Hungry Woman by Josefina López

By Joe Straw

I guess the Eiffel Tower is the center of the world; you’re bound to run into someone from your past. – Josefina Lopez – Hungry Woman in Paris

I want to go to Paris, La Ville-Lumière – it’s plain and simple.  I love the French people; they are “so French”.  I worked with Parisians Roland Petit and Zizi Jeanmaire of the Ballet de Marseilles. I fell in love with a beautiful French ballerina, which was sadly, unrequited, and sent me into a downward spiral for two whole days.

Still I always wanted to go.  Going to Paris was the trip that my wife and I spoke about – planning a trip to the Eiffel Tower, the Louvre, Musée Rodin, Notre Dame de Paris, viewing the French artworks masters François Boucher, Jacques-Louis David, Théodore Géricault, Jean-Auguste-Dominique Ingres, Henri de Toulouse-Lautrec, Claude Monet, and Alfred Sisley – and then she became my ex-wife.  Longer spiral.

All right, so that’s not going to happen, at least not with her, but the next best thing is going to Casa 0101 in Boyle Heights to see the World Premier of Hungry Woman, based on the novel, Hungry Woman in Paris (2009) wonderfully written by Josefina Lopez, and marvelously directed by Corky Dominguez.  It features a wonderful simple all-purpose set by Set Designer Cesar Holguin, and beautiful costumes by Costume Designer Anthony Villarreal. In short, it is manifique!

It’s almost like being in Paris and, for the time being, I’m completely satisfied.

Josefina Lopez gives us Paris and she does it with witty dialogue and a grand sense of the place, not only in Paris, but back home in Los Angeles as well.  The characters of this play, based on her novel Hungry Woman in Paris (2009), jumps out at you like the dancers of the Lido Champs-Elysées, because they are so full of color, life, and humanly want.

Canela (Rachel González) is a strong willed woman who takes us on an introspective journey of her life, from Los Angeles to Paris and back again to Los Angeles.  She is hungry and is always on the lookout for food, lovers, jobs, or a mentally rewarding cap on her writing career.  She is engaged to be married, but ambivalent knowing that marriage is not what she most desires.  She wants a richer life, amelioration, for a greater emotional, spiritual, and physical existence.  

“This is either the longest suicide note in history or the juiciest, dirtiest, most delicious confession you’ll ever hear.” – Canela

Canela’s Mother (Linda López) only wants what is best for her so she delightfully tries to get Canela married off to Armando (Juan Parada), a doctor, and nags her to get the job done.  

But Canela has called off the wedding, despite her mother’s desires. Something having to do with battling her future mother-in-law about the wedding menu.  Canela knows her mother is getting old and is dying a very slow death waiting for her daughter to marry.  Still that doesn’t stop Canela’s mother from trying her best to get a permanent ring on Canela’s finger, even if it kills her.

And speaking of killing, death brings out the worst in people.  Canela is at the funeral for her cousin and best friend, Luna.  The gossip is that Luna had overdosed on six Cokes.  For a lot of people, death, and the coming together, is the last meeting to get your emphatic point across to someone who you feel just does not get it. 

And Canela is no different from the rest of us. She sets the record straight with her mother, her Tia Bonifacia (Ronnie Valentine), and anyone else within earshot. And if it means coming to blows, so be it.

But expressing her unequivocal views has its consequences.

“Now I understand why your fiancé dumped you.” – Tia Bonifacia

“Then I must congratulate your husband for being a saint and staying with you…Oh wait, he’s cheated on you with your neighbor, your cousin, and even your own sister.” - Canela

“Somebody hold my earrings” – Tia Bonifacia

Tia, ready to snatch Canela baldheaded, is held off by the others.

When things calm down, Tia Lucia gives Canelas’s mother a letter written by the late Luna for Canela and Canela’s mother slips it into her bra.  In fact, a lot of important things are slipped into the bras of this family.  It seems to be an important physical family trait.   

Canela lies in bed contemplating the unthinkable.  La Calaca Flaca (Mary Mendoza), La Santa Muerte or death spirit is a gentle guiding force that wants her to commit suicide. Just what Canela needs! La Calaca Flaca gives her the sleeping pills and tells her that it’s okay, come on over. Yes, it’s true Luna is dead and gone, so Canela must join her one true friend. 

But after taking, not one but four pills, Canela remember that she has tickets to fly to Paris for her honeymoon.  And since there is no honeymoon and no husband, the tickets and honeymoon suite are paid for, and Bush just got re-elected, eh, why not?

So Canela flies to Paris and checks herself into the honeymoon suite ignoring the scrum of the French locals. After her two weeks, she doesn’t want to return. So her friend Rosemary (Amber Rivera) lets her stay with her in a small servants quarter.

But Rosemary’s mother suddenly dies and Rosemary leaves Canela in the apartment allowing her to have an extended stay in Paris.

Canela can’t stay too long without becoming undocumented in Paris so she finds out she can stay longer by enrolling in cooking school.

And with a purpose and more time in this year long program Canela finds a way to satisfy her hunger for food, emotional, and physical wants.  And in the back of her mind she wants to know why her cousin killed herself not knowing Luna has left her a final note.  And Canela’s mother holds onto the note, waiting for Canela to come back to get her life in order.    

There are a number of outstanding performances in this production, which flows along seamlessly from one scene to another, and this production for the most part soars. Could this be made into a movie?  Yes, I think it could and should.

Rachel González is wonderful as Canela.  She is onstage all of the time and never lets a moment pass. Saucy and sassy all in one breath she tries to find excitement and satisfaction for that “one thing” in life, that one thing that will make her happy, the obsession to feed her hungers.  I’m not sure she ever got there and I’m equally sure she doesn’t want to find it. Still she should keep looking.  For the character, I believe curiosity would be a critical element to add to the performance.  Still González is marvelous in the role.

Linda López is remarkable as Canela’s Mother.  She is the comic foil to her daughter’s misery and this all works to perfection. This is the perfect role for López and she is flawless in the role.

Mary Mendoza as the spirit La Calaca Flaca has a very strong presence on stage and does well to be that spirit, always waiting in the background, and making her ghostly manifestation known, a sneaky deathly enticement waiting just around the corner.  Mendoza is also very funny as Editor Gina with her raspy smoke aged voice.

Claudia Durán is very sympathetic as Canela’s Older Sister Reina and equally engaging as Mariana and as the Asian Woman all together magnificent in each role. She gets better every time I see her at Casa 0101.

Maricela Guardado plays Canela’s Younger Sister Rosie and Margaret, a giddy woman who took a journalism workshop with Canela in Los Angeles.  Margaret plants the seed that leads Canela to stay in Paris.  She is marvelous and creates a number of layers in this role, a journalism student, a chef at Le Coq Rouge, and a newly engaged soon-to-be-happy bride.

Ronni Valentine is superb as Tia Bonifacia who wants to tear her niece from limb to limb, but I also noticed small acts in her character, which were the extraordinary silent moments that catapulted her into the next scene.   She also plays Luna (Ghost), a Jacob Marley like character that drags the cokes she forged in life around her neck.  Valentine is a wonderful actor.

Amber Rivera does a nice turn as Tia Lucia (Luna’s mother), as Rosemary, and as the mysterious Altair. Nice work.

Anne Popolizio makes the most of three engaging characters, Marié-Hélene the woman who signs Canela up for cooking school, the sinister, but delightfully dressed, Mrs. Bodé (“Au revoir.”) and Doctor who fills us in on Canela’s mother medical condition. All the roles were excellent and she has a wonderful knowledge of the craft.  

Cameron Moir does some very fine work as Henry, the French interpreter and Englishman, who falls in love with Canela but is not able to commit to that relationship. He comes out in an apron without a shirt to woo her back and shows her everything she needs to know about being in love in Paris. He also plays the Psychiatrist who diagnosed Canela’s chemical imbalance and the TV announcer.

Juan Parada is wonderful as Chef Renault, spoken in French, and complete with wonderful hand movements to describe his thoughts.  And he also plays Armando, Canela’s fiancée, who patiently waits for Canela to come back from Paris.  And while I thought he did a fine job, I think there’s more to Armando than a stuffy doctor, he is Latin after all, and he must have some worthy magnificent charm that we really don’t see and something Canela must have seen at one time. “I will not pursue you again.” is a line that throws away any charm the character may have had up to this time.  So I would suggest giving Armando a lot more charm.  And this is just a little note to add to a marvelous performance. It's interesting these two characters are played by same actor - each character satisfying a certain hunger in Canela or maybe the hunger is one in the same. 

Angel Farardo plays Canela’s Father, J.C. Mono and Radio Announcer.

Issac Cruz plays Dick, the tearful chef student, Arab-French Man protesting along the streets of the Champs-Elysées, and Canela’s Brother. He does a very fine job for all of the characters.

Josefina Lopez, the writer, has written an exquisitely brilliant play with thriving characters, each strong in their own right, and struggling to have their voice heard. Of course there is Canela, but there is also Canela’s Mother, an Asian woman, Altair a muslin woman, the Arab-Frenchman and who can forget all those snobby French people.  The dead also play an important part in this play, they are always around, always reminding that if you want things to be better you can do one or two things differently.

Corky Dominguez, the director, does a remarkable job. The first act is exciting and moves along nicely but the second act, well, the welcome home scene needs work.  It needs the bump that creates a stronger relationship with Armando, the mother, and other members of the family. There is always a problem changing scenes with props coming in and out and could be worked out with a little more finesse. But, overall the play works magnificently.

There is a greater life for this play, and one hopes another running in repertory here at Casa 0101 as the show closes tonight June 30, 2013.

Each time I go, the plays, the production values, and the performers just get better and better.

Josefina López and Emmanuel Deleage preform a tremendous job as the Producers of this show.

Other members of the crew are as follows:

Kimiko Broder – Associate Producer

Sohail e. Najafi – Lighting Designer, Associate Projection/Sound Designer

Bill Reyes – Sound Designer/Music Composer

Sherrie Lofton – Production Stage Manager

Adriana I. Colon – Assistant Director

Dr. Tiffany Ana López – Dramaturge

Chloe Diaz – Production Assistant

Matthew Sanchez – Props Master

Vincent A. Sanchez – Assistant Lighting & Projection Designer – The love scene with the erotic paintings were an excellent part of the show.

Jorge Villanueva – Light Board Operator

Ed Krieger – Production Photographer

Steve Moyer – Public Relations, Press Rep.

Soap Design Co – Graphic Design

Edward Padilla – Casting Director (Nice job!)

Mark Kraus – Webmaster

Azul Luna – Postcard Collage Image  

http://www.casa0101.org/

Rodeo Town by Graham Bowlin

L - R, Eric Cire, Harry Beer, Dustin Bayers

By Joe Straw

(Cue the Ennio Morricone music and say this in your manliest voice: In Rodeo Town, a man has a certain smell, a living, breathing, dying smell.)

I walked out of the theatre that night drenched in an odor that lingered because of a particular scene.  An actor entered with a headless prairie dog. The other actor took possession of the dog, wrapped him in magazine, and threw him into a sack.  As the scene progressed, the prairie dog was still squirming and someone had to put an ultimate end to his writhing life.

Three or four whacks were necessary to render the carcass completely lifeless.  And, with each whack, blood shot out of the sack and sprayed two of us in the second row.  When the actor lifted the sack, blood dripped out, no – that’s an understatement, it poured out, onto the ground. 

I don’t know what it was about the smell, but it was atrocious.  And when the show was over, the smell stayed with me, in my lungs, and in every breath I took.

The stench remained as I walked into the darkness to my car and at this point the smell was overpowering.  With my hands on my knees, I exorcised what little remained in my system, there on the street, in the darkness, in Hollywood.

The next morning – Saturday, I woke up to run errands and there were still traces of a foul odor. What is that smell? When I opened my car door, and looked in, I found bloodstains all over the seat. You just never know what you bring home from theatre. - Narrator

A man has to be manly in Rodeo Town or die being a man.

In Rodeo Town, a man can get all he wants even what he doesn’t want.  

Sometimes, in Rodeo Town, you’ve got to shoot and eat a little prairie dog, and wash it down with a nice ice-cold glass of buttermilk and cornbread, just to prove you’re a man. 

Bellwether Brothers Theatre Works presents Rodeo Town by Graham Bowlin and directed by Cameron Strittmatter at the East Theatre of The Complex as part of the Hollywood Fringe. Rodeo Town, in its meretricious splendor, attracts men in the way that a spider web attracts flies, all a terrible realization when one is caught and struggling for life. Still, this makes for a wonderful night of theatre.

They call it a town but there’s hardly anyone there. Most everyone has left and there’s a reason for that.

 

Lonnie (Harry Beer) strums a pretty good guitar in Rodeo Town. Singing a song “Everybody Saw My Crime”.  Life has not treated him well.  He lives his life mostly out of a bottle - 24/7/365 - and wears his hair long like he’s an aging rock star.

Kelly (Dustin Bayers) is a simpleton, with coveralls, and a baseball cap.  And, besides the effeminate tennis shoes, he’s country through and through and has got a nasal drawl that would put a Tennessean to shame. But Kelly doesn’t like “Everybody Saw My Crime” and wants Lonnie to sing something else.  

Kelly is Lonnie’s only friend, but they’re not really friends, just partners who work together in Rodeo Town, if you can call it a town.  They have no position in life and are bossed around by Garth (Eric Cire) who seems to own the town in the way that he puts them to work building fences.

“Garth ain’t the boss of me.” - Lonnie

But neither one can hammer a nail into a block of wood much less build a fence to hold cattle. And so they talk about Rodeo Town, the steaks Garth is bringing for the party, and the loose women who are coming to join them in a couple of days. 

Lonnie and Kelly’s eyes convey a secret yet something is holding them back from discussing their shared knowledge. And so they lie there on the ground waiting for Garth to get back.

“What are you little faggots doing rolling down in the dirt?” – Garth

Yes, Garth is back, and he doesn’t like what he sees.  No fence, just two men lying around in the dirt.  And as far as I know, there are no cattle coming over the horizon just one more man.

Garth bosses them around but Lonnie is not easily manipulated.  Both are testing each other’s manhood and they scream back and forth. There is a disorderly formality to their way of life and to diffuse the tension Garth takes Kelly into his arms, extremely close, as though he were an amatory object of desire, and tells them the women will be coming.

Later, from a distant perspective, Richard (Dustin Gooch) appears to think Rodeo Town is the ideal place to get help.  But he does not look local – he wears a pink shirt and kakis slacks and speaks meekly to his wife Bethany (not seen).  He tells her that he is having trouble with his new Range Rover and he’s walking into town to get it fixed.  He’s on a cross-country trip on his way to a San Diego seminar for the trip of a lifetime.  Bethany thinks differently.

“Do not turn this into a trust issue.” - Richard

Unbeknownst to Richard, Garth listens in on his conversation, takes out his long pocketknife, and whittles on a stick.  Richard meekly finishes with his overbearing wife and looks up to see Garth and asks for help. 

But Garth says nothing and only smiles. It’s getting hotter and Garth takes off his shirt and whittles away paying little attention to Richard’s predicament.  And as much information as Richard spills, Garth says nothing, until Richard is ready to move on and then Garth speaks.

Dustin Gooch 

Garth says he’s got someone who can fix his car but it can’t be done today.  Richard does not like the vibes he’s getting from Garth or Rodeo Town and says he’ll call the Auto Club. Garth suddenly takes in interest Richard’s iphone to view the apps and, when Richard gives it to him, Garth smashes it into hundred pieces and then steps on it with the heel of his boot to make sure it’s dead.

“Butterfingers.” - Garth

Richard is now in shock but Garth diffuses his shock by promising to get him a pair of ostrich boots to replace his phone, get his car fixed, and invites him to stick around for the women coming into town.  Richard hesitates but agrees and they both go out and get something to drink possibly under a warm rock in this Texas desert.

Where are all the people?  It is a question asked repeatedly that no one wants to answer.  There is a strange fascination about the Graham Bowlin play, Rodeo Town.  And I kept thinking to myself:  Is this one-act play as good as I think it is?  Is this world premiere drama about the best suspense drama I have ever seen, ever?  In truth, it is exceptional, a fascinating edge-on-your-seat play with characters so real and dialogue so genuine, it deserves another hard look.  

L - R, Eric Cire, Dustin Bayers, Harry Beer, and Dustin Gooch

Harry Beer does a marvelous job as Lonnie.  As the character he does not show any solicitude for anyone.  He seems to be looking out for number one.  He knows his fate but stays away from the inevitable. He tries his best to get the intruder to go away because he knows the fate of all that stay in Rodeo Town. Lonnie is rugged, has a tattoo, and wears nice tan boots giving a manly appearance of someone who would like to stick around a lot longer. Sadly, his lot in life is the torture that he must face in Rodeo Town. Beer is a terrific actor, has a nice voice, and strums a guitar agreeably.

Dustin Bayers plays Kelly and does a wonderful job. There are touching moments at a gravesite where he provides pieces of information about what happened on a particular night and what might happen again. Kelly does not have all his wits.  He stays out of trouble by doing what needs to be done.  Maybe it’s not enough and he finds himself in a terrible predicament during the course of the play.  

Eric Cire plays Garth.  (Eric/Cire sounds like a stage name or parents with a sense of humor.)  Cire does a marvelous job with Garth. As the character he is not rushed to get folks to line up to fit his desires he just goes on methodically making it happen.   One minute he’s a monster, the next minute a monster with a heart of gold.  He is so unpredictable in his predictability.  We get a glimpse of his character throughout the play and figure out this is not a person we would want to mess with. Underneath it all, Garth has a ferocious knack - to size what he wants - and then goes after it. He takes pleasure in his evil wants.

Dustin Gooch performs splendidly as Richard.  The character is out for an adventure traveling across country.  His car, being brand new, should not have any problems but there he is stuck in the middle of nowhere and it is possibly an event of his own doing. His entertained delusions of finding rodeos in Rodeo Town does not pan out. He does not present a manly profile when he enters, he is easily manipulated, and he is doomed from the start.  Tries as he might, he has a weak constitution gingerly pulling gnats out of his water, and sitting on a seat far below the table to where his chin touches the table, making him appear to be a very small child.   He looks for an adventure to test his masculinity but meekly cowers under the presence of a very sharp knife. Still, the character has to find the way out, and keep searching for it, until it is too late. Gooch is terrific. 

Cameron Strittmatter, the director, keeps the suspense working marvelously.  I’m not sure that I’ve seen a production with as much suspense as in this ninety-minute play and I think that is a testament to the writing and the direction. Strittmatter has an incredible knowledge of the craft and guides his actors with extraordinary precision. The actions are filled with suspense and the actors present stunning visuals on stage, men in various positions and predicaments.  The men are constantly testing each other -  each, in their own masculine ways, finding their way through life. Little do they know, their lives are going the way of the prairie dog.  

Sometimes things get a little out of control, the shattering iphone, the hammering fence post, the barbeque grill, the cornbread, and the blood.  One sits in the seat dodging things that break the fourth wall.  

Jeff Szymkoski is the Stage Manager and Caleb Ault is the Director’s Assistant.

The Artwork and Set Design is by Joel Caswell.  The set works perfectly in this small venue and gives us an attractive glimpse of what draws a man into this place. 

Run! Run! Run!  And bring a mechanic.

WHEN: June 7- June 29, 2013. Fri. & Sat. at Seven P.M.

ADMISSION: $10.

RESERRVATIONS: (323) 455-4585.

ONLINE TICKETING: www.hollywoodfringe.org/projects/1198

The Complete Works of William Shakespeare (abridged*) by Adam Long, Daniel Singer and Jess Winfield.

L - R, Lucas Peterson, Mike Niedzwiecki, Eric Bloom

By Joe Straw

This troupe got me thinking of those old gypsy movies, set circa 1616, where actors – tired, hungry, and bedraggled – park their wagon near a group of people living in a forest who do not get theatre. 

The tree people – also tired and hungry and with traces of the pox or remnants of the bubonic plague – open their mucous eyes, and feigned delight at the slight diversion in their lives of a performed art.    

Of course, the tree people have little money, and probably never saw or could afford a full-scale Shakespeare production.  But the sagacious and crafty troupe seeking any meager offerings (live healthy chickens and sanitized scraps of money) decide to give them a show.  And without wasting their energy on just Shakespeare’s Hamlet or Coriolanus, they put all their energy into giving them everything, abridged, in ninety minutes or less. (And hoped that no one sneezed, cough or reached out their filthy gritty hands.)  - Narrator

(*To shorten by omissions while retaining the basic contents)

“Sir, I commend you to your own content.”  First Merchant – Comedy of Errors

Santa Monica Rep presents The Complete Works of William Shakespeare (abridged*) at the Promenade Playhouse written by Adam Long, Daniel Singer, and Jess Winfield and directed by Sarah Gurfield. It is a wonderful show for young and old, short and tall, wide and thin, brunettes and blonds, brainiacs and buffoons.

“Over the boots? nay give me not the boots?” – Proteus – Two Gentlemen of Verona

As the play starts, Eric Bloom, the co-founder & Artistic Director of Santa Monica Rep, introduces us to the rules of the house, you know, candy wrappers, cell phones, fire exits, etc., and that leads him to introduce Mike Niedzwiecki, a preeminent Shakespearian Scholar.

“Do you intend to stay with me to-night?” – Lord – The Taming of The Shrew

Niedzwiecki, lovingly grasps the book, The Complete Works of William Shakespeare, holds it to his nose and takes a big enjoyable tearful whiff.  He inquires about our knowledge, nay to know how many of us have seen a Shakespeare play. All hands went up.  Not expecting that response, Mike cowers and run over to Eric, and says he wasn’t prepared for this audience.

“I frown upon him, yet he loves me still.” – Hermia – A Midsummer-Night’s Dream

 After a brief discussion with Eric, Mike asked our audience member who has seen Shakespeare’s King John.  Two hands go up. But I suppose the man, wearing an athletic uniform raised his hand a little higher and was called upon to answer a question.  Mike asks him, Lucas Kwan Peterson, about “King John” and of course Lucas gets King John confused with Richard II, receiving a disparaging lashing from our pre-imminent scholar.

“How well he’s read, to reason against reading!” – King – Love’s Labour’s Lost

(In this particular production, it is best not to volunteer because you may find yourself up on stage, doing slightly embarrassing things, unless you are indeed an actor.)

And then the race is on to perform 37 plays in 90 minutes.

There are a lot of wonderful moments in this 1987 play by Long, Singer and Winfield.  They give us a taste to whet our Shakespearian appetites. And not only do we have Hamlet (in abridged* form) but Hamlet real fast, and then Hamlet backwards.  At the end, the actors were drenched in sweat and thrown into a human pile of flesh, center stage. And this is well worth the price of admission.

The writers give us the idea of a free form theatre.  Free to roam outside our comfort level. Anything is fair game so we get rapping, wild improvisation, some pop culture, featuring Harry Potter and some Star Wars thrown in to boot.  This is intentional in free form theatre.  And breaking the fourth wall is a necessary part of the show, much to the audience’s delight. I especially found fascinating the acting exercise that shows what is going on in the head of an actor during a performance. It is an abridged* examination of the craft which hits the nail right on the head.

Every actor has his own wonderful creative moment, and those moments serve as a fine showcase for these actors.  The audience members love them so much they walked out quoting Shakespeare (only in abridged* fashion).

L - R, Lucas Peterson, Mike Niedzwiecki, Eric Bloom 

Eric Bloom, with small elf-like features, handles himself marvelously on stage.  The unfathomable depths of his deep deep deep Scottish accent was almost like he was speaking another language, strangely enough, sounding a lot like English for that Scottish play (as he turns his head toward the audience and says it’s the best he can do). There are a number of marvelous moments in Bloom’s performance of the twenty-two characters that he performs on stage.  

Mike Niedzwiecki is incredibly funny as he pours through fourteen different characters.  There is a Titus Andronicus cooking show that works marvelously although the head in the pie and lady fingers for desert were a slightly gruesome, not appetizing, but oh so funny.  And did I say there were puppets?  The puppets were wickedly mature and marvelously humanized by Niedzwiecki – in one of the highlights of the show!

Lucas Peterson had most of the female roles, did not like it one bit, and would not do Coriolanus, because of the “anus” in the word - something about being beneath his religious dignity. His lab-coat ghost in Hamlet is money. And I particularly liked his monologue, done very simply, center stage, and with a great deal of human emotion.  With all the frivolity going on stage, this was just the icing on the cake.

Sarah Gurfield, the director, did a marvelous job. The football game worked to perfection.  The same with Othello’s rap song.  The audience just ate it up and everyone had a great time.

Bart Petty did a fantastic job as the Producer.  

 The Set Design by Jen Bloom & Jeremy Swain worked perfectly for this venue.

Other members of the crew are as follows:

Costume Design – Madeline Keller

Lighting Design – Mike Stone

Sound Design – Noelle Hoffman

Props – Ann Marie Tullo

Stage Manager – Natalya Zernitskaya

ASM/Production Apprentice – Princella Baker, Jr.

Lighting Apprentice – John Mulhern

Publicity – Philip Sokoloff

Graphic Design – Brandon Roosa & Shannon Esra

Production Photographer – Mitch Goldstrom

Associate Producer – Jim Mueller

Set Builders – David Clayberg, Bart Petty, Brian Slaten, Shannon Esra, Yael Berkovich, Sean Pypers, Michelle Joyner.

Run!  Run! Run!  And takes someone who has an infectious laugh!

Through June 30, 2012

Fridays at 8:00pm

Saturdays and Sunday at 7:00pm

The Promenade Playhouse

1404 Third Street Promenade

Santa Monica, CA  90401

Phone:  213-268-1454

www.santamonicarep.org