Look What Fell Out De Mango Tree!! By Debra Ehrhardt

Debra Ehrhardt

 

By Joe Straw

 

Sunday December 17, 2023, at 4:00 was unexpectedly a wild time at The Santa Monica Playhouse. During the performance, a couple sitting alone, off to the side, spoke with each other during the entirety of the performance.  Not only were his words hearable throughout the night but his hands and arms stretched to accentuate his words explaining things to her as though she were partially deaf or blind, or both.  And that woman, to his side, kept putting on her white frock, on and off, off and on, as though she were hot one minute and cold the next.  This also happened throughout the performance.  What they talked about was anyone’s guess. An audience member had enough, and she clapped her hands to quiet them, but they went on with little regard to her clapping. After the performance another patron went up to them and asked them why they did that throughout the performance. The man kept apologizing throughout his chastisement but offered no explanation.

 

Santa Monica Playhouse Benefit Series presents “Look What Fell Out De Mango Tree!!” written by Debra Ehrhardt and directed by Paul Williams.

 

This was a preview performance of a 2024 world premiere. Debra Ehrhardt came out and told the audience that Paul Williams, the director, required some rewrites so they would be on book for some of the performance. The rewrites seem to be moving the production in the right direction and the night was delightful.

 

There are some similarities to this production and 2009’s Jamaica Farewell most of all the alcoholic father.  (https://joestraw9.blogspot.com/2009/10/jamaica-farewell-by-debra-ehrhardt.html) Has it been that long Debra?

 

Look What Fell Out De Mango Tree!! is poetry.  The writing is, at times, crystal clear, as one imagines the Jamaican waters to be.  

 

Everything is all so innocent, a happy childhood, and a dream to capture the biggest mango on the mango tree, a sudden fall, a pounding on the dirt below, and holding on to her dream with mango intact.  But that dream was suddenly interrupted by an awakening with the cold hard facts of life – a father who was not that sympathetic to her pain, and a mango so filled with squirming larvae that it became an invidious moment in the life of a young girl.  

 

And suddenly things start becoming clearer in life, about what life was all about, and how her father treated the family, sometimes with love, and other times not showing up at all, in the bar, gambling, losing all their furniture, until there was none. And although her love was apparent, her father missed all the important dates of her life, birthdays, graduations.

 

But still Debra had a dream, not entirely realized without a father figure, boys in her life coming and going until there was an assortment of a few in which to realize her dream.  And yet she chose second best, maybe the wrong choice, the wrong bet which on her wedding day left her with child, a boy on the way, something this family of girls has never seen and certainly something that Debra was not prepared for.

 

In time, during her pregnancy, she has time to contemplate, her life, her mother and father’s lives, and the reasons for her being.  How the stories came to her is a matter of conjecture, but they are hers and the events that make up her life.

 

So, near the end of her pregnancy and the no-show of her husband, something had to go, and it was the husband.

 

Now in America, trying to raise a son, and searching for a life partner. Nothing ever looks right, partners mostly, but she moves on until she finally discovers something about her life brought forth by her adult son and her long-lost father (both played by Christopher Grossett).

 

There is a lot to enjoy from Look What Fell Out De Mango Tree listening to someone’s life story.  It is basically a one woman show with the interaction of a very lithe Christopher Grossett as all the male characters. All under the helm of composer, singer, songwriter Paul Williams, the director, who has made the effort of moving the play in the right direction. There are problems with the through line of the show, losing focus of a narrow path that should move the play in the direction it needs to go. At times, the play moves off in tangents before it finally gets to the point. But, when the point is made, it is beautiful.

 

In a one person show there must be a reason for telling the story.  It’s either an awakening or a confessional. And if it’s an awakening, it culminates in the one moment that illuminates the story in the teller’s journey. There is that moment in this play, but one feels getting there must lie, both physically and mentally, within the heart of the player.  The line must be clearer and the focus just.

 

This is a work in progress for Debra Ehrhardt and progress will come with development.  It is at times, rich and beautiful, funny and sad, remarkable in ways that give and take in a unique theatrical experience. In its uniqueness, there are undeniable realities that everyone can relate to which makes this a fantastic experience. 

 

Christopher Grossett

 

 

Christopher Grossett manages to play all the male characters and does extremely well in this outing, from a young boy to adult males with various degrees of maleness throughout complete with the facetious smiles of engagement.

 

Theatres all over Southern California are still recovering from the pandemic and Chris Decarlo, on this night, gave a passionate speech for a call to help The Santa Monica Playhouse through donations.  Please give when and if you are able.    

 

 

 

Corina: From Lap Dance to Sundance by Corina Calderon

Corina Calderon Photos by Rudy Torres

 

 

By Joe Straw 

Dreams manifest themselves in delightful ways. They are unique, only yours, and imaginatively guide you on your journey.  For the creative type, dreams are the spark of that design, a flame of action that warms the journey. When your dreams hit the precise mark – you know it when you live it. While others may scoff at those dreams, moving forward and recognizing your accomplishment is the greatest satisfaction one can have.   

 

Casa 101 Theater proudly presents the world premiere play Corina: From Lap Dance to Sundance written by Corina Calderon and directed by Emmanuel Deleage November 17 through December 17, 2023.

 

From the program: “Warning:  The play contains adult themes of a sexual nature, strong language, and depiction of violence.  For mature audiences only.  Under 17 must be accompanied by an adult.”

 

Jesus Tadeo Rodrigue and Corina Calderon

 

 

In the seediest of dives, out steps a vision in see through red lace and high heels, offering an incomparable fantasy of unspeakable pleasures. She glides through the house searching for a patron that wants to throw his money, lots of money, her way. And it just so happens she’s found him, a gullible man with a protruding tongue, raptured by her presence, Joe (Jesus Tadeo Rodriguez) willing and able to accompany her to that unforgiving spot, a lone chair, as she seductively moves in his sphere of influence all for the immediate price of the green dancing between his fingers.  

 

But, no touching.

 

Corina (Corina Calderon) steps away into a private room, the other dancers edge their way onto the stage and dance beguilingly elevating the temperature of the beasts not too far away.   And, although those memories fade like a distant memory, they are embedded within her, ingrained so deep, right up to the present, that now in her present-day wear, Corina lets out a deep breath, lifting the weight of her troubles off her shoulders, relieved, and now compelled to begin her story, of how this all came to be.

 

Emmanuel Deleage has directed a remarkable show filled with warmth, compassion, exceptional dancing, and with a troupe that is willing to give it their all. With basically a bare stage, Deleage has carefully crafted a dream realized highlighting the quintessential moments of Corina’s journey. One might see this as an awakening and definitively an inventive journey that is well worth the prize. And in the end, it’s about coming first circle, back home, where all the dreams she’s realized, got her to the place she is today. There is a lot here that will make you smile, and the ending is exceptional.

 

First produced in 2018 as part of The Hollywood Fringe Festival as a one-woman show, Corina Calderon, the writer, has added several additional characters to realize her dream of a full-scale production on a Los Angeles stage.  And, with further development, a little more emotional chutzpa, this production can broaden its scope and horizons. As it is now, the show is exceptional.

 

Corina Calderon, the actress, is an exceptional dancer first and foremost.  The story of the complexities and conflicts of her life gives her a lot of leeway to do remarkable things on stage and for the most part it works in unimaginable ways. There are moments that require a little more thought – the opening delivery with an anger that leaves her little room to grow throughout the night and the scene with her mother in the end that requires a little more development.  Personal and emotional commitment to an objective should come slowly in those scenes to achieve the pinnacle moment. Still some brilliant work throughout the night.

 

Leslie Montoya is also exceptional as Teen Corina, small and very spunky, older than her years and very naive at times. Her character knows where she wants to go and is willing to accept all information that comes her way, that helps her on her journey.

 

L - R Sophia Arroyo, Alex Miramontes, and Natalie Heredia

 

 

Alex Miramontes brings full life to dual roles as the dad and Grandpa. His work is outstanding and has a commanding presence on stage.  It’s just the little things he does that highlights the character, the look in his eyes, the sorrow on his face, and the forgiving smile.  All of it works.   

 

Sophia Arroyo and Natalie Heredia play Young Corina and Young Nani respectively and are very engaging throughout the night. And it’s one more reason to go to the theatre to see younger performers that spark a loving memory of sisters and daughters.

 

Jesus Tadeo Rodriguez has a lot of nice moments as a member of the ensemble each person unique in several roles. His work was excellent throughout the night.

 

Gabriela Bañuelos does a fine turn in multiple roles and contributes with information as Anastacia, a grand moment for which none of this may have been possible.

 

Diana Cruz plays Mari, a friend that gets Corina started in adult entertainment, but her path leads to an unfortunate ending. Her moments are small but significant as more could be made of her character and her ending. Still, Cruz has some very fine moments especially when she plays the adult Nani.

 

Karla Ojeda had some fine moments as Corina’s mom, a woman with emotional, abusive, and alcoholic issues. Married to a violent husband, saddled with two children, who finds a way to get out of the marriage and moves her children near her family near Uvalde, Texas (of all places).  She takes up the bottle which puts everyone on edge. Ojeda is melancholic throughout the night but needs to find and make more of those caring moments that give more weight to the character.

 

Julieta Ortiz has her moments as Grandma and Tia Juanita.  She is very funny each time she steps on stage.

 

Mair Flores has several roles Mimi, Josie, Carla, and another member of the ensemble but there was something different about this performer. Her concentrated work was elegant and very sincere, nothing gratuitous and always gracious in her resolve.   

 

Johnny Ortiz plays several characters Chris, Alfonso, Acting Coach, and manager.  He has a slightly menacing presence but was fine throughout the night. 

Oscar Baasulto an understudy for Dad, Grandpa, and Juan did not perform on this particular night.

 

As always Able Alvarado, Costume Designer, does outstanding work at Casa 0101 and one more reason to venture to see shows here.

 

Other members of this crew are as follows:

 

Lorena M. Ortega – Production Coordinator

César Retana-Holguín – Set Designer

Kevin E. Vasquez – Lighting Designer

Jorge Villanueva – Board Operator

Itzel Ocampo – Casa 0101 Administrator

Channing Whisnant – Stage Manager

Doreen Marie Sanchez – Prop Master, Assistant Stage Manager

Alicia Mejia – Assistant Stage Manager

Velia Arroyo – Assistant Stage Manager

Steve Moyer – Public Relations

 

Casa 0101 is known for its outstanding work and this production puts another feather in their illustrious cap.

 

Tickets:  323-263-7684

 

Tickets via email: tickets@casa0101.org

 

www.casa0101.org

 

 

 

 

 

 

The Talented Tenth by Richard Wesley

L - R Nic Few and Ben Guillory - Photos by Josh Estey

 

By Joe Straw

 

Bernard let me down, a man once filled with idealism, caught the wave of the civil right movement, and rode that incredible emotional groundswell to find another view, another perspective. A contradictory way of life against all avenues of someone’s being.   All for the sake of who, or what?

 

The Robey Theatre Company in association with The Los Angeles Theatre Center presents The Talented Tenth written by Richard Wesley, produced, and directed by Ben Guillory, through December 10^th, 2023.

 

Bernard (Nic Few) is just out of Howard University. He stands patiently as his prospective employer Griggs (Ben Guillory) grills him like an army sergeant would and sets him straight about what it means to be employed by his firm, what he needs to do, and how he needs to struggle to provide for himself, his family, and the black community that he needs to elevate. 

 

Bernard, taught well under the banner of a historically black college, has another way of thinking.  He believes attitudes have changed for the black man at this time and racial tension and discrimination are not what they used to be in the civil rights era.  He has learned a lot, wants to relax now, but reluctantly accepts the information that Griggs has presented to him.

 

Bernard gets the job and after many years has secured himself in the firm of black radio stations, married a beautiful light skin woman of means Pam (Tiffany Coy), had four children, and surrounded himself with college friends Rowena (Monte Escalante) her husband Marvin (Julio Hanson) and their acquaintance Ron (Stirling Bradley), and as an extra bonus a mistress Tanya (Jessica Obilom) on the side.   

 

Julio Hanson and Monte Escalante

 

 

Today Bernard and friends are in in Jamaica sans the mistress. All are wanting to end their vacation sitting and sunning, but Bernard’s mind is on the pursuit of an undefined act.  He wants to take the car to another part of the island, a tranquil conscience pursuing loftier goals away from the complacency of wearisome repetition.  It is a move that gets him into trouble, but he moves forward not looking back at the unpleasant reflection of his thoughts.    

 

Richard Wesley’s The Talented Tenth was first produced in 1989 and is just as relevant today. Bernard moves in ways that underlies a deep motivation as he discards his youthful ideals for business pragmatism - and one that establishes himself as a character with unparalleled perfidy.  Carefully, he moves with the precision of a surgeon, discarding his don’t wants, while enveloping his wants. His end game has many obstacles; friends, wife, mistress, and Wesley manages to weave the play to its dramatic conclusion. Each person viewing the play will come away with different ideas as they walk away from the theatre and that’s what makes the play so intriguing, so absorbing, and so right for the times.   

 

Ben Guillory, the director, and producer, places the actors of The Robey Theatre Company into the laps of audience a few feet away. Moments are rarely missed as the action moves in a smooth progression, taking a pause for the character to absorb the moment.  Something you rarely see, actors never leaving character during the scene changes. The Talented Tenth is a wonderful show filled with remarkable talent that, on this night, elicited various dramatic responses from the theatre patrons.  Ben Guillory as the character Griggs is a complex character, a business owner reaping the benefits from his hard-working employees of black radio stations only to discard his thought of uplifting the black community and selling his business to a white conglomerate – getting out while the getting is good.  Guillory excels in the role.  

 

Nic Few is outstanding as Bernard.  He plays Bernard as a man who moves to his own beat to get what he wants.  The road he takes may seem ill advised but he moves in ways that will offer him the best possible business outcome. He appears to discard the message of the talented tenth in favor of the result and that’s what makes this performance remarkable.

 

Jessica Obilom and Tiffany Coty

 

 

Tiffany Coty is excellent as Pam, Bernard’s wife.  She thinks she has got everything going for her only slightly aware that she is having small problems with her husband. Her life is upper-middle class, and she has lived a life of privilege. She could also pass because of the color of her skin and was considered an excellent catch in college.  Pam is aware of that life but doesn’t give it a lot of thought being married with four kids. Coty's riveting performance culminates in a dramatic scene in the second act that is jaw dropping and well worth the price of admission.  

 

Stirling Bradley brings forth an interesting character in Ron.  He is the lone man out, unattached but always hanging around his group of friends, drinking, vacationing, going to university functions. There is a hint of a relationship with Pam, but that relationship may require definition and a stronger physical life when he is near her. Bradley may need to elevate his objective to get what he needs even if he doesn’t get it and we must see the reason he has decided to make the decision to turn his life in another direction.  Still, some very interesting work.

 

Monte Escalante plays Rowena a woman who has not set aside her jealously even at this point in her life.  Rowena seems happy in her nice upper middle-class life, but she wanted more. She is authentically black and wonders what her life would be like if things had turned out differently, gotten the man she wanted, and was able to move through life without being discriminated against. There is a hint that “her man” may have been stolen away from her and that plays to great effect. Escalante’s work is sublime.  

 

Jessica Obilom is Tanya, the girlfriend (mistress).  She is also a woman who gets everything she wants.  She doesn’t mess around and is on the married man every chance she gets about leaving his wife and coming to stay with her. “Be careful what you wish for.”, is a phrase one thinks when thinking about this type of character. Tanya smiles when she finds out she is getting what she came for. But has she been duped? Surely, the Kente Cloth can’t be worth the trouble she is getting herself into. Obilom’s work is exceptional.

 

There is a moment in the cocktail scene when Julio Hanson as Marvin recognizes that he may not be as benign and compliant as his wife thinks he is. It is a moment in which he quailed inwardly and a moment that soared on this night.  It is also the moment that defines that character down to his toenails. Hanson work is excellent.

 

Rogelio Douglas III last seen in Picnic at The Odyssey gives a grand performance as Bernard Jr. late in the second act of this show. It is amazing how, in that scene, history keeps repeating itself but probably will work itself out in another incarnation of his life.  Douglas is excellent.

 

Ed Haynes, Set Designer, has created paintings that hang on the wall of each set, each location.  Those painting are set lines, lines that are ridged, that leave little room to escape beyond the confines of the canvas, trapped in a world of greys and blacks that is only surrounded by colored neon lights that suggests scene changes. It suggests a certain kind of wealth of the character that inhabit that world and may define the limitations of the characters as well.

 

Naila A. Sanders, Costume Designer, and Natalie Shahinyan, Assistant Costume Designer, defines the 1993 time and the place and the work was outstanding.  

 

Other members of this wonderful crew are as follows:

 

J C Cadena – Associate Producer

Crystal Nix – Production Stage Manager

Leilani Scott Young – Assistant Stage Manager

Josh Estey – Production Photographer

Jason Mimms – Graphic Designer

Philip Sokoloff – Publicist

Cydney Wayne Davis – Music Director/Composer/Vocalist

James Manning – Sound engineer/Composer

Ceasar Bijou – Set Builder

Rye Mandel – Prop Master

Melissa Kaye Bontempt – Backstage Assistant

Akosua Hobert – Friends of Robey Volunteer Coordinator

Princess Guillory – Event Planner

Kiara Mariwalla Costarelli – Producer Intern

 

Run! Run! Run!

 

Tickets: 213-489-7402

www.therobeytheatrecompany.org

 

The Robey Theatre Company

514 S. Spring St.

Los Angeles, CA. 90013

 

 

 

Tacos La Brooklyn by Joel Ulloa

 

Alejandra Flores and Sal Lopez, Photos by Grettel Cortes Photography

By Joe Straw

 

Marika, aka Little Triste, (Sayaka Miyatani) and Benjiro (Paul Dateh) have created an image of an idea of Latino culture in East LA complete with cruising cars and they dress to accentuate the image.  They love the look, live for it, and despite their parents’ objections they are the definition of the people they want to represent right down to the details in their cars.   Only there’s a problem, their makeup is spot on for people who have never left Japan.   

 

Is it appreciation, or appropriation?  If you’re living in Japan, it is more likely appreciation but if you’re living in East Los Angeles, it is appropriation.  But, what’s the difference?

 

Latino Theater Company in association with East West Players presents Tacos La Brooklyn written by Joel Ulloa, and directed by Fidel Gomez through November 5, 2023

 

Chino (Gavin K. Lee) is Korean, a large strapping one at that.  Chino operates a street vending stand aptly titled Chino’s Underground Tacos. Next to him are two other stands Monse Dulce run by Monse (Zilah Mendoza) and Cali Meats run by Mike (Xavi Moreno).  They are on the same side of the street and are in a competition of sorts. The winner is the recipient of a six pack of beer.

 

They all use social media to elevate their stand, but Chino seems to have the upper hand, making his product better and a little more expensive.  He is bringing in a better class of people into the neighborhood who are willing to pay the extra money for the best tacos in town. He also does this with his eyes on a storefront he’s been eyeing for some time, from a promise that was made to his adoptive father Don Agapito (Sal Lopez).  

 

Mike is a little peeved that Chino is taking all his business away and he lets it be known on social media that there’s this “Chinese guy” who has the audacity of making and selling authentic Mexican tacos. Mike does it as a joke, but the post gets a little out of hand.

 

Yesenia (Esperanza America), a social media influencer, gets word of Chino and his business and accuses him of blatant appropriation. And her followers chime in making it worse for Chino’s Underground Tacos.

 

Joe Ulloa’s Tacos LA Brooklyn is a remarkable achievement that somehow manages to span the globe, condenses it and, and sets it in a tiny community of East Los Angeles, California.  It is a potpourri, a mixed dispersion of Japanese, Korean, and Mexican people, and he writes it in a variety of languages all in the entire presentation of one single night. The night unfolds from the media circus that takes place in the first act to the divine interaction in the second act of connecting the emotional dots and caressing those feelings.

 

Fidel Gomez, the director, seizes the essence that is social media where everyone projects a strong voice, lightning fast, right, and wrong, that elicits language that is often crude and sometimes nasty.   Developed relationships in the first act are hard to come by as, one on one, communication is advanced in a nether region, a message in the sphere is read and commented on hundreds maybe thousands of times until it rattles down into a meaningless tangent. Gomez finds the humanity in the second act and the play soars.

 

Esperanza América does well Yesenia Tapia a woman with a social media following who has the public’s best interest at heart but in the end is awakened by her short comings.  América has some very surprising moments in this play and is outstanding.

 

Paul Dateh

 

 

Paul Dateh is Benjiro, a Japanese man that appreciates the East LA culture.  The manner and characteristics are spot on, and his singing voice alone is worth the price of admission. One lives for these moments in theatre.  

 

Alejandra Flores is Lencha, the adoptive grandparent. Flores manages to capture the love throughout the play giving when it is needed and supporting when it is necessary. She brings an authenticity to her grandson’s business. The work is wonderful.

 

Ariel Kayoko Labasan plays Whisper and a myriad of other roles including Commenter, a Karen-like woman without an objective in life but is simply there to shut down other people’s way of life. Labasan’s work is excellent.

 

 

L - R Zilah Mendoza, Alejandra Flores, Gavin K. Lee,
Jesus “Chuy” Perez and Xavi Moreno

 

Gavin K. Lee plays Chino and for the most part the work is good but needs work in strengthening his voice for the theatre especially in this venue. There is also another emotional level that may be needed to employ rather than the angry mode in his voice and mannerism. Chino is on the verge of losing everything he has worked for.  As a child he was literally picked up off the streets and he doesn’t want to go back to that again.  There is a divine subtlety of recognition when conflicted moments take a character down a path he doesn’t want to go. Finding those moment are the keys to defining the character.

 

The indefatigable Sal Lopez is Don Agapito and manages to capture the spirit of a man willing to give and to teach.  There is a bit of conflict of giving up to someone that which he has worked so hard to learn and that plays beautifully. Lopez also has several smaller roles for which he excels happily and is a consummate theatre professional.

 

Sayaka Miyatani is also excellent as Mariko aka Little Triste and other roles. Miyatani is fluent in Japanese and English and has a simple manner that translates to the theatrical setting. Her work is superb.

 

Zilah Mendoza is Monse a character who sells sweet thing from her stand. And while the work as natural and efficient this is a character that needs more development specifically finding the conflict that drives the character. That conflict needs to be deep and real.  Now she sells sweet things but what is that thing that drives her to the conclusion of the play. Where does she stand on the issues and why isn’t she going about to change the things around her?

 

Jesus “Chuy” Perez and Xavi Moreno

 

 

Xavi Moreno is excellent as Mike. The work is a tour de force as he mentally and physically accepts the challenges of the character and rides that wave to its conclusion. It is one of the finest performances I’ve seen from this truly gifted actor.

 

One remarkable thing about the play is the music of Jesus “Chuy” Perez who plays El Músico a musician that defines the rest one needs from all that internet noise.  Perez plays it as a simpler time, of getting down to the core of humanity, a song, a guitar warmly played taking us down to our lowest common denominator of pleasure.  The work is inspiring.

 

Richard Azurdia and Andrea Negrete are also in the cast but did not perform the night I attended.

 

Natalie Morales, Scenic Design, is effective and manages to give everyone the space to perform their magic.

 

Maria Catarina-Copelli, Costume Design, gives the audience the time and place of Los Angeles California.

 

Pablo Santiago’s lighting design is an interest mix of elevation and circus like atmosphere. Before the opening, there are these floating rectangles that collide from one to the next.  Later colorful circular lights remind one of a three ring top, and one supposes that is his intention.

 

Hsuan- Kuang Hsieh projection design is very dramatic when it wants to be and simple when the play requires breathing space such the realistic blowing palm trees. It is beautiful and has a nice calming effect when the play needs it.   

 

 

Other members of the fantastic crew are as follows:

 

John Zalewski – Sound Design

Valerie Vega – Assistant Stage Manager

Urbanie Lucero – Movement Director

Nicolas Ruano – Assistant Director

Alexa Wolfe – Stage Manager

Jessica Veronica Rodriguez – Assistant Set Designer

Iliana Carter Cervantes – Casting Director

May Fei (Congxiao Fei) – Production Manager

 

The show closes tomorrow afternoon November 5, 2023

 

Parking is around $8.00 with validation.

 

The Los Angeles Theatre Center

514 S. Spring Street

Los Angeles, CA. 90013

 

To Donate: Latinotheaterco.org/circle-of-friends

 

Tickets: https://www.latinotheaterco.org/