It’s The Biz by Michael Grossman

By Joe Straw

“Sonny,” a tall strapping man with a square jaw and a big booming voice, looked liked Elvis if you squinted your eyes just the right way.  He was also a major motion picture action feature film player in the 1980’s.

I met Sonny working on a film in an adjacent bungalow.  Our bungalow had a bathroom in it. And Sonny, not immuned to liquid refreshments, was always in there. It also had a mirror – actors. One night, on his way out, he invited us over for a drink after we finished for the night.  

But, the moment we walked through the open door, I felt something was wrong.  Sonny sat at his desk with a dour look on his face and the scene suggested his party had started hours earlier.   

Sonny told us his partner, “Honest Ron”, had pulled out of his film – a heartwarming story of a country veterinarian. I had read it and, frankly, I couldn’t see Sonny, a pistol-whipping, knife carrying, killing machine, doing it. 

In any case, Sonny said Honest Ron got scared, packed his things, took what little money was left, and left town.

Sonny demanded we join him in some Jack Daniels.  I refused but my friend took a shot while Sonny lamented about his situation.  “If I find him I’m going to kill him,” he bellowed, “I’ll never work with that S.O.B. as long as I live.”

Sonny then picked up a baseball bat.  Where that came from I don’t remember.  But I said something like it’s not the end of the world. You’ve had a great career in amazing films. And as I said it, my mouth got dry from lack of conviction.   

Suddenly Sonny began to swing the bat and was smashing his productions stills sending shards of glass all over the room.

We quickly left, backing up as we headed for the door – frames, lamps, and broken glass flying in every direction. And as I closed the door, I could see Sonny through the window, his hair flying, as he was slamming the bat against Honest Ron’s desk.      

The next morning we found Sonny’s furniture out in the middle of the parking lot mostly in piles of ashes from a late night bonfire. Above me the telephone was wrapped around electrical wires.  

This Hollywood story has a happy ending. I caught up with Sonny a few months later. He had teamed up with Honest Ron for another go.

“Never say never in this bizness, Joe” he said as he barred his perfect teeth and bellowed a maniacal laugh.  - Narrator

It’s The Biz written by Michael Grossman, directed by Paul Fredrix, and producd by Patrice Barrie & Mike Abramson is playing at the Promenade Playhouse in Santa Monica. This play is about another Hollywood story with an agent’s assistant, his boss and the many people that step into their lives.

I went because Hollywood is always an appealing subject matter, and while not everything worked, something appealing happened in the second act, which I’ll get to later.

But first, our play begins in the morning at the office of Bryant and Associates.  (Don’t look for the associates; they are long gone, or maybe a figment of someone’s imagination.) 

The moment the new assistant, Marty (Paul Mischeshin), steps into the office, the phones start ringing and he is lost in his element. Marty is green, very green, but he is a writer, smart, and is willing to take messages for his boss, Wally (Kelly Gullett), an agent with measured skills.  

And on this particular Monday morning, the phone calls pour in. Ted (Jeff Sable), a writer, lies around in his housecoat with nothing to do but scratch multiple hairs on his chest, and the little that remain on his head.  He rattles the drink from his cranium, and laments how the writing assignment is not coming along.   Marty recognizes Ted’s name, his work, and says he wants to be a writer as well.  Ted appreciates the compliments and tells Marty not to ask for advice.

The next call is Frank (Hunter Smit), the star of Lesbian’s Best Man and other independent films.  Frank is in costume, and on the set, and appears to be speaking in character. He’s pleased that Wally has hired a male assistant and leaves a message for Wally to call him right away.   

Sid (Charles Anteby), with coat and tie, calls from a brokerage house (a million dollars away) and is a little annoyed that Wally is not available on this morning. He also leaves a message.  He has a very demanding boss (Brice Harris).

And as this develops, ex-girlfriend and filmmaker, Linda (Julie Shelton), enters the office. She has returned from a long hiatus away from Wally while she shot a documentary in the jungles of South America. She needs two things from Wally.

Next on the phone is Dee Dee (Dyan Kane), with her hair in curlers and snorting cocaine, demanding money from Wally, her former associate.

And, finally, Wally comes in to sort out the messages, return the calls, and get his financial life in order.  Sid is first on the list.  Sid implores him not to get restless and Wally assures him that he has money “coming out of his ears”, after his three hundred percent profit from the last month’s previous transaction.     

Wally then turns his attention to Linda again – hugging her and taking her out for lunch. He tells Marty to handle the two girls coming in to audition and to pick the best one.

Later Marty sees Jill (Rachel Amanda Bryant) who has very little experience – he politely sends her on her merry way but not before she says she’ll do nudity and flashes him.  Next Marty sees Mia (again Rachel Amanda Bryant), a likeable actress with a little more talent. Marty likes her and arranges to have her see Wally later.

Meanwhile at lunch, Linda confesses to Wally that she needs a place to stay and Wally is okay with that.

Wally comes back from lunch and meets Robin (Michael Sotkin), a wannabe singer/guitar player with a wealthy dad who is willing to finance Wally to get his son recognition. Wally arranges for studio musicians to rehearse and play with Robin at the Palomino Club in North Hollywood.

Not waiting for Wally to return his call, Frank, the movie star, barges in telling Wally that he was walked off the set because of problems with “Elizabeth”.

Ted, the writer, calls and says he can’t finish the script.  And then Dee Dee comes in with her goon, Mark (Brice Harris), who’s prepared to tear Wally’s head off and get her money which of course Wally doesn’t have it.

There is a lot going on in this play (almost three hours worth) and director Paul Morgan Fredrix has his hands full. Fortunately the play, despite all the turmoil, has a very good and uplifting ending. One note: no one uses the doorframe – it sticks out like a sore thumb – so either use it effectively or lose it. Also, try to limit the calls and have your cast of characters show up in whatever crazy wardrobe they are in. This will shore up the disconnect in the relationships.  Also the objectives need more creativity and fine-tuning.  

Paul Mischeshin is very likeable as Marty, the young kid who has everything under control but really doesn’t. During the opening moments of the show when everyone is coming to him, we never really get the “What have I gotten my self into with this new job?” If Marty wants to be a writer, then he should enter writing, and maintain it as an overall objective, then the conflict – everyone stopping him from what he loves to do – emerges.  As the character, Marty would do well with more of an emotional commitment to the role and identifying the conflicts that surround him. Mischeshin’s character needs a creative objective and a grander physical life.  Mischeshin is charming in the role but needs to relax, not push, find the core of the character and grow into the role.

Jeff Sable has a lot of good moments playing Ted.  Ted is always off somewhere getting into a lot of trouble.  He can’t finish the screenplay, he’s drinking, and is distracted by the mundane, probably his housecoat and getting out of bed. His objective was to move on to other things in his life, but he can’t because this is the only thing he knows so he’s dramatically torn. But once he figures out what he want to do when he grows up, there is a dramatic change, and Ted has a fantastic ending. This is something I really like to see in character development.  Sable has done a remarkable job and is outstanding in his craft.  

Hunter Smit plays Frank and I was a little confused with this character especially with the accent in the phone conversation.  Once Smit settled down, he had a fantastic ending. Smit also has a very good look and can go a lot of different ways and with strides, he could have a good career.

Charles Anteby plays Sid, a man desperate to make a mark on his job and it’s not looking too good.  His counterpart has gotten him into something from which he may not get out and this kind of mistake could cost him his job.  And everyone needs a job. But why be so glum?  Go out and make it happen, anyway you can, make it happen.  A stronger objective to hang onto his job would create a more dynamic character.   

Julie Shelton plays Linda, a documentary filmmaker, who left the foggy confines of Hollywood in search of real-life making real-film about real… (I’m not really sure.). She wants a distribution deal for her film but doesn’t try hard enough to get it. Things did not gel on this night but once Shelton gets comfortable, well it’ll be a new ballgame.

Dyan Kane as Deedee is funny. Try as she might she never gets what she wants. The character has lots going on but is her physical life in line with her objective? How much harder does she have to work in order to get her money?  I’d say a lot harder.

Kelly Gullett plays Wally, an agent who is not frazzled in the least about anything.   Everything is under control. I’m not sure this makes for good drama, conflict, and resolution.  Certainly there is more to this character. Money, not an issue at first, has to be an issue in the end. Also, his costume looked modern day for the 1983 time period.  Still Gullett has a good look and is very likable.  In the end of this play he shows he has a lot of heart for clients and that he is willing to sacrifice everything to keep them and the business going. Funny as the night wore on, I noticed a growth in his stubble.

Rachel Amanda Bryant plays both Jill and Mia. Jill is the bad actor and Mia is the good actor. The choice to play Jill incredibly bad without character is not a good one.  Bryant needs to find a creative core to this character - someone with which we can identify. Is she a sexpot?  Then create a grander physical life.  Is she scared? We need to see this.   Does she know that she doesn’t have any skills? We need more.  Is she noticing her partner’s reactions? We didn’t see it. Mia is the better actress.  One is not sure she was chosen because she was that much better or Jill was that bad. Mia’s character requires less movement and more of a relationship with her counterpart. If Mia’s dream is to become a star, how is it resolved in the end? Bryant is very likeable.

Michael Sotkin plays Robin with a Justin Bieber affectation and takes us out of the eighties and into late October 2013.  This didn’t work. Robin has the backing of his father’s wealth and a steadfast cockiness as long as he knows that wealth is behind him. But the studio musicians do not provide the backup he needs and his lack of confidence in his talent is the conflict that keeps him from going on. Still Sotkin has a good look and with more training should do fine.

Brice Harris plays Mark, Taylor, and Bob Wainright. Harris was exceptional as Wainright and less so with the other characters. Harris, who looks a lot like “Sonny,” needs a bat or a physical action – the glare doesn’t take him anywhere.  A headlock, perhaps?

It’s The Biz is an interesting play by Michael Grossman and, in a comedy like this, it could be a lot broader without losing anything.  Some of the characters should have been combined.  Real life is no different from stage life – the trick is finding the characters and having those characters work in the extreme for their given moment. Grossman has most of the first act with characters on the phone. The problem with the phone conversations is that, unless it is stage correctly, or effectively done, it has to be recreated when the characters do meet.  This play has been floating around since 1998 and I truly admired the will and determination it took to get on stage. There’s a lot of heart in this production, which means a lot.  The cast needs to take a deep breath and find the creative moments that gel and give them abundant life. And then, well who knows.

Alternates who didn’t perform the night I was there are Jonathan Medina, Eddie Ed O’Brien, Tim Romero, Bryce Lee Townsend.

Other members of the crew are as follows:

Leigh Fortier – Production Consultant, Marketing

Allison Schenker – Scenic Design

Argent Lloyd – Lighting & Sound Design

Todd Silver – Stage Manager & Costume Design

Hallie Baran – ASM & Property Master

Dave Milne & Tony Morales – Composers

Phil Sokoloff – Publicist

Eddie Perez – Fight Choreographer

Brandon Devaney – Graphics Design

Andrée Carr Roda – Logo Design

Plays411 – Production Services

Brad Steinbauer – Program Content Design

Take someone who is no longer in the business.

RESERVATIONS: (323) 960-4443.

ONLINE TICKETING: www.Plays411.com/itsthebiz

Love’s Labour’s Lost by William Shakespeare

L to R: Julianne Donelle, Michael Faulkner, Sammi Smith, Jeremy Lelliott, TJ Marchbank, Emelie O'Hara, Cameron Daxon, Emily McLeod. - Photo by Laura Crow 

By Joe Straw

“On the tenth day of Christmas my true love sent to me

Ten lords a-leaping” – published England 1780

The standard tune is derived from a 1909 arrangement by English composer Frederic Austin who introduced “five gold rings” in that arrangement.

My question then is this: For whom do the lords leap?  Why, they leap for the king, of course.  - Narrator

The Coeurage Theatre Company presents Love’s Labour’s Lost by William Shakespeare, directed by Ted Barton at the 2^nd Stage Theatre in 6500 Santa Monica Blvd, in Hollywood through November 10, 2013. This is a thriving – pay-what-you-can - theatre company and anyone wanting to see a Shakespeare production should go.  Why?

This slightly truncated production of Love’s Labour’s Lost is a very fine production.  The comedy features wonderful performances by actors who have developed impressive characters, and make them irreplaceable to their own beings.  In short and lastly, Love’s Labour’s Lost is alluring, and luxuriously satisfying.

Our players, deep in love, go through a lot of labor to find love, which is thwarted and eventually lost.

As I walked into the theatre lobby, that holds a peanut of a man and a wisp of a woman into the darkened theatre space, I noticed there weren’t much of a set, three black walls and the fourth being the audience.  “Oh. We’re going to have that kind of production.” I thought to myself, hmmm actors physically and mentally filling the time and space.  I was ready.  

Before the play starts the music over the speakers lightly blasts out a vast array of 20’s jazzy blues numbers and features the song I Want to be Loved by You (Boop Boop a Doop) made famous by Helen Kane in 1928.

Okay.

From the darkened night of the castle steps, step four men in unity, possessed in a ritual of sorts, Ferdinand (Jeremy Lelliott) King of Navarre, Berowne (Michael Faulkner), Longaville (TJ Marchbank), and Dumain (John Klopping) holding and bowing to the wisdom of the iPhones and iPad.

All right.

It is on this night these men will set their names and inscribe a solemn oath to the King.

King:  …You three, Berowne, Dumain, and Longaville,

                Have sworn for three years’ term to live with me

                My fellow-scholars and to keep those statutes

                That are recorded in this schedule here: (the ipad)

                Your oaths are pass’d; and now subscribe your names;

Dumain and Longaville are up to the task but Berowne has another thought.   

Berowne: …O, these are barren tasks, too hard to keep,

                 Not to see ladies, study, fast, not sleep!

In fact Berowne, overwrought by hormones and common sense, takes offense to some of the penalties.  For example, if a woman comes within a mile of their court, she loses her tongue?

Berowne:  Who devised this penalty?

Longaville:  Marry, that did I.

Berowne:  Sweet lord, and why?

Longaville:  To fright them hence with that dread penalty.

One gets the impressions that Longaville is none too bright.

Nevertheless Berowne gives in only by “mere necessity” to stand in solidarity with his compatriots.

No sooner have they made the vow of chastity, Dull (Brian Abraham) arrives bringing a luxurious but grave message from Don Adriano De Armando (Jonas Barranca), a fantastical Spaniard, concerning the excessive amorous adventures of one of Ferdinand’s subjects, Costard (Chris O’Brien).  

Dull, seeking favor with the King, has the swain Costard.  And Costard appears to be in a lot of trouble because of his sexual exploits with Jaquenetta (Elitia Daniels).  The celibate men, embraced by their oath, are curious though and take a keen interest in Costards’ erotic adventures, but as they are bound by their pledge, they must have this man punished.

The King sentences Costard to fast with bran and water for a week and orders Berowne to deliver Costard to Armando.

A short while later Armando flittingly confides to Moth (Ian Littleworth) that he is in love with none-too-bright Jacquenetta.  And when Dull brings in both Costard and Jacquenetta to see the blowzy Armando, Armando tells Jacquenetta that he loves her and will visit her.

Armando:  I will tell thee wonders.

Jacquenetta:  With that face?

Undeterred by Jacquenetta’s mental capacities, Armando turns his attention to Costard.  

Armando: Villain, thou shalt fast for thy offences ere thou be pardoned.

Costard:  Well, sir, I hope, when I do it, I shall do it on a full stomach.

Moth:  Come, You transgressing slave; away!

Armando:  Take away this villain; shut him up.

Costard:  Let me not be pent up, sir; I will fast being loose.

Moth:  No, sir; that were fast and loose; thou shalt to prison.

Shortly thereafter Boyet (Anthony Mark Barrow), a lord attending to the needs of the Princess of France (Sammi Smith), tells the Princess the unencumbered King Ferdinand would make a delightful paring and the Aquitaine would make an equally delightful dowry for a queen.  Boyet majestically enters the King’s court to announce their arrival.  

The Princess, waiting outside, is accompanied by three unencumbered ladies Rosaline (Julianne Donelle), Maria (Emelie O’ Hara), and Katharine (Madeline Harris) all of whom have set their eyes on the lords attending the King when Boyet comes back with some bad news.

Boyet: Marry, thus much I have learnt:

            He rather means to lodge you in the field,

            Like one that comes here to besiege his court,

            Than to seek dispensation for his oath,

            To let you enter his unpeopled house.

The Princess, not accustomed to lodgings in a tent, is put off by the Kings behavior.  And as the men come out to greet their visitors there is an immediate contest of will between all those who labor to love.   

Ferdinand, King of Navarre:

             Madam, your father here doth intimate

             The payment of a hundred thousand crowns;

              Being but one half of the entire sum

              Disbursed by my father in his wars.

              But say that he or we, as neither have,

              Received that sum, yet there remains unpaid

              A hundred thousand more;

It seems the King and Princess have a disagreement about money and the Aquitaine and before things get too heated the King excuses himself.

Boyet has more to say about their relationship.

Boyet:  If my observation, which very seldom lies,

             By the heart’s still rhetoric disclosed with eyes,

             Deceive me not now, Navarre is infected.

Princess: With what?

Boyet:  With that which we lovers entitle affected.

Having a slight taste of Rosaline’s beauty Berowne must neglect his oath and send a note to her. Berowne enlists the swain Costard to deliver the note in secret. If Berowne could just get the imbecile to understand.

Berowne:  Stay, slave, I must employ thee:

                 As thou wilt win my favor, good my knave,

                Do one thing for me that I shall entreat.

Costard:  When will you have it done, sir?

Berowne:  This afternoon.

Costard:  Well, I will do it, sir:  fare you well.

Berowne:  Thou knowest not what it is.

Costard:  I shall know, sir, when I have done it.

Berowne:  Why, villain, thou must know first.

The first rule of order is to never, ever, give an important note to a rogue.  It always winds up into the hands of the unintended.

Meanwhile, away from her tent, the Princess is in the forest hunting deer with her aide Marcade (Brian Abraham).

Princess: …Then forester, my friend, where is the bush

                That we must stand and play the murderer in?

Marcade:  Hereby, upon the edge of yonder coppice;

                  A stand where you may make the fairest shoot.

Princess: I thank my beauty, I am fair that shoot,

                And thereupon thou speak’st the fairest shoot.

Marcade:  Pardon me, madam, for I meant not so.

L to R: William Reinbold, Patrick Wenk-Wolff, Brian Abraham. Photo by Laura Crow

Meanwhile, nestled in the countryside, over looking the sport, Dull (Brian Abraham), Holofernes (Patrick Wenk-Wolff) and Sir Nathaniel (William Reinbold) have a slight disagreement in the killing of a 2-year-old buck (a pricket) or a young doe in a delightful exchange.

Holofernes:  Sir Nathaniel, haud credo. (I do not believe it.)

Dull: ‘Twas not a haud credo; ‘twas a pricket.

Holofernes:     Most barbarous intimation!  Yet a kind

Of insinuation, as it were, in via, in way, of explication;

Facere, as it were, replication, or rather,

Ostentare, to show, as it were, his inclination,

after his undressed, unpolished, uneducated,

unpruned, untrained, or rather, unlettered, or

ratherest, unconfirmed fashion, to insert again

my haud credo for a deer.

Dull:    I said the deer was not a haud credo;

‘twas a pricket.

Holofernes:     Twice-sod simplicity, bis coctus!

O thou monster Ignorance, how deformed dost

thou look!

Sir Nathaniel:            Sir, he hath never fed of the dainties

                        That are bred in a book;

There is a lot to enjoy in this production of Love’s Labour’s Lost.  The acting is superior and easy to understand.  Ted Barton’s direction is wonderfully laid out. And there are good feelings when you walk out of the theatre.  What more can you ask for?

Still, I have a few notes.

While liking the play overall, the look and feel is a little disconcerting, with the 20’s jazz, the ipads, the modern day costumes for some, and colorful rags for others. All in all a likelihood of budgetary concerns. But this can be forgiven in Ted Barton’s masterful directorial display. At times though the men and women were laid out in a wing formation, on the small stage, and really not getting a sense of their intention over the course of this layout. Also, the plague, a reason the men originally take the oath, was not a factor in this production, although vague references are still made.  The modern day reason should be more concrete, the women should be treated as though they have the plague, to simply comply with the oath taken.  Also the relationships between the lords and ladies and the King and princess respectively should be stronger.  As it appears now they all carry equal weight.

Brian Abraham played Dull and Marcade.  His work is understated but marvelously played. Abraham is an exceptional actor.

Anthony Mark Barrow plays the omnipotent Boyet.  He is always in control and never loses his cool.  This is just what you would expect from a character in that position. But, is there something missing? Every character has an objective.  What is his objective and what is the conflict that keeps him from reaching his objective? What does he gain to marry off the princess, today? And what does he lose?  Because the Princess’ father is dying is there a time element involved?  Questions that need further exploration still, Barrow has a strong voice and a marvelous way with the language and gets exceptional marks in this production.

Jonas Barraca is wonderful as Don Armado as the flamboyant fantastical Spaniard. His character leaps out at you from the stage, completely unexpected.  This was marvelous work and a wonderful character.

Elitia Daniels as Jaquenetta has some wonderful scenes.  They were brief but important nevertheless. She is the baroque damsel, the wench, and the former virgin before she is proclaimed the maid. There is a grand simplicity to Daniels’ work and there is more to be had in her characters’ unintelligence to complete the character.   

Julianne Donelle is Rosaline a character with a biting wit. She is attracted to her counterpart but is put off by his oath, something that she can’t understand.  Still, there is more to woo, moments to conquer.

Madeline Harris plays Katherine and has a nice presence and a very good look. And while unique as an actor, as a physical individual lady of the Princess’ court, Harris needs to find the physical or mental action that makes the character entirely unique rather than a part of a group. Adding this to her performance will only help. 

Michael Faulkner has a lot of good moments as Berowne.  Oddly enough Berowne is the lead in this show, rather than the King, which makes the role a little tricky. Berowne must be subservient to the King, must handle the King with kit gloves all for the purpose of getting what he wants. He must not overpower the King but rather convince him that what he needs is in the best interest of all, especially Berowne. Faulkner gives us a lot of grand physical moments.

John Klopping plays Dumaine one of the Lords attending on the King.  Klopping has a nice smile and an easy presence but one really doesn’t get how he is different from the others.  The physical and emotional attributes thing that makes the character uniquely different from the other. He is a lord who will leap to get the greatest favor of the king.

Jeremy Lelliott plays Ferdinand, King of Navarre and does a marvelous job but he is never really seen as the governing head.  The relationship, with his lords, is not master/slave, manager/worker, etc., so we really never see the power that is behind the man. Not too late in the early stages to solidify those relationships. While he may regard his lords as “fellow-scholars” there is still a hierarchy that needs strengthening.

Ian Littleworth plays Moth, a page to Armando, and provides us with a few laughs and certainly he delights his master. But to delight his master Moth must be on his most witty game. There is a most curious game between Moth and his master that is not fully realized.

TJ Marchbank plays Longaville another one of the lord that did not leap to the kings’ demands. There is a struggle for power that may have been missed in this interpretation. Still, Marchbank has a good look and did a fine job.

Chris O’Brien is Costard dressed in what appears to be colorful rags.  So we get the idea that he is a slave, a nave, or someone from the bottom of the class rung.  Still he is smart and is able to use his wits to lessen the penalties others want to impose upon him with just his humor.  If only he could stay out of trouble. O’Brien does a fine job.

Emelie O’Hara is Maria and does some really fine work. O’Hara is soft-spoken and spoken softly carries a lot of weight to the character’s meaning.  Still a strengthening of the voice would help in her delivery.  Certainly O’Hara has a very good look and is probably capable of giving the character an added dimension as the lady attending the Princess.  

William Reinbold is Sir Nathaniel provides us with some very strong character work in his portrayal.  Reinbold is a very tall actor who bends his body into a meek and mild minister/priest.  He adds a very cheeky smile that stretches from ear to ear.  And he throws a straw hat over his head to compliment the look.  Sir Nathaniel is a student who is eager to lean from his master.  His relationship with his counterpart is extraordinary all for the benefit of knowing more about the language and the world. This is an exceptional performance.

Sammi Smith is the Princess of France and has a commanding presence on stage.  One believes there is more to be had in her love relationship with the King and with the ladies who are at her side. Still, Smith has a very nice voice and a fanciful way as she moves about the stage

Patrick Wenk-Wolff is outstanding as Holofernes a character who profoundly thinks before he speaks.  His words come out in a grand way as though he is discovering something exciting.  Wenk-Wolff’s character appears to be thinking and oddly enough looking like a wise old owl.  It is a marvelous characterization and a performance that should not be missed.  

The performer who are alternates or understudies that did not perform this night are as follows:

Holofernes – Joe Calarco

Ferdinand/Dumaine – Cameron Daxon

Boyet – Doug Harvey

Katherine – Emily McLeod

Maria – Candida Rodriguez

Rosaline – Taylor Jackson Ross

Princess of France – Angela Sauer

Sir Nathaniel – Spike Steingasser

Longaville – Andy Stokan

Moth/Costard – David Umansky

Dull – Kyle Wills

Jaquenetta – Lydia Woods

Crewmembers are as follows:

Stage Manager – Emily Goodall

Assistant Director – Crystal Clark

Sound Design – Joe Calarco

Costume Design – Mary Reilly

Costume Assistant – Marcy Hiratzka

Production Design – Tito Fleetwood Ladd

Music Direction  - Gregory Nabours

Press Representative – Ken Werther Publicity

Graphic Design – Ryan Wagner

Fight Choreography – TJ Marchbank

Photos – Laura Crow

Run!  Run!  And take someone who tries really hard to find love but is not successful.

FOR RESERVATIONS:

323-944-2165

https://coeurage.secure.force.com/ticket