The Hunchback of Notre Dame a New Musical based on the Victor Hugo Novel and Songs from the Disney Film – Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell

Bimei Flores and CJ Cruz - Photos by Steve Moyer

By Joe Straw

“A jest is always understood in Paris, and, consequently, always applauded.”  The Hunchback of Notre Dame - Victor Hugo

In June 2010 Ojala! by Jennifer Berry was the first show I saw at Casa 0101. The theatre was located on the north side of the street then, basically a store front, a crammed space with folding chairs on a level floor for the audience. The stage was set higher, and the actors squeezed in their performance into that tiny space. Notably, the acting was at a level higher than what is normally seen in smaller theatres. That was then.

It’s been almost 15 years and Casa 0101 has come a long way. And on this night one can only marvel at the beautiful voices in the opening number setting off a cascade of stunning performances in this standing room only production.

Casa 0101 Theater Presents The Hunchback of Notre Dame a New Musical based on the Victor Hugo Novel and songs from the Disney Film, Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell, directed by Rigo Tejeda and Produced by Emmanuel Deleage in the Gloria Molina Auditorium through December 22, 2024.

Quasimodo (CJ Cruz) was introduced as a normal man, a man without question that could fit in anywhere and at any time in a public forum.  Then, he is fitted with a prosthetic feature that deforms his back. And suddenly the newly painted black on his face gives him the appearance, in the eyes of those who gaze at him, of a wretchedly disfigured man. He is cast aside, hidden in the attic, a stain glassed window among the rafters permeating various light refractions, depending on the time of day, and illuminating the stone-cold grey gargoyles (Jude Monge, Sol Joun, and Kong Vang) in the Notre Dame Cathedral.

Simply put, Quasimodo’s job is to be the bell ringer, to be out of public eye, and out of communal mind. And finally, there is that one someone who is telling his story.  

Stepping back in time Dom Claude Frollo (Jack Bernaz), now a priest, discovered that his brother Jehan (Sammy J. Kohler) has fallen in love and will leave the abbey to make his life. Frollo loves his brother, doesn’t agree with his choice, but sends him off. Later he reunites with Jehan now very sick, his wife has just given birth and has passed away with Jehan soon to follow. Frollo, in grief, decides to take care of Quasimodo but upon looking at him for the first time in horror, he decides to throw him off a high place before having a change of heart.

Quasimodo, older now, has grown tired of speaking (in his imagination) to the gargoyles and wants human contact outside the Cathedral.  In a disguise of sorts, he comes upon an acting troupe headlined by Clopin (Christopher J. Thumé) a wacky physical specimen of a thespian. Quasimodo also finds Esmeralda (Bimei Flores) and has become enchanted with her singing and dancing in the Festival of Fools but both Phoebus (Drew Maidment) and a ubiquitous and sinister Frollo have set their eyes on her as well, with Frollo having unpriestly like thoughts and ideas.

Rigo Tejeda, the director, manages to do well with this “cast of thousands”.  The night moves smoothly along, and the singing is outstanding. The remarkable thing about this production, and especially the performances of this mostly Latino cast is that Casa 0101 has elevated its game to a level nearing the larger production houses and that, in itself, is a remarkable achievement.

Thinking about the overall production one wonders how to elevate the production with a little more creativity. The show is about someone telling a story.  That someone is the character Clopin.  He is the character that relates Quasimodo’s life. He is the observer, the notetaker, the man who remembers everything. In a larger house, he would probably get a spotlight, and the audience would understand that he is ultimately the storyteller. How that translate to stage is the director’s choice with needed input by the actor.

 

L - R CJ Cruz, Jack Bernaz and Sammy J. Kohler

Jack Bernaz play Dom Claude Frollo from top to bottom all encased in his evil, wicked, ways. A promising humanitarian who munched the core of the wicked fruit and that has turned him quite rancid. Bernaz is wonderful in the role and manages to bring an exciting backstory to the character’s life.

The best thing one can say about CJ Cruz’s performance as Quasimodo is his developed relationships on stage with every character.  It is perfection.  Eyes wide open and curious makes for a marvelous performance.

Bimei Flores has a very sultry singing voice as Esmeralda.  Her manner on stage is excellent. Flores is beautiful and mesmerizing, in keeping with the character, but there may be more to add to her objective to give that character strength and a willful intention to do what she needs to do to make her way through the men that want to control her life. 

Sammy J. Kohler does well as Jehan and has a terrific presence on stage. His manner and movement on stage is fluid and his concentration is excellent.

Bomei Flores and Drew Maidment

 

Drew Maidment is terrific as Phoebus a man who truly falls in love with the love of his life.  The Victor Hugo novel describes him as a lustful man, but in the musical, he is a different kind of being. Maidment has a level of concentration that incorporates the two ideas of the man into one character. Whatever he was thinking it worked on so many levels giving Phoebus a rich depth of character.  His performance was marvelous.

Center Christopher J. Thumé

 

Every director’s dream is to have an actor like Christopher J. Thumé as Clopin who will give 150 percent of a physical life to the character.  And there was some wild and wacky stuff going on, on stage. Thumé also has a wonderful voice.

Sol Joun, Jude Monge, and Kong Vang all with wonderful voices did well as the gargoyles but didn’t have fixed places in the rafters of the Cathedral.  They moved around a lot through Quasimodo imagination but seemed more like props rather than gargoyles hanging from the rafters.

A lot of effort went in to make the music as rich and wonderful throughout the night thanks to Gabrielle Maldonado the musical director. The members of the choir that made it all possible were Briana Bonilla, Chrissi Erickson, Anthonly Galand, Stormi Raii, Andrea Lare, and Ethan Trejo. Members of the incredible ensemble were Rachel Aspyn, Angelica Orenelas, Alyssa Rojas, Kong Vang and Dian Yu. André Heimos has a grand stage presence that radiates throughout his performance. 

Marco De Leôn, Set Designer, created a beautiful multi-level set that worked in so many ways and for the actors to create their magic with the help of Lorenzo Tambriz, set builder, and Jeremiah Ocañas and Victor Calderon as set building assistants.

Alejando Lechuga, Costume Designer, performed miracles to create a time and a place for this lavish production with the help of Maia Melendez, Wardrobe Supervisor and Costume Assistant.

Alejandro Parra’s work as Lighting Designer worked on many levels.

Tania Possick’s work as Choreographer kept the action moving through song and dance and was exceptional in many numbers.

Other members of this crew are as follows:

Abel Alvarado – Associate Producer

Joaquín Madrid Larrañaga – Stage Manager

Lorena Marisol Ortega – Prop Master

Steve Moyer – Public Relations

Doreen Sanchez – Assistant Stage Manager

Mark Kraus – Development Director

Oscar Basulto – Box Office Manager

Jorge Villanueva – Facilities Manager

Itzel Ocampo – Graphic Designer/Prop Assistant

Eddie Padilla – Casting Director

Al Aguilar – Production Assistant

Christopher Martinez – Production Assistant

Ellen Arroyo – Fight Coordinator/Intimacy Coach

This is a very lavish production that everyone should see but if you cannot a donation is always welcomed to support all the things they do at www.casa0101.org/support-us. The Hunchback of Notre Dame is playing for one more week.

Tickets:  www.Casa0101.org

 

 

 

   

 

 

 

The G*ddamn Couple Down the Hall (Oh… And Merry Christmas) by Mark Wilding

 

L to R Prescilliana Esparolini, Liv Denevi, and Cecil Jennings - Photos by Charlie Mount

 By Joe Straw

There was a fascinating visual before the show started. A book center stage appeared to be “Mid-Century Modern Graphic Design” by Theo Inglis in which Lighting Designer, David P. Johnson, displayed lights that turned the book into a pulsating visual and well, a collage of now you see it, now maybe you don’t.  The book and its graphic design transformed in many ways.  On top of that Johnson had a stunning light show highlighting Hitchcock suspenseful mystery style with a playoff of an old vertigo image and the downstage wall outlooking an apartment buildings à la a “Rear Window” motif compliments of Jeff G. Rack set design.

Theatre West and Little Jack Produtions present The G*ddamn Couple Down the Hall (Oh… and Merry Christmas) written by Mark Wilding, directed by Charlie Mount, Co-Produced by Charlie Mount and producer by Garry Kluger through December 15, 2024.   

Maybe they don’t know it but there’s more to the relationship between the two sisters Sydney (Sam Gregory) and Dana (Liv Denevi). Dana has decorated her condo in a retro 60’s style and Sydney comes into her home dressed in a 60’s look with bell bottom jeans. And it’s possible that they have more in common than either would even realize. No exceptions.

Dana and boyfriend Chad (Cecil Jennings) are hosting this Christmas dinner at their condo, cooked by Chad, who is either an obsessive compulsive, wimpy, gay chef, or all, or neither. In any case, it’s all about Chad and no one is allowed into the kitchen while he is preparing the meals. No exceptions.

Sydney has brought her boyfriend Lance (Dave Kumar) who, all told, has missed some life experiences and simple knowledge. He is the father of multiple children from different relationships, and he just manages to get along by shear will power, fortitude, and strength but certainly not by his intellect.

Dana and Sydney’s mother and father are joining them on this day Maureen (Jill Remez) and Jerry (Steve Nevil) who is a construction lawyer. They are happy to have their daughter Dana getting married and have said that they will give her $100,000 to start them on their road together.

But that presents a problem as evil sister Sydney wants that money and suddenly decides that she and Lance are getting married as soon as possible.

That noise is suddenly interrupted by the noise coming from an adjoining condo. And now they are all distracted and rather concerned about Dana and Chad’s loud neighbors, their voices seemed to be coming from the vent in the living room wall. Luscious Lucinda (Prescilliana Esparolini) and her partner Kenny (Turk Fruell) start up again and every time they argue things get a little worse.  

Shortly thereafter delicious Lucinda stops over with an opened box of Chips Ahoy cookies as a form of apology for what she says is their over-the-top lovemaking loudness. And they all buy into it, especially the men.

And when lucky Lucinda and Kenny go at it again, suddenly the argument is stopped by a jarring noise and everyone in the condo wonders, what happened?  

One doesn’t like coming to a theatrical event near the beginning of the run because moments made not have gelled as one would want.  Mark Wilding, the writer of The G*ddamn Couple Down the Hall (Oh, ..And Merry Christmas), has some very nice things in it.  And family and harmony strike a very real chord in this play.  In fact, that chord jumps out so strong in one moment that one wants to hug everyone in the play. Still, this Christmas comedy has within it the ability to go farther to be both raucously absurd and outrageously comedic.  

So, what’s not working? Well maybe there may not have been enough time for Charlie Mount, the director, to find a significant through line in this piece and make it gel. A few minor adjustments would address the clarity of Mark Wilding’s play and send it on a benevolent path.

Without giving anything away, as one sees it, the play is mostly about a dysfunctional family trying to work things out mostly amongst themselves.   They have very little in common and hardly get through the day without sneering at each other. Sisters are yelling at one another, mother and father disagree about the money, and two diametrically opposed future sons-in-law exacerbate an already precarious family unit. When something happens, they individually try to find a solution to the problem and that only adds only more tension with our heroes.   It is only when they all work together that the problem is resolved, and now the family has found new meaningful ground and something they can all build upon. Finding those moments that clears a path for the triumphant moment of that family seems to be the core of the play.  

L - R Sam Gregory, Dave Kumar, Liv Denevi, Jill Remez, Cecil Jennnings, and Steve Nevil

 

John Combs is Officer Hoyt a person that is called in to work the holidays.  A cop who is a non-inquisitive being that does not want to work too hard on Christmas day. Combs brings a lot of humor to the play and seems to know the playwright’s intention.  Combs is a fine addition to this cast, and it is one more excellent role in his many roles witnessed in Los Angeles.

Liv Denevi is Dana, the older sister and there is creatively more to add to a character that has many roles in this play.  She is a lover, a sister, a daughter, and a marvelous decorative host that has a purpose on this given day. Her relationship with her sister needs definition to give her a historical backdrop to her character, a past life, recreated if only to move forward.    

Prescilliana Esparolini is luscious Lucinda a woman that captures the hearts of men when entering a room but, upon further inspection, one would not want to be caught in an alley alone with her especially with her eyes staring at you and a weapon in her hand. Esparolini is funny and makes the most of the limited time she has on stage.

Turk Fruell is Kenny. We only hear his voice, and he doesn’t appear on stage. He is Lucinda’s partner and seems to have gotten more than he bargained for with her.

Sam Gregory is Sydney, the sister who wants her fair share of the pie and goes for it anyway she can get it. On the outside, Sydney doesn’t appear too bright and to make up for it she chooses a boyfriend who is physical specimen but equally not that bright. Sydney, in an invidious position, fights hard for what she wants but the fight lacks increments and progression.  A stronger creative choice is needed to give the character truth in her physical life on stage.

Cecil Jennings is Chad and is funny on stage. One prefers his look in the program rather than the beard on stage. That clean look gives him more strength and may work better for the character he is playing. That strength will allow him to fight and protect the sanctity of the kitchen and not allow anyone into it. It will add more humor to the role and give the character a boost in his idiosyncrasies. If everything is about the pie and keeping it whole, then the riddle of the character is solved.

Dave Kumar is Lance and despite the character’s lack of mental acuity one thought this was a very good performance. Kumar’s concentration and his physical actions on stage are excellent and given the luck of the draw should do well in this industry.

Steve Nevil plays the dad Jerry.  There may more fight in this character to make the character more defined to determine a stronger conflict. For the comedy to work Jerry must dig deeper to highlight the funny (comedy).  There are a couple of moments when Jerry takes charge, but his physical life does not suggest that. (The law scene.) The other is the epic battle when lives are at stake. We need to see more of Jerry here and the physical life of him protecting his family.

Jill Remez is the mom, Maureen. Maureen is the voice of reason; however misguided it may be. She is the voice of compassion, where little of it exists. The voice of sensibilities, when others are tearing their hair out. More must be made with the relationship with her husband.  The conflict is not strong enough to move the relationship forward. Despite that Remez is charming in the role.

Theatre West is one of the best little theatres in town.  The people there are charming from top to bottom, and it is always a pleasure to go there. Other members of this fantastic crew are as follows:

David Mingrino – Stage Manager

David Baer – Assistant Stage Manager

Jeff G. Rack – Set Designer

David P. Johnson – Lighting Designer

David P. Johnson and Charlie Mount – Sound Design

Philip Sokoloff – Public Relations

Table 7 Poster Design – Key Art

Doug Haverty – Playbill Design

Jeff G. Rack and Amanda Sauter – Set Construction

Scottie Nevil – Front of House

Charlie Mount – Production Photography

Reservations: 323-851-4839

Online Ticketing: http://theatrewest.org

 

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.