The Dreamer Examines His Pillow by John Patrick Shanley

Pamela Portnoy and Eric Larson

 

By Joe Straw

      

I arrived at the Odyssey Theatre early. There was plenty of parking, almost no one was there and as I looked around the room I saw a woman with a pleasant smile, returned, thank you. Others started to enter the lobby and after seating, having an amiable conversation with Showbiz Phil, suddenly the place was packed.  Looking around the room one spied to see a lot of curious attendees, students of theatre and Shanley, possibly wanting to see a version of the play they might want to perform one day.  A lot of “Tommys”, less “Donnas” and a few “Dads”.    

 

This play lends itself to a very small black box house with minimal set pieces, a change of scenery, and three actors all in favoring of keeping production costs low. That’s understandable. Actors needs a showcase, and a director needs a venue to showcase her talent.

 

PLP Odyssey Theatre presents The Dreamer Examines His Pillow by John Patrick Shanley and, directed by Anne Kathryn Parma for a very short run through February 26^th, 2023.

 

The opening of this production started in a manner which suggested that the night might be long and tenuous and seemed to eliminate dialogue that is in the version from the Dramatists Play Service.

 

James Liddell

 

 

Tommy (James Liddell) a lithe 27, is a little off kilter. Having little to show he prays to a benign benevolent being, a bug infested beat-up refrigerator filled with a few beers that unnecessarily eliminates a resplendent light.  Rolling around in his mind, and for months if not a year, he mindfully meditates the predicament he is currently in. The year is 1986 in New York City when impressively, in the dump he currently resides, all he must do is sink into his EZ-boy throne, a delipidated cathedra that sits in front of his frig, and majestically drink his beer.  Ah, what a life, but he leaves, one nasty impression, sitting in his dirty white wear waiting for the inevitable to come marching through his door.

 

Far from the inevitable, but she does, Donna (Pamela Portnoy) bangs on the door and enters in a skintight black dress, a large black belt, a few gold necklaces, one holding a key, and an off-color red adorning her nails.  She appears to be off to impress in her accentuated duds, that she pulls on repeatedly to cover her legs, but today she is as mad as a hornet. She demands a beer if only to take the edge off before she expresses a need to get something off her chest, and it’s not going to be pretty.

 

Donna is hearing stuff about her 16-year-old sister Mona (Not seen.) and Tommy.  They’ve been seeing each other for about a month but Tommy figures he is unencumbered, and every ambulatory female now is fair game.  The trouble is Mona is jailbait.

 

“That was just criminal sh*t you did outside the bounds.” – Donna

 

But Tommy is not forthcoming as to what happened.  He says no, then he says yes and if it’s yes, then that is a crime.

 

“How?  How could you do that?  Do you hate me?” – Donna

 

Tommy is the one that left the relationship.  He still says he loves her, but he is in a lot of trouble living in a dump, sleeping with her sister, and feeling slightly bad about robbing his mother. All he has is an awkward self-portrait staring at him with one big eye and the other almost shut.

 

James Liddell and Pamela Portnoy

 

 

Donna upset now; says she must talk to her father.  He lives in The Heights, and she believes he has the answer.

 

“And there may be somethin I want him to do. To you.” – Donna

 

“To me?” – Tommy

 

“That’s right.” – Donna

 

“What would you want him to do to me?” – Tommy

 

“I may want him to beat you up.” – Donna  

 

So off Donna goes to The Heights to find the man with all the answers, her dad (Eric Larson).

 

Living in “The Little Dominican Republic” side of Manhattan Dad lives much in the same way Tommy does.  He rests in his recliner, has a better kind of drink, and a few more pieces of furniture. But things aren’t fine with him. He doesn’t know where his daughter Mona (age 16) is living, and he isn’t living the grand life.  He is an artist that has given up his trade for personal reasons and he sits alone at home, with only one painting to show and money in the bank. Life can’t be all that complicated but it is going to get more complicated when Donna shows up wanting, for God knows, what?

 

John Patrick Shanley, the writer, leaves enough ambiguity in his work to have any actor make creative choices.  The door is open wide for entering Shanley’s world of creativity because the world around these characters is a world of art and these people speak a language of their own. The characters come to the point in a manner that is justifiably clear to them.  They are not succinct, and their obfuscation ultimately drives their objective to a very satisfying conclusion. Still, Shanley leaves room for dramatic interpretation that can even be performed in the extreme. Those choices are up to the director and the actors.

 

One had only slight concerns of the opening of this production particularly the opening scene where Donna storms into the room without giving pause as to what is happening to and around her.  Feel free to take that moment to give us the backstory here because that is critical. It is the anticipated wait before confronting her love. Donna must bring her history to light all in one fell swoop. Her love is most important, her loneliness, her anger, and then recognize what she has come here for. It’s no small task in the few seconds of her opening moments.   

 

That aside Anne Kathryn Parma, the director, presents us with a remarkable presentation fill with so much charm and creativity culminating with Donna sitting on her father’s lap. This one tenderly amiable moment gives us a complete understanding of the type of characters we are dealing with. It is an outstanding moment that fills one with so much joy and love, and it is a moment that propels the characters through to the final resolution.

 

Not to be so obtuse but, artistically, the play and the performances were a French chocolate croissant with a perfect cup of coffee.

 

And, if one must be critical, there are a few moments that were missed, moments that change the relationship and that were not accentuated.   Those extreme dramatic moments in this comedy were few and far between but would only help the production.   

 

James Liddell is outstanding as Tommy. Notwithstanding, conjugal fidelity is not his strong suit. Maybe, sleeping with Donna’s sister is one way of getting her back. And, let’s face it, he wants her back he just doesn’t know it. Or maybe he does. Liddell gives us some impressive work especially when the dad comes for a visit.

 

Pamela Portnoy is exceptional as Donna. Despairing reflections roll around in her mind.  She is bothered by the heinous rumors she wants confirmed if only she could get a straight answer from him.   Still, she wants him back and that’s the reason she is there. Sister or no sister, she is determined.  She may be confused but she wouldn’t be there if she didn’t feel there was a great possibility that they could have a happy life together.  That said, the “extreme pain” doesn’t come hard enough when he confesses and that sends her into a state of confusion to go running off for some answers.  

 

Eric Larson is wonderful as Dad. Arduously melancholy sitting alone in the dark, gruff on the outside as well as the inside, he leaves no stone unturned when dealing with his daughter. Figuring out life can be so simple wearing a red bath robe, a pair of comfortable slippers, and with a strong drink enveloped by his thick hands.   He knows what love is, and he knows how he wants to handle love. This works perfectly for someone that wants to help his daughter as well as someone who discovers something about himself.   

 

Landon Stephen Popadic, Stage Manager and Lighting Design had the actors speaking in shadow stage left at times.

 

There’s more to write but not much time as the show closes at 1:00pm this afternoon.  

 

Other crew members are as follows: 

 

Frances Rainaud - Stage Crew

Maulik Patel - Stage Crew

Michael Parker - Stage Crew

Brandon Norris - Lighting Tech

Andrew Cochran - Lighting Tech

Sean Moore - Photographer

Frances Rainaud - Photographer

Phil Sokoloff - Publicist

 

 

Run! Run! Run!

 

Online ticketing: http://odysseytheatre.com

Eisenhower: This Piece of Ground by Richard Hellesen

John Rubinstein - Photos by Pierre Lumiere

 

by Joe Straw

 

I met John Rubinstein about 44 years ago when he walked through the backstage door at The Pantages Theatre.

 

Fresh out of college, I managed to negotiate my way to being the doorman. I greeted everyone, made sure their names were on the list, and then moved them to the wings. Someone else took them onto the stage to sing (usually sixteen bars) before the words…

 

“Thank you!”, were uttered.

 

On this day Rubinstein was auditioning for Oklahoma! a 1979 tryout before its Broadway run.    

 

William Hammerstein the director, and Milton Rosenstock the musical director position themselves in the orchestra seats in front of the stage slightly weary from listening to hundreds of actors on this day.   

 

And when it was his time to start, Rubinstein must have seen the show because, with hands on his hips, he started singing in the off left wings, much in the same way Lawrence Guittard performed as Curly.   

 

“There’s a bright golden haze on the meadow. There’s a bright golden haze on the meadow.”

 

From the orchestra seats, I heard Hammerstein shout “Who the devil is singing?!

 

I held back a laugh and walked away.  

 

The shadows of my memory today are not entirely clear but the one thing I remembered – John’s voice - it was a beautiful sonorous sound that filled the cavernous recesses of The Pantages Theatre.  This was a talent to watch, and in hindsight I wasn’t wrong.

 

One usually doesn’t go to a one person show. At least two actors engaged in meaningful dialogue and changing their relationship though the course of a conflicted night always hits the right spot. But, after viewing hundreds of performances of one actor on stage, and not entirely convinced, I wondered how all of this would work.

 

Theatre West & New LA Repertory Company presents the world premiere of Eisenhower: This Piece of Ground by Richard Hellesen and directed by Peter Ellenstein at the Hudson Theatre through January 22, 2023.

 

A telephone rings, and rings until Eisenhower (John Rubinstein) manages to wrangle the beast.   

 

Eisenhower answers to find his friend Kevin McCann his former speech writer and the writer of Eisenhower’s biography “Man From Abilene” (1952) discussing an article written by Arthur M. Schlesinger Sr. about his ranking of 22 out of 35 presidents. (Pretty low considering.) And Eisenhower’s quick temper has got him steaming under the collar.

 

From his home, looking at the luscious green pastures of his farm in Gettysburg Pennsylvania in 1962, Eisenhower contemplates his biography concerning his presidency. He is under pressure to get the information down on tape and with Mamie, his wife, on an errand and the house to himself he turns on the tape recorder and starts espousing.  

 

That was probably was the best way to go – a steady stream of consciousness – that can be, at the end of the day, manipulated on paper to their satisfaction.  

 

Richard Hellesen, the writer, gives us a self-reflecting man seven years before the end of his life. The contemplation in his private life brings us a man who, at this point in his life, does not want to discuss the war, or his personal life that would bring his emotional life to the forefront.  Rather he would like to talk about the good he has done for the nation, and express his feelings for his adversaries, particularly Schlesinger. All of this is done on tape, speaking volubly so that nothing important is left without record. Eisenhower: This Piece of Ground is a remarkable work of art and entrancing from the moment Eisenhower enters to the moment he settles in harmony.

 

 

 

One important moment in Peter Ellenstein direction is the projection of Ida Stover Eisenhower’s wedding photograph. She is Dwight David’s mother and believed to be a woman of mixed race, and all traces of her lineage online have conveniently been omitted. There is a significant story line here that has not been touched. It is an open avenue that may have moved Eisenhower to his policy of desegregation. Giving the character a deeper emotional commitment, his invidious position told from his perspective, and addressing that policy to counter the seditious cries of the angry white Americans.  Also, left off the table (downstage right) is a neglected deck of playing cards symbolic of his love for Bridge and with that his determination for winning. Naytheless, Ellenstein’s direction is flawless, and the play is captivating from the beginning to the end. “I loved my dad.”, is an emotional reflection and is one of the finest moments you will see on any stage in Los Angeles.

 

John Rubinstein, complete with Mid-Western drawl captures the essence of Dwight David Eisenhower.  It is a superb performance of a man now beyond the spotlight and dealing with unseen publishers to get a book finished and there is that time element. But the thing that really gets to the heart of the matter is his confessions in life.  Those memories sting and they also elevate the man who contemplates the decisions he had to make for his sake and for the sake of his country. It makes for a very fine night of theatre, Rubinstein has left an indelible impression, and he is remarkable in the role.   

 

Rubinstein was playing to a standing room only crowd at The Hudson Theatre.  How remarkable is it to have an accomplished actor, a Tony Award Winner (Children of a Lesser God) performing 10 feet in front of you in a small theatre giving his best, night after night. Forty-four years later, his voice is still strong and clear, and the work is still impressive.

 

In Los Angeles no one does it alone.  These are the people who worked to get this production up on its feet.  They are as follows:

 

Joe Huppert – Projection and Sound Design

Pierre Viulleumier – Det Design Concept

Esquire Jauchem – Lighting Design

Ernest McDaniel – Stage Manager

Doug Spesert – Costume Design

Alicia Maccarone – Creative Consultant

Court Rhodes – Stage Manager

Madison Chmielewski – Assistant Stage Manager

Malcolm Wilson – Technical Supervisor

Eugene J. Hutchins - Theatre West Managing Director

Peter Ellenstein – New LA Rep, Producing Artistic Director

Dough Haverty – Graphics

Sandra Kuker – Publicist

Jacks McLaughlin – Social Media Director

Anne Taplin – Property Manager

 

Run! Run! Run! And take a history professor. This always makes for good conversation on your way home.

 

Online Tickets: www.onstage411.com/eisenhower or www.newlarep.org

 

Donations: www.newlarep.org

Bob’s Holiday Office Party by Joe Keyes and Rob Elk – The Character of Marty created by Mark Fite

 

L-R:  Peter Breitmayer, Rob Elk, Joe Keyes, Judy Heneghan, Chloe Taylor,

Johanna McKay, Andrea Hutchman, Pat Towne, and Mark Fite - Photo by Marissa Drammissi

By Joe Straw

 

Tradition means a lot and coming back for tradition feels like home.  This is the fourth time that I’ve seen Bob’s Holiday Office Party and each time it gets funnier and funnier. Tonight’s house was sold out and the patrons came prepared in all their holiday get up.  I particularly like the sparkling red shoes a woman wore on this night.

 

Bob’s Holiday Office Party written by Rob Elk and Joe Keyes, produced by Julian McMahon, Charlie Loventhal, Joe Keyes & Rob Elk is now playing at The Beverly Hills Playhouse through December 18, 2022

 

Bob Finhead E-Z Insurance Agency in Neuterburg, Iowa has been closed for some hours now. It is Friday night and the clock on the wall suggests a time of three minutes past midnight before Bob Finhead (Rob Elk) enters the office with a recent purchase of beer.

 

And, at a quick glance, the office has been fully prepared with Christmas decorations throughout. The chairs are draped in Santa Claus costumes, the walls are plastered with lifted grade school decorations, and a diminutive unevenly decorated Christmas tree stands hidden behind the couch near the record player which is later used for some satisfying holiday tunes.

 

Nigh, in the middle of the office is a big apple bobbin’ bucket of ice with canned alcoholic liquid refreshments that will be consumed during the party.

 

Still chained to the office, Bob enters the establishment and hesitantly answers a ringing telephone. Like a good neighbor he helps anyone in need.  And he does so on this night to backdate an insurance document.  He thanks his mother before saying goodnight.

 

Sheriff Joe Walker (Joe Keyes) enters the office ready to party.  He’s out of uniform, the victim of the contents of someone’s stomach.  All that remains of any type of authority is a badge he wears near his right side of his belt. Aside from a couple of people injuring themselves to the point of death it has been a slow day for law enforcement.

 

Joe, with red kerchief in his right back pocket, has the need to go.  He moves the unhinged door, drops his pants, and sit on the toilet straining and then blames Bob for his out-openness on the door he refuses to fix.

 

Joe wipes once, confidently, lifts his pants, walks into the office, cleans his hands on a large chunk of ice, and spins his red kerchief to dry his hands.

 

In an optimistic turn of events Bob tells Joe that he is going away to go to an inventing college, something he’s always wanted to do.  Case in point he demonstrates his invention: the clapper crapper as the toilet flushes.  

 

Now, this doesn’t sit too well with Joe. Understanding tradition as he does, he is a little offended by this sudden turn of events.  One might say angry, so Joe brings up Margie Mincer (Andrea Hutchman) and their clandestine meetings in the back of the Nic Nack Nook. Bob consistently denies that anything other than a friendship is at play. Still, it’s a sudden jolt down Bob Finhead’s spine.

 

That aside, Joe wants to get the party started and decides to find the others who are not there yet, on this the holiest of nights, and leaves for the time being.

 

Meanwhile Mayor Roy Mincer (Pat Towne) arrives but tells Bob he can’t stay too long he has to take care of a male house guest before they leave his wife and go on vacation. Hmmm? But, before Roy leaves, he also hints or wants to know Bob’s relationship with his wife Margie. Again, Bob denies everything.

 

Things are getting a little hot for Bob Finhead and he seriously starts thinking about the inventor’s college when Elwin Bewee (Peter Breitmayer) steps into his office. Elwin, formally known as Stinky, now a rich man comes back to Neuterburg espousing his highfalutin ideas about his life and his money.

 

But, to get to the point, Elwin presents Bob with a contract to buy out his business.  Bob’s eyes light up to the thirty-five thousand dollars offer but he says he must think about it because the party has not even started yet.  

 

Bob’s Holiday Office Party is a wonderful treat for the holidays.  It is raucous, raunchy, and riotous affair, and a whole lot of fun. There’s something new to find each year in each presentation.

 

Matt Roth, the director, brings all the backstory’s elements to the fore and then some. More focus should be assigned to the reason Bob signs the contract. What exactly pushes him over the edge?  Secondly, what is the moment when Bob discovers that he is home? These two moments highlighted and specific might add a little extra to an already exceptional show well directed endeavor.

 

L-R: Front Chloe Taylor, Rob Elk, Andrea Hutchman, 

Rear: Pat Towne, Johanna  , Judy Heneghan, Mark Fite, Joe Keyes and 

Peter Breitmayer (at Door)

 

 

Rob Elk is fantastic as Bob Finhead. Essentially, it’s about Bob wanting a change.  He is chasing a dream but living a life that has not given him the satisfaction that he so longs.  Just going through life, making do, selling insurance, scraping by, taking care of others when he has dreams of inventing that one big thing that is going to make him lots of money.  So, well, maybe it’s about the money. In the beginning, not much fazes Bob, scores of accusations are thrown his way with a little more than a brush off, but these things are settled in his decision to move elsewhere, to seek other opportunities before he discovers something unique to him. It is a grand holiday ending and a very noteworthy performance.

 

Joe Keyes is also exceptional as Sheriff Joe Walker.  He is also stuck in a quagmire, and this is his holiday release with his wife stuck in a trailer.  And does he ever have the time of his life through this party. He seriously does not want this holiday tradition to end, so he does his best to keep things the way they are if it means creating conflict.

 

Pat Towne gives us a different flavor as Mayor Roy Mincer.  It is different than the other Mayors but exceptional just as well.  And this character has a different ending than I don’t remember seeing in other productions. He makes a confession at the end the others seem to ignore or nods their heads in a generous love confirmation.

 

Peter Breitmayer presents us with another flavor as Elwin Bewee.  His performance is remarkable and captures the truly holiday foil of rich man wanting to take over everything.

 

Mark Fite gives us his all as Marty.  The remarkable thing about his performance is his ability to communicate with everyone on stage. No person is left out as he negotiates his communication skills with one character before moving on to the next.

 

Andrea Hutchman is back again as Margie Mincer, and she is just as marvelous. The orange tint to her face reminds one of a past elected official and one wonders if they visit the same salon. Everyone seems to ignore the orange glow, maybe it’s something she does often. One wonders how each would react if this were an uncommon event. There was a little something extra in her ending, a longing that could not be ignored. And that made all the difference in the world.

 

One also gets a kick out of Sirena Irwin’s performance as Carol and Brandy.  Irwin is a physically gifted actor that seems to fly all over the place. It is the highlight of the show, and one can’t wait to see her come in Bob’s office both as Carol and as Brandy.

 

Each year there is something new.  This year Judy Heneghan as LaDonna Johnson and Johanna McKay as LaVoris Johnson bring in “Joe Biden” to their rant.  The two Maga wearing conservative, now in elf suits, attack Obama as well while decorating a Cheese Wiz Christmas tree with olives, pickles, and bits of cheese. (LaVoris is an interesting name for a mouthwash.) Each are very exceptionally funny throughout.

 

J.P. Manoux (Elwin Bewee) and Chloe Taylor (Carol/Brandy) did not perform the night I was there.

 

The other member of the crew are as follows:

 

Amanda Knehans – Set Designer

 

McLoed Benson – Lighting Designer

 

Marissa Drammissi – Production Stage Manager

 

Sandra Kuker PR – Sandra Kuker-Franco – Publicity

 

Run! Run! Run! And take someone who loves to laugh. 

 

The Beverly Hills Playhouse

254 S. Robertson Blvd., Beverly Hills CA. 90211.

December 2 - 18, 2022, performances on Friday & Saturday 8pm and Sunday 7:30pm

Tickets on sale: www.onstage411.com/BHOP

 

 

 

Belleville by Amy Herzog

 

Heidi Ramee - Photos by Maria Proios

By Joe Straw

 

Abby (Heidi Ramee) seems to have everything going for her as she opens the door to the entryway of her beautiful apartment in Paris, France.  She’s young, beautiful, yoga fit, and outward appearances suggest she has the world at her feet.

 

She settles inside her apartment and walks into her bedroom.  She screams and steps back out.

 

Zach (Tomas Pais), a tall and majestic figure, walks out of the bedroom pulling up his pants.  It’s obvious they have a relationship; they are married, and she has caught him masturbating while on his computer.   

 

Abby is okay, just a little startled.  She wasn’t expecting him home so early in the day.

 

“Zach, what are you doing here?” – Abby

 

Crimson Square Theatre Company presents Belleville by Amy Herzog. Directed by Benjamin Burt, produced by Crimson Square Theatre Company in Association with Beverly Hills Playhouse & Cheshire Moon, Inc. through November 20, 2022 at the Beverly Hills Playhouse.

 

Zach, a little ruffled and unshaven, says that he was taking the day off, nothing was going on, and they wouldn’t miss him at Doctors Without Borders.  He says he must clean up, feeling a little moist, and walks into the bathroom to take a shower.

 

While in the shower Alioune (Andrew Tyree) the landlord knocks on the door. Alioune wants to speak with Zach.  Abby says Zach is in the shower, and Alioune says he’ll come back another time, but she insists that he is welcome to come in and wait.

 

Small talk on the couch as Abby gets uncomfortably and intimately close to Alioune when a towel wrapped Zach tiptoes off into the bedroom. Alioune moves away. sensing something unnatural, when Abby burst in an angry moment in the conversation that catches him off guard. Alioune manages to remain calm.

 

L - R Andrew Tyree and Thomas Pais

 

 

Zach, knowing what Alioune is there for, comes out of the bedroom and immediately heads for his stash so they can smoke together. Abby excuses herself and heads into the bedroom.

 

Although Alioune participates and is now somewhat relaxed, he is there for one purpose only, to collect the rent. He tells Zach that he has put up with him because they are friends, but he is now four months behind in rent and his boss is starting to get angry.   

 

Zach blames Abby for spending a lot of money on Christmas gifts, plus she has psychological and pharmacological issues, and Zach promises that he will get Alioune the money tomorrow.

 

Moments in this beautiful apartment suddenly become disquieting when information released puts the audience into a head spin leading us into a terrifying sense of upheaval within the relationships.  Ms. Herzog, the writer, leads us every step of the way with small moments that questions our inner beliefs as to what side we should be on. And all of this takes place within the course of a day as each bit of information is released. Why would we not believe a “doctor” when he is only trying to help his wife with all her emotional problems, the constant worrying about her pregnant sister, and talking with her dad on a regular basis? He comforts and soothes her worries, doctors her bleeding foot, and takes her phone away from her when she is intoxicated.  What?  And all is not right with the “doctor in wonderland”, head of the household, and the truly responsible financial party, becomes, within each waking moment, more emotionally terrifying especially when slipping behind the hanging beads into the kitchen only to appears with a large kitchen knife.  Every moment sends us into the terrifying ending.

 

Benjamin Burt, the director, has directed a wonderful production. Each second is carefully crafted giving us tidbit of a relationship that may not endure, and he does that one step at a time. It is rare in small theatre, or any theatre at all for that matter, that the acting is that finely tuned.  The moments accumulate to the terrifying ending, the doors are not locked, and there is no way out of that apartment. This direction of this play would rank as one of the finest works I’ve seen in a very long time.

 

Heidi Ramee is excellent as Abby. Abby has talked about going to Paris for five years before her husband decided to move them there. But while there, Abby has not tried to learn the language, she is afraid of riding on the metro, the people that bother her and the trouble she can get into. She is happy to teach her yoga classes but taking her medicine to ease her mental suffering belies something deeper in their relationship. Also, she seems totally oblivious to his job and the money they have in their bank account.

 

Tomas Pais is equally excellent as Zach a man who on the outside has many wonderful qualities. He is fit, pleasant to be around, and seems knowledgeable on many subjects including the welfare of his wife and his in-laws. His physical appearance shows the clink in his armor with the unkept hair and the scruffy beard. Certainly not the look of a gentleman, or a doctor. But things start unraveling as information comes to light and managing the information has him on edge especially when his stash of weed dwindles down to the forgotten scraps in the bottom on the can. As Zach’s world seems to shrink, he grasps his Ulna bone of his wrists and squeezes it in a very nice character trait.

 

Andrew Tyree is also exceptional as Alioune. A neighbor, a friend, a smoking buddy, and the landlord.  He is in a small dilemma first with his boss and secondly with his wife who knows nothing about his use of weed. He tries to be the best friend, but money always gets in the way.  And when his friend crosses the line there is no turning back.  Tyree is excellent in the role.

 

Olabisi Kovabel

 

 

Olabisi Kovabel is Amina, Alioune’s wife. She is at home with the baby and hardly able to come out to find out what’s going on.  But she has an inkling as to what might be happening. Amina has trouble believing that Zach is responsible and seems to take out her frustration against Abby especially when Abby is intoxicated. Kovabel has a strong presence on stage and is very enjoyable in the role.  

 

Beautiful set design was by CS Build Team and the set construction was by Thomas Pais, yes, the same man playing Zach. The work was wonderful.

 

Nancy Paley was responsible for the Wardrobe, and it did indeed look European!

 

Faye Viviana was the Executive Producer and the show was magnificently produced.  

There were also excellent sounds reverberating from various places baby noises compliments of Miles Cooper and Jeffrey Sun.  And very nice music by Jacob Yoffee.  

 

Shannon Spangler, Sean McBride, DeMarcus Brooks, and Yaya Ogun were understudies and did not perform the night I was there.

 

Other members of the crew are as follows:

 

Karla Kamm – Associate Producer

Jeffry Sun – Head Stage Manager

Derrick McDaniels – Lighting Designer

Sandra Kuker – Publicist

Jessica Ott – House Manager

Jeffrey Sun – Graphic Design

V3 Productions & Karla Kamm – Marketing/Social Media

 

You’ve got one week to see this incredible show.

 

Run! Run! Run! And take a lover.

 

For information and tickets:  www.crimsonsquare.org or www.onstage411.com/belleville or call (323) 657-5992