Wild Son and Then Some the story of me and my dad by John Mese

  

By Joe Straw 

 

John Mese has a southern drawl and it’s noticeable when one speaks directly to him.  On stage it’s slightly different apart from a couple of sentences – “He said sumptin to me.” and “Idonknowwhy” a phrase which comes out as a one-word transfer of thoughts rather than four separate words and, one supposes, a trace of Cajun in his Baton Rouge accent. Naytheless, it is delightful and one more reason for venturing out on this Friday night.

Without going into too much detail, everyone loves a comeback story, the anticipation leading up to the moment when triumph overcomes adversity, and ends in the final resolve, the curtain call gathering with friends and family.   

Mese is dedicated master craftsman and a physically gifted actor. In fashionable southern charm, Mese entered the theatre and addressed the fourth wall (the audience). He shaded his eyes from the light, appreciatively took stock of the sold-out house, drew a rectangle, and took an imaginary photo.  And in a rarity, especially in Hollywood, he thanked everyone for coming and then started the show.

The one thing that leads home.

The stage at the Whitefire Theatre is sparsely set, a chair, a desk, and a flask of water. The work (or pleasure if you prefer) is to transform this empty darkened space into his home first in Los Angeles and then Baton Rouge. And then subsequently filling that space with the engrained images of those that were significantly loved and the ones that made all the difference.  

His vision starts in Los Angeles and slowly moves back in time to Baton Rouge remembering his dad and his family life, his inescapable journey, brought out from the wings if you will - to the place he now calls home.

And as the years passed; he found success in Hollywood and finally settles into a family life culminating in the moment alone on stage here tonight.  

In Los Angeles, Mese paints the picture of a 1934 Philco radio cabinet, now weathered by time and space, the one rather large item he squeezed into his car on the journey here, a solid weight, an anchor of remembrances, and one that reminds him of his father and more importantly, home.   

There are three things that ring a dramatic truth in this one-man play.   The first is the Philco radio cabinet, gutted now, but merriments from the south, and an object so loved that it plays a significant part in his journey.

The second is his father’s sailboats, they got bigger as he got older, possibly a metaphor of the incremental progression of time, growing up, and finally finishing, when sadly, all things must pass.

The third are the memories sometimes filled with obstinate gestures of youthful indiscretions. The ravages from non-saintly pursuits that could have drastically changed his career goals. And the subtle ways his father, a renowned town dentist, did help in the unimaginable ways he showed his love.

This is a tearful love story, lessons of unabashed love, of being a father, of doing fatherly things, and having a father who was willing to go the extra mile for his son.  

The night was filled with emotional moments dedicated to the power of his words and movement. There’s enough here to satiate the night absorbing those moments to one’s own life experiences. And, finally, one more reason to go to all the small theatres that Los Angeles has to offer.  

There may be more to add, a little more, if one must supply notes to this grand occasion. The first is a metaphorical dash of color against the wall of this black box. Baton Rouge needs that addition as it relates to his father.

The second is Jená and how that relationship plays deeply with his father. We move away from the father as the story moves away in another direction.  The day, at the door ponderously ajar, in his underwear, needs an emotional jolt that pulls his father in closer, defines the moment, and makes the relationship that much stronger.  

The sincerity of the play rings a dramatic truth, displayed by a great big hug on stage, that you are the man now, the father now, all while affectionately remembering the father who loved you without cause along the way.  

The Little King of Norwalk by Israel López Reyes

 

L - R Randy Vasquez, Xavi Moreno, and Ruth Livier 

 By Joe Straw

Just when one thinks their political life is over, a small stature of a man rising, from the east, arrives unexpectedly, grows exponentially, and enters the fray to save someone’s political ass.

The Latino Theatre company presented The Little King of Norwalk by Israel López Reyes and directed by Geoffrey Rivas ran from September 25 through November 2^nd, 2025.

Juan Perez (Xavi Moreno) is in a whole lot of trouble living vicariously in a section of Norwalk, fighting with his twin sister Wendy Perez (Esperanza América) a grass roots activist about trying to stay ahead of the game, keeping up with the house payments, and taking care of his nephew so they can stay off the streets.  Their mother has recently died, and, to that end, they have lost a family member that contributed to childcare so that the supposedly two “adults” could find work and support the house.

Juan, a UCLA graduate, doesn’t take his work life seriously, but promises his sister that he will find work and takes her car to look.  But, after the day of job hunting, Juan takes a respite, consumes alcohol, and now inebriated before stepping into his car to drive home. But as events would have it, he is arrested for being under the influence, his car is impounded, and he is beaten senseless by a dispirited law enforcement officer in jail by The Law (Richard Azurdia).

Crawling mindlessly on his cell floor Juan is visited by the apparition of his mother telling him that he is needed for something more important in his life.  And as apparitions are want to do, they are not very specific, and it is up to Juan to figure it all out.

 

L - R Randy Vasquez, Ruth Livier, Richard Azurdia, and J. Ed Araiza 

Now, a quartet of government officials, Mayor Alvarado (Randy Vasquez), City Manager Nancy Juarez (Ruth Livier), School Superintendent Alex Ayala (J. Ed Araiza) and Chief of Police Ricky Ortiz (Richard Azurdia) effectively cower behind the long windows of Norwalk’s city hall, afraid to meet their constituents who are protesting a city law of a ban on the homeless.  The crowds are growing, and the uproar is getting stronger. But the Mayor, aware, but not that concerned, knows that Governor Newsom or his cronies are going to come down hard on the City of Norwalk and send someone who will report on them.

This band of Norwalk officials don’t know who that someone will be but will probably be someone in a yellow tie and a cheap suit.

Meanwhile a lugubrious Juan, complete with moral imperfections, tells his sister that he will turn his life around, start going to AA meetings, and try to find work.  His attire, compliments of the Goodwill store, have him in a cheap suit and a yellow tie, and on his journey to AA he is lost, manages to walk into the mayor’s office, by mistake, and is mistaken for that person that Newsom was going to send.

There are moments of magic in Israel López Reyes play moving from sophisticated dialogue through the course of family relationships, and finally the darkened noir that The Latino Theatre Company is famous for. There is a slight tribute to Nicolai Gogol’s The Government Inspector, the underpinnings and manipulations of an overzealous governmental reach all in the name of wanting more. The beautiful dialogue rings an emphatic truth that strikes chords in today’s everyday political life.

Geoffrey Rivas, director, gives us everything one usually sees in a LATC production, a spiritual life, a lyrical one, a non sensical extravaganza, and familial one but, at times, the production felt like three different plays rather than having the one strong through line, the comprehensive want of every single character that works seamlessly throughout the play to reach the director’s desired conclusion.  The political plan lacks focus that does not move the characters in a justifiable direction to reach that goal.  

Naytheless, sometimes the movements on stage are like a ballet with actors making transitions of time and place by moving twelve-foot walls at various angles to form a new time and a new space - compliment of Maureen Weiss’ beautiful Scenic Design. And with those movements the Projection Design by Hsuan-Kuang Hsieh solidifies the place with a solid presentation.

Claire Fraser Walsh’s work as the Costume Designer was very colorful and made everyone look good for the period. John A. Garofalo, Lighting Design, had the night very noir, and made the night of time and place very accessible.

John Zalewski, Sound Design, gives the place and the night an edge and always works wonders on this stage.   

Well into the run, the actors in this production are a bit of a mixed bag with a kaleidoscope of various acting styles contributing to the whole of the production. There is a family drama.  There is a political perspective with actors behaving as though they were in a semi-madcap farce.  Then there is an actor that performs in a way reminiscent of commedia dell’arte moving away from a structured reality, or a representation the director might have first envisioned.     

Xavi Moreno as Juan Perez gets progressively better with each performance at The Latino Theatre Company. He has created a strong character life confused by the elements of his existence trying to understand the events that are thrust upon him. He falls into place guided by the actions of others around him until he can set the tone for himself and that leads him farther down the rabbit hole so far that it’s almost impossible to pull himself up.

Esperanza America does well as Wendy Perez, a twin to Juan Perez, their relationship plays well together. Wendy is a bit righteous in her activist duties but at some point, must recognize that her actions are not helping her, her brother, or her son. Still a performance that rings true.

Randy Vasquez looks the part of small-town Mayor Alvarado with patent leather shoes, a man who will stop at nothing to get what he wants.  Alvarado, is not too smart, has convinced the voters, that he served his country proudly in the military and therefore deserves to be Mayor of Norwalk.  But even in a little community, banning the homeless in Norwalk, California is just bad form. Vasquez gets to sing in this play, and his voice was outstanding. Missing is what the character wants, a bigger political future, the girl, or a bag of money in small, unmarked bills.

Ruth Livier is Nancy Juarez, a character angry about something, needing something, wanting something but one could not grasp this character who didn’t move in a direction of support, personal initiative, or an objective that moves the character forward.  Livier has a good voice, a nice look, and has been better in other productions.  One just did not get this character or how the character envisioned herself in a year.

J. Ed Ariza is Alex Ayala an idea giver, but not an implementor. He shimmies around city hall hoping to come up with that one big idea that leads this political team to grandeur. Not a bad performance but could have gotten a lot more mileage from the makeup of this character reaching for his objective and never stopping until his goals are implemented or destroyed.

Richard Azurdia as The Law starts the production in the audience seats. Although lit, the voice came from the speakers, and the first part of his performance was lost as eyes were on the stage.   It was the voice of a first-person narrative, voice noir, and hardboiled.  Azurdia had a tan mic coming down from his hat, (Could that have been painted black?) a slight echo, wearing sunglasses at night that conveyed a darkness, possibly defining the intricacies of a corrupt city government.  But this character seemed to come from a different time and place other than a 2024 setting.   As Ricky Ortiz he was very expressive, a stylized character with ingratiating affability trying to find a place for himself and his family and in another production. the performance would have made sense, but this night the action was overkill, too broad, and definitively without a clear objective that benefits him and the path he is making for himself.   Not all was lost as Azurdia has a very good look.  He’s very expressive with huge eyes and maybe this was not the right project for him.

Valerie Rose Vega and Ulysses Montoya were understudies that did not perform on this night.

Other members of the crew are as follows:

Marissa Herrera – Choreographer

Jesus Hurtado – Assistant Scenic Design

Yaesol Jeong – Stage Manager

Alexa Mora - Assistant Stage Manager

Rey Hoffman and Hannah Creighton – Wardrobe Supervisors

May Fei (Congxiao FEI) – Production Manager

The Latino Theater Company is in its 40^th year!  Happy Anniversary! It is a welcoming theatre company and the service there, from top to bottom, is most remarkable!

 

 

 

 

 

 

  

 

 

 

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.