A Black and White Cookie by Gary Morgenstein

 

From L to Right - Laura Trent, Tommy Franklin, and Morry Schorr - photos by Shelby Janes

By Joe Straw

 

A met an actor long ago. We had a common thread growing up in Tennessee and then coming to Los Angeles to pursue an acting career.  I studied with various teachers, read Stanislavski, Hagen, Adler, Clurman, Kazan, and Strasberg and he traveled another route. Actors make their own way and survive in Hollywood one way or another.

 

Skypilot Theatre Company presents the west coast premiere of A Black and White Cookie written by Gary Morgenstein, directed by Tudi Roche, and produced by Shelby Janes through August 20 at the 905 Cole Theatre in Los Angeles.

 

The 905 Cole Theatre is a beautiful black box theatre with plenty of street parking surrounding the space. The people working there are nice and accommodating. Pages of F. Scott Fitzgerald’s The Great Gatsby are attached to strings in the lobby to peruse at your leisure. It was a wonderful night to go to the theatre.

 

A Black and White Cookie written by Gary Morgenstein and directed by Rudi Roche got off to a rocky start last night early in the run.   Somebody lost their place and there was an uncomfortable feeling about the stage until someone managed to get back on track.  Opening weekend jitters are sometimes hazardous when all sorts of things can go slightly haywire.

 

Harold Wilson (Tommy Franklin), a 71-year-old Vietnam veteran, has owned a newsstand for thirty years.  After the COVID layoff he returns to work only to find his rent has increased significantly.  Back to visit again is Albie (Morry Schorr), an un–Bar Mitzva’d, nominally Jewish man, who tests the waters of an un-violated viral airspace to his favorite newsstand. He’s back to his old practices to get a free one-day old New York Times paper and a visually dry ham and cheese sandwich for $4.99.

 

And, although Albie Sands has been coming for many years the two really don’t know each other.  

 

But today is different in that Harold’s newsstand has a sign that he is going out of business being pushed out by The Man. But Albie says that can’t happen and that he must fight for his right to stay there, fight corporate America, and live happily for his right to exist. The idea for Albie to walk two more blocks to get the news and scrounge for a ham and cheese sandwich is unconscionable.

 

Albie says he will help Harold.  He’s had experience fighting corporate greed and was once part of Gus Hall’s presidential campaign.

 

Harold wants no part of his plan.  He is accepting of the things that come his way as part of the American dream fulfilled or unfulfilled.  He’s a Republican and will be for the rest of his life.

 

Detesting the Republican ground he walks on, Albie doesn’t want to be any part of that discussion but decides he will help Harold anyway.  

 

Harold says no.

 

Later that night, surround by half empty moving boxes, Harold listens to the lovely sounds of kids screaming and running outside his house.  Shooing them away was an exercise in futility.  Harold’s niece Carol (Aisha Kabia) pays an expected visit.  She readies him to move in with her in Clearwater, Florida but finds that nothing has been boxed.  

 

Carol also notes that his house is getting into a state of disrepair, and he would be better off taking the $25,000 they are offering him to move. Harold says his new friend Albie will help him fight the eviction, but Carol says the Jewish man only wants to take his money and she’s been down that route before.  

 

Later Albie enlists Mitchell (Dylan Bower), writer of a proletariat newspaper to put a story in his paper to garner sympathies for Harold’s plight. Mitchell doesn’t want to write it, but he will post whatever Albie and Harold come up with.  

 

Gary Morgenstein’s comedy is a whole lot of fun. The characters are a fioriture of a humbling Brooklynites moving with a concealed purpose.  And although they are so diametrically opposed, they somehow find that purpose in life, the one thing that unites them - to have the right to live in the way they want to live. If they could only get everyone on board.  But people are naturally opposed to any kind of change, for whatever reason, until they find the thing that makes them fluid and it takes a lot of persuasion to get them that way.

 

Tudi Roche, the director, has found the humanity in the characters but there may be other things that move the characters beyond the conflict. While the play moves successfully through to the end, the players have yet to find those identifiable moments that propel them to change their minds to pursue other paths.  What is the moment that causes Harold to go out in the middle of the night to find his friend? Why does Carol have a change of heart? What makes Albie move to fight another day? This night was also filled with off stage pauses that stop the momentum, mostly for costume changes that could have well happened onstage.  

 

Tommy Franklin is Harold, an African American Republican, who accepts his lot in life.  There’s a reason why they’re raising the rent for his corner newsstand because they need the extra money, and he’s okay with that way of thinking. He doesn’t see the other side, particularly his side.  Harold goes along with anyone who has a better idea and at this point of his life, he doesn’t have one. Harold is happy to live his life peacefully, listening to the Mets play and having a hotdog with sauerkraut. But there is more to this character that Franklin may not have gotten. He is a particular character, a Republican, that always votes against his best interest without giving a single thought to his interest. Franklin does a nice job, but there are better choices to be made, conflicts in the scene, finding the moment that makes the character change directions to roam the streets and alleyways.

 

Morry Schorr is relentless as Albie. His ideas are a coruscation of life, his life. He is always up for the good fight and getting on up in age he’s still got one more fight in him. What is life if it’s not for the definitive battle? He is always fighting for the little guy, the underdog, and knows the true cost of a battle well waged is the battle for the good. When seeing something wrong, he puts wallpaper on it. Schorr is very funny in the role and knows when the battle is lost but is willing to continue to win the war whether it’s this day or tomorrow.    

 

Aisha Kabia and Morry Schorr

 

 

Aisha Kabia plays Carol and has some ferocious prejudice words about her uncle’s friend.  She also wages a battle trying to convince her uncle that the house is running down and that he’s better off getting the money, not waging the battle, and coming to live with her in Clearwater, Florida. Because of her history, she execrates that Jewish man wanting to help her uncle, thinking he is doing it for the money, his money. Kabia has a very nice stage presence and a very dogged determination to get what she wants but it is the internal struggle within her being, the conflict with her uncle, that needs a little something extra. Still, a very nice job. 

 

Laura Trent is wonderful as J.N. Pham. She has a dry sense of humor that jumps out from her sincere expressions. Pham has a better understanding of the play as she feels compassion for her fellow human, but understands it is her business to conduct business. She has an open mind when bringing down the rent increase and may have gotten the rent renewed if someone was willing to meet her halfway. And although it is a small role, Pham excels in that role.

 

Dylan Bowers has a very good look as Mitchell.  He is willing to listen for a half a second but is not willing to go the extra mile in helping someone. There must be more to this role and character than standing and listening to two men speak about their problems. He must definitively know what he wants and how he’s going to get it.

 

Other actors contributing to the production are Corbin Timbrook (Sportscaster), Anthony Backman and Shelby Janes (Newscasters) and Chuck Lacey (Homeless man).  

 

Stephen Juhl is the stage manager. Selena Price is the lighting designer and Ben Rock is the sound designer.

 

Anthony Backman and Tina Walsch contributed to the graphic design and program design.

 

There is a lot of baseball talk in Morgenstein’s play and it’s always a joy and pleasure to listen to dialogue of the ’69 Mets.  

 

The Skypilot Theatre Company is a 501(c)3 Non-profit organization.  To donate or for tickets go to skypilottheatre.com.

 

  

 

 

Final Interview by Gabriel Oliva

 

Top to Bottom Gabriel Oliva and Brian Stanton: Photo by Eric Wann

By Joe Straw

 

Sometimes one wonders about the choices actors make to further a play along. It must a collaborative choice between the actor and writer, in this case one in the same, and the director. They must all be in agreement but, when they settle, does that mean it’s the right choice?

 

Go Theatrics presents Final Interview written by Gabriel Oliva and directed by Katierose Donohue Enriquez at The Pico Playhouse in a limited release through July 23^rd, 2023.

 

One arrived at The Pico Playhouse about thirty minutes before the doors opened at approximately 7:20pm. There wasn’t a soul to be seen and I wondered if I had gotten the dates right. The one sheet outside confirmed the show was playing there and a handwritten note on the door noted that they would open at 7:45pm.

 

Another lone patron meandered in front of the theatre, and, for a time, I thought we were the only two patrons. A few more people arrived, entering the theatre I was told at 8:00pm that they were holding the curtain until somebody’s husband arrived.

 

When they couldn’t wait any longer, they started the show sans husband.

 

The opening, and here’s where it gets interesting.

 

On a blackened stage, there is a pounding noise, and as the lights come up, we see Clayton (Gabriel Oliva), with a menacing look pounding the glass with his finger repeatedly. (This is something that will later be explained during the course of the interview.)

 

Clayton waits in an office until Charles (Brian Stanton) arrives.  And he does so with his secretary Tessa (Alexis Capozzi) in tow. Pleasantries are exchanged, warm smiles, hearty handshakes as Clayton prepare for his interview.

 

They are ready to sit down but Charles asks if Clayton would like something to drink, an expresso.  Clayton declines but Charles insists and Tessa chimes in also offering in the process multiple times until Clayton explodes and refuses the drink.  

 

With that settled they start with the interview Charles telling Tessa to hold all calls before she leaves.

 

Clayton comes off very jocular in a way that one would want to conclude the interview as soon as possible.  But, Charles, continues asking rote questions until the final question – “Do you have questions for me?” When Clayton doesn’t have any questions, Charles finishes the interview.

 

“We’ll let you know.”

 

Charles starts for the door, opens it, and Clayton, suddenly becoming serious, tells him that he can increase his cost margin from 11% to 20%.  Charles, hearing that he can make a whole lot of money gives Clayton another chance and the interview continues.  

 

And now the interview suddenly becomes serious when Clayton pulls a gun to get the answers he needs to his questions.

 

The problems with this production are not insurmountable.  It's sad that the night was not better attended given the nice reviews.  There was not a producer noted in this production and perhaps that would have helped.  Budgets are tight and one person can't do it all. But, from a business standpoint, the cost of using the theatre is the same, each night.  Your loss doesn’t increase if you give the tickets away to fill the house and then have someone ask for donations on their way out.  But find a way to get people into the house to see this production.

 

Secondly, and this is more of an artistic comment of the characters, start slowly, and end dramatically! Katierose Donohue Enriquez, the director, has Clayton maniacal in the opening moments of the show, practically giving away the whole reason for him being there.  There is a purpose for him to be testing the window and that is his discovery of the elements of the window which comes to play later in the show.  Also, this character goes way overboard in the opening moments of the show. Charles, being the smart man that he is, probably would have ended the interview at that moment Clayton refuses the expresso.

 

Don’t give the store away before one has had the chance to look at the produce.  

 

That aside, Gabriel Oliva’s play is remarkable.  It is smartly written and filled with wonderful moments throughout. The character’s dialogue suggests experience in the field, a business acumen that jumps from the page onto the stage. It is sincere and on point. The ending is ambivalent enough to walk out the theatre door and ask yourself, “What in the heck just happened?” The discussion afterward suggests coming to the same conclusion but expressing it in a myriad of ways. Ending with changing the spots on a leopard – you can paint over the spots, but he’s still a leopard.

 

Gabriel Oliva plays Clayton and playing maniacal gives him nowhere to go after the opening moments of the play.  He is there for a purpose, and we need to find out what that is, slowly.  He must bring that backstory in the opening moments but present it in a way without giving it away. Clayton has taken years of his life to get to this point and somehow that must be projected. This is part of the life Oliva must find. That aside, there’s some remarkable work going on.

 

Brian Stanton also does some fine work as Charles.  Charles is a man loaded with guilt, thinking he’s been cleared for his past deeds, so he’s able to keep working as though nothing has happened. The more we know about Charles, the way he cuts corners, and the insider trading deals show us a man who has no compassion for humanity.  He is only able to change his spots only after a matter of forceful persuasion and his ending is very dramatic. Stanton does some very fine work in this production.  He is a thinking actor, and his thoughts are expressed dramatically from his eyes throughout the night.

 

Alexis Capozzi is captivating as Tessa. There may be one more element needed in her relationship with her boss and the way she handles the interruption scene to give that scene the vibrance that is needed.

 

 Frank Martinelli is the voice of Ashwin and Colleen Foy is the voice of Lisa in this production.

 

Annie Terrazzo is the Set Designer and displayed an effective use of the space of The Pico Playhouse.

 

Ken Werther is the press agent.

 

Poster Design by Julia Lambright.

 

The show closes today. The beautiful Pico Playhouse is very accommodating and street parking on Sundays is free.

 

 

 

 

 

 

Sweeter by Elizabeth Guest

Elizabeth Guest

 

By Joe Straw

 

The beautiful Lyric Hyperion Theatre is not easy to get to no matter your endeavored course.   But just when you think you’re nearing your destination, the roads take you in a variety of directions, not north, not really south, hopelessly not west, and definitely not east.  

 

The streets leading there are protracted mess that moves one in a myriad of ways, and adjustments need to be made for parking and traffic when time is running short.  One blames no other than myself for starting too late, a quick dinner in West Los Angeles and what I think is a reasonable amount of time to get to my destination, nearing the end, was not.

 

So, the show was to start at 7:30 pm and my arrival time was 7:28pm, just made it! A very odd time to start the show one might add.  Stepping into the theatre and taking a deep breath, I make a relaxing note that “these things never start on time.” Still, one is frazzled.

 

Seven forty-eight and still a bare stage, but there is music, The Beatles, the music dies, the lights dim and stepping into the theatre door is Elizabeth (Liz) Guest, the late performer, no strike that, the performer who is purposefully late.    

 

All eyes adjust to the door, she apologizes profusely, and one hears things rattle as she negotiates the noise caressing a humidifier and all the additional paraphernalia that surrounds her including two very large suitcases.

 

So, the audience has been waiting, and she apologizes for being late, because there’s no parking, coming all the way from Casita Del Campo restaurant, hauling her stuff from hither and yon.

 

Pretty and tall as a blue flower, she gathers herself, her belongings, the suitcases, guitar, humidifier and hobbles them to the stage to announce that she has just moved out of her boyfriend’s apartment and then declares that the show is about leaving her boyfriend.

 

She needs help. And in this moment of deep self-reflection, self-preservation, and self-liberation, she calls well beyond her calling for help – her psychiatrist Dr. Ruth, leaving a message when doctors are not always on your beck and call.

 

Her boyfriend?   

 

She didn’t have the heart to tell him because, he’s currently in the shower and, well, he’s unaware that she has left him.  This is how these things go for her. She suddenly needs to text him to bring her the other humidifier. (She has two.) She texts the message but hasn’t the heart to hit “send”.

 

Time is of the essence, and she searches for additional help. Someone a little closer - her friends in the audience to hit send because ultimately, she doesn’t want to be the mean girl.  

 

Sidney her friend, is called upon on this night, but she is hesitant to help and after repeated requests she bequests her finger to do the dirty work and then says, “Don’t talk to me anymore.”

 

Friends.

 

This massive messy jumbled world she lives in can be explain, well sort of, by the fact that she is a people pleaser and doesn’t want to hurt anyone.  So, the night is filled with self-analysis as to how she got that way.   

 

There was so much to enjoy on this packed night especially when it’s about a single woman suddenly engaged in an emotion conflict without a solution to her problem.  Melanie Shaw, the director, effectively uses the fourth wall using the patrons as participants.  But this show has an already built in cast of six people including Nicholas and Pamela Guest, Timm Sharp (the boyfriend), Sydney Steinberg and Ruha Taslimi. All were in the audience apart from Melanie Shaw, with a clear and resolute voice, in the booth.  And with Tim Sharp, the boyfriend, the audience moves to take sides whether it was intended or not. The direction for the whole night rang a very sincere truth.  

 

Elizabeth Guest, the writer, gives us her life with all the moral imperfections starting at a young age through adulthood. She used the opening moment of the breakup in a quest to find why she is a people pleaser. She may not have found the complete answer, but she continues to try through marvelously indiscreet and poignant moments to the end.  

 

The play has the capacity to evolve each night with touch ups to the artist’s canvas. With the apology to the audience in the opening moments, Elizabeth should also apologize to her parents, both professional actors, to completely sell the idea of being late. Also, because this is new, and a work in progress, one is not sure if the mishaps on stage were genuine. One moment is the call to Dr. Ruth.  Another is when she had Melanie Shaw, in the booth, played dance music. Also, the car crash in Michigan needs a clearer explanation.  

 

Elizabeth’s work was exceptional with terrific timing and a very off beat sense of herself capped with a facetious smile.  There were also some very fine emotional moments as well especially when she is speaking about her estranged sister.

 

Timm Sharp does a very nice turn as the boyfriend who is willing to let her go without any problems whatsoever. His performance is very clever and simple all without the exterior emotional heartache that is sometimes prevalent in these kinds of situations.

 

Sydney Steinberg hits all the right notes as a friend and an audience member. Ruha Taslimi is equally well suited as the quiet friend who wants to be more especially when she is on stage trying her best to be part of improv.  

 

Nicholas Guest had some very fine moments and projected his voice across the theatre while Pamela Guest played it naturally as an audience member with a barely audible “c**ts” when describing the mean girl bullies at the Immaculate Heart Middle School.

 

“Sweeter” is a nickname given to Liz by her parents and the night was exceptional.  

Las Diosas Subterráneas by Beatriz Cabrera, Alejandro Joan Carmarena, Brisei Guerrero, Stefanie Izquierdo, Ernesto Lecuona, Mercedes Olea, and Jonathan Ramos from the original ideas by Rocío Carrillo

Photos by Erika Gómez

 

 By Joe Straw

In Las Diosas Subterráneas (“Subterranean Goddesses”) the Greek myth of Demeter and her daughter Persephone, kidnapped by Hades, God of the underworld, is intertwined with the story of Luz García, a character based on real-life women kidnapped by human traffickers, to tell the story of mothers looking for their missing daughters who find strength in community.

 

Both pieces were created collectively by ensemble members Beatriz Cabrera, Alejandro Joan Carmarena, Brisei Guerrero, Stefanie Izquierdo, Ernesto Lecuona, Mercedes Olea, and Jonathan Ramos from original ideas by Rocío Carrillo, who directs. The production manager is May Fei. 

 

The leafless tree in Mexico is perhaps a symbol of the missing women in Mexico.  The symbol is draped across the upstage wall in browns and desert patterns with roots extending well beyond the cavernous underbelly and is an ominous opening of the type of production we are about to see. The problem of women disappearing in Mexico is not an exaggerating, over 100,000 since 1964 never to be found again no matter the effort of the search.  

 

The disappearance happens not so much under a cloud of darkness but in plain sight with those controlling the light who have the ability to control their way in the cavernous places they are inhabiting. They move, filtered by the ominous masks that disguise their everyday job.  Or possibly that is their full-time endeavor.

 

And it starts with a casual misunderstanding between mother and her daughter who seems to be getting on the nerves of her mother, or her mother wants her daughter to explore new people, new avenues, and so she is left with those people who are guided by nature, flowers that captures the attention of one so young that she is enraptured as the mother slowly edges away, distracted by the benevolent calling of another venture.

 

 

 

And so, the daughter is left alone with these strange people who appear to be harmless but leave after a harmless sexual interplay leaving the young one alone, in a deserted area, and suddenly captured by a man that takes her away, without her permission, and no possible way of escaping.

 

Her mother returns to retrieve her daughter only to find that she is no longer there. Now she is on a quest, with two dogs, to find her daughter who is missing without a trace.

 

The Latino Theatre Company does a grand job of finding theatrical works of art and bringing them to Los Angeles. This company is from Mexico and the show has long since closed. Actually, they were performing two shows in repertory.  This one and Pueblo Espíritu!

 

Las Diosas Subterráneas was written as a collaborate effort it doesn’t have one writer’s strong through line and the director Rocío Carrillo, although justly directed, may have had his through line complicated with too many cooks trying to get the right flavor.   

The actors justly represented the players, and the performances were excellent. My Spanish is not that good, but one was able to follow with no problems at all. There was dancing in the beginning but not with the precision of formal dance training. (Actors who can move.)

 

One did not get a program upon entering the theatre and one found that odd.

 

The Mountaintop by Katori Hall

 

Amanda Warren and Jon Michael Hill

By Joe Straw

 

The Geffen Playhouse is a wonderful theatre just off the UCLA campus in Westwood. Coming into the house is an experience, yes, a pleasant experience, a garden outside before you enter the doors, a place to sit and engage in conversation, and a bar off to the right side to have drinks, alcoholic or non-alcoholic, the coffee is exceptional and add chocolate bar to the mix and everything is more than fine.

 

The ushers have a resolved attitude, but pleasant when spoken to, and very amiable when asked of something. Going into the theatre is a ten out of ten experience.

 

The Geffen Playhouse Production of The Mountaintop written by Katori Hall and directed by Patricia McGregor is now playing through July 9^th, 2023.   

 

For tonight’s show, time is an expression of the weary. Not enough time, too much time, never enough time, time is of the essence, needing time, just enough time for a cigarette, the necessity of time, critical time, and so on.

 

The time is late into the night April 3^rd, 1968, in the room 306, the King-Abernathy suite of the tenebrous Lorraine Motel in Memphis, Tennessee. A cold Tennessee rain falls, the keyed door scrapes against the frame and Dr. Martin Luther King, Jr., (Jon Michael Hill) running out of time on this date, the day before his assassination, pushes his way into the dingy hotel room.

 

As an afterthought Dr. King re-opens the door and yells to Reverend Ralph David Abernathy (not seen) to get him a pack of Pall Malls.  King knows the room well, having spent time there. He looks at the bile carpet and doubles over in a coughing fit. Whether it’s a reaction to the carpet, or a cigarette deprivation, time will ultimately tell.

 

No time but the present, King takes a moment to review his upcoming speech “Why American is going to Hell” making sure that his room is not being bugged before calling room service to order a cup of coffee.

 

But ordering room service on this night is slightly suspicious, different than what he is accustomed to. Room service is closed, that’s never happened, especially at this time early at night, but they agree to send him one cup of coffee.

 

And, almost as soon as he hangs up the phone with Corrie, his wife, there is a knock at the door. Time being what it is, he is expecting the Reverend Abernathy.  But when he opens the door Camae (Amanda Warren), from room service, unexpectedly smiles in the doorway holding a newspaper and a tray with a cup of coffee.

 

Camae is deliciously tall and rapturously noticed by that same person in the room as she tidies up a bit.

 

“You need anything else ‘fore I go?” – Camae

 

“Actually…if you got a cigarette…” – King

 

And so, starts a relationship of sorts.  King doesn’t want to smoke alone, and they both engage in a little flirtatious conversation until he convinces her to smoke with him until the Reverend comes back with his pack of cigarettes.   

 

But Camae sets some boundaries knowing where the conversation is going even confessing that her uncle couldn’t help himself when it came to her. So, she changes the conversation, expressing her thoughts to him having so much fun giving speeches and getting a little foul mouthed when doing so.

 

Here I is just a’cussin’ all up in front of you, Dr. Kang. I cuss worser than a sailor with the clap. Oooo, God gone get me! I’m goin’ to hell just for cussin’ in front of you. Fallin’ straight to hell. – Camae

 

“No Ma’am, ‘cordin’ to your face, yo done fell straight from heaven.” – King

 

Hmmm.

 

Not all is as it seems. Natori Hall has written a wonderful play that has many twists and turns along the way and is engaging from the first moment to the end.  Those dramatic turns even cross the imaginative boundaries of space and time. Everyone has a story of this type of interruption in their lifetime, some not so articulate, but Hall manages to weave a surprising tale of time, with moments so engaging, and surprising that it leaves one breathless.  It’s no wonder that Natori Hall has two shows presently running in Los Angeles which is almost unheard of, including Tina at the wonderful Pantages Theater.

 

Patricia McGregor, the director, manages to secure the best from her performers with nuances in character that highlights every moment on stage. The extraordinary precision of those unspoken moments are seldom seen in any production.  In short, it is a magnificent work of art.

 

Jon Michael Hill is exceptional as Dr. Martin Luther King, Jr. taking each moment with the precision of a watchmaker. The moments are real, the anger is real complete with imperceptible shaking, and the tears come from the heart. It is one of the finest performances you will see this year should you venture out to The Geffen.

 

Amanda Warren is wonderful as Camae (briefly defined meaning as the seeker of knowledge). Warren has a powerful voice that could easily bounce off the back wall of the Geffen Playhouse. Each moment of her performance was wonderfully expresses, even the silent moments, the unreadable stare, the shaking of her head, the impenetrable expressions, and the way she comfortably glides about the room.   

 

One can’t help but fill uplifted when exiting the Geffen after witnessing both performances.  

 

Brian Nelson, Jr., and Courtney Thomas are understudies and did not perform on this night.

 

Scenic Designer Rachel Myers has Room 306 upstage that moves downstage when the performance begins bringing the lives of the character that much closer and more intimate. The movement brings the lives to fire on this night. There are also some very dramatic moments with the show that play-out later in this 90-minute production!

 

Other members of this fantastic crew are as follows.

 

Mylette Nora – Costume Designer

Lap Chi Chu – Lighting Designer

Cricket S. Myers – Sound Designer

Yee Eun Nam – Projection Designer

Dennis Whitehead Darling – Associate Director

Sasha Nicolle Smith – Intimacy & Fight Director

Rebecca Phillips Epstein – Dramaturg

Alyssa Escalante – Production Stage Manager

Amber R. Dettmers – Assistant Stage Manager

Phyllis Schuringa, CSA – Casting Director

 

Run! Run! Run!