The Witness Room by Pedro Antonio Garcia

 

L to R_Louie Liberti, Moe Irvin, Tricia Small, Mitch Rosander, Dave Baez_Photos by Kenny Johnston

By Joe Straw

 

“But what if we get something like this?’ Eli Torres, NYPD

In a fraction of a second the tables are turned.  They thought this was an open and shut case. Now the door is so wide open because the phrase “like this”.  And this starts setting off a chain of events unnecessarily planting a nasty little seed in everyone.  “Like this?”, “like this”, “like this” repeatedly ringing in their ears loudly like the church bells in San German, Puerto Rico, coming from both ends of the courtyard, clanging “like this?”, “like this”…like…. - narrator

 

Eli Torres (Dave Baez) NYPD from Puerto Rico appears to be one of the good guys. Oh, there was the one time when he went off the handle and beat this guy so severely that, well it’s better left unsaid.  But it’s been four years and that’s all behind him now.  Not in any kind of order but, he’s turned his life around, devoted to his mother, found God, and divorced his wife.  

The world premiere of The Witness Room by Pedro Antonio Garcia and directed by Bryan Rasmussen is now playing at the Whitefire Theatre in Sherman Oaks through April 27, 2024.

Today Eli was brought together in a room with his fellow NYPD officers Sampson (Moe Irvin), TJ Moretti (Louie Liberti) and Kevin Brennan (Mitch Rosander) by Andrea Volpi (Tricia Small) a prosecutor to go over a case involving a drug bust which will determine what evidence will be suppressed when they go to trial. And it’s going to be tough because they are up against Suarez (not seen) who is a take no prisoner defense attorney.

So, steps away from the courtroom, stuck in an office, everyone must get their story straight. They all must be on the same page.  There can’t be any mistakes made when the prosecuting attorney takes them into the courtroom. There’s a lot at stake with the city, lawsuits, and previous convictions.

But, “like this”, it’s just not the case.

Volpi tells them she won’t need everyone but when Volpi comes back into the room with the disastrous testimony of officer TJ Moretti things are not looking good.

“When I object to his questions, don’t f**king answer.” – Volpi

Volpi comes across as Matilda the Hun (a distant relative to Attila) or Superwoman because she likes winning at all costs. For her to do this she must get the others prepared to say what she needs them to say and laying into TJ Moretti is her first order of business.

“Well now you’ve screwed up your testimony because you keep tripping over your d*ck.” – Volpi

It’s true TJ had a rough outing, going a little overboard and almost “wetting” himself on the witness stand.

But now things are getting serious because Volpi says that Suarez and his connection to the Latino politicians are trying to set up crooked police officers that are “manufacturing reasons to illegally break into apartments of innocent people.”

The stakes for Volpi to win this case is critical.  If the evidence is suppressed the case will be thrown out. And if they lose, and are sued, they can only guess what it will do to their careers. All in all, the outcome is not looking promising.  

But Eli’s not falling in line.  He may not be called into today’s hearing but if he is called out, he will speak the truth as he knows it, and this is not sitting well with the others.

All the characters have a lot to lose in Pedro Antonio Garcia’s outstanding play. Sampson, a narcotics cop, a man that flies off the handle, is looking to move up to detective but needs to achieve despite the personal garbage he carries with his past. TJ Moretti is biding his time on the force, once a detective demoted to essentially a traffic cop, and now has zero credibility. Kevin has had a dubious alcoholic past and lacks integrity. And the one person that all are looking up to has some doubts about the arrest.  The ending is curious as to who eventually has the advantage the attorney or the police office. The dialogue is smooth, a listening party, sometimes nasty, often shady, and lots of fun.

Bryan Rasmussen, director, has an unusual visual style keeping his performers comfortable in their space. TJ downstage right, Terrence Sampson upstage right, Andrea Volpi center stage, Kevin Brennan upstage left and Eli Torres downstage center.  At times the performers gather around the table as though it were the last supper with Volpi being Jesus. Rasmussen gets solid performances from the actors, the moments hit hard and strong, and the play flows magnificently. That said, the gun needs to find a better way to work in the scene, one that feels comfortable to all. Now it strains credulity in the hands of a people in desperation mode and finally in the hands of an experienced police officer who is either completely emotionally disconnected, or purposefully knows exactly what he is doing to get his way.  

Dave Baez and Tricia Small

 

Tricia Small is smart, focused, and really pays attention to details as Volpi.  She holds her own in a room full of men, scraping for every advantage she can get, understanding the exigency of the day’s outcome. But is Volpi an attorney you can trust?  And how can she be sure Torres will come through? This is a wonderful performance and one that will live on in the audience that have seen it and ones that will witness it.  

Something is pushing Dave Baez as Eli Torres to do what he does.  Currently, he is emotionally unstable.  His mother, receiving his undying love, is an addict and is a sore spot in his being. He is also showing signs of addiction, taking Valium.   The woman now his ex-wife is fighting him for custody of their nine-year-old daughter, she is thinking of moving back to Puerto Rico, and the prosecuting attorney is on him to protect the livelihood of her and the three other officers. But there’s this little thing in his work called truth that stands in the way. There is a lot of pain here to overcome and to express onstage and although Baez is physically excellent in the role there may be more in his quietism to add to get to the point of the gun that needs exploration. One would like to see a little bit of ambiguity in his final decision that sends every one out of the meeting room in various stages mental anguish.  

 

L - R _Louie Liberti, Moe Irvin, Mitch Rosander

Moe Irvin has a pleasant demeanor on stage as Terrence Sampson a go along, get along attitude but he really knows how to push other people’s buttons. He’s got a lot of baggage to overcome, his military service (dishonorable discharge, and civil complaints) so he’s no saint. Possibly a lot of incidents against him may be race related.  Although he wants to become a detective, he doesn’t move in that direction. He arrives to court wearing a Knicks jersey, tennis shoes, and packing his service firearm.  He may not be dressing for success and that may be part of the character. But one thinks a better choice would be to move in that direction of his soon to be promotion, be smarter, faster, quicker than the others, more intact because the stakes for him become higher when he is fighting for a better position in life.

Louie Liberti has a lot to lose as TJ Moretti.  He may be moving toward the end of his career and on the force if the event of the outcome is not favorable.  His demotion is a despairing reflection that he is hanging on by a thread and it has caused him to be unsure in the ways he moves about life. He still hangs on to his detective wear, a coat and tie, possibly with the hope of seeing another light of day. Moretti still has his pride, and he is counting on others to help him get through to retirement. Moretti may not be the smartest in the room but those thinking moments give Liberti a lot of good work in his performance and a lot of things to think about while he is negotiation the room.  

Mitch Rosander has got a very good look as the Irish cop Kevin Brennan, looking more like an undercover cop, wearing a skull cap, and a swizzle stick hanging from his mouth. He is fighting his addiction to alcohol and could possibly be the reason he is staying on the straight and narrow. They call him the professor because he knows the ins and outs of everything. Unfortunately, he’s run into trouble with garnished wages for child support. (That’s not good.) And he’s been known to stray from the truth and that has got him into a lot of trouble.  He also doesn’t buy anyone drinks. Kevin has lost his faith and questions why anyone who believes would go against the blue code. Rosander does a good job in the role, always questioning but must use his wiles to affect a greater change whether it happens or not.

Run! Run! Run!

Other members of the crew are as follows:

Jeff G. Rack – Set Design

Derrick McDaniel – Lighting Design

Mitch Rosander – Sound Design & Production Manager

Laura Tiefer – Costume Design

Banzai Vitale – Fight Choreography

Michele King – Graphic Design

Nora Feldman – Publicist

Victoria Hoffman – Casting Director

Tickets: whitefiretheatre.com

Whitefire Theatre

13500 Ventura Blvd.

Sherman Oaks, CA. 91423

An Evening of One-Acts by Ethan Coen

L - R Scott Thiede, Elliot White, and Eden Rousso

 

 

By Joe Straw

 

The 905 Cole Theatre in Hollywood is a perfect place to see small theatre.  It is easy to get to and there is plenty of street parking if you get there early enough. It’s just south of what’s left of Theatre Row on Santa Monica Boulevard.

On the bill tonight “An Evening of One-Acts by Ethan Coen”.  If you’re a fan of the Coen Brothers movies, then this may be for you.  One was interested to see if Ethan Coen’s work of outrageous characters in film translates to the character work on stage.      

Foster Cat Production’s Festival of Jewish Playwrights is presenting a series of one-acts written by three writers including Shel Silverstein, and Wendy Wasserstein. Tonight was Ethan Coen.  

In Peer Review, in a pretty blue shirt, Elliot (Elliot White) has gotten a bad job review from his present-day employer. His day-to-day ritual includes putting out negative waves that has festered into a bad case of job insecurity. The outlook for his current employment at this firm is not looking good. So, before the guillotine drops, he confronts his workmates, one supposes to get the feeling of what exactly went wrong.    

Not to say anything negative but the other workers are as bad or worse than Elliot in their menial jobs.  Keeping a low profile seems to be the order of the day. Except for a woman with an insatiable appetite Laura (Eden Rousso) who, at times, has a different co-worker crawling out from under her desk including Mark (Will Fulginiti) and Carl (Scott Thiede).

Cassady (Cooper McAdoo) plays a man that appears to be in human resources and trying to take control of Elliot.

In Talking Cure, Laurie (Sarah Natochenny) and her Doctor (Elliot White) attempt to have a serious conversation about why she is in the place she is in. Laurie has committed a crime which has got her in trouble and possibly incarcerated.  Getting out will be how far they progress in their sessions. One aspect of her life has us traveling back in time to her parents, an abusive Husband (Cooper McAdoo) and his wife (Eden Rousso) in a 1956 setting.

In Debate, two actors go at it.  God Who Judges (Harry White) wearing a white robe, sandals, and sporting an unkempt long white beard, versus God Who Loves (Will Fulginiti), God #2, evangelistic, coat and tie, each battling for the hearts and minds over their followers. And then, over differences, they battle each other before one kills the other when an Angel (Elliot White) enters exclaiming “Oh my God!”.  We find out they are performing in a very small theatre to an audience of two.

Young Man (Scott Thiede) and Young Woman (Eden Rousso) leave the theatre and go out to eat and discuss the play.

Lady Friend (Sarah Natochenny) meeting the God Who Judges Actor enters the same restaurant and waits for him anticipating the wonderful repartee about his performance.  

Life, not imitating art, God Who Judges Actor in the process of coming down from his work (Actors!), confronts the Maitre’d (Cooper McAdoo) who is having girlfriend issues before all hell breaks loose.

Ethan Coen characters takes matters to the extreme, they are three dimensional, and they are presented to you in agonizing and amusing ways.  One may not always like them, but they all have a biting edge. The significant thing about his one-acts are the words that leaves the characters room to breathe, that exercises a connection, before venturing off to capture a moment. His work is superior.

But not everything worked on this night in Peer Review. Adjustments are needed to a take the characters to the extreme and carefully examen the conflict in each vignette. For example, Laura is not listening because she has a physical distraction under the table.  Adding that extreme life before the encounter, during, and then after the encounter will help the characters get more mileage in the scene.   Also, Cassady, throwing the ball in the air, does not highlight the conflict or move the scene in the manner of his that resolves his objective.  

Also, as an aside, there is something funny about the blue stapler that matches the color of Elliot’s shirt that is purposefully left on the table.  One is not sure what it meant, but it was funny.

Sarah Natochenny

 

In Talking Cure, the conversation between Laurie and the Doctor, is smart, and the execution is incomparable. The Doctor moves with such precision, as though the actor were a qualified practitioner. Their jousting was real and their conflict sincere. (An ecossaise waiting for the music.)   A stunning Sarah Natochenny works her magic and Elliot White has an overpowering sincerity to his work. Tying the Husband and Wife is a little confusing and maybe there is a better way of connecting that relationship on stage.

Harry White

 

One favors The Debate as the best of the night as it reaches all things Ethan Coen. This play gives you the best of little theatre, the characters, and the life they experience after an exhausting theatrical night. Harry White as God Who Judges was exceptional with a powerful voice that reaches the back of the theatre, and he is also very funny.  Will Fulginiti is perfect as God Who Loves with his clear and persuasive voice and there is something amazing in his clarity and delivery.  Cooper Mcadoo as the Maitre’d looks nothing like his photo in the program, but he gives a terrific and very funny performance in this piece.

Foster Cat Productions, and Jan McAdoo are new to me.   Harry and Elliot White, the artistic directors are also the directors of the night. Their work had some very clever touches, and this was true throughout the night. One can also say these are an exceptional group of actors. Their manner of communication is exquisite, simple, and plain spoken.  They all shined in their own unusual way, and it was an outstanding showcase and a brilliant night for all involved.

An Evening of One-Acts by Ethan Coen (60 mins) DATES: Sat, 3/2 - Fri, 3/8 - Fri 3/15 - Sat, 3/23 - Sun, 3/31 - Fri, 4/5 - Sun, 4/7

https://www.onstage411.com/newsite/show/play_info.asp?show_id=6430

It’s Only A Show by Charles Nelson Reilly and Paul Linke

 

Paul Linke - Photo by Patricia Highsmith

By Joe Straw 

Living and breathing in Los Angeles for many years I have heard the name Paul Linke.  Paul Linke this, Paul Linke that, Paul Linke preformed this, Paul Linke directed that, and written by, who else, Paul Linke. So, I thought that maybe after hearing his name a thousand times or feeling his name around the nether region of my encephalon, albeit occupying a soft space, that I should finally go and see him because of, well, time.

The Ruskin Group Theatre Company presents “It’s Only a Show” directed by Edward Edwards, produced by Michael R. Myers & John Ruskin.

Parking is free!

The Ruskin Group Theatre is a wonderful venue and the people there are as pleasant as can be from the actor selling cookies to the box office woman selling the tickets. When asked if she had seen the show, she said, “Be prepared to cry.”

Reflecting, one thought that Charles Nelson Reilly was supposed to be funny. Naytheless, knowing that comedy is also rooted by deep gut-wrenching personal tragedies one should expect to release a myriad of emotions.  

Not thinking much about the name, the program on this night, specifically, the spelling of his name - “Riley” not “Reilly” - and after fact checking it is “Reilly”. Possibly a humorous typo serving a purpose or, a bit of fun before the show starts.

One saw a portion of “The Life of Reilly” filmed in 2004 by Charles Nelson Reilly a first-person narrative about this life. Linke’s performance is not an imitation. But he plays this as a third person narrative, switching to first person when he is speaking about himself and interacting with the audience.

One goes to see few one person shows liking to see conflict between two or more people and relating in ways that are peculiar and interesting. But Paul has done “37 years of solo performing” so one thinks that he has got this type of acting down pat. 

And, he does.

The set on this night appears to be for another show. There are a few props and set pieces, a director’s chair, a small stand next to it, a cup of water and a clipboard. A few small things to give us the feeling of a stage where an artist will use his vocal prowess to paint the stage.

And, he does.

Paul Linke manages to capture Reilly’s life and does so exquisitely.  Gamboling in casual wear, he takes the stage to paint a vibrant picture and lays it out on the canvas for us to see, first in small increments, until an ethereal smile crosses our lips and a warmness envelope our entire sphere. His voice is strong, and the pauses leaves one breathless as he places a dramatic stamp on the canvas. The historical figures are all there, now only small impressions visibly throwing out big thoughts enough to be seen and felt. Reilly’s dreams are captured and realized through Linke’s instrument.  

“This place is for you!”

“You’ve got to learn how to do this.”

“They don’t put queers on tv.”

The ups and downs are dramatic enough, moving us through this life of Reilly, and watching as the man becomes the master of multiple crafts, an actor, a writer, and a director.  

And, it is all so wonderful.

It’s hard to see where Charles Nelson Reilly’s writing begins and Paul Linke’s writing end.  The two are enmeshed in exquisite humor playing, dancing, and recounting events in time and space.  And the spoken pictures that take you to the Bronx are beautiful.

Edward Edwards directs this very fine production almost to perfection. The notes were hit, the pauses left one to contemplate, and the movement on stage was dramatic enough to believe the characters were all in the room. The racists mother, the artistic and alcoholic father, and the inspiring teacher who would not give up on Charles’s mother.   They fill the canvas beautifully until the lights come up and the images slowly become evanescent, a scenic slot etched in the recesses of our memory.  

When leaving the Ruskin, one can’t feel more enthusiastic about theatre in Los Angeles, the craft, and what actors are willing to give that serves to touch a deep emotional core. Paul Linke does all this and more in “It’s Only A Show!”. 

Other member of this delightful show are as follows:

Nicole Millar - Stage Manager

Ed Salas - Sound and Lighting Design

Judith Borne - Publicity

Austin Highsmith - Social Media

Amelia Mulkey - Graphic Design

The show ends today, so...Run! Run! Run!

 It’s Only a Show!" runs at 5pm on Saturdays through March 23, 2024. Ruskin Group Theatre is located at 3000 Airport Avenue, Santa Monica, CA 90405. Tickets: $20 - $30 ($5 off seniors/students/guild, and groups of 6 or more) at www.ruskingrouptheatre.com or by calling (310) 397-3244.

 

Henry V by William Shakespeare

 

By Joe Straw 

I took a two-and-a-half-hour ride out of Los Angeles to see musical maven Sophia Joy perform in Henry V by William Shakespeare.  Yes, in this version of Henry V beautiful singing envelops the theatre. (Original Music Composition by Michael Wilkins), and there was a lot more to enjoy in this Pacific Conservatory Theatre’s version of a Shakespeare play at Allan Hancock College in Santa Maria, California. - narrator

A work light highlights the center stage, attached by a modern-day electrical cord that runs off stage left keeping onlookers in the present day. The emitted glow separates two chairs, stage right is England with its lion red flag, a majestic chair, and stage left a blue flag with its Fleur-de-lye overhangs the less opulent chair of France.

An innocuous curtain drapes the upstage wall giving the appearance of majestic surroundings.  They bear little weight taking a backseat to the instruments of war - swords and spears – that showcases the might of the military ready in purpose for a time to use when that use is near.  

And then, the Chorus (Andrew Philpot) takes away the present (the light) and escorts us into the distance past. He describes the empty space soon to be employed by two “mighty monarchies” England and France, use your (the audience) imagination, and set your mind to the events that are about to unfold in the space provided. He says things won’t be perfect, allow for it, but implores that you use the force of your imagination to create the past, but, only in the safety of your own seat, to hear, and then to judge.

No need for a flint rock to start a fire as the church intimately ignites the sparks for war, the Archbishop of Canterbury (Don Stewart) and the Bishop of Ely (Peter Hadres) speak discreetly as they raise concerns about their wealth and possibly about the wealth of their nation. They note that Henry V (Emily Trask), turned king at twenty-seven, has had a change in temperament in his attitude toward France. The Christians souls, seeking power, claiming the power of divinity, that divinity in him is growing, and he is the rightful heir to his great grandfather’s land.

Canterbury hints that Katherine (Molly Dobbs), the youngest daughter of Charles VI, King of France (Michael Gould) and Isabel, Queen of France (Kitty Balay) cannot succeed the throne because of Salic law. Canterbury claims through a litany of justifications that Henry will be the rightful heir to the throne and the land they call France.

England’s prior wars with France was something that had never been easy, a sinister lull now, but regrettably, once again, they are moving in that direction. To act Henry V must take care of the dissension in his ranks, weeds among the roses, Earl of Cambridge (Jason Wells), Lord Scrope (Justin Roslinda) and Sir Thomas Grey (Reid Gregory) are found guilty of treason and sentenced to imposed silence (death).  That should do the trick.

And, as the wind of war moves south through the island of England, the French Ambassadors (Annabelle Oglesby, and Andrew Missael Banderas) now visiting are trying to defuse King Henry’s intention but make a mess of the situation offering tennis balls as an insult to Henry V’s juvenile way of life. For their gratuitous impertinence, Henry V suggest the trivial donations will fall as “gun stones” making many widows of their citizens. It is a threat the ambassadors take seriously and don’t look upon kindly.  Naytheless, Henry dismisses the French ambassadors with wishes for a safe trip home.

And with purpose and the belief that God is on his side, King Henry V inches toward France.

In plain spoken language The Chorus tells us the young are excited for war.  “They sell their pasture to buy the horse,” in their willingness to take France. Word is the French shake in fear on the intelligence that England is ready to invade. Chorus tells us they will take us first to Southampton and then on to France.  

Duke of Exeter (Erik Stein) uncle to King Henry V is sent to France to tell The King of France to resign his crown and kingdom and if he does not “bloody constraints” will follow. Alas, Exeter lacks the sensitively required as an honored guest in a foreign country and throws more wood on this dangerous fire than need be.

All in all, the night was terrific and there was a sizeable crowd in this 448-seating capacity theatre. This cast of 46 supported a cast of characters of approximately 52 actors. The actors are teachers (professional actors) and conservatory students (actors learning their craft).

This a truncated version of Henry V, Mark Booher, the director kept the night lively and had his take on the events of the night that includes an original music composition by Michael Wilkins that bookended the night. The march to war seems to be the inevitable conclusion in Booher’s through line without the cautionary tale of dissension and conflict among the rank and file that would provide more conflict in this version.  The war scenes by fight director George Walker were realistic and moved the battle through France to victory at Agincourt.

Emily Trask plays a fresh-faced Henry V in this version. There is much to enjoy, and particularly the rousing speeches.  There are also some very nice actions in the intimate scenes where Henry doesn’t have to say much but whole heartedly implies his power in quiet fortitude.

Andrew Philpot does justice to Chorus in setting the scene.

Erik Stein and his size gives power and strength as the Duke of Exeter, uncle to the king.

There may be more to add to the character of Pistol played by Peter Hadres and the way he negotiates life, possibly to the extreme to overcome his lack of intelligence or better yet schooling. Still, there is some good work going on here.

Don Stewart is the Archbishop of Canterbury. There may be more to add as a person of religion that moves to fight, or to get his country to fight in his stead so that the church can reap the benefits of a war.

George Walker is Captain Fluellen, a Welsch man, a comic foil, with a vociferous voice and incongruous ideas who seems to make up words as he goes along. This is a character that can be taken to extremes, the farther the better, while fighting for his objective in the most amusing way possible.

Molly Dobbs is captivating as Katherine. Her eye-opening performance was remarkable, and the manner of her character, her voice, and movement were supremely and brilliantly implemented.  One rarely comes across an actor that gives so much with so little time on stage. Dobbs is also complemented by Gillian Rains who plays her mistress Alice.  Their French was marvelous!

Alexander Pimentel played Michael Williams as an angry man with the exchange of the glove. This role can be played many ways and anger may be one of those ways, but we really must know where lies the origin of his anger. It is an eternal thing and the thing he needs to show us, without telling us. One supposes that he is readying himself for the fight that is to come the following day and all of that that includes thinking about friends and family. Why would he fight?  Because he loves! That said, Pimentel exudes strength and dynamic passion in his presence on stage.

Kitty Balay as Isabel Queen of France and Mistress Quickly is superior in both roles. There is a fascination in her manner as Mistress Quicky, the way she communicates, and her physical presence that moves truthfully in every word she speaks.  It is dynamic, forceful, and pleasing in every aspect of her craft.  

Chiya Newman is very surprising as the Boy, a scrubby, dirty little street urchin that prowls obliquely in a direction with a purpose. It is a define character with unusual traits that lifts the character beyond his mere presence and human miseries. (If those around him had treated him like a king the Boy would have gotten a lot more mileage in this production.) Still, this was a remarkable performance.

The play would not be as successful without the support of the fine players who gave sustenance to the dramatic flow of the play.  They are as follows: Rosie Quintana, Jessica Peters, Amanda Adair Russell, Nolan LeMay, Sophia Joy, Griffin Hanson, Hunter Oehlschlaeger, Holland Rolapp, Michael Gould, Sophia Rhiannon Long, Joshua Tiede, Alexis Rosinsky, Joshua Oscar, Ava Lovelace, Lucas Bennett, Lily Cameron,l Joey Orozco, Gideon Feinstein, Andrew Missael Banderas, Nikolas Fawcett, Courtney Ekstrom, Christian McCooey, Annabelle Oglesby, Renee Ortega, Alexander Kasten, Haroute Giragossian, Stella Cricket McSween, Hadley Nelson, Katie Turton and Aeiden Camacho who suffered an injury and did not perform on this night.

Members of the creative team are as follows:

Klara Wilson – Costume Designer

Cody Soper – Lighting Designer

Kevin Dudley – Scenic Designer

Tony Angelini – Sound Designer

Andrew Philpot – Text Coach

Rebekah Carrier – Stage Manager

It takes a village to put on a production as lavish as this and the members of the production crew are as follows:

Klara Wilson – Costume Shop Manager

Tracee Bear – Assistant Costume Shop Manager

Caroline Rein – Assistant Costume Shop Manager

Jacqueline Heimel – Costume Crafts Supervisor

Corbin Vickers – First Hand

Stacey Haslam – Wardrobe Supervisor

Noah Jackson, Sophie Kirby, Jessie Kirkwood, Kara Rosner – Wardrobe Crew

Krys Newbury – Assistant Lighting Designer

Paige Lutkus – Assistant Lead Electrician

Donna Cantu – Light Board Operator

Abby Hogan – Scenic Charge

Lou Forehand – A2 Playback Operator

Tim Hogan – Properties Director

Erin Golden – Assistant Properties Director

Faye Quintero Nuñez, Wednesday Castaneda, Perse Jones – Props

Jacob Woolworth – Technical Director

Mark Fernandez – Scene Shop Supervisor

Daniel Barron Velasquez – Lead Carpenter

Natalie Bordwell, Lex Gonzalez, Ryan Satterfield – Deck Crew

Matt MacPherson – Poster Design

Lunabella Levin, Kahvi Zvalenko, Kiara Plaza, Victor Meneses – Marketing Crew

David George – Assistant Stage Manager

Frankie Jensen, Abi Frugé – Production Assistants

Rosie Quintana – Assistant Music Director

Alexander Pimentel, Molly Dobbs, Nolan LeMay – Assistant Fight Choreographer

Griffin Hanson, Jason Wells – Fight Captains

Michael Tremblay – French Language Coach

 

To donate to this very worthy educational cause please go to:  https://secure.qgiv.com/for/pacconservatheatr/

Or, if you have the resources and have it in your heart to mail a check please send to:

PCPA – Pacific Conservatory Theatre

800 S. College Drive

Santa Maria, CA. 93454-6339

 

Brushstroke by John Ross Bowie

 

L - R James Urbaniak and Malcolm Barrett - Photos by Zoe Tiller

By Joe Straw

 

I loved spy vs spy in the Mad comic books.  I don’t know why, I just did. - narrator

 

Jeremy Win presents a visiting production at the Odyssey Theatre, the world premiere of Brushstroke written by John Ross Bowie and directed by Casey Stangl through March 3, 2024.

 

Rain pours down on a studio window outside a lower east side loft. The place is not as majestic, as some lofts can be but then again this is an artist’s loft, dripping lines of dry paint splatter not only the canvas but everywhere, unfinished canvases are propped against the walls, and other frames haphazardly hang against the studio walls or above the unkempt door frame. After a quick purview, the studio is a masterpiece of sorts, browns and dirty greys canvas the window where acid raindrops drip down the windowpane of this Lower East Side of Manhattan space during the year of someone’s lord 1956.  (A beautiful set design by Keith Mitchell.)

 

In any case, the setting was cold, almost uninhabitable, except for the lone man sitting in the dark his eyes barely visible, stiff right leg extended Ted (James Urbaniak) waits for a patron to step into his studio, look at his work, give a few comments, and maybe say a kind word or two about his paintings before getting the hell out. The magic, he believes, lies beyond the “fourth wall” of his studio hoping that today is his lucky day.  

 

Marvin (Malcolm Barrett), is, was a student, a Yale graduate, an art history major, certainly not one to understand the finer points of abstract expressionism or cubism to know if it is a masterpiece.  He is apologetic, to the tenth degree, in his misrepresentation of someone who does know art, more so in his manner of conducting himself, so apologetic that he is summarily squeamish. And although his presentation is an educated one, one can clearly see that his presentation lacks the sincerity of his own money later displayed by the hole underneath his right arm in his suit.  

 

(It is an element of this presentation that makes the play that much more fascinating.)

 

Marvin tells Ted his plan of showcasing American artists through his organization the Congress for Cultural Freedom and developing those who have the potential to become something more than the ordinary, a small step forward battling the communists gains in the east.  Marvin discloses to Ted that he has money to buy.  Ted introduces himself as the artist who has signed the paintings and tells him that the work is, in fact, part of a series.

 

L - R Brendan Hines and Malcolm Barrett

 

 

The windowpanes slide open to reveal a setting in park, possibly Washington Square, where his contact Allan (Brendan Hines) inconspicuously takes in a pre-springtime day. Marvin also unremarkably sits on the bench next to him as Allan speaks in code.  Marvin moves beyond that only to be warned to keep the conversation discreet and on target as discussed.

 

Marvin returns to the studio and meets Ted’s sister Susan (Evangeline Edwards). Greek music is playing on the record player and they both dance to the tune, Marvin embarrassingly so, but giving it his best shot.

 

The play Brushstroke by John Ross Bowie is exceptional, smartly written, and weaves a story filled with ambiguity and hidden agendas.  The characters objectives are very subtle, living their lives and taking orders like good subordinates.  Their actions are devious at times and a play that one thinks about the outcome long after leaving the theatre. Each character has, in their own way, an undisclosed purpose, an objective.  Getting out of their predicament alive is probably what they all hope for. Tragically, a mistake was made, or possibly an accumulation of mistakes that ultimately makes this piece a tragedy despite it being billed as a comedy thriller. There’s more here than meets the eye. Bowie’s work is very clever.

 

Overall, very good work by director Casey Stangl, strong character work, the acting is first rate, beautifully constructed that ultimately elevates the night. One might say there is an unseen force that guides all the participants which makes this a fascinating night of theatre. But the night might also require accentuating the moments that need defining, moments that elevates the through line to a satisfying conclusion. One, is the love relationship that doesn’t go far enough for the audience (me) to understand Susan’s final action. Secondly, Marvin’s action need definition to show us how Marvin gets into trouble.

 

James Urbaniak (Ted) gives a spirited performance.  Ted has been given a job, but he is entirely misrepresented.  He is not really the person he claims to be which he plays to the hilt, ordering his assistant/sister to do the work of a maid could they afford one. Ted, on some kind of power trip, appears to be testing the man buying his artwork and stops at no end to get the desired effect. There’s a lot going on with the character and it’s difficult to find the answer in a character that moves in uninhabitable circles.

 

Malcolm Barrett gives a grand physical life as Marvin, a nebbish spy coming out from the cold, a rookie in a world of players.  He creates this grand physical life of the character but as he steps out of frame, smoking dope, drinking, we never get the danger from the problem he has gotten himself into and how he tries to overcome his predicament. There may be another level of awareness that may give this character additional life. Also, there may be more to have with his relationship to the woman which stops short of being any kind of love, much less a romantic one. Still, some excellent work.

 

Brendan Hines is impressive as Allan, stanch and conservative with some of a bossy mean streak, all the making of a remarkable character. After one viewing it’s difficult to determine the objective of this character and how he benefits from his last action. 

L - R Evangeline Edwards and Malcolm Barrett

 

 

Evangeline Edwards is stunning as Susan. Her voice is rich, and her manner is unpredictable, certainly what is needed in a play loaded with spies. She has a definitive presence and a remarkable flair for handling the mundane while creatively making it her own. Susan moves about the stage with a secret that she is not about to unload until the precise time, or the precise time of her choosing and until she hurriedly makes her final exit.  Her final action is ambiguous, underwritten by someone she probably doesn’t even know, which makes it ultimately a fascinating night of theatre.

 

Jeremy Wein is the marvelous producer of this show.  The entire look of the production is something one doesn’t see on the smaller stages in Los Angeles. The work is wonderful.

 

Denise and Lon Bevers are the co-producers of this very fine production.

 

Futurehome is listed at the associate producers – Founder Josh Sobel, partner BK Dawson.

 

Other members of this outstanding crew are as follows:

 

Soran Schwartz – Lighting Design

Marc Antonio Pritchett – Sound Design & Fight Coordination

Christine Cover Ferro – Costume Design

Joyce Hutter – Property Design

Lexie Secrist – Production Stage Manager

Andrew Blahak – Assistant State Manager

 

Run! Run! Run!

 

https://odysseytheatre.com/tickets/?cid+111850

 

Box Office at 310-477-2055 x 2