. What fortitude!

TheAnnenberg Foundation & Theatre Bethune presents Silent Roar A Whale’sJourney directed and choreographed by Zina Bethune at the El Portal Theatre in North Hollywood, California through October 16, 2011.

Firstof all, the El Portal is a beautiful theatreand perfect for this dance presentation. There’s plenty of street parking ifyou get there early and parking across the street for four dollars.

It isn’toften one sees a dance presentation with the dancers representing whales andother sea creatures but Bethune has never been one to do the mundane.

Silent Roar is the sound no human hears. It must be a focused attention when looking out to sea. Listen carefully and the life that is under the sea will come to you.

This is a story told in dance about grey whales and their migration south to the Sea of Cortez and backnorth to the coast to Alaska.

This is a life captured, an escape into a wonderland that is the sea. A life of unexpected treasures and tragic beginnings. Simply put, the whales mate in Alaska, have their babies inthe Sea of Cortez, and then return to Alaska. But along the way, and at everystep of the way, they encounter difficulties in unimaginable proportions.

WhaleHunters (Ryan Anderson, Korey Knecht, Aaron Misakian) kill the Dominate Male(Patrick Loyd). The Female Grey Whale(Cindy Ricalde) and the Subordinate Grey Whale (Raydel Caceres) try to save himbut cannot. They move on to the Sea of Cortez.

Alongtheir perilous journey, they swim into Orca Whales (Vicky Lambert, PatrickLoyd, Jacob “Kujo” Lyons) and all sorts of sea creatures like Dolphin(Stephanie Kim), Manta Ray (Vicky Lambert), Sea Horses (Jacob “Kujo” Lyons,Sarah Moser), Sea Turtle (Stephanie Kim), a funny pair of Harlequin Shrimp(Jorge Arceo and Patrick Loyd), Garibaldi (Raydel Caceres), Seals (Abby Avery,Stephanie Kim, Julia Rodriquez-Olsen).

Also,they encounter Strip Miners (Ryan Anderson, Korey Knecht, and AaronMisakian). There are two types of stripsminers in this presentation, those who don’t care what they kill in the processof blowing up things and those who have a soul. I prefer the later.

Inthe Sea of Cortez, Baby Whale (Paxton Brake) is born and he is immediately isthreatened by a group of Hammerhead Sharks (Abby Avery, Albertossy Espinoza,Vicky Lambert, Patrick Loyd).

Thisis just pure fun for the whole family. The visuals are spectacular and the playamong the sea kelp is stunning.

CindyRicalde, Raydel Caceres, and Patrick Loyd were fantastic and very watchable.Jorge Arceo was equally amazing as the Teen Whale and the Harlequin Shrimp.

VickyLambert was amazing as the Manta Ray.

PaxtonBrake as the Baby Whale gave us a very nice interpretation. He is dancing and acting well beyond hisyears. And it is always nice to see a dancer giving it his all even at the tenderage of eight. Jobe Belles as DifferentlyAbled Boy on a crutch was equally fascinating to watch taking a scientificapproach as opposed to an emotional one in saving the whale.

The babydolphins (Gaby Aguilera, Lizzie Arlington, Carissa Edwards-Mendez, Gianna Gomez)gave a lot to this performance. It iswonderful to see the young coming up and giving so much of themselves to thisperformance.

Theotters were amazing and the highlight of the show as they danced among the seakelp. The aerialists were Teresa “Toogie”Barcelo, Rebecca Freund, and Sarah Sporich.

Theother wonderful dance performers in the cast are Jacob “Kujo” Lyons, Sarah M.Moser, Albertossy Espinoza, Stephanie Kim, Abby Avery and JuliaOlsen-Rodriguez.

Theactors including Whale Hunters and Watchers are Korey Knecht, Araron Misakian,Ryan Anderson, Rachael Bergen, Ayelet Firstenberg, and Justus Perry. Not muchdialogue here as most of the action is in dance. Still, they filled in the gapswhen filling in was needed.

ZeljkoMarasovich was responsible for the Original Composition. Wyland gave us the beautiful Videoand Mural Artwork. Tod Hillman was responsible for video design, although the videos were not as sharp as they could have been. Ric Zimmerman was theLighting Designer. David Goldstein was the Scenic Designer and Melanie Gomezdid a wonderful job on the costumes for the dancer.

Onehas to applaud Zina Bethune, the Writer, Director and Choreographer for staginga marvelous piece of work. It was avisual feast. And one must also applaud her for being color blind to thiswonderfully racially diverse cast.

Love Sick by Kristina Poe

2011-10-10T23:44:00.000-07:00

By Joe Straw

This was the night the satellite was to come down on ourplanet. NASA can never be precise aboutthe exact location of its ultimate colliding place. “It is to crash somewherein the United States. Revision: not inthe Northern Hemisphere. Third revision: in the Pacific Ocean. Fourth revision:off the coast of Oregon. FifthRevision: Hollywood.”

Given my slightly offbeat imagination, I thought it might bethe reason for the Hollywood Street closures. No, wait a minute; they close Hollywood down all the time.

So, okay, back to reality, Hollywood Street closings canonly mean one thing - a delay in show time, but no matter, it’s opening nightand the alcohol is flowing. And wouldn’tyou know it there was champagne in plastic cups with little blueberries,copious amounts of beer, and wine. Butwith the alcohol flowing and no intermission that can only mean one thing: Duringthe show somebody’s going to get up to make water, a few somebodies.

All right, this is all slightly insane, getting the audiencea little buzzed, is unusual but not out of the ordinary.

Love Sick has a subtitle, Love’s a Bitch With a Gun. Love Sick is a comedy that should haveanother name. How about Derangedlove. Desperate Love. Misguided Love.Love on the Rocks. Mind Snap Love. Something’s Loose, Love. Don’t Make it Hard Love. A Gun Makes meStrong, Love. Don’t Waste your Bullets on me Love. Wrap Your Legs around this Love.

Love Stinks written by Kristina Poe and Directed by DavidFofi and presented by The Elephant Theatre Company through October 29, 2011 is havingits world premier. And like other playsseen there one has to carefully absorb the events of the play. One will loveit, hate it, or think about it, forever. Some may even try to wrap their mind around Fofi’s perspective or Poe’spresentation of this comic insanity.

One of the fascinating things about “Love Sick” is this “puzzle”that wanders in the back of your mind after viewing this presentation. Onecould argue the merits of this finely acted production as being good or bad, comedyor drama, black or white but the one thing that stays constant is that Love’s aBitch With A Gun. But is she really?

The story starts out with a crime. A disheveled woman, Emily (Alexandra Hoover) sitsnext to a stall in dingy public bathroom. Her clothes are torn. The mascara is dripping down her face. We immediately feel sorry for her. Something tragic has happened. She’s been violated. She is alone in the bathroom trying tocompose her self. She somehow manages to light a cigarette just as there is aknock at the door. It is her friend Don(Michael Friedman).

The lights come up slightly for us to discover there is aman lying face down on the floor, not moving. He appears to be dead.

When Don enters and sees this he wants no part of it and hetakes his phone and tries to call for help. Emily takes his cell phone throws it in awaste filled toilet, pulls a gun on him, and threatens to shoot him if shedoesn’t do what he asks. He withers likea tulip long past its prime. She ordershim to take off the deceased’s belt and to throw his wallet and the belt overto her.

And suddenly there is a remarkable transformation inher. With the warm gun in hand she growsmore confident, self assured, a clear thinker, and able to seize the moment andcontrol the situation all with the careful placement of a gun barrel.

When she has the evidence with his fingerprints in herpurse. She tells him to get rid of thebody.

I’m having the best sex of my life. - Mom

Later Emily meets up with her mother in a bar, Mom (MelanieJones), is excited about her new love, a man she has just met and is going offwith him to some deserted island to have her coconuts (fill in the blank)

“I just killed a man.” – Emily

This gets no response from her mother, as she seems moreconcerned about getting laid. And asEmily lights a cigarette her mother tells her not to smoke, it will only killher. But her mother recognizes that she isin some kind of trouble and gives her the name of a therapist that may helpher. Then the mom happily dances off to her next romantic adventure.

A man, The Man (Dominic Rains), has been standing at thebar, listening. She threatens to killhim when he comes on to her. But he relishesthe prospects. In fact he takes her gun and points it to his heart and imploresher to pull the trigger.

Emily doesn’t pull the trigger possibly because she sensesno fear in him, and that doesn’t excite her in the way that would make her wantto pull the trigger. There is somethingstrange about this man who doesn’t have a name and charms this woman intoseeking help.

So now Emily is in a therapy group run by Jerry (ChristopherGame). Jerry is probably someone whodoes not have the credentials to perform this type of service but runs thegroup to satisfy his own sexual desires.

He forgot the sugar. He borrowedmine. – Helen

In the group is Helen (Etienne Eckert), a woman looking for biglove and little pies.

Chris (Kenny Suarez) needs support from all of these singlewomen in the group because his wife has left him. So broken up about it all he doesn’t see anyof the single women in the room. And, for some reason, they don’t see a singleman.

Shelly (Laura Harman) can’t hold onto a man for more thanone date. And Inez (Caryl West) has got a lousy card partner.

Emily is new to the group and is a little shy about spillingher life to these complete strangers.

Jerry overseas the group and takes the initiative to corralthe emotions of all involved and lets each know their problem is heard and thatthey are important members in this game of life.

As a source of reaffirmation they all get up and sing asong.

First I was afraid

I was petrified

Kept thinking I could never live

With out you by my side

But then I spent so many nights

Thinking how you did me wrong

I grew strong

I learned how to get along

And so you’re back… - GloriaGaynors’ I Will Survive

But there is a sinister plot underneath. Jerry takes advantage of one of the youngerladies in the group. Emily watches thisenfold and in disgust does away with Jerry, but only in the nicest way imaginable(with a gun).

Later, Emily confronts her husband Jeff (Salvator Zuereb)who is now living with his girlfriend Lexi (Kate Huffman) a former nature tourguide. Emily brings a gun to thismeeting and a real truth is discovered.

Despite all the shooting, this is a comedy performed by afantastic cast. Unfortunately one is notsure everything jelled this opening night.

Alexandra Hooveras Emily has some incredible moments in this play. She is so caught up in the business ofkilling and for all the wrong reasons. When she discovers what a gun can do how much power it gives her, shebecomes a superwoman. But she is a womanwho’s got this love idea totally confused, and she is not living in reality onthis planet until she confronts her husband.

Michael Friedmanas Don has a strong New York accent. Sostrong is the accent that it makes us believe the setting is in New York. His relationship with Emily lacked a connectionphysically or emotionally and the opening needs work. Also, his relationship with the dead bodylacked a respect given to a deceased person, on the floor, in a bathroom,somewhere in the naked city. Still Friedmanhad some very nice moments and there was some really nice work going on here.

Dominic Rains(The Man) was quite impressive as a mystery lover either real or imagined. He has no name and yet he appears fromobscurity to talk some sense into our tragic heroine’s head. He is a lover, with movie star good looks. He anticipates her thought processes and readsbetween the lines of our confused, psychotic, gun-toting heroine.

Melanie Jones asMom was delightful in many ways. She isin a hurry to see her beau and has little time to talk to her daughter but doesgive her a moment to give her some motherly advice. Don’t smoke and get some help.

Christopher Gameas Jerry Fortund is one very watchable actor. He seizes the character with such finesse and makes most of the littlemoments he has on stage in a very creative way. And his character has a problem in that he likes to take advantage ofwomen who may be susceptible to his advances. In the real world, one should not share a fetish in public. Especially true in the presence of woman witha gun and an axe to grind.

Laura Harman asShelly plays an attractive woman that cannot keep a man longer than one date.She is very sympathetic but it is not clear why she cannot have a warm male body nextto her. Naive in a lot of respects andvery much controlled by Jerry, there is never a clear indication in characterof how things could have gone so wrong in her life.

Kenny Suarez asChris was quite incredible, especially in-group, where he recounts the reasonsfor his marriage ending. For those of uswho have gone through this kind of thing, it really hits home. Still, this is a comedy. In group, on stage, the dialogue should leadus somewhere, have an effect on and with character, which includes connectingto various members of the group including Emily.

Caryl West asInez was charming who is without a partner, and a partner for cards, and nowshe has a terrible card partner. It is atragedy because in life she has not played her cards right.

Etienne Eckert asHelen was a lonely businesswoman who likes controlling the men in her life. Theproblem is she doesn’t have a man in her life, with the exception of one guywho comes over and makes tiny pies. And he doesn’t bring the sugar. How couldhe forget the sugar?

Salvator Xuerebas Jeff, Emily’s husband gives an outstanding performance. He has two battles going on one with hiscurrent girlfriend and the other with his former wife. He valiantly fights off the demands of thetwo competing women who vie for his affections. And in the end a truth is revealed and beautifully done. This is awonderful performance.

Kate Huffman asLexi was very strong in the role. Verycharming and believable especially with claws extended. It was a very nice performance.

There is a second cast performing the roles Robert John Brewer as Chris, Don Cesario as Jeff, Charles Pacello as Jerry, and Nikki McCauley as Lexi.

Love Sick writer Kristina Poe has written a play that speaksto David Fofi the director and while I’ve seen wonderful plays at The ElephantStages, Supernova, and Extinction, to name two that I have written up, Ibelieve the work on this world premier play is not quite finished for both thewriter and director.

Emily’s perspective is needed while she is on. Emily gets lost with the focus of the othercharacter rather than being affected by the events around her. This isespecially true when she is downstage left in group therapy. She should be upstage center with Jerry so thereis a better understanding of her thought process and her interaction with them. While this seems like a minor physicaladjustment it puts Emily in the middle of all conflict, trying to find aresolution, and reaching her objective.

Secondly, we really need to know if Emily is insane, and ifshe is we need to see how this is affecting her character and how she relatesto the other character and their problems. She must be seeing things (the man) feeling things (the killings) notquite understanding things (the ending of her marriage). All of these things playinto the power she gets from having a warm gun in her hand.

Also, there is no sense of place. The program “Time: the present.” Where? New York, Los Angeles?Set Design by Joel Daavid and Adam Haas Hunter gives us a set that can be manipulatedbut does not sell the locations.

Don has to knock on a public bathroom door? Emily pulls a gun in a public bar? Bring in afew chairs, group. Bring in a couch, anapartment. Don is carrying a body part in an unspecified section of town thatgoes nowhere. The set just confuses us into believing this a wharf somewhereand not where we are supposed to be. Unless she is insane and then, this entirething works! Never mind.

Lindsay Allbaughand Cherryl Huggins and Tara Norris produced this show.

One needs to ask the question here: With an apparent rape orassault victim, in tears, on the floor and a lifeless body lying a few feetfrom her, how long does this imagery last before a comedy is a consideration? Taking this from tragedy to comedy in aheartbeat is something that should be worked on until it is done right. (If you were an amateur, at home, you should not try this. Let's leave it tothese professionals to get it right.)

I’m going to introduce a new beginning. Pitch black on stage. A scream. Three shots fired in the darkness. The sound of a body falling. Cigarette lit; a confident Emily (with notattered dress, no mascara running) calls Don (close by) to get there quickly. He comes quickly. Comedy begins.

Also, for those of us who don’t smoke, please find a stagecigarette substitute.

Garbo’s Cuban Lover by Odalys Nanin

2011-10-04T13:16:00.000-07:00

Elyse Mirto and Odalys Nanin

By Joe Straw

Early, in my acting career, an agent called me into hersmall office on Sunset Boulevard after witnessing “brilliance” (me in ashowcase). She thought I had“something”.

She was an elderly chain-smoking woman with a big desk and a young Latino boyfriend, andor slash husband, who was coming in after a bike ride but not breaking a sweat. They kissed after she expelled a lengthyplum of cigarette smoke. He hoisted the bike on his shoulders and walked upstairs. He stuck his left thumb in the back-side of hisbiking shorts and started pulling them down before he got to the top of thestairs. (Multi-tasking I supposed.)

That scene behind her and in between long puffs on hercigarette, she spoke to me with a gravelly voice. “I think I can do somethingfor you, Joe.” And when she said “Joe”it came out as an overly long and raspy “Jooooooooooe.”

Suddenly she pulled out a thick book of clippings of her daysas a model slash actress.

“Joe, I was beautiful once. Look at me, Joe. Look at me!” With cigarette in hand she pointed to herpictures and was dropping ashes on them. Taking a deep breath she coughed or blew the ashes off first and then wipedthe remaining bits of ash into the photographs. It was a messy scene and one that had notescaped my perception for use in later endeavors.

“Yes, these are beautiful pictures.” I said. But in the back of my mind I thought, “Ithought we were here to talk about my career?”

Not quite “old Hollywood stories” but just one that sticksin my memory about this movie-making town.

The Macha Theatre in West Hollywood used to be The GlobeTheatre. On the outside little haschanged. But the interior is beautifuland inviting. The lounge and bar are delightful, the patrons come expecting tohave a good time and they do.

Garbo’s Cuban Lover written by Odalys Nanin and directed byLaura Butler and Odalys Nanin at the Macha Theatre through October 30^th,is a very charming show, wonderful in execution, and a delightful experience.

If one gets excited by the Hollywood of old, this productionwill definitely light the fire that will send you running out of the theatre inflames (in a manner of speaking) and telling everyone you know about thisproduction. Where else will you findIsadora Duncan (Erin Holt), Greta Garbo (Lina Hall), Irving Thalberg, (JohnNagle), and Marlene Dietrich (Vera Petrecheuka) all in one fabulous show?

Briefly, as the play begins, Mercedes de Acosta (OdalysNanin) lies on a bed in pain, her arm in a sling and her head bandaged. Besideher is a beautiful young, soft and nubile woman that dances around her asthough she was remembering those glorious images of old Hollywood and the womenwho danced out of her life. The Dancer dances with little on that providespleasure to a highly active imagination (most of us).

Mercedes de Acosta tells a story to a young Isadora Duncan. Butthere is something wrong because Isadora died in 1927. And there is somethingin her character makeup that makes one believe she is “not all there”. And you can believe that the images shecongers up is true, or not. Still, Ms. de Acosta takes Isadora back intime to let her in on the secret of how she managed these affairs with the mostbeautiful women of her time.

Salka Viertel (Lisa Merkin) has invited a number of friends fortea to her home in Santa Monica. Ms.Mercedes de Acosta’s arrival has cause a bit of a stir. It seems her reputation has preceded her asthe guests (Ginger Pennington and Vera Petrechenka) speak in hushed andboisterous tones about her sexual proclivities. Talk does not bother de Acosta as she welcomes the comments aboutherself and of her reputation.

It matters little because de Acosta wants to meet GretaGarbo and visa versa. De Acosta enlistsViertel to make that happen. Viertel,the writer of Queen Christina, tells de Acosta that she is very protective ofher good friend, Greta.

And as the moments unfold Greta Garbo (Lina Hall) makes agrand appearance and is simply uninspired by the people surrounding herincluding de Acosta. She stands silentlywaiting for those who wish to make her acquaintance come to her and she alsoplays hard to get which doesn’t make it easy for the advances of de Acosta whowants to know all about her work.

No one making films can be happy. – Greta Garbo

Nevertheless, Greta invites de Acosta to her place to talkabout the significant things in her life.

This tree is my only joy in Hollywood. – Greta Garbo

So things are not going exactly as planned for deAcosta. In fact Garbo tells her not tocome into the house, and to sit silently outside, on a bench, and look at hertree.

De Acosta waits Garbo out and eventually they form arelationship and go on a vacation together. And as Greta is rowing the boat to a secludedisland in a lake, she hears on owl and immediately turns the boat back toshore.

This is a bad omen. – Greta

“No, I think it’s an owl.” de Acosta says and implores hersoftly, with hands on her shoulders, to turn the boat around toward the island. Garbo, acquiesce.

With the relationship established, de Acosta is called intothe office of Irving Thalberg to write movies for Garbo. But later things don’t go well for de Acosta whenshe writes Dorian Gray as a masculine material for an actress that isconsidered a feminine beauty and a bankable star.

Not only that but the papers have reported them walking handin hand down Hollywood Streets and Thalberg doesn’t approve. He lectures de Acosta as she is having sexwith Garbo. All the while de Acosta takescopious mental notes.

Later, there’s more trouble brewing. Salka Viertel enlists Garbo to steal animportant outline de Acosta is writing. Viertelis holding a secret over Garbo and Garbo complies to keep the secret.

De Acosta finds out, Garbo walks out and the relationship isirrevocably destroyed.

I’m glad you’re feeling happy today. – Mercedes de Acosta

With Garbo out of the way Marlene Dietrich (VeraPetrechenka) comes by for a visit and they have a relationship. Still, de Acosta’s heart is with Garbo.

This show is a lot of fun with some very fine performancesby all involved. Still there is onescene I would like to clean up and I’ll get to that later.

Each actor has a magnificent entrance as each star comes inwearing the perfect costume for the perfect occasion. A great part of that has to do with theexcellent Costume Designs by Shon LeBlanc whose costumes provide a stunningrecreation of the period. LeBlanc is anextraordinary craftsman.

Odalys Nanin asMercedes de Acosta, is fresh and cagey, and she has an uncanny ability to woothese women like no other. And the factthat she’s Cuban gives her emotion leverage on her European counterparts. Stillshe fights for what she wants and generally gets it. Even in the end, near herdeathbed, she comes off a winner.

That’s what happens when you tease an old pro. – Mercedes de Acosta

Lina Hall asGreta Garbo made a stunning entrance. Cloaked behind the large hat she wore she stood motionless waiting forthe right moment to be approached. Subtle in her approach to the role, eyes expressing much emotion but notgiving an inch, she stood statuesque waiting for someone to adore her. This isa wonderful role and a wonderful performance.

Erin Holt asIsadora Duncan and Isabela makes another grand entrance in a dress that wouldbe provocative in my Tennessee hometown. Let’s face it; she could not even wear this on prime time television. Still, she was wonderful in the role, funnyand quirky in a very appreciative way. For the most part as Isadora she dances herway across the stage and one time, unexpectedly danced right into a flat which putthe audience in stitches. She isabsolutely an actress that will put a smile on your face.

Vera Petrechenkaas Marlene Dietrich was equally stunning in her entrance. Her European/Moscowbackground added a secret elusive and important element to her portrayal. After being introduced to de Acosta, she saton the sofa, parading her legs and with each refined crossing she seeks anintimacy with de Acosta. Nicely done!

Lisa Merkin asSalka Viertel is an actress that knows her craft. With this role she pushes all the rightbuttons, has the right flavor to the character and in some ways fights to stayafloat in Hollywood by using a friend to steal. Despicable in some arenas but in Hollywood, business as usual. Merkinwas enchanting as Viertel.

John Nagle hadall the male parts Irving Thalberg, Editor, and the Butler. He was a ratherrobust Thalberg who you could not characterized as being robust. Thalberg had a number of medical problems andthis could have been included in this portrayal. That aside, Nagle did a fine job as theeditor and the butler giving those two performances a kind of stepping out ofthe time capsule thing.

Ginger Penningtonas Poppy did a fine job as de Acosta’s lover. She fights to have Greta out of their lives and succeeds on many levels. Ernesto Mijares as Father’s Voice talkssome sense to de Acosta.

Elyse Mirto as GretaGarbo and Julia Kostenevish asMarlene Dietrich were not playing these roles on this particular night but willbe seen on other nights.

Odalys Nanin asthe writer delivers a play that works on many levels. It is charming, funny,hilarious and quirky at times. Whilethis is a very fine production, there are moments to be tweaked, battles to bewon and lost and characterizations to be slightly elevated and refined. Butthese are only small quibbles to a wonderful show. Also de Acosta has a wonderful backstory thatcould have included as part of the physical life of the character.

Laura Butler and Odalys Nanin as co-directors did awonderful job. The introduction of allof the characters was just delightful. It’s hard to tell where Butler left off and Nanin took over. Therelationships were excellent.

I wanted to speak about the Garbo “leaving scene”. While it is true de Acosta was heartbrokenwhen Garbo left, de Acosta did not fight hard enough for Garbo. This is a battle of epic proportions andneeds both actors on stage fighting furiously.

Also, a little more “cat and mouse” play would add to analready delightful evening, but still there’s so much fun to be had here!

Go!

(Editors note: And forGod’s sake, Skip E. Lowe, turn off your cell phone.)

Real Women Have Curves written by Josefina Lopez

2011-09-19T13:03:00.000-07:00

By Joe Straw

The new Casa 0101 Theatre in Boyle Heights is a beautifultheatre, a wonderful space with plenty of free and nearby street parking. It is a testament to the power of freethinkers who have gone all out to improve the community and provide an avenuefor Latino actors in the barrio. It is, by all discriminating accounts, thecrown jewel of a historical communal enclave of Latino culture and tradition.

Not a lot of 99 seat theatres have this much opulence, agrand ticket booth, a wonderful lobby, a wall of beautiful Latina art, and aplace to mingle during intermission. This is a beautiful space not only forBoyle Heights but for Los Angeles as well.

Now playing is the 20^th Anniversary of Real WomenHave Curves by Josefina Lopez, the founder of Casa 0101 and directed by CorkyDominguez through October 23th, 2011.

If you get there a little early, the window doors might belocked, but you might get a glimpse of Josefina Lopez swaying in the lobby. Lopez dances in her new home at Casa 0101. Pirouetting from one flower arrangement toanother all in the pursuit of perfection for this theatrical happening.

As the doors open one immediately feels at home in thisversion of Casa 0101. This is a far cry fromthe same theatre company located across the street where patrons had to cross“the fourth wall” to get to the bathroom. Still, after exiting the bathroom, each patron got a welcomed ovation (astar after their own making). The newcomfortable chairs in this rendition of Casa 101 is a far cry from cold andhard folding chairs where one witnessed the delightful Ojala which were alittle uncomfortable.

Lopez really hit the nail on the head when she wrote RealWomen Have Curves. It sends a message tothose who have seen the play and the movie. Real women are not all white, real women are not all brown, black or redfor that matter. Real women are not alltall, and are not all short, but real women all have curves. (Well, as leastthe ones I know.)

Briefly the play is about a group of women, a family (inreality and figuratively) who come together in a sweatshop to make dresses fora high-end department store. They makedresses for $15.00 each and these same dresses sell for $150.00 each.

These women are not just sweatshop workers but real peoplewith real problems. Rosali (NoemiGonzales) has lost a lot of weight and is thin compared to the other women butshe is addicted to diet pills. Carmen (Jonee B Shady) is fifty something andpregnant, again. Pancha (Martica DeCardenas) desperately wants to become pregnant. Estela (Miriam Peniche) wantsanything that resembles a relationship. And Ana (Margie Gutierrez Lara) is eighteen years old who wants tobecome a writer. They all dream of abetter life. Certainly, these are objectives one can really sink their teethinto.

And nobody likes Carmen’s mole sauce.

Estela is working under the gun. She is the boss and it’s her shop that shekeeps locked day and night. She is getting behind on paying her employees. And two of her employees are her mother, Carmen,and her sister, Ana.

Ana, the writer fills the audience in on her private moments,the struggles of the business, and her dreams of becoming a writer.

But, there is a problem with the business. Estela has takenthe payroll money and has bought more equipment that she can’t afford. She has made the decision to defer salariesin order to produce more clothes. It isa dream that gets her into a lot trouble with her employees. And they are so close to closing the shop thatit’s not even funny.

Although this is a Latino play with Latino women, theimportant aspect of this play is that these delightful characters are ordinarywomen caught in extraordinary circumstances.

Margie Gutierrez Lara as Ana had a lot of very nicemoments. She is passionate about herlife and the words she puts on paper. Andthis is the only thing that motivates her. It is that motivation that guides her actions on stage and nothing else. This underlying dream must be lockedinside and be a guiding force that propels her actions on stage. Truth comesfrom that force. Still this was a verynice performance and a very nice job.

Miriam Peniche as Estela was absolutely wonderful in thisrole. There is a grand sense of strugglein her character for not only her professional but personal life as well. Like the waves from the letter she reads, sheis a tsunami of her own making on stage and in character. This is truly a wonderful performance with aninner conflict that stays with her from the moment she steps onto the stage toher curtain call.

Martica De Cardenas as Pancha is quite charming and deliversa very nice performance. There is anunderlying truth in her characterization that is subtle and imaginative but notcompletely without fault. For example sheis a woman who wants a child and then she discovers the fifty year old Carmenis pregnant, again. They all seem todismiss this as fantasy but Pancha should believe it and this informationshould affect her to her core. Ultimately, she has to decide whose side she is onand this thought or idea can add creative mileage to her character so that herbreakdown in the bathroom means more to the audience. Not to take away from a veryfine performance but just to add one more dimension.

Noemi Gonzales as Rosali is very cute in this role. She isthe envy of all her co-workers because she’s is slim and attractive (scratchthat, very attractive) but she also has a problem that she needs to take careof before the end of the play and she does this wonderfully. Gonzales does an exception job and is verycomfortable on stage.

Jonee B. Shady as Carmen is the matriarch of the group. Mother to two of her co-workers and she isalso pregnant. There are manyimaginative ways this character can go and a variety of ways to manipulateother characters on stage in her predicament that would only add to an alreadynice performance.

Corky Dominguez, the director, has done a fine job puttingthis together. There were a lot ofmarvelous things that rang true. Still one is not sure why the women werehiding from La Migra on two or three occasions when only one woman does nothave her green card. Or why when one character found the mole sauce stain onthe dress in the trash it did not significantly matter to her. She must have thought that all wereconspiring against her at that point. Also, one believes, there’s a lot morecreative mileage to be had if they believed Carmen was pregnant.

Josefina Lopez, the writer, has written a play for all theright reasons. It is a play about the plight of women, and the hardships theyendure to provide for themselves and their family. And the fact they are allLatino women just adds an extra flavor to the soup of humanity. There is a lotof warmth to this play and a lot of sizzle to their style.

Lopez has written an important play because, let’s face it, Latinosand Native Americans are written out of the American landscape in televisionand in the movies. Brown skin and brown eyes does not make this culturally richsegment of our population less compassionate, or less caring, or lesscomplicated.

Marco De Leon, the Set Designer, has done a wonderful jobcreating a realistic workplace. EmmaNava, Gina Linn Espinoza and Edward Padilla, the producers, have also done a remarkable job inproducing this play.

Run to see this production!

A Funny Thing Happened on The Way to the Forum – Book by Burt Shevelove & Larry Gelbart – Music & Lyrics by Stephen Sondheim

2011-08-27T19:37:00.000-07:00

By Joe Straw

A few months ago I kept thinking that I’ve always wanted to see A Funny Thing Happened on the Way to the Forum by Burt Shevelove and Larry Gelbart with Music & Lyrics by Stephen Sondheim. Okay, well, I didn’t say that aloud to myself or mentioned the names.

So here I am wishing to see this show and, wouldn’t you know it, the opportunity comes up twice this season, once at Theatre Palisades and the other at Long Beach Playhouse.

While I try not to make a comparison, art being as it is, I will say this. The two shows performed were almost unrecognizable as being the same show. (More on this later.)

The Long Beach Playhouse presents A Funny Thing Happened on The Way to The Forum directed by Michael Ross through September 3, 2011.

I can only write about the night I was there, a week into the run of the show. Nevertheless, a week is more than enough time to discover what works and what doesn’t. So it’s a safe bet to come a week later and witness the magic.

Larry Gelbart, the writer, is funny. He always was. The original “A Funny Thing…” in the early ‘60s didn’t come easy as the show struggled to make it to Broadway. They worked it until it worked.

And this is a musical that still runs on Broadway. It is a proven crowd pleaser. Nathan Lane did this show recently and YouTube has a video of the opening number on the Letterman Show. On that small stage it was fantastic!

So in this rendition of “A Funny Thing…” the ad-libs and the improvisations (of which there were many) should have been left at the rehearsals. The lesson here is: don’t try to improve a musical that has already proven itself. Stick to the book. Also, songs that were previously thrown out, because they didn’t work, should not be put back in. They didn’t work then, they’ll not work now.

Briefly, the musical is about a slave Pseudolus (Scott K. Ratner) who will do anything in his power to gain his freedom from his master Hero (Matt Riggle).

Hero’s oversexed mother Domina (Eloise Coopersmith) and his father Senex (Karl Schott) are off on a journey to visit relatives. They ask their slave, Hysterium (Floyd E. Riggle) to look after the boy.

But Hero gets into trouble the moment they leave by going to the pimp’s house Marcus Lycus (Greg Nicholas). Hero is lusting after a very beautiful girl he has seen there.

Testosterone getting the better of Hero, he enlists Pseudolus to help him get the girl. Pseudolus will only help if he can gain his freedom. It’s a hard bargain but the deal is struck and both cocks strut to the house of Marcus Lycus.

Pseudolus, with a tempting bag of coins, and “acting” citizen of Rome wants to see, taste and feel all of the girls in the house, on Hero’s behalf (of course). And as each girl is paraded in front of Pseudolus, each unveils a unique mysterious charm, Tintinabula (Angela Asch), Panacea (Vashti Emigh), The Geminae (Victoria Baker and Phie Mura), a meowing Vibrata (Laura Rensing) and Gymnasia (Jacqueline Case). They dance into the lusting arms of Pseudolus. Unfortunately, none of these girls are the one Hero desires.

Moment later Hero spots Philia (Katherine Waisanen) as the one he is looking for. But Marcus says she is a virgin promised and sold to Captain Miles Glorious (Russell Montooth) a vain Roman soldier.

Quick thinking Pseudolus asks Marcus Lycus of her origins. Marcus tells him Crete. Pseudolus covers his mouth and tells Lycus there was a plague in Crete! And the first signs of the plague is a smile. He tells Lycus he will take the girl (he’s already had the plague) and keep her in the safety of Hero’s home.

They hustle the “sickly smiling” Philia into Hero’s house and ask her not to answer the door until she hears three knocks. Philia has not had the pleasure of counting to three and does not know how to do it, or there is something in her character makeup that is missing. One is never sure.

Pseudolus wants to keep her quiet and in order to do that he has Hero steal Hysteria’s potion book because he wants a sleeping potion to make it look like Philia is dead.

For sleep - main ingredient: mares sweat.

Just when you think things will settle down, Senex (Dad) comes home. When he sees Philia he lusts for her in his heart and in other places. He is as naughty as the next neglected Dad and he wants his Philia!

But, Pseudolus arrives just in time, breaks them up, and tells him that she’s the new maid. And, by the way, he tells Senex, because of his travels, he smells like the backside of a mare.

Pseudolus tells Senex to freshen up for the maid by using the bathroom of the house of Erronius (Jerry Loeb) who, by the way, has been away looking for his two children who were stolen by pirates some twenty years ago.

And, as faith would have it, Erronius (Jerry Loeb) comes home. But he is sent away by the soothsayer (Pseudolus in disguise) to walk the seven hills of Rome to bide for more time.

Later, Miles Glorious shows up looking for his bride, and that’s when everything starts to fall apart, or come together, depending on your perspective.

One is not in the habit of giving recommendation but here goes. What this show needs is a good foundation of lust. And this breaks down into a couple of mathematical formulas.

No lust = No comedy.

If no lust, then no sex, and therefore not funny.

Lust (good, bad, misguided, or naughty) = Good comedy.

Maybe this is not a provable math formula but there’s a point to be made here. Without pure unadulterated maniacal lust this show has a long way to go to make up for the lost laughs.

But, on the other hand, the audience in Long Beach seemed to have a very good time and maybe this interpretation is suited to those patrons.

Scott K. Ratner as Pseudolus and Prologus needs to leave the improvisations at home, trust the material, and seek a higher truth in his objective.

Karl Schott, Nathan Stanton, and especially A.J. Salas all did fine jobs as the Proteans. They were all over the place and kept the show moving.

Karl Schott as Senex was fine as Hero’s Dad.

Domina also did a good job as Hero’s mother. One is not sure if the choice to lip lock her son was a good choice or a disgusting one but she went after it anyway. For the most part she was convincing and quite good.

Matthew Riggle had some very nice moments as Hero. Still, the role requires a stronger choice than being a mere bystander. There are a number of things that a young man can do when one is in lust or love. There are stronger choices to be made in this musical and Riggle should find them.

Floyd E. Rigle Jr. as Hysterium could make stronger choices in relationship to his name. There is a reason he is called Hysterium. Also, leave out the ad libs. The book works better.

Greg Nicholas as Marcus Lycus has a name that gives his character away. He likes to sell you what you want. He likes what you like and he likes what you want. He likes to please his customers. Nicholas did a fine job and had a nice voice.

Angela Asch did a very nice job as Tintinabula. Also, Vashti Emigh was tantalizing as Panacea, someone who would cure your temporary ills. Victoria Baker and Phie Mura were nice as The Geminae. (It’s too bad you can’t break up the twins.) Laura Rensing, as Vibrata, let out a meow that had the audience in stitches and Jacqueline Case was fine as Gymnasia.

Katherine Waisanen as Philia was fine but needs work on her objective and character development.

Jerry Loeb, as Erronius, was too young to be old. Also, with the name Erronius, the character needs to make many mistakes in his quest of his objective.

Russell Montooth as Miles Gloriosus did a very good job and was very suited for that role.

Michael Ross, the director, should pull on the reins with the off book banter. It increases the length of the show and often times send it in other directions. More could have been made of the space. The actors were well in the background or too far upstage and the chase scene went on for an eternity. Also, he needed to give focus on the characters name. There are reasons the characters are called Erronium, Vibrata, Hysterium, etc., and there is a purpose for those names.

Bill Wolfe was the musical director and Marie Madera Gleerup was the choreographer.

The one thing that I thought was absolutely wonderful was the closing number, A Comedy Tonight. The choreography worked, the singing was beautiful, and the actors, in that brief moment in time on stage, all worked together to give the audience a great ending and that’s worth the price of admission.

Stones in His Pockets by Marie Jones

2011-08-25T22:14:00.000-07:00

By Joe Straw

“What is the Blarney Stone?” - Me

“It’s something stupid Americans come over and kiss.” – My Irish Friend

Go see this production!

Stones in His Pockets by Marie Jones is a wonderful show that is brilliantly directed by Zeljko Djukic. It is now playing at the Zephyr Theatre, presented by TUTA Theatre West Production, and playing August 19 through September 17, 2011.

Exciting from the opening moment when two characters get into the moment. This is a show that I flat out loved! And days later I’m still laughing. Performed by two actors who are very physical and emotionally connected and who breath an absolute fire into this rendition of Stone In His Pockets.

Go see this production!

This is what I’ve wanted to see for a long time. Visualize a bare stage, a white backdrop, a coat rack, some chairs, and a chest that serves as various pieces of furniture. Also visualize two great actors (playing both men and women) who with little or nothing on stage create these great characters in a setting that is thousands of miles away.

This is the last time I will say this: Go see this production!

There is a delightful start to this play. The lights are on. The patrons are milling about, chatting about mundane things, and one actor appears on stage, staring at the folks around him. The audience members are figuratively stepping over him getting to their seats. He stares at them, their shoes, and dress, looks back a couple of times and goes back to his script. Moments later another actor appears. Mind you, they are in costume, Irish dress, and still the audience is chatting away not realizing the show had started a few minutes earlier.

Getting into the moment. So wonderful when it happens!

The play is about a picturesque small Irish village and the filming of a big budgeted film, The Quiet Valley. And to give the film that extra Irish flavor it most certainly needs, extras are hired from the community.

The story starts as the extras are waiting to be called to the set. Charlie (Andrew Friedman) has another purpose in being there. Charlie is not really part of this particular village. Nevertheless, he comes with a screenplay in hand, nervously waiting to give it to the right person who will help him realize his dream and help him produce it.

Jake (Jerry Richardson) is seated a few chairs away. He tosses his hat into the air and waits to be noticed.

Uncomfortable with introductions, Charlie finds a common enemy in the catering truck. Charlie fights for another piece of pie from the caterer and his request is summarily denied. (Another humiliating defeat for the sorry plight of extras).

Immediately Jake commiserates with his dilemma and Charlie, in turn starts to tell him his story. But Jake knows his story because Charlie, not immune to the ways of the Irish, was drinking gin in a local bar and spilling his guts to the patrons all of whom were related to Jake.

“Run like the hammers!” – To run very fast.

Charlie tells Jake he had to get out of the place he was living because his video store was going under and one gets the impression he owed a lot of people a lot of money.

Quick change in character! (This is marvelously done through the use of scarfs. Green is Friedman and Blue is Richardson.)

Simon (Friedman) and Aisling (Richardson) are the first and second assistant directors. They call the extras into position and tell them to look “dispossessed”. You’ve never seen a sight as these two looking “Irish” and “dispossessed” in front of a camera.

Between “dispossessed” takes Jake introduces his cousin Mickey as the “only surviving extra” from the John Wayne movie “The Quiet Man”

“John Wayne called him Wee Mickey!” – Jake

Quick change!

Mickey (Richardson) struggles to walk, feeling old, looking old and bowlegged but he has one thing the others don’t have, “experience”. Mickey advises them to lay low because that is how one survives as an extra.

On the set Jake and Charlie sees Caroline Giovanni, a famous American actress. To say there were slightly infatuated with her would be an outright lie. They went nuts.

Quick change!

Caroline Giovanni (Friedman) pouts about not being able to speak with an authentic Irish accent with her dialogue coach, John (Richardson).

And in the commotion Charlie reveals to Jake that he has written a script for a movie and tries his best to give it to the airhead Aisling, the second assistant director. Aisling, with her head in Nirvana, flits away.

Later that night Charlie and Jake are at a local pub when (Quick change!) Sean (Richardson) approaches him, out of his mind, and lamenting that he didn’t get a part in the movie. Charlie dismisses him as someone he doesn’t want to associate.

Quick change!

Jake sees Fin (Friedman) and asks him to try to help Sean. Fin with his head sunken below his shoulders doesn’t think this job is for him. He says he can’t do it.

Caroline Giovanni enters the bar and Charlie notices that Caroline is eyeing Jake.

“Caroline Giovanni is mixing with the Plebs!” - Charlie

This is Charlie’s chance to get his script to her via Jake.

Charlie then gets plastered with the crew. He wakes up the next morning on top of the bar in his underwear. Slightly embarrassed he gathers his clothing and speaks to Jake about his encounter with Caroline. It seems that it didn’t go well with the throngs of people surrounding Caroline and also Jake made a big mistake trying to pass himself off as a poet. Caroline caught him in the lie.

Later Jake is called into Caroline’s trailer. But before he gets there he is grilled by Jock (Friedman). Jock gives instruction to go in and get out in ten minutes. (Yes, that’s enough time.) When Jake arrives Caroline is in a yoga pose (downward dog) and flashing herself as a young nubile temptress. Jake decides he’s not going to accommodate Caroline with her accent problems or her sexual proclivities.

Later that morning Jake and Charlie find out Sean has committed suicide by filling his pockets with stones and walking into the sea.

This is a wonderful production with a wonderful cast and a wonderful production crew. What a wonderful way to spend the night knowing that all involved put a lot of time and effort into this production.

Andrew Friedman is a delightful comedic actor and nails each character with ease. There are so many funny moments one would need to go back again and again to catch them all. There are many accents in these roles and Friedman gave it his all. But, just as an observer, one notices a concentration and an objective in him that is never lost from the moment he enters the stage to the moment he leaves. This is a dedication to the craft that is unsurpassed.

Jerry Richardson is wonderful as well. He is a gifted physical performer and he fits in nicely against his darker counterpoint. His footle ways give one to pay special attention to his craft. He also plays by his own rules, sticks to his guns, and manages to get what he has been searching for, a longtime collaborator. He does so many things wonderfully that one will remember and laugh for a long time to come.

Keljko Djukic, the director has done a marvelous job with these two actors. He moves them about with superior ease and uses the space to such an effect one believes that one is on a set. The use of the scarves, well I’ve never seen that done before, quick change, on stage, right before our eyes. Genius! The ending also has a great moment that sends the audience out with a huge smile. Stones in His Pockets was enjoyable from beginning to end.

Marie Jones, the writer, didn’t have a credit in the program and I wondered if she existed. She does, thankfully. I found her in Wikipedia and all over the web. Just a note to say that it is a delightfully written play, it pushed all the right buttons, was performed brilliantly, and was hilarious to boot.

Natasha Djukic did a marvelous job with the costumes and set design. Keith Parham, the Lighting Designer also did a fantastic job, one particularly enjoyed the bar scene. Mark Schultz the Sound Designer did a nice job; everything seemed to fit the happenings on stage.

Samara Bay was the dialect coach and did a marvelous job. The accent wasn’t so thick you couldn’t understand it.

Take a friend and see this production.

By the way, take a friend who hasn’t had a job in a while and enjoy the moments.

The Zephyr Theatre, Hollywood, August 19 through September 17, 2011.

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