Angelos written by Tony Perzow

By Joe Straw



You can go to extremes with impossible schemes
You can laugh when your dreams fall apart at the seams
And life gets more exciting with each passing day
And love is either in you heart or on it’s way
– Frank Sinatra’s Young at Heart


Angelos written by Tony Perzow and directed by R.S. Bailey and presented by the TOP Theater is a wonderful new play at the Studio/Stage in Los Angeles. This is a feel good comedy with lots of laughs and wonderful characters inhabiting the scenery. And throw in a lot of young love and characters who still feel the love and are young at heart.

Angelos is a find! It is an exhilarating one-act play from the opening moment to the very end. Picture watching Cheers, set in a barbershop, throw in a young Hasidic Jew deli delivery boy (think Jerry Lewis), robbing the place, and you have the makings of a play that is a lot of fun!

The play opens with Uncle Moe (Jack Kandel) under a spotlight sitting in a barber’s chair. He instructs you to say “Uncle Moe” when he appears and there’s no questioning it either. Messing with Uncle Moe is a cause not lightly taken. He is a made man in every sense of the word. Favors are granted but expect to repay those favors until you choke on your last breath.

Angelo (William Knight) runs this barbershop establishment.

Today and probably most every day he is cutting Barry’s hair (Tony Perzow) because Barry’s got money and likes to look good and likes it when other people think he looks good.

But let’s not stop with the hair, Barry, (racing form in hand), is getting the full treatment. His nails are nicely manicured by Brocha (Tina Saddington), an Israeli with a huge beehive hairdo that would topple over mere mortals devoid of a strong neck.

And his shoes are being shined by Mirror (Robert Fisher) an old African man from an undisclosed African country. Nobody knows where he came from or why he stayed. And nobody knows what he is saying but everyone understands him. And they love him.

There seems to be one rule with the people who conduct business at Angelos and that is Angelo gets 5% of all transactions conducted in his shop. Opa!

And if I haven’t said this already Angelo is Greek and very opinionated! Wanting what he wants when he wants it! And this includes dressing down Brocha because she is just as opinionated and not right about anything (according to Angelo). It is an inimical relationship for reasons not entirely recognized.

Coming into the barbershop is Jimmy the Book (Stephen J. Schwartz) and Kelly the Scalp (Jerome St. Jerome). Jimmy carries a bag with items for sale most notably lizard skin shoes and other stuff. They sit and play cards while waiting to make a sale and offering their valuable take on life.

Everyone has a unique perspective on life and no one is short on opinions. They’ve all seem to have lost something and are desperately trying to get it back.

Uncle Moe is the only one in control and he just sits in the corner, waiting for the right moment, engrossed in his Maxim magazine, when David (Frank Salinas), a deli delivery boy, comes in to deliver the food first and then to rob the place second. Why? Because, he is in love with a gentile, Maria. And love does strange things to hormonal misguided young men.

At first they do not take this boy seriously until the gun goes off and that’s when things go into high gear.

Everyone in the cast jumps into their character with great satisfaction. Knight as Angelo was absolutely wonderful.

Perzow as Barry was very funny and willing to take control as well as share the stage.

Saddington was marvelous with her beehive hairdo and is very willing to offer a woman’s perspective for the good cause.

Schwartz as Jimmy the Book has a high pitched voice and appears to have stepped out of a Peter Lorrie movie. What fun!

St. Jerome as Kelly the Scalp was fantastic and in the moment from beginning to end. What a wonderful performance from an actor who listens and reacts with the precision of a skilled musician.

Fisher as Mirror was very funny, quite unusual and specific in his tasks. It is a physically demanding role and well done.

Kandel as Uncle Moe and as Abba was a joy to watch.

Salinas as David was also funny and specific in his journey. He reminded me of a young Jerry Lewis, although not as funny! (I think Jerry would laugh at this joke.) Still, Salinas is a remarkable actor and wonderful in this role.

Angelos written by Perzow is etched from his memory of hanging out in a barbershop in Canada in a culturally diverse community. It is wonderfully written with rich characters and if there is anything I would work on is Uncle Moe’s final exit.

Bailey, the director, keeps things moving along nicely. The relationships work well with nicely developed characters and about the best thing I can say about this wonderful ensemble cast is that they all listened and move toward a singular objective.

It’s all about love. Opa!

Studio/Stage
520 N. Western Ave.
Los Angeles, CA 90004

Reservations: 310-807-4842
Thru July 11, 2010

Carmen Miranda The Lady in The Tutti Frutti Hat written by Sam Mossler, Magi Avila, Geremy Dingle, Beto Araiza

By Joe Straw

Carmen Miranda was a Brazilian legend long before she became a superstar in the United States. She was one of the highest paid entertainers in Hollywood during her time and what a wonderful way to recreate the magic of those times with the play, Carmen Miranda The Lady in the Tutti Frutti Hat, written by Sam Mossler and directed by Beto Araiza at the Hudson Backstage Theatre.

Magi Avila as Carmen is absolutely fantastic! Her smile in her musical numbers radiates a pleasure and passion that cannot be described.  The musical numbers are an astonishing achievement that will have you smiling from beginning to end.  Avila gives it her all with songs such as Mamae Eu Quero, Tico Tico, South American Way, I, Yi Yi, Yi, Yi, I Like you Very Much, Chica Chica Boom Chic, and Cuanto Le Gusta.

Carmen’s costumes are marvelous and her hats are equally fun.  What makes this all the more remarkable is that Avila designed all of her costumes.

And what is it about a woman with fruit on her head, sequins on her clothing, and swinging hips that makes her so alluring?   One need only view the show and affirm your instinctive biological drive. 

Backed by a seven-piece orchestra, the night was a musical fun filled night, delightful in many ways, and wonderful throughout the night. Some of the members of the band played various personalities from her heyday. Geremy Dingle was wonderful as Lee Schubert and imitated a number of personalities including Jimmy Durante, Jerry Lewis, Cary Grant, and Mel Torme.

Jeff Markgraft, the bass player, played Dean Martin and Eddie Jackson not great impersonations but workable, nevertheless a very fine musician.

Dennis Kaye, the musical director as well as the producer, kept things lively and sparkling with his seven piece orchestra (something rare in Equity Waiver theatre) which included Dingle on trombone, Markgraft on bass, Michael L. Solomon on drums, Ron Hershewe on guitar, Cengiz Yaltkaya on piano and Bob Couto on trumpet.

The show has a lot more to offer but because it is in its infancy stage it has the capacity to grow a great deal.  Think of this as the out of town tryouts.  Written by Sam Mossler it briefly touches on Carmen’s life.  It is not very dramatic in its book but there was a quiet moment near the end of the show that spoke to the heart. Still, the show doesn’t lead to that point.  We are in fact missing the core that should carry the show from beginning to the very dramatic ending.

One question remains:  Is it a nightclub act or a musical? (Okay, two questions.)

If it’s something more than a nightclub act then we need to see all that comes with having a successful life. It’s not enough to see Carmen floating through life without conflict.  We need to experience conflict through her song and her dramatic life.  And there is plenty there to bring on stage.  Love lost, bad marriage, drugs etc., and overcoming incredible obstacles are constant themes in Hollywood.  The final resolution makes the journey heartfelt.

As it is now the director, Beto Araiza, uses the audience as a confessor but is it possible a bandleader as confessor could be an answer? Also, with the show growing as it is, Beto needs to throw out the bad and bring in more of the good.  And there is a lot of good in this show.

Daniel Coffman, the choreographer, brings Carmen to life.  It is a very nice job. Adalberto Lujan, the Set Designer, provides us with a set that looks like a Las Vegas set up, but very nicely done. Steven Pope, Lighting Designer, needs a spotlight on Carmen, which might be difficult to do in this 99-seat theatre.

The Hudson Backstage Theatre is not a good theater for sound. There are some problems hearing Magi Avila’s beautiful voice, as she articulates difficult Carmen Miranda songs, in Portuguese no less.

Carmen Miranda died at the age of 46 from a second heart attack the night she had finished filming The Jimmy Durante t.v. show. Her first heart attack is shown on a YouTube video while she was dancing a vigorous dance number with Jimmy Durante. 

Hudson Backstage Theater

6539 Santa Monica Blvd.

Hollywood, CA  90038

Reservations: 323-960-7740

Through June 27, 2010

Ojala! By Jennifer Berry

By Joe Straw

The street theatre in Boyle Heights is, in some ways, an arranged overture to the main event at Casa 0101 Theatre. The blinding sunlight along 1^st Street makes one have golden blink shots or tiny glimpses of multiple scenes on the street.   

Friday night - the street - not dirt free.  Is Monday – long since past - cleaning day?  - Parking meters on the street - available? – Our luck  - a spot, spotted across the street! 

Feeding the meter – a few coins - timed – after eight, safe.  Jaywalking across the street - to the theatre – too early? – Walk to the corner – sidewalk filled with pedestrians - become one with the live set – notice the police station – white and blinding walls - and a church – white and blinding - feel safe? - Come on back – Casa 0101 calls – a Latino man walking toward us from the alley – pulling something from his jacket - with him his menacing young son, eating in ice cream – walking closely, adoringly.

Next door – to Casa 0101 - a convenient store – beer on sale – cashier not Latino – biding his time – taking your money.  Grunts - as a “thank you”.

Can you take a moment to feel your life?

Casa 0101 Theatre is presenting Ojala! a new play by Jennifer Berry and directed by Elizabeth Otero de Espinoza.  Based on the life of Manuela Dones, it is a life’s celebration from the period 1965 through 1968 in East L.A. and Pasadena. How one celebrates life in Boyle Heights or Pasadena for that matter is certainly a matter of personal preference.

Oh, but life, with its inherent triumphs and tragedies is riddled with conflict. The secret is to get out with a lot of mistakes (learning as you go) and a minimal amount of tragedies. 

The story starts off with two young women in very similar circumstances. Katherine (Lindsay Lane) a rich Catholic girl trying her best to avoid her mother, Mrs. Kenderson (Jillann Gabrielle), and waiting for the curtain to fall on her young life.  

On the other side of town, in East L.A., Manuela (Claudia Duran) excited about young love wants to solidify her relationship with her boyfriend Jose (Dave Trejo).

As the play cuts back and forth we find both young women are pregnant.

Worlds collapse.  

Katherine wants to get rid of the baby while her mother wants her to keep it. In fact she threatens Katherine with no money from her sizable inheritance unless she has the baby.

On the other side of town Manuela is taken aback by Jose’s lack of interest in family life and finds that Jose is only devoted to his career as a future LAPD officer: one of the first Latino cops in the city.   He doesn’t want the baby and doesn’t want to get married.

Together the young women pray alone on stage. They pray for the right answers. Manuela prays for the health of the baby while Katherine produces a coat hangar. As Katherine tries to terminate the pregnancy, Manuela loses her baby.

Katherine’s baby is born perfectly healthy while Manuela loses her and her ability to have children.

Manuela living with Rosa (Julia Sanchez) is asked to leave because there’s no room for her in their house anymore.  Rosa has another one on the way and… But Rosa takes her to a Katherine’s house to take care of her baby and tells her not to lose this job.

The gardeners (Victor Lopez and Pedro Lopez) take a very nice interest in the new girls coming to work at the house.

Manuela is immediately smitten while Katherine doesn’t want to look at her baby.

Manuela takes the baby out to meet the other Latino maids from the neighborhood, Anita (Sheila Korsi), Pancha (Carmelita Maldonado), and Cruz (Diana Mera).   They sit, gossip and become good friends.

Jose and Inspector Ramsey (Joel Zaldivar) discuss what it means to be a cop in Los Angeles and that means arresting the Mexicans who are causing all of the trouble.  (Yes, I think there’s a touch of racism here.) Jose takes offense and indicates he will arrest those that are guilty.

In the meantime Manuela and Katherine become friends and Manuela brings mother and daughter closer.  It is at this time Katherine starts seeing a man, Bill (also Joel Zaldivar), falls in love with him and later finds out that he is a – well, I should stop now. 

This is a very fine cast with superb performances all around.

Duran is engaging as Manuela. Strong in spirit and faithful to her new found family.  Willing to speak the truth no matter how much it hurts. Desperation does not play a role here, but why not?  When she steals and runs to her friends she needs to convince her friends to help her all costs.

Lane as Katherine takes a while to warms up to.  After all she’s the rich white lady but gradually we do warm to her and it is a very nice performance. 

Gabrielle as Mrs. Kenderson is a pretty tough rich woman.  The performance is wonderful and suitably perfect for the times.  Hair, clothes, and makeup from the sixties are all details in her character that all worked.  This was a superb performance.

A statuesque Trejo as Jose seems to tower over the rest of the cast. He recognizes the conflict in his role, in fact it comes too easily, but his voice is in need of further development so it does not seemed pushed, but layered.  Relax, concentrate and wait for the emotions from the heart to reach out and make a point.  Also, find the core of the police officer. Nevertheless, it is a fine performance.

Mera as Cruz plays to the very core of our being.  She sings a number in this play. It is sweet and melodious, carefully crafted to tear at the heartstrings and reminds us about the humans that are enslaved by the law of the land, both yesterday and today.

Korsi as Anita was as wonderful as they come.  What a joy to see a supporting player giving her best and not giving an inch until it’s time to swim naked with the gardener, defiantly, and with a little trepidation.

Zaldivar as Inspector Ramsey and Bill didn’t fool anyone with the fake mustache and the costume change but nevertheless did a very good job in both roles.  Certainly there is a manner to police officers that was not quite captured and needs development but the character Bill was quite nice (In a despicable way.)

There is a father son team in this play as the gardeners Pedro Lopez and Victor Lopez. Both were quite charming.  Victor, the son, with a strong voice, plays the fool at times, which was confusing and possibly stereotypic. His objective leads him nowhere and probably a path he should not follow. And, on the other hand, Pedro, the father, finally finds the love of his life, at least for this particular moment, and was engaging.  Both should work harder on their objectives, to make more of this life on stage. 

Rounding out the cast are Maldonado as Pancha and Sanchez as Rosa both quite good in their roles.

Jennifer Berry, the writer, captures the mood and time of Southern California in 1965.  There are a few problems that can be overlooked. For example, the time period takes place over three years and the baby never grows beyond infant stage. Also, when Manuela runs away she has nowhere to go and no one to help her.  It’s a moment on stage that needs to bring us to our knees with empathy.

Elizabeth Orero de Espinoza, the director, does a fine job but needs to find those moments that elevate the play.  There is more life here that can be explored.  Still, this is a mostly Latino cast working hard and filling the moments that were unexpectedly joyous to watch.

Functional Set Design by Marco De Leon and wonderful Costume Design by Monica Hernandez.

Ends this weekend.  http://www.casa0101.org/. 

Supernova by Timothy McNeil

By Joe Straw 

Something catastrophic happens in which a split second of observation is needed to take note of the moment.   Oftentimes, that is not possible in chaotic conditions.  Struck by the violent shock wave of an opposing force the options are to either succumb or judiciously leave the area.

Supernova by Timothy McNeil and directed by Lindsay Allbaugh is a peculiar and fascinating play.  It is either a metaphor of contemptible cataclysmic events or a simple family drama – you decide.  This world premiere play produced by David Fofi and presented by the Elephant Theatre Company in Hollywood, California cast a pernicious light of the living, a snapshot of the collective consciousness. 

But what does this all mean? 

By definition a supernova is an extremely luminous stellar explosion.  It expels the stars material with a velocity and sends shock waves into the interstellar medium. 

In this play, Supernova is a watch for sale out of a Soldier of Fortune magazine.  And fascinatingly enough the watch manages to change the lives of all the characters.  

But, can the audience expect a literal translation when so many things appear to be a complex metaphor of light transmissions?  

Wonderful Set Design and Lighting Design by Joel Daavid indicate something is not quite right.  Stage right is the family’s home: a working class montage of family living.  Stage left is a times seller’s office.  (Someone who sell watches.)  But there is something wrong with the home set, the doorframe is visibly skewed, the shelves are misaligned as well. There is a door that is seared into the floor as well as a surrealistic window downstage left with a slight view of the darkness below.  Stars and galaxies are mysteriously projected into the night sky. But let’s leave those images for the moment.

From a casual perspective the story plays out simply enough.

Mabel Davies (Bonnie McNeil) and her husband John Davies (Tony Gatto) will soon have a dramatic downturn in their relationship. Mabel wants to get her son, Kip Davies (Edward Tournier), a watch for his eighteenth birthday party.  Mabel has found a Soldier of Fortune magazine with a page turned down on a specific watch called the Supernova. Her belief is that it is her son’s magazine and he wants a watch for a graduation gift.

The watch costs $299 and John thinks Mabel’s ideal gift is insane.  As John is putting on his nice watch, he tells Mabel no watch for his unemployed, drug addict, and loser son.  (Well, not those words exactly, but you get the idea.)

Fran (Gina Garrison) a curvaceous divorced neighbor, and visiting, has her sights on Kip. She tells Fran Kip has a blond girlfriend.  But, Kip denies this as he only has eyes for women who are at arms length, namely Fran.  Even as Mabel is off in dreamland, they are having exaggerated seconds of sex in the kitchen.

At the watch company Ethan (Micah Cohen this night, James Pippi in alternating nights) has just hired Joe Strong (Timothy McNeil) to work the graveyard shift.  He is instructed to take the calls and sell watches.  Ethan is a devilish boss who demands immediate obedience. (Just the kind of boss everyone likes.)

Later Mabel calls the watch company and strikes up a relationship with Joe. It is a playful relationship that requires many phone calls before the watch is actually sold. 

In the meantime, home life is becoming monotonous and unbearable.  John is a working stiff who’s angry that his life is about paying everyone’s bills including his father who is in a wheelchair and in a nursing home.  John is continuously working to support the household and while he is away, the others play.

And play they do. In the morning hours Kip and Fran are having sex when Kip tells her that there are more pressing problems in the world than having sex with her. Kip tells her  “We have to fight to keep our rights as Christians!”  (It’s no wonder that Mabel knows enough about Kip to believe the Soldier of Fortune magazine is his.)

“You like simple women Jim Joe? – What are your goals Joe?” - Mabel

Bonnie McNeil as Mabel is a fascinating character. Dour from conflicts at home she seems to do what she wants only giving minimal second thoughts as to how it might affect the others. It is difficult to determine the specific moment, which changes the course of her life. 

Gatto as John is sympathetic and pathetic at the same time. How could a man love his son so much to throw food in his face?  And on a moments notice, could he toss his wife to the collective of deserted wives in Iowa?  Still a carefully crafted performance and one not to miss. 

Timothy McNeil as Strong can cower with the best of them.  Fighting to find that one woman in his life while maintaining his menial job is his primary objective but what stops him from setting down the phone and running to Mabel?  What keeps him in the office? 

Garrison as Fran as the sexy neighbor is a charming temptress.  She is an intriguing receptor to a physical relationship with both father and son while neglecting Mabel’s needs.  It is a physically demanding role and one that has her fighting her own emotional and physical battles.  A tremendous job.

Tournier as Kip has a wonderful stage presence. His voice is not mellifluous but measured and angry.  He is a man whose sexual needs come first followed by saving the Christian world second. He is strong in his naive convictions.  One could question such a worldly perspective from someone turning eighteen years old. Metaphorically, he is the supernova that sends his mental projectiles where the other characters are forced to fight or flee.  

Cohen as Ethan is equally remarkable.  He is a demanding boss that takes pleasure in controlling the lives of his employees.  He is the kind of boss that will write up an employee and get a signature on the write up without having second thoughts.

Tricia (Kelly Elizabeth) also does a fine job in a supporting role indicating it’s the worst birthday party she ever been to. And Moe (Joe Wiebe) as Kips weed smoking friend is equally fine but needs to find the reasons for wanting to hang out with the both of them.  

Timothy McNeil writes a play that allows us photo images or snapshots of the destruction of a family in America’s heartland.  The characters are no saints in this production, only human, but they all seem to be floundering trying to find their way in life. Waiting for the metaphoric explosion so they can determine what action to take. Still, it’s hard to tell what each of these characters wanted. No one admits to owing or reading Soldier of Fortune or marking the page for the Supernova watch which is mysterious in and of itself and it is not something that is explored or even thought about in this play. 

Allbaugh, the director, does a fine job finding the moments that are quite astonishing.  Some moments are in need of defining. A lot more mystery and myth would add to this production.   Still, she is a remarkable director working with a remarkable cast doing a very exceptional job. 

Through June 27^th, 2010

Elephant Theatre Company

6322 Santa Monica Blvd.

www.elephanttheatrecompany.com

The Importance of Being Earnest – by Oscar Wilde

by Joe Straw

Something remarkable happened in the second act of The Importance of Being Earnest by Oscar Wilde (more on this later). Directed by Drew Fitzsimmons and presented by the Kentwood Players at the Westchester Playhouse, this wonderful production will be playing through June 12, 2010. 

Drew Fitzsimmons, making his directorial debut, showed signs of understanding the craft and keeping the show visually exciting and moving at a steady pace.  The characters were a bit more complex than recent productions and moments were extremely funny and exciting to watch. 

The cause may be the director himself, Mr. Fitzsimmons.  The Kentwood Players have taken steps to ensure an ongoing continuity of successful community theatre this season.  In the sincerest way, it is a move in the right direction.

That being said not everything works.  It would be absurd to say so. But what does?  And who was that funny man?

Westchester Playhouse is the only theatre where all the patrons run out after the first act onto the sidewalk in search of a cigarette.  And looking at all these people clamoring for their fix, one notices that no one carries a cigarette case anymore, especially with an inscription in it, which is what our story is about. Pulling out a case today, people would think you were (eh hem) “different”.

As the play begins, Lane (Will Meister), the butler, and Algernon Moncrieff (Lorenzo Bastien) are having a discussion about the inferior quality of the wine in married households when a Mr. Ernest Worthing (Joshua Nelson) arrives. Worthing and Moncrieff are friends, and up to the present time confirmed bachelors. Ernest is slightly older but Algernon is smarter than his counterpart simply because of his upbringing: better educated, bon vivant, and muffin lover. 

Worthing’s visit into town has but one objective.

“I am in love with Gwendolen.  I have come up to town expressly to propose to her.” - Jack

But Algernon will not give his consent to marriage to his first cousin until a little mystery is unraveled.  He has discovered a cigarette case belonging to “Jack” which is the property of his dear friend, Ernest.  In it, the inscription:  “From little Cecily with her fondest love to her dear Uncle Jack”. Clearly, this intimate friendship needs a little explanation. Algernon discovers his friend Ernest is none other than Jack and this only after a number of absurd denials.

“Now, go on.  Why are you Ernest in town and Jack in the country? - Algernon

Ernest explains it’s a matter of reputation of being more carefree (wicked) in the city and holding a higher moral tone when he is in the country with his ward. Algernon says he has something similar in “Bunbury”, a fictitious invalid he uses as an excuse to get out of all sorts of things. Algernon call himself a Bunburyist.

Expectantly, Lane introduces Lady Bracknell (Carmen Lynne) and her daughter Gwendolen Fairfax (Marcy Agreen) and in due course finds out that Ernest wants to propose to Gwendolen.  And Gwendolen likes the idea because he has the name Ernest that is her overriding factor in her conquest for true love.

But Lady Bracknell, after an interrogation of Ernest, finds out about his past and does not find him suitable for her darling Gwendolen. Ernest is perplexed by this unexpected animadversion.  

“I would strongly advise you, Mr. Worthing, to try and acquire some relations as soon as possible, and to make a definite effort to produce at any rate one parent, of either sex, before the season is quite over.” – Lady Bracknell

Undaunted, and understanding that true love has no obstacles, Ernest invites Miss Fairfax to his country home unbeknownst that Algernon is taking down the information.

In the country Jack’s ward Cecily Cardew (Jessica Hayes) is being schooled by her governess Miss Prism (Judy Ewing) when Merriman (also Will Meister) presents Mr. Ernest Worthing (really Algernon) and declares he is there for a visit. 

Algernon immediately falls in love with Cecily.  He also finds out that Cecily is in love with the name Ernest, his wicked ways, and will have no other. Algernon says he is not wicked. 

I hope you have not been leading a double life, pretending to be wicked and being really good all the time.  That would be hypocrisy. - Cecily

Not to be undone Miss Prism has a slight infatuation with Rev. Canon Chasuble, D.D. (Ron Edwards) and they walk into the garden.  Love is all around.  But Algernon hunts for Dr. Chasuble to christen him Ernest.

Meanwhile Gwendolen arrives unexpectedly and has a chat with Cecily when they discover Ernest has proposed to both of them.

I shall not go on any further. It would be absurd to do so. 

Fitzsimmons has put together an exciting cast. 

Bastien as Algernon just got better as the night wore on, and was fantastic in the second act. Nelson as Worthing was equally appealing managing his double life to ridiculous extremes.  Although they were the best of friends (brothers you might say) the give and take demanded a little more from those moments in the first act. 

Lynne as Lady Bracknell was engaging but could have hit her emotional marks with the bulleyes needed in this play.  But she was delightful nevertheless.

Agreen as Gwendolen has a charm about her but the slightly distracting asides were overbearing. Relationships are much more dramatic without turning to look at the fourth wall and expressing one’s dogmatic views.  It’s absurd to think otherwise.

Ewing was appealing as Miss Prism and has a marvelous exit the audience found quite charming.

Hayes as Cecily Cardew was a surprising twist to casting but nevertheless she was marvelous and quite remarkable in her craft.  She is a simple but complex joy.

Mayes as Gribsby as a solicitor in this alternate version of “Earnest” was quite good but his performance as Moulton was hilarious!  His teacher, Nina Foch, would have been proud.  Mayes was that funny man!

There is oddness about Edwards as Dr. Chasuble that is appealing and engaging. 

Meister as Lane and Merriman was as droll as a butler can be and while there were funny bits more could be discovered from this character.  But nevertheless very enjoyable.

Fitzsimmons has done a fine job! The remarkable thing about The Importance of Being Earnest was that in the second act it all came together.  A pleasing way to end the week and there’s nothing absurd about that. 

Dementia – A Play by Evelina Fernandez

By Joe Straw

My wife, lying in a bed at County USC Medical Center and dying of cancer, was taken to the room. We knew what the room meant. And in spite the few short months of prayers and tears, they were taking us there.    

A decision had to be made.  Coming in the next morning to tell her, she interrupted me and said they were looking in on her.  The tile in the ceiling had been moved she said, there was a hole “there” this morning and they looked down at her.  She said they spoke Spanish. 

“Well, leave it to you to have angels that don’t speak your language.” I quipped. We both had a nice laugh.

“Why don’t we (and there was a long pause here) celebrate Christmas and New Years at home?”  She shook her head, yes.

Dementia by Evelina Fernandez and directed by Jose Luis Valenzuela is another celebration and a remarkable achievement! Produced by the Latino Theater Company at the Los Angeles Theatre Center and playing through May 30, 2010.

The Scenic Design by Christopher Ash majestically lifts one from the bed and up three levels into the heavens. He bathes us in these magnificent blue nude bodies stretching high above the stage with pictures frames highlighting various parts of the human anatomy.  One can only imagine if our main character decorated his home this way or if the dementia had already set in in his being.

Moe (Sal Lopez) is a man, a gay Chicano man, and a director/writer who wants to live and die in his paradise that is EAST L.A., because as his life would have it, the good life is cruising in a convertible along Whittier Boulevard.

Unfortunately, he is dying of AIDS and the act of death is his emotional countdown to his own sublime observations.   Not completely bedridden he leaves his bed when enthusiastically inspired but not so far away as to terminally distance himself from his oxygen tank. 

His chola pregnant niece Tamara (Esperanza America Ibarra), an angel in her own right, helps him through the disease.  Humiliated, after being wiped, and wearing adult diapers Moe wants to go out in his silk boxers. 

“The end has to be brilliant!” - Moe

Moe lives a life where simple language is inadequate. It has to be expressive, layered with so many levels of truth and only the kind of truth that batters the human condition that strikes a nerve so deep the characters explode with happiness, shame or any other end effect as long as it is dramatic. 

So what better way to witness human frailties and absorb the last ounce of human emotion than with a party of friends?  Not only that, a Going Away for Good Party. After all, death is your last great party, and you might as well be alive to take pleasure in it.  Adjust the lights, turn up the music, grab the Demerol patches and let the visions come as the last night was meant to be. 

Moe’s visions come rather quickly in the way of alter ego Lupe (Ralph Cole, Jr.) a glamorous, magnanimous, fabulous drag queen, and a sparkling guide to the netherworld.  The drag queen entices with lights, fingers, and song to pull Moe into the light with a rendition of “My Life”.  

Only, there’s a problem.   Lupe wants Moe to come with him now, wants to take him to (pick your belief) but the party has just started and Moe is not prepared.

Martin (Danny De La Paz), his best friend since childhood, has left East L.A.  in favor of the west side of town to be a hair stylist to the stars (namely, everyone living on the west side).  He has an important job to do and has promised to pull the plug when the time comes, but only then.  The pressure of not one second before or one second after drives him absolutely mad.

Eddie (Geoffrey Rivas), a former writing partner to Moe, and his wife Alice (Lucy Rodriguez) are having marital problems.  Their lives are in turmoil as Alice has divulged an affair with a younger man 25 years old. They agree to go to the party with reservations on settling their problems at another time.

And of course Moe wants to see all of this and more.  With the help of his friends he slips into his boxers, a stunning evening dress, wig and makeup, and dances until he can dance no more and then disaster strikes when his former wife Raquel (Evelina Fernandez) calls and wants to see him.

The coming of Moe’s death is a great equalizer to those who want to be heard and haven’t found their voice. The smallest of whispers become something of great importance from someone who is dying.  And why would you not want to be a part of this event?

Lopez, as Moe is outstanding by and large getting what he wants and pushing all of the buttons to get there. Outstanding as the performance may be, his reactions to the events unfolding around him seem not have an effect on his leaving.

Rivas as Eddie, also outstanding, is his tormented writer partner coming to the end to get a truth lacking in his recent material sans Moe.  As he is witnessing the death of his friend, he is taking mental notes for new material.

Rodriguez as Alice is having a hard time understanding why her husband wants to see a dying man when there are more pressing problems in their relationship.  A touching portrait of a character that is devastated by a truth that leaves her numb.

Ibarra as Tamara is “plan B” in case Martin doesn’t work out. Compassionate and loving until the end. She gives a charming and witty performance.

La Paz as Martin is the picture of health against the backdrop of Moe. The reasons of “Why him? And not me?” on his mind as he watches his friend slip into unconsciousness.  La Paz is funny and emotional.

Cole, Jr. as Lupe was equally delightful. He has a number of costume changes throughout the night and a number of songs as well.  One of those songs Que Sera Sera is a haunting number from an Alfred Hitchcock’s film the Man Who Knew Too Much plays well into Moe’s dying heart.  One has to question the reasons for the songs and how each song gradually entices Moe to come with him. (That may be my own fault for not understanding the songs in Spanish.)

Beautiful costumes by Nikki Delhomme and wonderful choreography by Urbanie Lucero which works well with Karl Carrasco’s musical direction.

Evelina Fernandez has written an outstanding play that is a simple understanding of death, as one would have it. A simple truth met to enlighten. As the character Raquel she stands and waits for a visual truth to come to her.  So powerful is her stare, moments taking it all in, waiting without the words to say,  “I forgive you.”

Certainly all of the characters go through a catharsis and self-realization brought about by Moe’s imminent demise but here it is displayed as Latina truth.  Inspiring!

Jose Luis stands outside, smoking a cigarette, waiting for tidbits of audience reaction as they leave.  He graciously thanks each and everyone for coming to the performance gathering bits of reactional information from this play that is a celebration of life.  The genius that is Jose Luis is his constant exploration of the human condition: life filled with exaggeration and meaning. 

Valenzuela’s direction leaves no marker untouched.  He explores the physical life of death to great dimensions.  Life, death and afterlife, is either real or imagined.   The first act ended in a song and dance number, which was quite remarkable, but leads us into the second act that seemed to lose a little focus.  It seemed to be more about the other player’s problems and left Moe to stare mostly upstairs where the action was taking place. 

Bring the conflict into the living room/bedroom where it belongs and take it to its flat line conclusion. 

Los Angeles Theatre Center through May 30^th, 2010.

Starmites An Intergalactic Musical – Music and Lyrics by Barry Keating – Book by Stuart Ross & Barry Keating

By Joe Straw

It’s been a long time since I’ve had so much fun in the theatre.  Just the thought of letting “it all go”, sit back, and be entertained.   I came with no preconceived idea of the show or what it was all about and I have to say its has been awhile since I’ve been totally surprised seeing something this enjoyable.    

Starmites, An Intergalactic Musical, was a dramatic revelation of a show from start to finish.  The musical was completely polished and wonderful from beginning to end. The audience loved it, the songs were delightful, the voices were strong, and the characters were amazing. And there were puppets galore! 

This is a show to bring all kids ages 6 to 66. And it’s all here presented by the Ensemble Theatre Company (etc) in Santa Monica at the Miles Memorial Playhouse through May 9^th 2010. 

Brilliantly directed and choreographed by Steve Edlund and produced by Parmer Fuller & Narcissa Vanderlip.

This story takes us to a land, not very far from here.  Lonely Eleanor (Natalie Storrs) sits on the floor in her room reading her comic book Starmites and wishing she were a superhero girl.  Unbeknownst to her, she awakens a powerful force in the universe, Shak Graa (Matthew McFarland). (That’s what you get for hard wishful thinking.)

The darker side, her mother (Jen Reiter) barges into the room and wants the comic books out of the house! (You would think that some moms just get it, but no.)  She thinks Eleanor’s fantasy life is taking her on a path toward lonely desperation.   Little does she realize that her sweet cuddly daughter has a power awakening in her being and those powers are unfolding dramatic events in the universe.  

Namely, the Starmites lead by Space Punk (Donald Webber, Jr.), Herbie Harrison (Michael Joyce), Ack Ack Ackerman (Thomas Krottinger), and Dazzle Razzledorf (Jonah Priour) zip to earth and discover Eleanor has the power to save them and the universe. They whisk her away to another galaxies to find “The Cruelty”, a powerful musical instrument before it falls into the hands of Shak Graa.  

And in inner space there is a wonderful number “Afraid of the Dark” which takes Eleanor and the Starmites on an unforgettable journey.  This number, very imaginative, seems to propel the entire musical into intergalactic space. 

But, in the confusion and in the dark the Starmites are run off by the attack of The Banshees, a quartet of hungry man-eating puppets. Maligna (Marisa Esposito), Shotzi (Riana Nelson), Canibelle (Jessica Perlman), and Balbraka (Raquel Sandler), all with incredible voices and voracious appetites for men. They are lead by Diva (also Jen Reiter) in a great hip swinging number It’s hard to be a Diva! 

Diva has a daughter Bizarbara (also Natalie Storrs) and as all mothers do, wants her married and out of the house!  She has plans of getting her married to Space Punk. (I suppose if you were desperate you would give your daughter to a guy with the name Space Punk, seriously.)

But Space Punk is not so bad and besides he’s off somewhere falling in love with Eleanor as each professes their love in a wonderful number Love Duet.

Neverthless, all is not happy in Loveville.  The Diva and the Banshees capture Space Punk.  The Diva uses her intergalactic force to pawn off her daughter to Space Punk.  Space Punk agrees then changes his mind and I’ll say no more.

Everyone gets his or her chance to showcase his or her vocal prowess and each succeeds magnificently. Webber as Space Punk was magnificent as was Storrs. The Banshees were a powerful team and each has a moment in the sun (castle) Esposito, Nelson, Perlman and Sandler all gave outstanding performances.

Reiter as Diva was remarkable.  Her Diva hips sashaying her around the stage using her Diva hair and Diva lips for punk-u-ation all in the matter of controlling the universe and her daughter. 

The Starmites Joyce, Krottinger, Priour each had their moments on stage and aside from all the chest banging in the first number showed a piazza during the course of the show. McFarland is quite funny as Shak Graa.

Musical Director Michael Alfera did a tremendous job as well as his band mates Chris Myers and Chris Payne, and they also had a lot of talent to play along with.

Jessica Dalva created the wonderful puppets on stage www.jessicadalva.com - an amazing artist in her own right.

Lili Fuller, costumer Designer, has everyone in intergalactic costumes.  The space stockings were quite nice; the jump suits a little less not nice. www.boomkatdance.org

Edlund, the director, has done a wonderful job.  The set makes it almost impossible to see they are in the various places in the program with the exception of the bedroom; innerspace, Shriekwood Forest, Great Hall of Castle Nemesis, Castle Mortuary and the Chamber of Psychosorcery, but this is only a small quibble.  And why quibble?

This show had a long history of getting to Broadway but it did in 1989, and was nominated on 6 Tony awards.

My six year old said she could not get the musical out of her head the next morning.  A true testament to a great show!           

Live longer, think clearer, go see this show and have some intergalactic ridiculous fun!