The North Plan by Jason Wells

Kerry Carney

By Joe Straw

Rex 84, short for Readiness Exercise 1984, was an alleged secretive "scenario and drill" developed by the United States federal government to suspend the United States Constitution, declare martial law, place military commanders in charge of state and local governments, and detain large numbers of American citizens who are deemed to be "national security threats", in the event that the President declares a "State of National Emergency".  - Wikipedia

The North Plan written by Jason Wells and directed by David Fofi presented by Elephant Theatre Company in its Los Angeles Premiere is a fast-paced, overlapping dialogue, prodigious show with wonderful performances by an astonishing cast who will have you on the edge of your seat!  And the ending will have you begging for more.  

Run to see this production!

It’s as funny as it is terrifying. As I’m sitting there, I’m anticipating the Department of Homeland Security, the FBI, the CIA, and the NSA to come, armor vehicle and all, breaking through the door, shutting it down, taking out the last gel, and telling us all to go home, or taking us to a detention centers without reading us our rights and calling us enemy combatants.  Guantanamo, here we come.  

Steppenwolf Theatre’s First Look Repertory of New Work (in Chicago) ran The North Plan as a workshop production in 2010 and Theater Wit gave it a full-scale production in 2012.   It was rumored that Steppenwolf thought this show too provocative.  They loved it but hesitated to produce it. Instead they recommended the play to David Fofi.  Fofi, likes cutting edge theatre, and picked a winner with this play. It is something you’d expect from The Elephant Theatres in Hollywood.

Set in a police station in a small town in southern Missouri, Tanya Shepke (Kerry Carney), being the good loudmouth Samaritan that she is, turns herself in for being drunk the night before.  Since no good deed goes unpunished, they throw her in the slammer, completely sober, for bad behavior.  

Tanya, with her brazen impetuosity, is up in arms about her incarceration, and will not give her jailer, Shonda Cox (Bernadette Speakes), the administrative officer, a verbal break.  Untrammelled, she spews forth a language so foul and loud one would think she was a chief executive officer.   (Think Meg Whitman on a good day.) 

But Tanya has a purpose; she needs to get out now because her in-laws will get custody of her children.  And she also doesn’t want her ex-husband, the man who tried to kill her in the bathtub, near her kids.  

Meanwhile Chief Swenson (Stan Roth), the low-keyed but smart sheriff, has arrested Carlton Berg (Chris Game) on a routine traffic stop, but finds out he is wanted by the Department of Homeland Security. He throws him in a cell across from Tanya.

Chris Game

Carlton is an irascible detainee and adamantly demands his phone call.  But that’s not going to happen. They want him interned until DHS gets there.

Now, Carlton feels the seriousness of his situation and suddenly believes he is not going to survive. He pleads with the Chief Swenson to call the State Department. 

Looking across the room at the other cell, Carlton spots his only hope, Tanya.  And while the Chief and the assistant are out of the room, he tells Tanya that he works for the State Department, that something is going on of extreme national emergency, and everyone is being arrested. He has an enemy’s list that needs to get to a friend.

At first, Tanya doesn’t buy his story. She flips him off and tells him that he’s certifiable. 

“I’m glad you don’t work for the government.” – Chief Swenson

“I’ve have the right to remain silent which means I can talk.” – Tanya

Shonda, the administrative assistant, leaves and Carlton knowing that Tanya will soon get out, confides to her that he has important information on his laptop computer.  He wants her to get his computer and take it to Eldar in Houston.

“Tanya, you will get out.” – Carlton

Now Tanya feels she’s in a pretty good position. Seeing the severity of the situation through Carlton’s incessant and at times incoherent babbling, she decides she wants more money, $50,000 and a pardon from the President.

“I want a pardon like Patty Hearst.” - Tanya

Shanda, hearing this, wants in on this action.

 “I am a poor white girl. Gotta get paid and don’t get all Jewish on me.” – Tanya

“You’re not a Jew are you?  (pause) An F**king Jewish fag.

All of the characters are worthy delegates for revolutionary propaganda.  And the actors are marvelous in their roles.  Do not miss this opportunity.  

Kerry Carney is magnificent in the role of Tanya Shepke.  Tanya is not a mellifluous character; she is a foul mouth creature, who finally wakes up to see the world around her.   She has a lot of problems, divorced, battered, and possibly an alcoholic.  But something happens while she is in jail, she is made aware of the circumstances around her, and she realizes she has to act fast if she can overcome the miserable life she is living now.  Carney has completed the character, the growth from moment to moment is remarkable, and she is wonderful in this role.  A perfect fit and a job well done.  

 L - R Dominic Rains, Bernadette Speakes

Bernadette Speakes is also marvelous in the role of Shonda Cox.  What appears to be a portrayal of a typical government official becomes something much more with many layers and funny moments. As the character Shonda, she has toiled wearily at this job, rising no higher than an administrator.  She deserves more but she is afraid to go after it. Speakes does a fantastic job getting what she wants.  

Stan Roth as Chief Swenson is a little low key for my tastes.  But the Chief, with all this energy around him, meticulously stays on task. Roth brings a sincere truth to the role, he is sagacious, and is not easily pushed around. He is somebody you want around when other people start taking the law into their own hands.  This was a very nice job.

Chris Game does a fantastic job as Carlton Berg. Berg is a man who is mixed up in something that is out of his control.  He knows whom he is dealing with and he tries to save himself by getting all of this information out of his head.  But it’s too much for all the others to follow and they look at him as though he were crazy.  There is a moment when Berg realizes his impotent despair.  He lifts his arms holding the bars above his head.  His thoughts are inscrutable but he finally is able to get his wits about him.  Game is perfectly suited for this role and does a marvelous job.

Salvator Xuereb is superb as Dale Pittman, a not too smart lead partner of the Department of Homeland Security. Xuereb is extremely funny.  It is a performance with marvelous details in character.  He is there not only as the leader but as an advisor as well, taking any moment to explain the job, the finer details to his younger subordinate counterpart.  He has a tenacious vitality and play-by-the-book mentality about him.  Even going so far as to wait for the official memo that is faxed to him. There is not a wasted moment in Xuereb’s portrayal.    

John Forest plays Bob Lee, the other ditsy partner from the Department of Homeland Security. As the character, Lee does not want to be left out as he keeps reminding his partner to not say “I” but “we”.  We did this.  We did that.  Not you. We. It’s pretty obvious that he has higher ambitions but does not have the wherewithal to get there. Try as he might there is a physical wretchedness to his character of wanting to be the best, but he is easily confused. Forest does a fantastic job in a role filled with humor.    

Jason Wells has written a remarkable comedy with very serious undertones. It is a calamitous near future elucidation of a small town, caught between the vice of national security, suffering miserable indignities by overreaching agents with a scornful disregard of humanity.  And, also, how a simple action can turn an unwitting person into a revolutionary. This play is a precise mechanism of intelligent design.  It takes a critical look at our national security system and satirizes it to show that our national security has proliferated like a deadly plague: one that shows little results and offers no accountability.   The language is not suitable for all but works well in the context of this play.  This is an outstanding play.

David Fofi, the director, does a remarkable job of having us look at national security and treating it with so much humor we forget why we are spending so much money on security that may or may not work.   At present, it looks like it’s in a sad state of classified disrepair.  That aside, Fofi does marvelous work guiding the actors and making the most of marvelous moments on stage. There is a lofty simplicity to Fofi’s work as moments are defined and structured, beautifully created, and then seized to carry us forward to the next unpredictable moment.  

Dominic Rains also plays Dale Pitman and Gregory Hoyt plays Bob Lee but did not perform the night I attended.

Marvelously produced by Lindsay Allbaugh.

Joel Daavid did a great job on the Set Design.  And like the characters, who are three dimensional, the set was like a living breathing part of the show. There was life going on in the front office in the first act and some king of heinous acts happening in the cell, in the back room, in the second act,  and all of it played magnificently as the actors lived and breathed the space.   And I might mention that all of this was going on in clear view of the Stars and Stripes.   

Matt Richter was responsible for the Lighting & Sound Design.

Michael Mullen, Costume Design, was pitch perfect. Everyone looked the character and Mullen was responsible for the great small town look and small time feel even to the smallest detail.  

Rebecca Schoenberg was the Stage Manager.

Ken Werther was the Press Representative.

Run!  Run!  Run!  And take a friend who works at the Department of Homeland Security if you can find him or her.

"THE NORTH PLAN"

April 27 - June 1, 2013

The Elephant Space

6322 Santa Monica Boulevard

(One Block West of Vine)

Hollywood

www.ElephantTheatre.org

Reservations:  855-663-6743

One White Crow by Dale Griffiths Stamos

Rob Estes, Jane Hajduk

By Joe Straw

The psychic took a look at her hand and ran out of the building.  We watched her dry heaving from the window until she could compose herself and come back in to finish the session.    

My wife knew she was sick.  She had discovered a lump on the inside of her right leg. Still she waited for the insurance - which was just an “okay” away.  

But, in 1994, while she waited, she continued to work as the tele-sales manager for LA Phil/Hollywood Bowl when she came upon these incredible box seats at the Bowl, generally reserved for “special clients”.  She sold them to a well-known television/movie celebrity. He was so grateful that he promised to repay the favor.

That same year, I was hired to work on “Silk Stalkings” a television series in San Diego and was commuting on the weekends.

She left LAPhil when her boss refused to provide her with medical coverage and she subsequently checked herself in at County USC Medical where she was diagnosed as having stage 4 cancer.

Then the cancer started to get worse. The treatment wasn’t working.  I quit my job at “Silk Stalkings” to take care of her until she died, January 5^th, 1995.

I can imagine her right now, smiling, holding a cigarette with one hand, and sipping on a Dewar’s and water with the other, and thinking about the irony.  Me stepping into this theatre, where one of the stars of this play was in the television show “Silk Stalkings” and the celebrity who did not repay the favor was a member of that audience.  

It’s funny how things work out.  I wonder if she was trying to tell me something.  All in all, this was a night of strange coincidences, and a night to let go.  – Narrator

Edgemar Center Of The Arts presents The World Premiere of One White Crow by Dale Giffiths Stamos, directed by Deborah LaVine, and produced by Alexandra Guarnieri.

Judith Knight (Michelle Danner) is doing rather well.  She is a psychic who speaks to the dead, no that’s the wrong term; she listens to what they are saying and passes the information along. And she gets paid for it on a highly successful television show. (Think Ghosts meets Oprah.)

But this day is different.  Those who are no longer bound by earthly delights need their information to be distributed. And Judith hears something and is able to tap into a psychic faucet.  Or so she says.   

Judith, by way of a voice she hears, invites Teresa O’Neil (Jane Hajduk), a well-respected journalist, to interview her because she wants to get things (about her life) out in the open and she has a secret to impart.  Teresa, turns off her recorder, and lets her know right off the bat that she doesn’t believe in Judith’s mumbo jumbo psychic stuff.

“Why me?” – Teresa

“I can’t tell you just yet.” – Judith

Teresa starts to walk out on the interview until Judith says that her deceased father, a world-renowned scientist, Robert O’Neil, came to her. In fact, Judith says the profile is her father’s idea. He has something to say to her but she asks for 24 hours.  

In her heart of hearts, Teresa can’t walk away from this.  She gives Judith the benefit of a doubt, opening her mind, albeit the tiniest sliver, to the possibilities that Judith listens to the dead.  

While Teresa is in town, she enlists the aid of Alex Rimbaud (Rob Estes), a childhood friend and former protégé to her father. Alex, now a television skeptic with his own show, has all the charms and the wherewithal, to move mountains. 

Despite Alex’s sententious remarks, Teresa is still smitten with her former crush.  It’s as though they have never been apart.  Odd, but as their faces and lips move close together, she still sees herself as the gaudy college kid. Never mind that she’s a beautiful and confidant, and a well-respected journalist.  (Of course, this is off the record.)

But I think they both want to know if Judith is the real deal.

Alex says there is a natural explanation for everything and he will help her anyway he can. (Wink, wink.)  One would think Alex is as much of a charlatan as Judith.

Teresa, investigating her subject, finds information and tries to discredit Judith.  But Judith is unfazed by others recognizing the flaws in her character.   Judith walks into the room eating little tiny cupcakes and tells Teresa that she suffers from depression as most artist do, but she is not the con artists people make her out to be.

Teresa, with accumulated research, wants more information on the fired whistle-blower.  He is spreading malicious gossip about microphones under the seats in Judith’s audience. And Teresa despises her trickery.  But Judith has a rational explanation, the microphones were already there before she moved in and the whistle blower had been fired for being an alcoholic and is an unreliable witness.

Later, after a night of drinking, Alex tries to light the flame again but after a discussion about Teresa’s father, Teresa asks Alex to leave.

First of all, I loved the first act and was hanging on every word of Dale Griffiths Stamos’ play, as were most of the audience members.  She weaves an intricate story of fact and fiction, truth and lies that play upon the emotions of those who believe and those who do not.   But the things that work great in the first act falls somewhat short in the second. I just didn’t get it the denouement about the book “Contact” by Carl Sagan.  (Sometimes you have to hit me over the head with the denouement.) Something was missing, or it was just an off night.  Another thing missing is the emotion imbalance.  Those moments of truth realized that tears down the walls of whatever barrier there is between two characters.  

“So your Dad was right.” – Alex Rimbaud

“Of course he was but I didn’t have to like it.” – Teresa

There was so much in that line that I immediately fell in love with Jane Hajduk and that contemptuous smile at that exact moment.  It was just the right touch in a very fine performance. One could go down a checklist of her characters traits that rang true, journalist (check), daughter (check), non-believer (check) and an implacable seeker of the truth. When questioned, she finds the truth, and the truth has a dramatic effect on her entire being.  Giving us more of that would only add to an already delightful performance.

L - R Jane Hajduk, Michelle Danner

I always enjoy watching Michelle Danner.  She brings a simple truth to the role that is reflected in her voice and movement.  And I couldn’t help but think one more layer in the trance would give the audience a little extra something to go along with a very simple and nuance performance. Still, all in all, a very exciting performance.

Rob Estes has a lot going for him playing Alex Rimbaud.  Good looks, nice jacket, able to get the girl kind of guy, all of those things except a clear objective. Okay, he wants the girl.  But why? One more notch in his belt? And why is he single? And why doesn’t he make his point clear about fake psychics?  Look, the reality is if Alex really wants something, he has to prove the other person is wrong beyond doubt.  If there is doubt, there is no proof.  His incongruous ideas and his moral nihilism had as much validity as the psychic’s ideas. There’s no question, I enjoyed Rob’s performance, but I think there is another layer or two, or three to his character. (First on the list is to take the hands out of the pockets and use them to get what you want.)

There are a lot of nice things in Deborah LaVine direction. There is a sincere focus in moments that catapult our characters in different directions.  Some things I found puzzling were the stage movements where character run off in various directions without focus.  And probably what’s left out is the mystical factor, the Ouija factor, putting your hand on the thing because you know it will move.  I think what we need to believe is the dead is really speaking to Judith. And the effect it has on Judith, the effect it has on the listener, and it must have a stronger mystical impact for the actors and the audience.  

Alexandra Guarnieri wonderfully produced this play.

The Stage Manager is Treg Van Dyke. 

Set Designer, Travis Thi, has created a heavenly set.  It is almost as though we have stepped over.  But, there are large curtains that interrupt the projections on the wall and from my vantage point almost impossible to see the projection.

The Lighting Designer is Jeremy Pivnick.

Run and take non-believer.  You’ll have wonderful discussions on your trip home.  

Reservations:  www.edgemar.org

Or Call:  310-392-7327

Peter Pan the Boy Who Hated Mothers – by Michael Lluberes

L - R - Jackson Evans, Amy Lawhorn, Benjamin Campbell, Trisha LaFache, David Hemphill

By Joe Straw

Waiting outside The Blank Theatre before the performance, in the cool breezy Hollywood air, somewhere between dusk and twilight, I saw a boy (a man) running west along the theatres on Santa Monica Boulevard and across Wilcox Avenue. 

 He leapt upon the curb next to the theatre. It was a small leap, yet so light, as though he was picked up by the wind. An aeolian creature captured like a still photograph, a fragmental moment in time.   His hair was brown and curly, his jaw straight, his leg extended toward the curb and he was wearing brown flying boots.  And as suddenly as he was there, he was gone, disappeared by a distraction. 

And I said to myself that was Peter Pan!  - Narrator

Mrs. Darling (Trisha LaFache) was not a happy woman.  She was melancholy, dolorous, lachrymose, heavyhearted, and without a doubt, disconcerted.  Her reasons were understandable, she had just lost her infant son Michael and, though plagued by distractions, she was gathering the initiative and a moment to find a time and place for his burial. On her knees, she opened her chest, a heavenly light exploded and enveloped her, and she reached in and carefully took out her deceased child, Michael, wrapped in swaddling clothes.  

The children were concerned, as they should be.  But Wendy (Liza Burns), the older child, took more of the moment to heart. John (Benjamin Campbell) was nervous about his mother and the effect it had on her. But really, who can guess what’s going on in the mind of children at a time like this?

Mrs. Darling took her lifeless child and carefully placed him under a crawl space and into the ground. Our story is set in an earlier time, when one could do things like that without repercussions from the law.   

Mrs. Darling, sans Mr. Darling, turns to her surviving children, gives them their medicine, twists on the gas nightlights (the protective eyes of parents when they are not there) but does not tell them a story this night. She solemnly instructs them to say their prayers, which they do, but they keep one eye open as they watch their mother walk up to the ledge of the window, ready to jump, faint, or fall.

The Blank Theatre, Daniel Henning Founding Artistic Director and Noah Wyle Artistic Producer presents Peter Pan:  The Boy Who Hated Mothers written by Michael Lluberes, based on “Peter & Wendy” by J.M. Barrie and directed by Michael Matthews. “Peter Pan…” awakens all we know about this fantasy and brings our childhood imaginations back to life with a wonderful retelling of this classic tale.  Going will be one more day to lift your spirits and one more chance to bring Tinker Bell back to life. Let your swirling imagination soar and watch the fantasy come back into your being.  Run to see this production before the last light dims.  

Wendy had heard stories of Peter Pan (Daniel Shawn Miller) although she had not met him.  And it was for this reason she slept lightly, waiting. But, thoughts of death and mental anguish tire the weary soul and Wendy falls asleep. 

Natheless, life has a way of lifting your spirits and Peter senses this when he swoops into Wendy's bedroom late that night. And, whether is was intentional or not, the racket Peter was making, finding his shadow, was enough to wake the dead.   

But, oddly enough, it was on this night from her bed; Wendy awoke only hearing the lonely sobs of a young boy.

“Boy, why are you crying?” – Wendy

It was a terrible time for Peter to lose his shadow and that nasty Tinker Bell (Amy Lawhorn) was not helping one bit. But Wendy was there to sew it back on much to Peter Pan’s delight and Tinker Bell’s aggravation.

A delightfully shadowed Peter, eager for another adventure, sees the advantage of having a mother.

“One girl is better than twenty boys.” – Peter Pan

Wendy is immediately caught off guard and in a moment breathless.  Peter asks Wendy to leave her mother and come to Neverland enticing her with mermaids.  And to get John enthusiastic he tells him there are pirates there. (Pirates!) And with the help of exuberant imagination, and Tinker Bell’s fairy dust, they fly off to Neverland.

“Second to the right and straight on till morning.” – Peter

But Neverland is filled with dirty little boys Tootles (Jackson Evans), Slightly (David Hemphill) and Nibbs (Amy Lawhorn) who are in constant battles with Captain Hook (also, Trisha LaFache).  Without Peter Pan they are no match for the deadly Captain Hook. It is a miserable life for which the Lost Boys have to be on constant guard. And so they flee.

And although Captain Hook scours the island for the boys he must also be on guard for the ticking clock and the alligator that drives him stark, raving, mad. It was not long ago he was equally fond of his right hand, now missing, thanks to Peter and the crocodile.   But when he hears the ticking, he abandons his objective for the souls of dirty little boys.  

With Captain Hook out of the way, the boys come out of hiding.  Tinker Bell arrives and tells the Lost Boys that Wendy is coming.  She says that Peter Pan commands them to kill Wendy when she arrives.  And so Tootles shoots her with a bow and arrow. The arrow cuts through the air reaching the heart of its intended victim, Wendy is thrown from her lofty perch, and falls lifelessly to the soft earth of Neverland.

This show features an exciting cast of fresh new faces and is wonderfully directed by Michael Matthews.

Front Row L - R Trisha LaFache, Liza Burns, AmyLawhorn
Back Row L - R David Hemphill, Daniel Shawn Miller, Jackson Evans, Benjamin Evans

Liza Burns plays Wendy Darling and is terrific in his role. She is young enough to play Wendy and gives the character multiple layers. One minute she is young child saying prayers, the next a young sexual being fantasizing, and next a mother to the Lost Boys. She handles the role marvelously.  And I particularly liked the sewing scene and her ability to completely pull that off.  She is an extraordinary actress with breathtaking moments and I hope to see more of her in the future.

Daniel Shawn Miller plays Peter Pan and he was the gentleman flying outside on Santa Monica Boulevard.  This is a physically demanding role for Miller and he handles the role aptly. Not to take away from anyone else but it is refreshing to have a man play the role of Peter Pan. Miller succeeds wonderfully in capturing the prepubescent innocence of a young male who is not able to grasp the advances of his counterpart. Also, knowing that if he does, he cannot remain a boy forever. Miller is marvelous.

Trisha LaFache is a stunning specimen.  She is Mrs. Darling and Captain Hook and had many unexpected incredible moments. Her Hook represents the darker side of human thoughts.  And is a role which one can’t be too evil throughout.  LaFache had some really nice turn of phrases in her delivery that I found incredibly exciting and funny. The trick to this portrayal is latching on to a moment that finds the similarities between Mrs. Darling and Captain Hook and finding that core that rings a specific truth to both characters when all is said and done.  Still, all in all, wonderfully done.

Benjamin Campbell plays John Darling has a remarkable face and appears to have stepped out of a Disney film. Campbell is excellent and, while rather large for a young male, brings his own truth to the role. Also, he does yeoman’s work performing sound effects and playing drums high up in the rafters.

Jackson Evans plays the not so smart Tootles and the pirate Smee. Evans handles his roles remarkable, and has an astonishing craft, and an incredible face to go with that craft.  Funny and evil all in one breath, Evans makes going to the theatre a remarkable experience.

David Hemphill plays Slightly and Starkey and has a commanding stage presence. There is a lot of truth to his work and a lot more roles to be played.

Amy Lawhorn plays Nibbs, Bill Jukes, Tiger Lily, and Tinker Bell (although she is not given credit in the program).  She is an incredible actress with a very wide range and a remarkable presence on stage. She is a brilliant actress who makes her delivery and objective simple and clear.   

Michael Matthews, the director, does an incredible job filling every inch of space at The Blank Theatre with magnificent creative energy. There are no wires or rigging in this small, black box, theatre yet you believe that children can fly.  Tinker Bell is wonderfully captured and it is hard to believe there were no collisions on this particular night.  There is an incredible scene after Tinker Bell drinks the poison – out of the darkness comes the voice of reason, life and truth. Simply, marvelous. But, there’s a lot more to Matthews’s direction. The intangibles that guide actors into giving their all with relationships, characters, and objectives, the simple things that give a show dramatic heartfelt truth. And, with all the awards in theatre recently, what is the next step?

The writer, Michael Lluberes, gives us a slightly different version of Peter Pan, which follows what I remember of the story. I think this version is wonderfully suited for ages 9 to 90 and encourage everyone to run to see this production.

Ruth Connell, Noah Khyle, Christina Jun, Henry Alberto, Jonas Dickson, Elle Johnson, and Royce Johnson are covers for this production and did not perform on this night but will be given an opportunity later on in the run.

The wonderful producers of this show are Sarah A. Bauer, Matthew Graber, Daniel Henning, Stephen Moffatt, and Noah Wyle.

The Associate Producers are Dawn Davis, Emily Mae Heller, Evan Martinez, and Noelle Toland.

The Lighting Design was by Tim Swiss & Zack Lipinski.  Rebecca Kessin provided the Sound Design.

The magical Set Design was by Mary Hamrick.

The Costume Design, by Kellsy MacKilligan was wonderfully thought out emphasizing embonpoint for the women, and extreme characterization for the Lost Boys.

The Property Design was by Michael O’Hara.  Stage Manager/Assistant director is Rebecca Eisenberg.  Assistant Stage Manager is Jillian Mayo and the Dialect Coach is Coco Kleppinger.

Sondra Mayer’s work was exceptional as the Fight Choreographer.  The fencing was extraordinary.

Casting Directors, Erica Silverman & Cara Chute, must be commended for their outstanding work.

And Ken Werther Publicity aptly provides the Public Relation. 

Very nice Production photos by Mary Ann Williams.  

Run! Run! Run and take a friend that needs a jolt to their imaginative spirit.

The Blank's 2nd Stage Theatre

6500 Santa Monica Boulevard

(at Wilcox)

Hollywood 90038

APRIL 27 - EXTENDED THROUGH JUNE 30, 2013!!!

THURSDAY, FRIDAY, SATURDAY AT 8PM

SUNDAY AT 2PM

Twitter @TheBlankTheatre

www.theblank.com