The Wisdom of Eve by Mary Orr

 

Esther Guigui - Photos by Blain Clausen

By Joe Straw

Usually there’s a doorman, backstage anywhere USA, but for reasons unknown on this godforsaken night Karen (Barry Brisco) gingerly steps out alone adorned in a patterned red suit with multi-colored red and black boots, into the rain for a much-needed cigarette. Simply the act of smoking, reflecting on a significant moment, and opening the dark edges of his now rain-soaked existence all for some type of nicotine clarity.  Something is amiss.

Backstage doors are not glamorous, usually made of steel, and made specifically strong enough to keep the hanger-on’s - out.  That doesn’t deter Eve (Esther Guigui) who approaches Karen under an umbrella trying her best to avoid the raindrops on this cold night.

Eve uses every trick in the book to get inside to see Margo (Dahlia Waingort Guigui) and Karen does little to encourage this young woman, who, all told, has seen this production from the balcony over 50 times. He makes a mental note of that number, and Karen says he’ll see what he can do but suggests that if he doesn’t come back, she should go home.

Meanwhile, backstage Margo is surrounded by the ones that love her.  First and foremost is her husband Clement (John Mese) a stoic personality with a predilection for truth, noting Margo’s offstage age of forty-five in their casual after performance chat. Margo’s writer Lloyd (Eric Keitel) the playwright, and Karen’s husband, that has written three winning plays for Margo and chimes into her defense saying that she can play anything on stage younger than her actual age. Meanwhile, although married, his lascivious eyes are always open. In cat-like tongues they all speak scandalous and reckless gossip about the supporting players that almost ruin Margo’s performances, and they do this with unforgiving jagged claws.  

Sunset Pictures presents The Wisdom of Eve by Mary Orr, directed by Bryan Rasmussen and produced by Dahlia Waingort Guigui at the Whitefire Theatre through November 24th.

There is a reality to May Orr’s play in the way the players behave backstage, and everyone is moving in a direction hoping the choice they have made will move them to their hopeful destination. Eve Harrington tops the list characters that will stop at nothing to get what she wants, no matter who she hurts, or how big the lie. It is a very sinister look at the art of showbusiness that is both enthralling and mesmerizing and it is hard to turn away from each bit of rich, enthusiastic, dialogue that is, in effect, a movement into an abyss.

Bryan Rasmussen’s love for the theatre, and this show, stopped the show midstream to take care of a patron’s cellphone issue with some handy investigative Columbo like resolve, eventually finding it stuffed in a purse, music blaring, (Je t’accuse, et toi seul, de mettre de la musique dans ton sac à main!) pulling it out and needing assistance with an android phone to turn it completely off! That aside, there was much to enjoy with Bryan’s work throughout the night that really struck a chord and one that is highly satisfying and recommended.

But, if you are planning on seeing this production, don’t read any further.

Don’t.

You’re still reading.

While the production is fantastic, one couldn’t help but think that there is more layers to be had, and more to give. That may be accomplished with only a little more rehearsal time to define characters, their motives, and their choices which will move them in such a way to give the production a greater flow.  

At first Margo is the center of attention and the flow should be directed toward Margo.  Margo, Margo, Margo! She is the queen bee and everyone on stage should treat her as such. Then Eve comes into the picture.  Now there is a slight disruption, imperceptible at first, (except the beauty part) the queen is slowly losing her power, people she thought were completely enamored with her are now, one by one, turning away except for one person who is not deceived by this young ravishing beauty.   

Secondly, as Eve moves in, we should find how the other characters move into her camp. Love is regarded as wave, a valid distinction of emotional or physical wants that moves a character from one person to the other. Those moments can be clearly defined with only a minor adjustment.  The dialogue tells us movement is made in that direction, but the physical and emotional actions are not entirely realized. Lloyd doesn’t show us that he is completely in love with Eve and Karen doesn’t recognize that he’s slowly losing his husband. And, oddly enough, no one looks at Eve as though she was heavenly sent.

L - R Barry Brisco, Esther Guigui, Dahlia Waingort Guigui, John Mese, and Eric Keitel

 

 

Dahlia Waingort Guigui (Margo) gives a remarkable performance, a theatrical diva who manages to avoid the conflicts of those around her, possible thinking about herself and her work. (As most divas do.) There is a moment, near the end of the play, where Margo seems to accept the things, she cannot control and holds onto her diva status as well. It is a marvelous moment filled with a richly deserved justice and a sublime ending to the play.

Esther Guigui (Eve) would be the antagonist in this play. This is a sinister portrayal of a woman with a sagacious smile, who will stop at nothing to get what she wants starting in small increments while moving Margo’s production people like one would move fallen chess pieces. Her bite is vicious and her bark equally offsetting.  Understudying is her next dream and when she builds upon that dream Margo’s dominos start falling.  Esther moves in a way that is beneficial to her character.  It is stoic at times. Perhaps there is room for this character to take notice to see if her words are having the desired effect and relishing in them. Esther Guigui is remarkable in the role.

Barry Brisco is Karen, and this casting is an unusual choice but worked on various levels. Karen tells the story reflecting on the past two years ago.  There may be more to add, reflecting on a painful memory of her life and how he was responsible for the rise of a new starlet and the demise of his marriage. Does he want his husband, or does he want to get rid of him? His relationship must rise, and fall given the disruptions. Brisco also must find ways to strengthen his relationship to his very best friend Margo and create a physical relationship with his husband.  Still, very good work.

Eric Keitel plays Lloyd the playwright and husband to Karen. Lloyd may be the first person who is truly infatuated with Eve, which we don’t get a sense of it in this production.  There is a moment when he immediately drops his husband and suggest driving her home. More development in the character is in order.  Keitel also appears too young for this role. He looks the part of the writer, glasses, and purple jacket but we never get a sense of the miles behind him.  We know where he ends up in the play, but we don’t see him moving in that direction or even questioning as to what he must lose taking another lover.  

John Mese is excellent as Clement.  He is a rock in his grey suit, always speaking the truth, and always cautious of one actor.  Not bowing to the moral incongruities of that industry, he is strictly business and with him it’s all about the money and trust. He is so very cautious about all relationships he must deal with in this obstreperous environment.   It’s a wonderful role and Mese is excellent in that role.

Michael Mullen plays a couple of roles Leila, a costume person who seems to have ADHD, not knowing where to turn so he turns in circles and grunts to accomplish his goals, unfortunately everyone suffers without paying too much attention to his antics.  He is suddenly relegated to the kitchen, the first casualty when Eve enters the picture. Tally Ho is another character and that character fairs better.   His best work is the Costume Designer, and that work successfully places the actors in the time and place. His work is excellent.  

Brady Gentry is Harvey the stage manager and is very engaging on stage. There may be more to add to his relationship to Eve.  Although Harvey is married, he might want to think about throwing it all away to fall in love with this woman, make her appear greater, help her with her performance, all for the sake of his undying love. He’s not just a stage manager but a footstool to give his love movement up the ladder to success. If she wins, he wins.

Mitch Rosander is Bert Hinkle an agent that now wants to represent after seeing her performance. His performance is fine but may need something a little more creative to get what he wants. Again, it’s about love or in his case lust.  

Corrynn Englerth is Vera the next girl in waiting, statuesque, demur and elegant.

Cayla Black is Vera but did not perform the night I attended. Mitch Hara also did not perform the night I attended.

Other members of the crew are as follows:

Jeff G. Rack – Set Design

Derrick McDaniel – Lighting Design

Aviva Berger – Executive Producer

Mitch Rosander – Sound/Projection Design

Pete Handelman: Pedrospages.com – Graphic Design

Bree Pavey: Projection Graphics

There’s plenty of street parking.

The limited run is October 12th through November 24^th.  Performances are Saturday evenings at 8:00pm. An additional performance has been added, Sunday, November 24th at 7:00pm. For tickets and information visit: whitefiretheatre.com or call 818-687-8559. The Whitefire Theatre is located at13500 Ventura Blvd. in Sherman Oaks 91423.

In The Unlikely Event of an Actual Emergency by John Mullican

 

L - R Jason Leon-Baptista, Amoni West and John Mullican - photos by Robin Randolph Photography

By Joe Straw 

There are several reasons why I ventured out on this night to see this play. The first is my experiences on aircrafts, and the second are dreams that take me on harrowing flights where the unlikely becomes the likely.

The Hudson Theatres are always beautiful venues to see intimate theatre and what a grand immersive night of theatre! Across the board, writing, directing, acting, sound, and producing was top notched for this totally engrossing experience.

In The Unlikely Event of an Actual Emergency – A New Play by Mullican, directed by Rickie Peete, and produced by Andrea Meshel is now playing at the Hudson Theatres in Hollywood through October 26, 2024.

 Sunrise Airlines takes pleasure in welcoming you on a flight.  The Flight Attendant (Stacy Aung) greets everyone as they enter the fuselage. (The theater patrons are regarded as passengers as well.) Incidental music is performed by The DJ (Amoni West) with a placard that says “God is a DJ” on her table. All airlines must have something that soothes the senses before takeoff.   And all must feel comfortable before they step on a plane and continue to feel that way until they reach their destination.

Arturo (John Mullican) gingerly enters the plane reveling in the fact that he has the perfect front row seat. Anything to make his journey less hectic.  There is a purpose to this excursion.  He carries his mother’s ashes from Los Angeles, California safely to be released in the proximity of Cape Cod. 

Arturo carefully lifts a colorful blanket out of his mochila. He unwraps the urn and sets it on the floor of the aircraft.  He then places his colorful blanket on his seat and sits to watch the makeup of passengers entering the plane.

Not to be so obvious, Arturo takes delight noticing the men and women entering the plane, their faults of wear, and their physical good points finding men more alluring in his description of said men. And he does this through an inner dialogue that never sojourns not even for a moment. Once he is nearly settled a stewardess asks him if he could move to another seat to make room for an incapacitated grandfather and his grandson. Reluctantly, he acquiesces and moves to a seat next to the handsome man he has been ogling.

But now Arturo can’t get himself to say anything intelligent to that man, and muses about his own outerwear, and being better dressed for the occasion.  

It is apparent that Arturo is a nervous flyer, and every noise is a crisis within himself.  And did he hear the attendants make outrageous statements in their official announcements? Or was that Arturo’s highly active imagination, premonition, or faulty hearing?

Takeoffs are particularly harrowing, and turbulence can be a hand sweating residue of fear, albeit imperceptible at first followed by the implacable shaking that never ends until the plane meets its outrageous end and gracious resolution.  

In The Unlikely Event Of An Actual Emergency by John Mullican is a wonderful event for many reasons. Although based on a true incident in which John Mullican was a survivor of a plane crash, the events and characters in this play are fictionalized.  The play reaches extraordinary heights in the way that Arturo is lifted from his seat after the crash and then searches for answers in his life. Those, that he has called, have arrived to help. They don’t have the complete answers, often getting information from a special data base in the nether region until he suddenly finds himself in into the horrific real-life moments, resulting in impotent despair, and a self-imposed silence until he catches that sublime moment of recovery.

There is a lot of coordination in this type of production, with so many elements, including the performances, everything must and did go perfectly, sound, visuals, and Director Rickie Peete coordinated those elements to create a visually stunning production including the takeoff and the crash landing where one feels that you are a participant on that flight.

Fritz Davis, Video Production Design, has the audience at the boarding gate, taking off from Los Angeles, and onto the snowy runway in Boston.  The projection works throughout the night and his work is excellent.

There is a moment of dread somewhere after takeoff, during the flight, an unexpected noise that rumbled underneath our seats and sent Arturo (and me) into a panic. Chris Moscatiello, Sound Designer, created those sounds that played havoc with our senses throughout the night. His work is one more reason to run and see this show.

John Mullican is Arturo, a man who has just gotten over the death of his mother and like a good son he honors her wishes to take her ashes across the country despite his fear of flying. He makes every opportunity to take his mind off flying before things go awry. Mullican is a terrific actor in which an inner dialogue takes him places that he finds amusing and terrifying within the plane. He gathers enough strength and wisdom to become a hero of sorts in the end. One observes the man throughout learning a huge life lesson and Mullican captures the humanitarian passions in that character.

Dolores Aguanno is Arturo’s mother Lucinda, an artist from Venezuela, a loving Latina mother, dressed to the colorful Latina tees in a mauve camisa, a scarf, skirts and boots. She does her best to provide answers to her son, unfortunately some answers are not readily available. Aguanno gives a masterclass in this production, and this is a perfect role for her.

Glenn Ratcliff plays Liam, Arturo’s Dad complete with diamond studs in his earlobes, red suspenders, and a red kerchief in his left back pocket. An artist from the past still searching for his moment. Arturo has passed away long ago. Coming back, he knows that he hasn’t been the best father but still he was a good provider, if not the second-best artist in their home.  Maybe that doesn’t sit too well with him. No matter, being in the place he’s in, he is willing to forgive with love. Another role that was perfectly cast.

Jason Leon-Baptista plays Bill, the one person that can help Arturo out of his predicament. Bill dances back into life giving purpose or meaning when hope is lost. He has a purpose in this rompecabezas, a man that brings forth life in dance complete with jazz shoes. Leon-Baptista is wonderful in the role. (One can’t give too much away as he appears late in the performance.)

Stacy Aung

 

 

Stacy Aung is also perfect as the Flight Attendant managing a friendly persona while being very placid in her manner until the fireworks happen showcasing her humanity and her ability to forcefully do her job with superhuman strengths that go beyond her capabilities. Her other roles include Panicked Woman and Phoebe. Great work.

Katheryn Peña is the Flight Purser and did well on this night. This is an interesting role because of the duty of purser which is to keep the passengers happy and the administrative duties to a minimum which doesn’t leave a lot of room for conflict and resolution.  There may be more to add to this character and to the way she successfully overcomes problems she may be having on board the aircraft whether it is internal or external.  

John Mullican and Amoni West

 

There’s music in this play and Amoni West displays a beautiful voice in the song she performs. She plays the DJ and seems to play the sound cues for the aircraft. Her work was seamless and beautiful. One gets the impressions that this woman wearing a gold camisa, red skirt, Ugg boots and cream-colored tights is God.

There are a lot of elements that make up the whole in this production and Andrea Meshel, Producer, puts it all together to make the night faultless down to the program which was produced as an inside sleeve with buckling, falling masks, and emergency exit seating instructions.  

Kiana Moattari, Choreographer, adds another grand element to this production giving us dance in life, art in space, and joy in the darkest of spaces.

Other members of this delightful crew are as follows:

Steven Pope – Lighting Designer

Dayanara Williams – Stage Manager

Kangi Downing – Marketing Promotion Project Manager

If “life is just a dream,” then theatre is a place in heaven where dreams do come true. Great work by all.

Run! Run! Run!  

 

ONLINE TICKETING: https://www.onstage411.com/newsite/boxoffice/cart.asp?show_id=6436&orgin=guest

A Woman Named Gloria by Josefina López

L to R Karla Ojeda and Celeste Lanuza - photos by Rudy Torres

 

By Joe Straw 

“Marley was dead: to begin with. There is no doubt whatever, about that.  The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it; and Scrooge’s name was as good upon ‘change, for anything he chose to put his hand to. Old Marley was as dead as a doornail.” – A Christmas Carol by Charles Dickens

There was one word in this production that personified Gloria, and for the life of a secured conscious, one couldn't recall the exact word, but nevertheless it rang a truth, a bold sincerity, and represented the dramatic through line of this production.

But what was that word?

Casa 0101 Theater presents the world premiere of A Woman Named Gloria written by Josefina López, directed by Corky Dominguez, and produced by Emmanuel Deleage in the Gloria Molina Theatre through October 6th, 2024, at Casa 0101 Theater in Boyle Heights.

To start, Gloria Molina (Karla Ojeda) has died. A funeral was being held to say one last goodbye. A sad event, to be sure, attended by her daughter Valentina (Micaela Martinez), Gloria’s brother Mingo (Oscar González), and presiding over the services is an emotional Monsignor John Moretta (Martin Morales).

But death doesn’t sway Gloria who still feels that her work was not finished and although coaxed by the Virgen De Guadalupe (Celeste Lanuza) with her ethereal smile to step into the light she declines and asks for a moment, to help one more person in need and that person is Jessica Contreras (Lauren Curet).

Jessica, running for political office, has gotten herself into a lot of trouble. She has been stopped for driving under the influence and she is waiting for the press to arrive at her home, destroy her career, and her life while awaiting her expiation. 

Gloria has come back to help Jessica (the ghost of Christmas Past and Present) if only she could tear down the wall of inevitability that every politician must feel once they have stepped across the line of the moral ethical bonds of righteousness. To do this Gloria must convince Jessica that she is human, that she must rise above her faults, to move on with her life, and she offers her life as an example of how to negotiate a political life or any life for that matter.  

One really didn’t like the name of this play “A Woman Named Gloria”. Her name is still Gloria and will be for the sake of historical context. However, one is sure there is a reason behind the title of the play that cannot be grasped at this time and the one “word” that still escapes me.  

That said, Josefina López has written a remarkable play that plays on the emotion of looking back at one’s life and wondering if that life has been one of giving beyond the heart’s content. One can look back on Josefina’s career to know that her motives were just and inspiring, while providing another richly satisfying work of art.  

In short, “A Woman Named Gloria” is a terrific body of work with eighty-six characters that is an emotional roller-coaster ride. There is a lot to be said about this play and the current political climate of a woman running for the highest office in the land and what that can mean. When the world is governed by mostly rich white men who are in it only for themselves, selfless would be that word that describes the intentions of this woman, the play, and particularly the work of Gloria Molina.

Corky Dominguez, the director, infuses the audience with a remarkable dance sequence with chairs during the play that is both inspiring and creative that possibly represents the revolving world of politics. This is by far Dominguez’s finest work as a director as he moves the entire cast of characters through to the embattled end.  

 

Martin Morales and Karla Ojeda

 

Karla Ojeda is Gloria Molina and does a fine job as the strong-willed character.  Her voice is strong, and the manner of her objective is clear. It was a very fine performance by a very capable actor.

Lauren Curet is Jessica, a woman who is caught up in self-doubt, a “childless cat lady” who holds herself responsible for the wrongs she has committed in her life. She must find a way out whether it is in her chosen profession or another alternative in life.

The men come off as antagonists in this play throughout including the non-existent husband to Molina. Possibly a guilty antagonist simply by omission or a shadow of days past.

Alejandro Bravo does well throughout the night playing 11 different characters including the not so reputable Antonio Villaraigosa.

Oscar González needs more work, coming off as frail and without purpose in each of his 8 characters, particularly Papa Leonardo almost saying his lines upstage with a Latino machismo that comes off harsh and without love trying to teach his daughter a lesson.  

Martin Morales has some fine moments in each of his 12 characters.  There is not enough time to develop the characters but each were different, slightly forced, and funny most times including the pension man that appeared to be like a standing frustrated pencil. And although this character has a very limited time on stage, the character was supremely defined and funny.  

Edward Navarrete plays 8 different characters and displays truth in each role. More could be made with a little more creativity in each role.

L to R Celeste Lanuza, Karla Ojeda, Tricia Cruz, Micaela Martinez, Amy Melendrez, and Laura Vega

 

 

Tricia Cruz has her moments in nine different characters, but she comes off best as Doctor Yeon.

Natalie Heredia is terrific as a very young Gloria and an inspiring young actor dedicated to her craft. She has a very nice presence on stage.

Celeste Lanuza covers each role with a dynamic character. Her choices are both subtle and inspirational and she is a joy to watch.

Micaela Martinez is an actor that eyes immediately gravitate to in all seven characters. Her choices are creative and her manner on stage is excellent. Given a small push she should do well in television and in film.

Amy Melendrez is another actor with a strong presence and center on stage. Playing the Young Gloria, she manages to infuse the characters of Child Gloria and Older Gloria into the character she plays.  Her work is outstanding!

Laura Vega is also an outstanding actor and adds a different light to each of her 10 characters.  They are each creative and warm as she negotiates her way on stage.  She is a complete joy to watch, and she is outstanding in her craft.

Anthony Storniolo, Video Designer, does some incredible work displaying quilts throughout the production. One supposes they represented the designs of the quilting group Gloria Molina belonged to. The videos were superb.

One can bet that coming to a Casa 0101 production the costumes would once again be outstanding and colorful.  Patricia Tripp "Mama J", Costume Designer, does not let us down. 

Other members of the crew are as follows:

Rigo Tejeda – Production Stage Manager

Joaquín Madrid Larrañaga – Stage Manager

Alejandro Parra – Lighting Designer

Doreen Sanchez – Assistant Stage Manager

Angelica Ornelas – Sound Designer

César Retana-Holguín – Scenic Designer

Margaret Garcia – Muralist

Steve Moyer Public Relations

Mark Kraus – Development Director

Lorena Marisol Ortega – Director of Outreach and Productions

Miguel Delgado – Technical Director

Itzel Ocampo – Marketing and Operations Manager

Oscar Basulto – Box Office Manager

Jorge Villanueva – Facilities Manager

In the Jean Deleage Gallery, there is an art exhibit: Gloria Molina: Madrina of the Eastside as an extra bonus for your theatre going night. Street parking is free after 8:00 pm and there is free parking behind City Hall.

For tickets:323-263-7684 or visit www.casa0101.org.

Design for Living by Noël Coward

L - R Garikayi Mutambirwa, Brooke Bundy, Kyle T. Hester - Photos by Cooper Bates

 

By Joe Straw

“It should be easy, you know.  The actual facts are so simple.  I love you.  You love me.  You love Otto. I love Otto. Otto loves you.  Otto loves me.  There now! Start to unravel from there.” - Leo

Unravel indeed.

She is adorned, in the early morning wearing a tan sleeping gown and nicely layered robe. Gilda (Brooke Bundy), youthful, desirable, possibly whimsical, filled with life’s experience, walks alone with just her thoughts in her lover’s Paris apartment.

Odyssey Theatre Ensemble presents Design For Living written by Noël Coward and directed by Bart DeLorenzo and produced by Beth Hogan and Ron Sossi at the Odyssey through August 25, 2024.

Yes, there’s something on her mind as she stares wistfully out her window.   A ladder visible beyond the window stands with no one on their way up possibly waiting for a man - handy to use it - for some job or another and upwardly mobile.

If only there was a man out there. That would have piqued Gilda’s interest for a moment or two, but one more man is not on her agenda today.  She has other men in her life to think about especially the one man sleeping off that high-spirited evening in her tiny corner bedroom.

What was that? A passionate night or falderal? Was it love with a capital L, or a dalliance? All those thoughts will be categorized, mentally boxed, and pushed to the side for another day. She was always attached to accomplished men that aspired to great things.  

Gilda’s joie de vivre has her men living on the edge as they take up space in her mind and she takes up space in an artist loft.  It’s Otto’s (Garikayi Mutambirwa) apartment. She lives with him in living color and his unfinished works of art, are scattered, without purpose, against whatever darkened space was available. Her decorating skills - diminished upon reflection and somewhat a skewed - but for now she calls it, home?

There is a sudden knock at the door, a familiar knock to her, but she must remove the articles of men’s clothing that litter her surroundings. Incriminating evidence at that and that’s an issue, and a dissembled topic of conversation she just does not want to have once she decides to open the door.

Luckily, it is Ernest Friedman (Andrew Elvis Miller), a family friend, wise beyond his aging years, a perfectly attired, penciled mustached nebbish sort of being that is bringing in a mystery painting à son entrée.  Something that he’s bought, a Matisse, as a personal investment ready to cash in when the time is right and the market sweet.

Ernest tells Gilda to wake up Otto so that he can see it, but Gilda says she doesn’t want to disturb him, that he has a temporary disfiguring disease, neuralgia.

Hmmm.

Andrew Elvis Miller and Brooke Bundy

 

Odd, Ernest, as long as he has known her, hasn’t quite figured Gilda out.   He’s extremely uncomfortable with her wandering hands over his body. And flatly he doesn’t think much of her decorating skills either. He likens her to a jaguar and an ox because of her strength in getting her way.  Jealousy takes over especially when he criticizes Otto’s artwork of her (now unseen) being “so tranquil”.

Ernest playfully confesses that he is fond of Gilda, he says so sedulously, in his own special way, their long ties with her and her mother, now deceased.  But Gilda confesses that she loves Otto and says it loudly into the bedroom so that he will hear it.

Also, Gilda confesses that Leo (Kyle T. Hester), now a rich and famous playwright, is back and is staying at the Hotel George V. And Ernest, surprised, and suspects something that Leo, by now, would have found his way quickly to her apartment. What a nice time to interrupt!

Double hmmm.  

Otto, who was previously perceived to be in the bedroom, comes in through the front door with his suitcase having just arrived in Paris.   After a brief discussion, Gilda hustles both Ernest (who is wised by now) and Otto to visit their friend Leo at Hotel George V.

And after they leave, Leo steps out of the bedroom.

Style, panache, and a sincere openness permeate this production as though one were stepping back in time to 1933 and flipping through a Vogue magazine with static shots of people lounging a normal Vogue lifestyle.  Design For Living is a colorful and character driven play that played well on this night to a perfectly sensible audience.  

Having arrived on opening night there is still more to be had in this production, moments that didn’t quite gel, changes in the relationships that moves a character from one position to another, and a second act with new characters that adds little to the dilemma facing the main characters.

Still, there’s a lot to enjoy in this production directed by Bart DeLorenzo a comfortable flow of characters and witticisms that permeates throughout. Settle down and take it all in and for the most part this is a joyful ride throughout the night.

But can comedy win the night without the pain of tormented love? No character, in this production, seems the least bit upset that Gilda is not interested in them, nor are they upset that she leaves at the drop of a hat. They all tirelessly work to win her love, but when she leaves it’s as though she never left the room, and the two men shrug and find love at their fingertips, with each other.

This slightly truncated Noël Coward’s comedy is ambivalent enough to be played many ways. DeLorenzo prefers to highlight the feeling of love throughout without the heated passion of love’s injustices. They all are, by some accounts, dastardly in the way they secure love.  These educated men find ways to win Gilda and they do it in remarkable and devious ways. Ernest finds Gilda in the arms of the man she is not supposed to be with, twice – each time making a play for himself.  Otto and Leo wait until the other is out of town to make their move.   

Comedy works better when there is more at stake especially when possession is nine tenths of the law and the ultimate prize.   

Act I, scene I, somehow needs to show this is Otto’s apartment, however that can visually manifest itself.  A darkened space, a furniture wrap, some paint splattered against the wrap does not give possession to an unseen character.  We know there’s a man there via the men’s clothing in the apartment, we’re just not sure who it is. Gilda is expected to be there because she is Otto’s girlfriend, and it is his studio.  

Ernest is expecting to see Otto. He’s been there before but makes no move to go to the bedroom to show Otto the Matisse painting. A man is in the bedroom. He knows Gilda is up to something but there’s never a back and forth, two steps forward, one step back until Ernest gives up. All references to Otto should playout as though he were in the bedroom.

Also, in that same scene, when Otto enters his apartment, he treats it as though it were not his own home.  It’s a moment that is visually confusing.  He never comes close to placing the suitcase in his bedroom, or someplace suitable in his apartment, nor does he see the Matisse that is near his bedroom door, take note of it, and or compare it to his own work of art against his rival’s taste in art.

There is a huge predicament in that first scene that Gilda needs to overcome while Ernest is both curious and excited to see how her situation was going to play out. And that predicament needs another level to make it both funny and truthful. 

These are only minor things in a show that is otherwise exceptional and can get better, and funnier as the performances gel.      

Brooke Bundy as Gilda is exciting to watch simply because she thinks on stage, and she is completely unpredictable.  Moving from one man to the next, we rarely see the definitive moment when she decides to change course, turn in her exit keys, and walks off with another lover.  It just seems to happen. Not wanting marriage, she is content to be happy, but doesn’t know what that looks like.  A terrific performance.

Andrew Elvis Miller is outstanding as Ernest Friedman. The character work is first rate and the manner to get what he wants works on a very subtle level.  The Matisse is used as a tool of seduction. It's very subtle though. The tie he picks up in the first scene gets lost behind other actors for a purpose that is not fully conveyed and what he does with that tie is also lost. Ernest always finds the suitable time to interrupt to show that he is the man, always throwing out a subtle love song to get what he wants. And the work is incredible.

Garikayi Mutambirwa work as Otto Sylvus is also incredible.  His mannerism in the drinking scene is something never witnessed before and almost brings the house down with laughter. The first scene needs work especially when taking control of his apartment. Also, being prim and proper, no one in this production ever goes overboard hurt with emotions.

Kyle St. Hester and Sheelagh Cullen

 

Kyle T. Hester is very good as Leo Mercuré a playwright who has suddenly found fame and fortune. And as such, he feels he has carte blanche, willing to take over when his friend is out of town. He must feel somewhat guilty because he doesn’t come out of the bedroom when polite company abounds outside his door.  One is not sure why he ignored the Matisse the moment he comes out – a choice to ignore that doesn’t ring true.

Sheelagh Cullen has dual roles but comes off best as Miss Hodge, the maid always running to answer the phone, doing her best to keep the rich folks happy, and not so opinionated to keep all her thoughts to herself. She also plays Grace Torrence and although successful in character one could not understand anything about her part in that scene.

The same holds true with Max Pescherine as Henry Carver and Shireen Heidari as Helen Carver in the second act – a scene which moves the action forward and gives the moment a definitive mark.

Costume Designer Denise Blasor’s work is first rate and visually very stunning.

John Zalewski, Sound Designer, always excels in his craft.

Other members of the crew are as follows:

Frederica Nasciemento – Scenic Designer

Leigh Allen – Lighting Designer

Jennifer Palumbo – Stage Manager

Nicole Arbusto – Casting Director

Michael Lanham and Samantha Occhino – Assistant Directors

The show produced by Beth Hogan and Ron Sossi is exceptional, with incomparable performances, and another feather in The Odyssey’s cap. This show is just one more reason that everyone should go out and support the smaller theatres in Los Angeles.

Tickets: https://odysseytheatre.com/whats-on/

 The Odyssey Theatre

2055 S. Sepulveda Blvd. 

Los Angeles, CA. 90025 

Parking is free!!!

Footloose The Musical – Stage Adaptation by Dean Pitchford and Walter Bobbie based on the original screenplay by Dean Pitchford

L-R Amanda Rodas, Chase Klein, Devyn Kontur, Michael Inatsugu, Brenton Holbeck, Trae Adair, Nico Fisher, Carter Santos, Adam Derbigny, Sterling Inatsugu, Charli Austin, Maia Goldberg, Eadric Einbinder, and Terrence Robinson

 

By Joe Straw

Ren McCormack (Carter Santos) is a fun-loving guy with the ability to trade quips at the drop of a toe tap, dancing up a storm in his native Chicago hometown but suddenly there is a turn for the worse in his family life.  His mother Ethel McCormack (Lauren Magness) has come upon hard times, the product of a failed marriage, and they must move to Bomont (an undisclosed southwestern town in an unspecific time of late 1990 to 2000s) to live with Ethel’s sister Lulu Warnicker (Aryn Neimiroff) and her over commandeering husband Wes Warnicker (Steve Weber).

Footloose The Musical Stage Adaptation by Dean Pitchford and Walter Bobbie, based on the original screenplay by Dean Pitchford, Music by Tom Snow, Lyrics by Dean Pitchford, additional music by Eric Carmen, Sammy Hagar, Kenny Loggins and Jim Steinman, directed and choreographed by Niko Montelibano, and produced by Philip McBride is now playing at the Morgan-Wixon Theatre through July 28^th, 2024.

Getting acclimated to his surroundings Ren visits a church and listens to Reverend Shaw Moore (Steven Didrick) preach his message of love and control predating the sign of the current times of how to act, what to read, what God to worship, and how not to express your individuality.

Ren catches Ariel’s eyes (Nico Fisher), the preacher’s daughter, who seems unfazed by her father’s message, but she doesn’t want to hang with Ren and runs off to join her controlling boyfriend at the garage Chuck Cranston (Luc Clopton) and his cronies Travis (Joaquin Hosfeld) and Lyle (Adam Derbigny) two little sleezy compadres that joins Chuck in a song “The Girl Gets Around” a song that shows little regard for an independent and creative young woman.   

Meanwhile Ren has other ideas on shaking the mud off these inhabitant’s feet.   On his first day of school, he meets Willard (Trae Adair), a coverall wearing, clod hopping hick from the sticks.  After a brief acrimonious encounter, they strike up a friendship especially after Willard saves Ren from Principal Clark’s (Hannah Willmore) expository clutches for dancing in the hallways.   

Ren is not the devil but likes to open Pandora’s box just a tad to let out what it means to dance freely.  But he must overcome many obstacles especially the ones that are deeply ingrained within the occupants of this tiny town of Bomont.

Up Front: Trae Adair

 

 

There’s a lot of fun to be had in this musical version of Footloose by Dean Pitchford and Walter Bobbie based on the original screenplay by Dean Pitchford. The film worked on several fronts with nice performances but this musical has a little more work to do.  Finding a way for this to work requires a better book, one that establishes stronger characters managing their way through a chaotic high school life while battling the adults in their lives.

Niko Montelibano, the director has his hands full directing and as the choreographer for this cast of thirty maybe taking on a little too much to get this show up and running in the allotted time. Character work is  needed to define relationships, to capture the significant moments in this musical, and capture the truth in characters, which has only scratched the surface of this production. We move from a dance crazed Chicago to the town of Bomont where kids may not know how to dance in public and have been banned from doing so for five years.   (We don’t see any of that.) We also don’t see students shocked or elated that someone, defying rules and laws, is now dancing in their halls and we don't see the progression of dance as it relates to the community and the students. In this musical the wanting to dance (within the kids minds and appearance) should permeate the production in several magical ways including the city council meeting.  Also, for the most part, all the singers were without mics, and some could have used them. The story is based on a true incident in Oklahoma culminating in banning dancing and the community falling in lockstep with that law.  One might as well ban breathing and see how that goes over without some kind of uprising.

Carter Santos does well as Ren McCormack and has a nice singing voice. More could be made of his transition from big town to small town without being overly omnipotent. He has a view but must make more of the conflict that he has to overcome to reach his objective.

Lauren Magness is stunning as Ethel McCormack especially when she is dressed up. There may be more to add to the character (besides supporting and protecting her son) and that may be keeping her eyes open for any prospective partner.  

Nico Fisher has a grand presence as Ariel Moore, sings, and dances well.  The black eye needs to find a way to work or eliminate it all together because nothing comes of it. The ex-boyfriend isn’t sorry, he doesn’t get any kind of comeuppance, the new friend is slightly concerned but does nothing, and her father doesn’t take the time with his daughter to notice it at all.

Trae Adair plays Willard with a strong deep southern accent (Texan?) that no one else has and may be believable if he had just moved there but, he seems to be a fixture in the school. Also, in this ultra-conservative town he has a ring in his nose and his coveralls are kind of flashy and not the dress of his farmland surroundings. Ultimately, Willard Hewitt’s costumes must work to give the character, someone who has nothing, to someone who has everything because now he can dance.  That aside, Adair has a fine voice, a nice presence, and a very nice physical life on stage.

Luc Clopton plays the bad guy Chuck Cranston.  There’s not a lot to like from this character, which includes, physical violence, and a song that is entirely disrespectful “The Girl Gets Around”. The writer of this character has left off the redeeming attributes to give this man somewhere to go so that he can move his life forward.

Steven Didrick does well as Reverend Shaw Moore. There’s more to be had from this character, a catharsis moving from one way of thinking to another. Singing and playing to the fourth wall does not give the character justice. Love requires searching and discovering everything about his daughter especially when she has a huge bruise below her eye. Also, is it a good choice to ignore the bruise and does it work?

Up front L - R Sarah Marie, Lauren Magness, Aryn Nemiroff, and Steve Weber

 

 

Sarah Marie as Vi Moore looks nothing like her photograph in the program. That aside, her voice is near pitch perfect, and her performance as the loving wife and mother is just marvelous presenting us with her ability to ensure that everyone to take a step back, breath, and think about solving life’s problems. Wonderful work! 

Brenton Holbeck lights up the stage as Coach Dunbar.  Brenton shows a tremendous presence and an exciting sensitivity that will work well in front on the camera. This is an actor to watch and given the luck of the draw shows promising potential for both film and television.

Aryn Nemiroff plays Lulu Warnicker, and this is another roll that requires another level of characterization especially with her sister, one that defines that relationship. Also, she needs to look after her nephew and control her demanding husband in her way and fashion. These are the little things to complete the character and fill in the gaps.  

Steve Weber is another heavy in the Wes Warnicker role.  The role, whether it’s written or not, requires him to hit his nephew without finding out the solution to his problem. The character must find a way for forgiveness. Weber also has a nice turn as Cowboy Bob a man who needs an overexaggerating West Texan accent that celebrates the dance.

Hannah Willmore as Principal Clark must have misgivings about enforcing a law that violates the First Amendment and yet she’s been doing it for 5 years. In the end Principal Clark must find a way to celebrate the change in the rules. Still, Willmore has some very good moments on stage.

Devyn Kontur (Rusty) has a powerful voice when the musical requires it.  Chase Klein (Urleen) has a very pleasant and unusual voice that blends melodically with her friends.  Amanda Rodas (Wendy Jo) has some very nice moments.

Other standouts are Luke Arthur Smith (Bickle), Charli Austin (Ensemble) and Michael Inastsugu who has a very strong presence on stage. Eadric Einbinder (Jeter) also has some very fine moments on stage.

Other cast members who put their heart and soul into this production are Maia Goldberg, Samuel Goldman, Sterling Inatsugu, Lillian Kautz, Amanda Meade-Tatum, Ysabella Padua, Terrence Robinson, Brennan Schmidt, and Tiffany To.

Member of this delightful crew are as follows:

Abby Carlson – Vocal Director

Emily Jolynn Ellis – Production Stage Manager

Kyle Lukas – Assistant Stage Manager

Samantha Jo Jaffray – Costumer

Justin Kelley-Cahill – Scenic Designer

Cici Mao – Lighting Designer

Brandon John – Master Electrician

Ariella Salinas Fiore – Intimacy Director

Shea Glenn – Assistant to the Director/Choreographer

Nico Fisher and Ysabella Padua – Social Media

Devyn Kontur – Vocal Captain

The Morgan-Wixson is a wonderful theatre, parking is plentiful, and is rich in diversity in its casting.

Morgan-Wixson Theatre

2627 Pico Blvd.

Santa Monica, CA. 90404

For Reservations: https://www.morgan-wixson.org