Vieux Carré by Tennessee Williams

Jay Lee and Melinda deKay

By Joe Straw

A house breathes

inhales and exhales,

rises and reconciles.

It moves

effectively

when

battered shadows

release.

 

A house

is a living

breathing thing. – Narrator

coeurage theatre company presents Vieux Carré by Tennessee Williams and directed by Jeremy Lelliott through March 12th, 2016. 

The ghosts inhabit 722 Rue Toulouse Street in New Orleans.  In Tennessee Williams’ writings, the shadows moved from room to room to witness a re-awakening from long ago.  In the writing, they are still there; they haunt; the shadows slip through the tiny narrow passageways and up stairwells, trying to find comfort before moving on. 

The house still breathes, slowly, in and out, until an exasperated breath satiates the room.   

Or maybe the house breathes because of the balmy weather, the clouds that roll by highlighting the shadows, exacerbated by the winds off both Lake Pontchartrain, to the north, and the Mississippi River to the east.   

This house with a misfit band of boarders residing in tattered rooms was briefly home to Tennessee Williams. And nineteen thirty-nine left a lasting impression on Williams.  

Vieux Carré directed by Jeremy Lelliott is a theatrical masterpiece.  This surprising, alluring version of the play attacks the visceral senses.  It is Lelliott’s extraordinary vision that captures a fascinating period of time and place.  The actors are mesmerizing, living, breathing, three-dimensional characters that occupy the space so perfectly that one gets a tingling sensation, caught up and absorbing every desperate moment. 

And to encapsulate it all: The breathless loneliness is personified in that one lone creature, The Writer.

“Once this house was alive, it was occupied once.  In my recollection, it still is but by shadowy occupants like ghosts.  Now they enter the lighter areas of my memory.” – Writer

They are there.  Mrs. Wire (Melinda deKay) yelling at Nursie (Leontine Guilliard) to get her a pillow.

Nursie enters from the darkness screaming because there’s a bat in her kitchen, like the ones hanging outside from the banana tree.

“…they all scream at once and fly up like a explosion of damned souls out of a graveyard.” – Nursie

“If such a thing was true!” – Mrs. Wire.

“As God’s word is true.” – Nursie

Nursie is getting old and thinking about retiring but Mrs. Wire won’t let her. Mrs. Wire is getting old too and needs someone to tend to her. Anyway, Mrs. Wire pounds the pillows and lies on the cot in the hallway in front of the door keeping an eye on the occupants as they enter and leave the house.  

Writer (Jay Lee) comes in and after a brief interrogation from Mrs. Wire. She tells him to take Sky’s sack upstairs. And she also lets on that she’s got plans for him.

 L - Sammi Smith, Jay Lee, Leontine Guilliard

Angelical Jane (Sammi Smith) casually strolls into the house with a paper bag in hand and Mrs. Wire has words for her too, about coming in after midnight, which no self-respecting single girl would do. Jane said she was out getting Black Flag because the flying cockroaches are flying into her face from her window that does not have a screen.

“…if a screen has not been put in that window by tomorrow, I will buy one for it myself and deduct the cost from the next month’s rent.” – Jane  

Mrs. Wire goes on to complain about the man sharing her room, Tye McCool (Shaun Taylor-Corbett). Jane is smart enough to understand that she might have made a mistake with him but she’s tired and moves on.

No sooner has Jane has left the room, Nightingale (Dieterich Gray) saunters in with a young man he has picked up at the bus station.  His cousin Jake, or Blake (Graham Kurtz), he is not sure which.  Anyway, Nightingale has family things to discuss with his cousin up in his room but Mrs. Wire immediately put a stop to that in her house.   

Mary Maude (Carryl Lynn) and Miss Carrie (Sandy Mansson), two crones, make their way into the kitchen bringing bags of goodies. Well, greasy bags of rotting food they find in garbage pails. They suggest the leftovers of the “steak Diane” and the chicken “bonne femme” should go into the icebox. Nursie says to leave it but knows that it’s going directly into the trash where it belongs.

Jane wonders out loud if their pride would be offended if she bought them groceries.  Nursie just laughs.

“Honey, they gone as far past pride as they gone past mistaking a buzzard for a bluebird.” – Nursie

Tye comes stumbling in.  He is an addict, and a barker at a strip joint. His effluvium is enough to give him away but Jane ignores him and feels free to talk about him and his faults.

The cast is exceptional as well as diverse.

Jay Lee is very appealing as The Writer and has a charming way about the character’s persona.   His Southern accent is mixed by way of Saint Louis to Memphis and then to New Orleans. As his accent changes from time to time, by living in various locals, it is either genius or accidental.  Still, Lee produces some very nice work.

Melinda deKay presents a grand figure as Mrs. Wire, a voyeur masquerading as a landlady.  It is a role in which deKay presents the right balance of being kind one moment and oppressive the next. Her portrayal is moving and sympathetic, dastardly and unsympathetic.  Actors covet these kinds of roles and deKay makes the most of her opportunity.  Overall, a tremendous job.

Leontine Guilliard as Nursie provides just the right blend to support all the boarders in the house. Guilliard does fine work in her relationship and her interaction will the other characters in the play.

Sammi Smith is extraordinary as Jane.  Smart and wholesome, she has just enough wherewithals to get by.  Once thought of as unwholesome, Jane is always thinking about her next move and relies on the others to help her through her current predicament.  And yes, there is that progressive blood disease, gnawing in the back of her mind.  If only she could relieve herself of her carnal desires and her boyfriend. Smith provides just the right touch to the character, the historical background, and a solid objective.  

L - Dieterich Gray, Jay Lee 

Dieterich Gray, as Nightingale, is marvelous as a campy gay man who wants to go out swinging before tuberculosis takes him out.  He is barely able to survive by being a quick-sketch artist but his curiosity about wanting to know everything gay is profound. Nightingale probably knows that he is dying but wants to have fun living life before he reaches his expiration date.  Gray's work is solid and exceptional.  

Graham Kurtz plays Pickup (Jake or Blake) and has some interesting moments in the short time he is on stage.  

Carryl Lynn is Mary Maude and Sandy Mansson is Miss Carrie and both add a delightful touch to the production.

L - Shaun Taylor-Corbett, Jay Lee, Sammi Smith 

Shaun Taylor-Corbett brings an outstanding physical life to Tye.  He is a strip show barker, addicted to drugs and beautiful smart women. His current life is on a downward spiral.  He has acuity of vision – to look at someone and find fault, but is really trying to find someone to save him from himself.  Taylor-Corbett moves about the stage with confidence and precision. The work is exceptional.

Tony Brown brings some much-needed humor as the Judge.  He is also the photographer.

L - Jonathan Kells Phillips, Jay Lee 

Jonathan Kells Phillips is also exceptional as Sky, a jazz clarinetist, who captures the adventurous soul of The Writer and takes him with him. Phillips manages to project the everyman ideals on stage. And Phillip’s craft has an extreme clarity with a grand mixture of a physical life, mixed with an emotional core, and a historical background.   Although he does not appear until late in the play, this is one performance you do not want to miss!

On top of everything else the actors breathing at the beginning and the end is spectacular!

Lelliott has Jeff Gardner doing foley as though this were a radio play adding sound effects, the sound of rain, someone pouring liquids into a cup, matches being lit, and doors opening. All of this was exceptional but could have had a little more volume.

Alternates who are in the play but did not perform the night I was there are John Klopping (The Writer), Candace Hammer (Jane), Noel Olken (Nightingale/Photographer/Judge), Zach Kanner (Pickup/Sky), Roses Prichard (Mrs. Wire), Toni Trenton (Mary Maude/Miss Carrie), and Charles Britton as Tye.

The Scenic Design by JR Bruce was exceptional – just enough symbolism and realism to complete the set and give the actors a marvelous place to play.

The Costume Design by Magdalena Guillen was also exceptional that provided the actors one extra element to their respective character. The Costume Assistant, Estrella Fernandez was also instrumental in bringing the character to life.  

Lighting Design by Brandon Baruch provided just enough light to have characters hiding in the shadows when they needed to be and profoundly exhibited when the need arose. His work was also exceptional.

Other members of the crew are as follows:

Megan Laughlin – Stage Manager

Malika Williams – Assistant Director/Dramaturg

Charles Britton – Prop Design

James Ferrero – Recorded Sound Design

TJ Marchbank – Fight Choreography

Donna Eshelman – Movement Coach/Choreography

Nardeep Khurmi, John Klopping – Production Photographers

Melissa Pryor – Casting Consultant

Ken Werther – Press Representative

Run! Run! Run!  And take someone who is curious and lonely.

The Historic Lankershim Arts Center - 5108 Lankershim Blvd. North Hollywood

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

Third by Wendy Wasserstein

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L. Dolores Aguanno and Irene Muzzy - Photos:  dee-Lightful

By Joe Straw

It is tough being “famous” – ask any college professor. – Narrator

At first glance, her seams were slightly weathered; the glasses were a dead giveaway that life was catching her. Overall, she was tailored and kept, and one would think, looking at this woman, that she had all her ducks in a row.

But Laurie Jameson (Dolores Aguanno), a famous professor at a liberal New England college, is unaware that her life is slowly falling apart at the seams. 

In this quiet New England town, she toddles about the campus in an independent fashion, a self-assured woman who is most certainly aware of life around her and is able to appreciate life’s peculiarities. And in her whole life, she is not shy about taking control of every situation for a cause, her cause.

Laurie was as “famous” as they come, a “superstar” in her ranks, and academia never had it so good.

But life has a way of presenting problems.  And they come to this professor, in small increments, languorous, and in the very quiet, bewildering moments. 

In her reality, conflict is a moment waiting for that unexpected jolt.

Actors Workout Studio and dee-Lightful Productions present Third by Wendy Wasserstein directed by Robert Cicchini and Produced by Dolores Aguanno/dee-Lightful Productions, and Fran Montano/Actors Workout Studio through March 6^th, 2016 at The Actors Workout Studio in North Hollywood.  

Third by Wendy Wasserstein is an extremely satisfying night of theatre with exceptional performances.  Wasserstein brings a satisfying comedic truth to strong women who are in various stages of physical and emotional disarray.

Cicchini, the director, skillfully directs the five-member ensemble, hitting some very high marks with the actors and their poignant interactions.  And all of this makes for a great night of adult comedy.    

On this first day of new academic year, Laurie starts with a lecture that she’s given many times before, the one about Shakespeare’s King Lear – not thinking that there will be any cause for concern so early in the term.

But, at the end of her lecture, something disrupts her social order. 

Woodson Bull the Third (Drew Hellenthal) approaches Professor Laurie Jameson.  He is a nice looking student, collectively wise, and comes with a pedigree.    Third is a wrestler on scholarship, a recent graduate of Groton,(*) and he has a small favor to ask.

(*Groton is a private school for those who can afford $56,000 per year – not including books.)  

“How, can I help you, Mr…?” – Laurie

“Bull.  Woodson Bull.” – Third

“You’re kidding!” – Laurie

“No, ma’am.” – Third

“You don’t have to call me ma’am, Mr. Bull.  This isn’t The Citadel.” – Laurie

“I know that, ma’am.”  - Third

Ouch! This is the moment when one wants to get things off on the right foot, but doesn’t.  These two clash at the first outing. And as the imaginative dark clouds start moving in, we learn that Third’s father and grandfather went to this very same college back when it was a “men’s college”.

The way he said it, “men’s college”.

And although it is very subtle action, a ridged wall raises.  It is slightly imperceptible at first glance, but there is a separation.  Laurie’s shoulders are squared, and her head tilts slightly as she recognizes the sound of the unmistakable tone of “white privilege”.

Be that as it may, Third can’t make the required film screening of Dr. Jonathan Miller’s production of King Lear because of a wrestling match obligation.  But Laurie is not cutting anyone any slack – if he misses the screening, he will suffer the consequences.

“I am not going to play ‘in loco parentis’ with you.” – Laurie

It is rather pretentious action for this former Oxford Fulbright scholar who has no plans of being a nurturing parent to any of her students, and in particular, this one.

A few weeks later in Laurie’s home, George W. Bush is speaking to the United Nations on television, and Laurie, listening intently, understands that every unfortunate word spoken, provokes action, from speech, to step, to marching boot, the country is going off to war yet again.  And she is not happy about it.

That’s when Emily (Taylor Solomon) enters and sees her mother screaming at the TV. She decides to take action and turn it off.

Even after calming down a bit, Laurie doesn’t understand why her youngest daughter isn’t out there protesting the war.  But Emily can only be cynical about the war, cynical about her lesbian sister Zooey (not seen), and cynical about Zooey’s partner Rena (also not seen). By Emily’s notion, Zooey and Rena are also not fighting the war by making organic cheese in Vermont.

“It’s not Zooey I have a problem with.  It’s her girlfriend Rena.” – Emily

“How could you have a problem with Rena?  She’s a Guggenheim poet.” –Laurie

“Mother, there’s more to life than prizes.” - Emily

There is a subtle point made here.

Naytheless, Emily comes home, after six weeks away at college, and finds that her upstairs bedroom is now her father’s noisy gym. Grousing about that tidbit of information Emily lets loose that she is romantically involved with a college dropout, from the less than prestigious Trenton State. 

Perturbed by the noise upstairs, Emily’s grandfather Jack (Christopher Pennock) wakes from his nap.  He cringes at the sound of one more noise in his head disrupting his mental faculties.  But notes that he tries very hard to keep focus by recognizing his surroundings and counting backwards, with little success.

And, later, to top everything else off, Laurie’s best friend and colleague, Nancy (Irene Muzzy), is fighting a reoccurring bout with cancer. Laurie wants to take up the fight right along side of her.

 “You are my best friend here.  Your doctor told me you had difficult choices to make.” – Laurie

“What?” – Nancy

“I hope you don’t mind, but I called your doctor the other day.  I told him I was very concern.” – Laurie

Nancy, taken aback, says, “I deserve the privilege of my privacy.”

Suddenly, in their discomforting intimacy, they are interrupted by Third, and a substantial private moment between the two vanishes into thin air.  Nancy, leaves in a slight wisp of light, and without a resolution. And Third’s timing, and his privileged antics annoy Laurie.

Laurie is at the crossroads of her life.  Not completely understanding her inscrutable intentions, she needs help and seeks the advice of her mute Freudian analyst (not seen).  Overall she is losing unwinnable battles, and having hot flashes, which is not helping her.  

Weeks later, after grading Third’s paper on King Lear, Laurie does not believe that he wrote the paper. She accuses Third of plagiarism and tells him that she will bring him up on academic charges.

There is a tremendous amount of light in Cicchini’s direction. His genius of having Laurie prance about the board meeting with flashing lights was a complete joy to watch and totally unexpected.

 

And while most things in Cicchini’s direction worked, some things needed additional attention. In a play such as this, momentum is important and the interminable scene changes alters the momentum of the play.  A college is always in a constant state of flux and perhaps there is an imaginative way of dressing the set while the action is taking place on stage.  (The Set Design was credited as “A collaboration”.)

Dolores Aguanno does an admirable job as Laurie Jameson, a professor with a very strong will. More work needs to be done in the second scene when she is speaking with her daughter but for the most part the acting is solid.  The scene with the analyst, and the time Aguanno took to get a reaction from her, was especially strong.  No, it was perfection.

L. Taylor Solomon, Drew Hellenthal

Drew Hellenthal is Woodson Bull, the Third. He is a very interesting character, a freshman, and a product from a very good private school.   He is an athlete on a wrestling scholarship; he is also smart although at times not very articulate.  Hellenthal, while very appealing on stage, doesn’t go far enough with the character.  There are many more layers to the character of a wrestler, the celerity of movement, of making weight (which wrestlers are always trying to do), and running to and from classes would more to add to the character. Also, the conflict between him and the professor is not entirely solid and should be clearly defined.

Taylor Solomon does a fine job as Emily Imbrie and adds a nice quirky quality to the character. One particularly likes the shorter haircut to the longer hair in the photos. The scene in the bar needs additional layers. Emily needs to somehow tie her connection to her mother to really get Third down on his knees in this scene.  A photograph perhaps?

Christopher Pennock presents a large majestic figure as Jack Jameson.  His final scene is poignant but one that must overtly convince his daughter into action and into the final scene. Still, some very nice work.

Irene Muzzy, as Professor Nancy Gordon, is exceptional as someone who battles cancer. Nancy, frazzled and worn, rides a different horse of complicity; of understanding the problem but letting the combatants work it out on their own terms. Very nice work!  

Other members of the cast that did not perform on this night are Allegra Williams (Emily Imbrie) and Stephen Mendillo (Jack Jameson).

Fran Montano welcomed me to his beautiful theatre in North Hollywood and we had a great time talking about my former teacher Michael Shurtleff.

Other members of the crew are as follows:

Robert Cicchini – Sound Design

John Stirrat, Graydon Stroud, Sergiu Iva – Lighting Crew

John Stirrat – Light and Sound Board Operator

Elise Robertson – Set Consultant and Scenic Painter

John Stirrat, Graydon Stroud, Allegra – Set Crew

Graydon Stroud – Stage Manager

Graydon Stroud and The Actors – Backstage Crew

Laura Petersen – Program

Caitlin Michael Riley – Theater Administrator

Run! Run! Run! And take your favorite professor with you!

Reservations:  800-838-3006

Online Ticketing:  http://www.third.brownpapertickets.com

Actors Workout Studio
4735 Lankershim Blvd.
North Hollywood, CA  91602

Jack and Jill A Romance by Jane Martin

Robert Standley and Tanna Frederick - Photos: Adrien Carr

By Joe Straw

Jack and Jill went up the hill

To fetch a pail of water.

Jack fell down and broke his crown,

And Jill came tumbling after.

They were young, so very young.

Jack, a small boy in kaki shorts with an active imagination, wanted to impress a little girl in a frilly embroidered dress, by taking his empty wooden bucket up the hill to “fetch” a pail of water.

Jill, knowing that wasn’t the way, followed Jack anyway. Jill had enough sense to know that the water was always at the bottom of the hill, but kept quiet and enjoyed his way.    

Young Jack suddenly realized, through observation, that he had misjudged the water in the elevated space.  There was no spigot, fountain, or water magically pouring out from the trunk of the tree but he didn’t want Jill to know that he had made a mistake.

So, Jack dropped the bucket, got his foot entangled in the handle, fell, and plunged much farther than expected.

Jill, deeply in love, saw Jack rolling down the hill and well, by now, it’s too late, Jack is rolling faster than Jill can keep up.  She stumbles, trying to catch him, slightly causing him to change his direction when his head rolls onto a rock, breaking his nose. 

Crying and bleeding, Jack runs home, leaving Jill with an empty bucket and thinking that it all could have been avoided if she had only used her words.  – Narrator

They were young, well not so young, and in the library, or a bookstore.  Jill (Tanna Frederick) was reading Sylvia Plath and Jack (Robert Standley) appeared suddenly out of nowhere surrounded by a pile of books he would probably never read.

The light on Jill elevated her looks, slightly.  No matter, he simply thought she was divine.  And she, well, she couldn’t see what anyone saw in her.

That was just her thing.

“I was, from over there in the stacks, struck, stuck by you… viscerally struck… as if you cared, right?” – Jack

The moment didn’t matter.  The fact that she was in front of him, that they were both there together, sharing a moment, however inarticulate, seemed right.  

But, right now, they were both verbally awkward as though the English language had deserted them.   

“I’m not in the market for the wrong compliment, Jack.” – Jill

Ouch. Well, okay so things are not going well, at least for him, or her, depending how you view the situation.  Funny, but she controls the strings, and he seems to be caught in her snare.   

“So, please, and I mean this, don’t take leaving me alone personally…” – Jill

But struck by his insistence or charm, Jill invites him up to her apartment.  And it is no secret to anyone within shouting distance that Jill is a little offbeat, everything that happens, happens on her terms, her rules, down to the minute details, including wearing a condom and having no penetration.

Later in their relationship, things change.  Jack believes that they should move to California, that she should follow him, because her job is transferable, and he will be the breadwinner as an imagist. What this really means is that Jill doesn’t understand what it means, or doesn’t care what it means.  All she sees is that he carries a few boards around with him from time to time.   Jill, not really thinking about his moment, is not too hot about picking up and leaving, especially since she is thinking about going to medical school.

“Jill, stop reacting and listen…” – Jack

“Don’t give me your “I’m dealing with a barely rational creature” voice. It’s demeaning.” – Jill

This is probably not a conversation you want to have with a woman.

“I really must not. Build a life around somebody else…”   - Jill

That’s when Jack pops the question, you know the question, and really Jill is not in the mood for that. She wants something different in from their relationship.

“What, then?” – Jack

“Companions.” – Jill

“Yes.” – Jack

“Meaning…” – Jill

“Yes?” – Jack

“Equal voice.” – Jill

Jack throws the equal voice argument to the side as he says that she makes most of the decisions.  And it’s kind of interesting because she does, except for the moving part.  But strange as it seems Jill suggests that they flip a coin to make a solid decision, “Heads it’s California, tails it’s here”. And then suggests they not look at the results of the coin toss.  First they go out to dinner, come back, have penetration, grill up some “horrible meat” in the morning, draw up a prenuptial agreement and then look at the coin.

(All that time without looking! For the love of God Jack, go look at the coin, at least make an attempt, to satisfy all male instincts!)

Later Jack has second thoughts about getting married, good thoughts while alone with a beer and talking to himself.  

“So, why would you get married in the first place…why?...why would you do that?” – Jack

And a determined Jack confronts Jill.

“I can’t marry you, I’m a bad person.” – Jack

“I see.” – Jill

And as Jill listens to all of his faults, she somehow manages, tenderly mind you, to throw the rope and wrangle him back to the stable.

“I love you… or something.” - Jill

Things never last; the desiderata one seeks in a partner never comes to pass.  One might blame her inability to articulate her wants, and his inability to express his feelings.  

Jack and Jill by Jane Martin, directed by Jack Heller, produced by Tanna Frederick, Lauren Beck, and Rosemary is playing at the Santa Monica Playhouse through March 27^th, 2016.   

Jack and Jill is a fantastic romantic comedy with standout performances by Tanna Frederick and Robert Standley.  The intimate moments, when the actors break the fourth wall to find a reassuring ear in the audience, are absolutely amazing.   It is a testament to intimate theatre in an intimate space.

There is something different about Jack Heller’s (the director) vision.  Gone are the dressers (characters written as part of the play) that play a fundamentally important part of the process that solidly defines the through line.  It elucidates the devotion the characters have to each other while neglecting the unimportant things around their life. Naytheless, Heller guides the actors, and the pugnacious characters, in his version, to give a sophisticated nuance to the roles.   And those moments are clearly defined.  

All right, so what doesn’t work?  Well, the opening needs work.  We are rushed into the moment without having the characters clearly identified – where they are, who they are, and what they want. We go straight into dialogue without letting the moments happen.

(And, as an aside, this is a play specifically written for the characters to listen carefully and then react. There are just a few moments, at various points in the play that need special attention to listening.)

For Jack in the opening moments, it is the look, the stalk, the introduction, and the insistence that should take time. For Jill in those same moments, it is the look, the avoidance, and the complete disregard of another human being in the room.  

Tanna Frederick

Tanna Frederick, as Jill, gives a fantastic performance and the moments to the fourth wall are outstanding giving us the “thing” that defines the character in one dramatic fell swoop. That said, one would appreciate Jill with more strength, someone who definitely knows what she wants, but is inarticulate when expressing those thoughts.  There are moments in Frederick’s performance where I want to stand and applaud.

Robert Standley

Robert Standley, as Jack, does some outstanding work on stage.  Jack says he’s an imagist and one would like to see how that translates to his character on stage in manner and dialogue. He speaks in images, not words, inarticulate visions that are indescribable.  There is a lot to be said about a character that stands next to a beautiful Greek girl, shoulders touching, and just enjoying the moment, without finding the words, for nine straight hours. That aside, Standley gives a remarkable performance and the finest work I have seen from him to date.  

The play’s author Jane Martin may be a pseudonym, collaboration from the likes of Marcia Dixey and Jon Jory. It certainly feels like a specific kind of truth written for two sides of the gender coin. They speak a gendered language that rings true to the core.  Also, the characters don’t hear each other.  One talks over the other. They speak in short sentences, in dramatic aposiopesis, except when talking to the fourth wall.  And the greater conflict in this piece is a character not getting a grasp on what the other character is feeling.   

And all of this makes for fantastic theatre.

Fritz Davis is responsible for the Video Projection (the running scene was fantastic).  Also, the cityscapes on the upstage walls added a lot to the look of the production although I was lost at one point determining what city they were in.  Davis was also responsible for the Sound Design, which were comprised of pop standards that worked effectively.

Other members of the crew are as follows:

Donny Jackson – Lighting Designer

James Cooper – Set Design

Victor Sonnora – Scenic Design

George J. Vennes III – Production Stage Manager

Fangyuan Liu – Costume Design/Production Assistant

Anaid Gutierrez – Make-up

Tanna Frederick, Lauren Beck and Rosemary Marks produced the show in the fine intimate setting of the Santa Monica Playhouse.

Run! Run! Run!  And take a long lost lover.

One more thing, this exciting show will only get better as time progresses.

Santa Monica Playhouse Main Stage

A Guest Production

1211 4^th Street

Santa Monica, CA  90401

Reservations:  323-960-1055

Online Ticketing: www.Plays411.com