Doodu Boy by Stefhen Bryan

Stefhen Bryan

By Joe Straw

I’ve had a fascination with Japan since I was a young boy and this show about a Jamaican boy coming to the United States to find his father, getting an education, and traveling to Japan to teach touched a nerve in my core being.

And without even thinking, I booked this show not knowing it was Super Bowl Sunday, Peyton Manning and the Denver Broncos playing the Seattle Seahawks. 

I caught the first half of the game on a big screen at Don Antonio’s restaurant on Pico Boulevard and thought, in my old coach’s voice as I was watching: “Peytin’, ya ain’t got yer stuff son and I know in my hart dis ain’t yer night. It’s that time when you take out Earl Morrall and stick in Johnny Unitas.”*  And shaking my head at the end of the first half I knew I wasn’t going to miss anything by missing this “Super Bowl”.

Theatre on this night was a very good choice.  - Narrator

A funny thing about going to the Santa Monica Playhouse is that it always rains when I go.  Stogie Kenyata’s Robeson show, rain, and Debra Ernhart’s Jamaica Farewell, rain, and now Doodu Boy, rain again. Rain is always welcomed in Southern California and gives it that extra-added flavor of being in Jamaica.

Meadowbrook Entertainment presents Doodu Boy written and performed by Stefhen Bryan and directed and dramaturged by Jared Scheib at the Santa Monica Playhouse through February 23, 2014 on Sundays at 6:00pm.

Doodu Boy is a fascinating look of a son searching for his father, finding him, and never giving up his idea of connecting with the man that gave him life.  It is a story of love, rejection, and abuse all in the course of finding one simple truth.

In this tiny black box theatre, and with two black apple boxes, Bryan takes us on a journey from the ghettos of Kingston, Jamaica, to New York, Colorado, California, and then to Japan back to New York all in one night, in an effort to reunite with his father.

And it all starts with 4-year-old Steve playing with himself and Sister Jean saying, “It was the work of the devil.”

Little Steve and his mother shared a tiny room in Saint Andrew Parish in Jamaica with a picture of Jesus on the wall and a bible somewhere nearby.  And while he sat on the hard mattress, all he could think about was living with his daddy.  And then a miracle happens, Steve’s daddy gives him a tricycle for his birthday, but his hopes of seeing and living with his father would not come on this day when he learns that his father has moved to America.

“Why didn’t he say goodbye?” – Steve

That is a moment that Steve captured, a moment that lasts his lifetime. Taking out his frustration with the need for speed, Steve takes his tricycle and rides straight into a cesspool, losing his tricycle in the process.  He is pulled out of the tank with an old sheet, stripped of his clothes, washed down with Pine-Sol and Lysol, and all this in front of many people.  And after that is done, he gathers a switch for his mother’s beating, but all he can think about is his lost tricycle and his daddy.  And from here on end “Doodu Boy” would be his moniker.

By the age of 11, Mom and son have separate rooms, the beatings continued and while holding a pair of scissors Steve has thoughts of killing his mother but takes his frustration out on a cat and kills it by mistake.

When Steve turns 15, Steve’s mother is finally fed up and takes Steve to the airport to travel to New York to live with his father and stepmother Clarissa. When he gets there his father looks surprisingly like Shaft.  

But that is about as much excitement as it gets when Steve finds out that his father doesn’t want him living with him and after three months goes so far as to change the locks on the door to keep him out. Clarrisa is none too happy with this chain of events but his father decides to get rid of Steve and sends him on a 4-day Greyhound bus ride to live with his aunt Ann in Colorado.  Ann greets him with a warm hug.

“So this is what a good hug feels like.”  

But a progression of change starts in Colorado, Steve changes his name to Stefhen, drops out of high school, and at this point, things are not looking too promising for this young man.

Nevertheless Stefhen enrolls in a two-year college, and after 5 years he finishes, enrolls in UCLA, and gets his BA in Economics.

He travels back to see his father but his father, who is watching his newly born son, Steve, calls the cops and Stefhen is almost arrested.

Despite having a valued perspicacity, Stephen does not really understand all that has transpired.  So he travels to Jamaica to visit his mother and grandmother.  

“Let sleeping dogs die.” – grandmother

During this journey he finds out a truth about his father, why her mother beat him relentlessly, why he should reject this information, and turn his attention to God.

“I am an atheist.” – Stefhen

“You are not my son.” – Mother

There are a lot of very interesting things in this production including the direction by Jared Scheib and the performance by Stefhen Bryan.  

Bryan, the actor, shows us that he can be an actor when the need arises. Certainly he has the capacity to tell a story, the physical wherewithal, and develops an intelligent character who suffers human miseries. His mimicry of a Japanese man speaking with an English accent is terrific.  

The play, written by Stefhen Bryan, includes stories from his book, Black Passenger Yellow Cabs:  A Memoir of Exile and Excess in Japan. This play and this journey are about a man and his troubled relationship with his father. And I like this focal point, this through-line of the play.

Although it is tough to find a connection of his sexual exploits in Japan to his relationship with his father (and it gets very uncomfortable here), there is a connection, somewhere, which needs further exploration. It’s just not found yet, or not solidified.  If the exploits in Japan are seen to have a relationship with the father, a young man trying to find his way back to his father, then it may strengthen the progression of the play. Certainly, the Japanese sexual exploits may appeal to men in their thirties who are going to visit Japan, but the father-son relationship and story would have a broader appeal.

For example, the Japanese doctor who might be seen as a father figure is one element to tie this all together. (And by the way, this is an extremely funny moment in the play.) But, the character must engage the doctor in ways that lead us back home to his father.  

Also Stefhen never really questions his father’s motives. When he visits his mother and grandmother, he should be on a quest to find the truth and that should be his maw.  That is done through the actor’s physical and emotional instrument. He should be obliquely prowling for the answers so that when he doesn’t get it from his grandmother, he should figuratively run to his mother and demand it. After all he’s old enough now to understand.  

And when he gets his answer there should be a dramatic effect from finding the truth.  Maybe it did not happen in real life but for dramatic purposes should happen on the page and on the stage.

Stefhen Bryan, the writer, has written a very clever story.  Bryan is articulate and tells his story with a dramatic flair.  But there are certain story elements about his father left out.  What was the father’s work?  Why did he have a very nice car?  And a nice stereo? Living in a nice apartment in New York City?  And why don’t we get an inkling of truth from this character?

Jared Scheib does a nice job in directing the production.  There are always things that should be tweaked, added, even thought about when performing a new work.  But overall the production flows evenly.

Nicely produced by Debra Ehrhardt. Executive Producer Juan Pablo Frias and the Associate producer is Jon Hanson.

Doodu Boy will be in New York March 2014.

www.sohoplayhouse.com

* Superbowl III New York Jets 16 – Baltimore Colts 7

Sunny Afternoon by Christian Levatino

Darrett Sanders

By Joe Straw

On a sunny afternoon, a barrage of noise accompanied a limo carrying the President of the United States. Tires growled and grumbled crossed the pavement down Elm Street in Dealey Plaza. The motorcade’s cycle popping caused sound reverberations to bounce back from nearby structures.  Bystanders, thinning now, shouted hello, waiving to the occupants, and in a moment of an enormous silence, a lone man listened to the sputtering clicking sound of 8 millimeter camera which filled the empty plot, ‘till a noise, like firecrackers, erupted from all around, pinging bullets, piercing metal, and bone fragments dinged the trunk, as silent gloves slapped the back side of the limo, for pieces, and fingernails, a quick sharp scratch, moving to retrieve them, knees pounding on the trunk forcing her back in and the sound of an engine, speeding off under the bridge, and out of sound.     

Andy Hirsch

Lee Harvey Oswald (Andy Hirsch) sat with his back to us, 24 years old, handcuffed, t-shirt, jeans and work boots, hands behind his back, on a green government office chair, alone, attenuated body, for what seemed like an eternity. Slightly struggling against the cuffs, looking for a weakness, holding one hand in another, he wasn’t going anywhere, and he would just have to wait, and contemplate the events of the day, until they came back.  

And the sounds of those events from Dealey Plaza were now multiplied a thousand fold as intense, suffocating noise from which most humans wince, but Oswald took it all in stride, or he didn’t let the effects of the days events show.   

But, deep down Oswald was not able to turn it off, those human beings wanting answers, incidents playing back in his head, repeated questions in the Homicide and Robbery Division.  Everyone was eager for answers, the police in the room, the reporters outside in the hallway, the chief in his office, the whole building, Texas, the nation, the world. All sounds wonderfully and masterfully created by Sound Designer, John Zalewski, blasting information, a thunderstorm of questions, noises, coming from innumerable sources.

Sunny Afternoon, written and directed by Christain Levatino, about the Kennedy assassination, and with all its prodigious improbability, is wonderfully intense, dramatic, and fulfilling drama that has finished its run at The Asylum Theatre in Hollywood.    

And what do we do hear when we get back into real time in the office?  Well, talk about professional football, the NFL, and what Jim Brown is going to do this Sunday, in a year when it seemed that no one could stop him. And, of course, despite the irreverent intention, this was to soften up, our boy Oswald, until the real hard questions come.

But lack of time plays hard tricks on questions not bellowed forth.  And if they did it is with certitude that Oswald won’t answer those inquiries, because he wants legal representation, and he’s not about to answer the tough questions.   

Police Captain William Fritz (Darrett Sanders), an equable man, loves the feel of the pigskin in his hands, tossing it around when he needs to find answers.  He keeps it low key in his office as he shuffles from one side of the office to the other, possibly a football injury nagging his back, or kicking his desk one too many times. Sanders have a very good look, does an incredible job in this role, slightly understated, analytical, very real, with a lot of humor.

Lee Harvey Oswald (Andy Hirsch) wants legal representation.  Something in his life has gone horribly wrong.  But it’s not right to kill a police officer especially when 12 citizens can positively identify, you as the killer. Or did he? Captured, the words coming out of Oswald are repetitive as though they were rehearsed time and time again, a 24 year old self proclaimed patsy, who got in way over his head. Love the ending when Oswald knew it was all coming to an end, on the phone with “George”, sweet-talking “George”. Hirsch does an amazing job in this role.

Seated Andy Hirsch - Left, Christian Levatino - Right, Dustin Sisney 

And just when you’ve got your man, leave it to two crack detectives Detective Elmer Boyd (LQ Victor aka Christian Levatino) and Detective Dick Simms (Dustin Sisney) who can’t even take the time to take the bullets out of Oswald’s pockets.  Each slammed by lack of effectiveness, especially Boyd, who appeared to have aspirations of being a rock and roll songwriter, and speaks faster than he thinks all to great comic effect. Levatino was in the stratosphere with this character, finely defined and oddly unique. (“Oh, we’re doing that kind of acting.”) And Sisney was a very welcomed counterpart.

FBI Agent James P Hosty (Patrick Flanagan) is mad about something though what he is mad about one is not quite sure. Hosty assigned to watch Oswald got a little too close to Marina, Oswald’s wife, harassing her at one point causing him to lunge at this agent.  If Hosty wants Oswald out of the picture (dead), then the actions should lead him in that direction. 

FBI Agent James Bookout (Jim Boelsen) doesn’t have much to say but makes it a point to see everything going on in that office without commenting on anything. He is obviously a man who takes copious mental notes and will quietly stay there until he gets answers. Boelsen also plays the role of a reporter. He has a good look and a strong presence.

Secret Service Agent Forrest Sorrels (Donnie Smith), the agent, who eventually got the Zapruder film, had blood all over his shirt as he enters the office (for reasons which are not entirely clear.)   He is in a state of anguish and wants answers from Oswald. At one point he reaches into Oswald’s pockets and pulls out a number of bullets much to the displeasure of Police Captain William Fritz who kicks in the side of his desk, maybe once too many times in his career. Sorrels knew of the constant threats and felt helpless in this situation. Smith has a fascinating presence on stage and understands the craft. 

Police Chief Jesse Curry (Gil Glasgow) comes in, and like everyone else wants answers, “Goddamit”.  He’s getting too old for this job and certainly is not ready for the events and the personnel surrounding him.  At this point in his career it’s all about survival and he’s got to accept all that’s thrown his way, accept it, and then move on, “Goddamit.” Glasgow does some very fine work but there is another layer or another element to this character missing?

Assistant DA Bill Alexander (Patrick Hume) has a very sinister side.  Supposedly working on behalf of the people, he is obviously (in this play) working for another entity giving information to a person named “Jack”.  This is an interesting man who may have his own best interest at heart, being the Assistant DA now, and not the DA.  He has a vested interest in one man who is playing behind the scenes. Hume’s choice of pulling out the gun and putting it near Oswald’s head doesn’t work because nothing is resolved and the scene is slightly off coloured.

District Attorney Henry Wade (Michael Franco) pops in from time to time, yelling about something, not getting what he wants, and walking right out of the Chief’s office. Franco does a fine job but one wishes for character choices that give him more depth.

Clarence Shoemake (Giovanni Adams) shakes things up during the course of the questioning and provides some much needed information about the makeup of the people involved during the course of the questioning.  He is simple and direct and a person with valued opinions and most willing to share despite having the job of janitor.  Adams choices are vibrant and his manner on stage is crystal clear.  

Postal Inspector H.D. Holmes (Corryn Cummins) has some really important information to impart to the detectives in the office.  But is it really important or another smokescreen? One question:  The Postal Inspector?  Cummins does some really fine work but where is the character going?  What does she get from this?  What is the conflict?

Christian Levatino, the writer and director, gives us a very interesting play without answers to the assassination.  There is an implication from the tenebrous visitor (Mark St. Amant*) that he may have been involved, and then there’s another phone call from  “George” (not seen), a co-conspirator.  This makes the play a conspiracy within a conspiracy. And while Levatino is sure footed in his directing skills, the play is slightly sighted when it comes to the relationships.  It misses a strong moment when we learn that Lee Harvey Oswald is finally being charged with killing the President.  First he is thought of as a cop killer (bad enough) but now he is charged with killing the President and the characters appear to treat him in the same fashion.  There are people in that room that want him dead for killing a cop and after they get additional information there are some in the room that want to put a medal on him.  We know going in that this play is about a conspiracy and we leave knowing that it’s a conspiracy, but Levatino gives us more with Coke (things go better with Coca Cola, things go better with Coke) and the hypnotic effect of Coke on the brain after the brainwashing and after it has been ingested.   But is there a point?  Is there a lesson to be learned here?  

The Warren Commission Report is inadequate at best, the devil is in the details, and with many distortions we may never know the truth.  Still, there is a lot of information out there if one is willing to dig. For example: How is it that no one is able to confirm the bullets recovered from JD Tippit’s body came from Oswald’s gun?  No one.  Really?  

“However, the bullets taken from Tippit's body could not be positively identified as having been fired from Oswald's revolver as the bullets were too extensively damaged to make conclusive assessments.” - Warren Commission Hearings, vol. 3, pp. 466–473, Testimony of Cortlandt Cunningham. Warren Commission Hearings, vol. 3, p. 511, Testimony of Joseph D. Nicol.

When you have ballistic evidence like this.

The Identification of Bullets Fired from 10 Consecutively Rifled 9mm Ruger Pistol Barrels: A Research Project Involving
507 Participants from 20 Countries

By: James E. Hamby, Ph.D., International Forensic Science Laboratory & Training Centre, Indianapolis, IN, David J. Brundage, M.S., Independent Examiner, Nashville, TN and James W. Thorpe, Ph.D., Senior Lecturer (Retired), University of Strathclyde, Glasgow, Scotland

Key Words: Automated Land Identification System (ALIS), BulletTRAX-3D®, consecutively rifled barrels, criteria for identification, Daubert, firearms identification, fired bullets, SciClops®, scientific research

http://www.forensictechnology.com/Portals/71705/docs/AFTESpringVol41No2pages99-110.pdf

Wonderfully produced by Corryn Cummins, Leon Shanglebee, and Matthew Quinn.

*Mark St. Amant is an astonishing actor who presents himself as another man when he is E. Howard Hunt, a nefarious maniacal character and a CIA operative who is calling the shots.  Amant gives Hunt a mystical quality, a man careful not to make mistakes, and is a man who covers all bases.  There is a moment that is picture perfect.  Hunt forgets something, comes back, and corrects his error. It is a moment that Amant plays to perfection. 

The gangbusters theatre company also employs a fantastic crew for this production in which everything worked, and the details were perfected. They are as follows:

Lighting Design:  Matt Richter

Set Design:  David Mauer

Costumes:  Kaitlyn Aylward

Projections:  Mike Gratzmiller

Scenic Builder:  Zack Guiler

Scenic Painter: Marine Walton

Associate Producer:  Donald A. Smith

Stage Management:  Alyssa Champo

Assistant Director/ASM:  Daniel Coronel

Publicity:  Phil Sokoloff

Art, Graphic Design, Web: Nicholas Freeman, Fontaine, D’enny Patterson

Social Media:  Corryn Cummins

Photography:  James Storm

Programs:  Amanda Mauer

www.gangbusterstheatre.com

Rx by Kate Fodor

Kristen Kollender and Jonathan Pessin 

By Joe Straw

On my early morning walk in Culver City, at the corner of Overland and Washington Blvd., plugged in and practicing Pimsleur’s Spanish, I came upon a man who asked me for change. I slapped my sides, motioning “nothing in my pockets” and I said, “I don’t carry money.” 

There was something in his eyes that expressed a great anger.  “Well, give me your shirt.” I kept walking.  “Give me your shoes! Your pants!  Give me everything you’re F#$%@ wearing!”

And for a second I thought: Why do I need all of these clothes?  And suddenly I pictured myself walking back home on Venice Boulevard without a stitch on just to satisfy this man’s early morning needs. But, I kept walking.  Clearly he was in need of a drug to make him feel… I don’t know.  Something.

Strangely enough, I saw him the next morning, in Starbucks, having a cup of joe.  I walked by his table. Our eyes locked as I moved passed him.  Expecting a barrage, he said nothing.  Life was a little easier for him on this day. Perhaps he took something.  

Life’s problems keep changing and everyday there is a new drug, while not a cure will assuage a new symptom, newly diagnosed, to help you, feel better, as you manage your job, with as little confusion as possible, so you can pay for that tiny little pill.  

And why cure a symptom when you can keep on prescribing?

Won’t you join me in this moneymaking venture?  

Rx by Kate Fodor and directed by John Pleshette at The Lost Studio on La Brea is funny and zany, all in the same breath.  The writing is like watching Woody Allen on psychotropic drugs meeting or having a wacky date with Christopher Durang to see Stanley Kubrick’s A Clockwork Orange.

Lynn Pleshette, the Producer, and The Lost Studio has done a remarkable job bringing Rx to Los Angeles for its premiere with a solid cast of astonishing actors now playing through March 1, 2014.

  

This production is top rate, the play is fantastic, and the events in this play will make you lightheaded, without the need for medication, unless they come up with a disease for it – addiction to theatre.  

Mina Badie and James Donovan

Meena Pierotti (Mina Badie), managing editor for piggeries at American Cattle & Swine Magazine, understands she has the problem of depression in the workplace, so she has answered an ad for clinical trials for a new drug to combat that problem. In a state of torpor from this job, she understands her plight, recognizes her problem, which is the first step to recovery, placebo or no placebo.    

Today, Dr. Phil Gray (Jonathan Pessin) is interviewing her to see if she qualifies for the program.  And boy is Meena a mess!   She cries frequently at least twice in one day.  But, not at the office, she shuffles to a department store near the old-lady underwear section and weeps, fatuously.

And looking at the line item of “confusion” on his clipboard, Dr. Gray asks if she is confused and on what scale, 10 being worse.  She answers decisively “Yes. 7, 6, 5.”  

Later, Allison Hardy (Kirsten Kollender), an administrator of sorts, nicely put together, think big pharma garb of tight blue shirt, black jacket and skirt, and with stilettoes that would stop a non-medicated prowler in his tracks, has high hopes for the new drug - SP95 for workplace depression.

“It’s a disease, we hope.” – Dr. Phil Gray

Meanwhile, Meena, back at the office with her nerdy assistant Simon (James Donovan) with his pants pulled up way too high and wearing clothes befitting no one, drives Meena up the wall, telling her that Amy (not seen) was quitting to go off to write a book, sending Meena back to the underwear section of the department store.

Later during the examination, Dr. Gray tells Meena that they are looking for professional workers who earn more than $65,000 per year.  Meena has her suspicions about the whole program and asks Dr. Gray if he is a real physician.  And with his bare hands on her soft skin, slightly under the fold of her slacks, she tells him that she has got MFA in poetry, giggles at his touch, and says she ticklish.  

“We’re done.” – Dr. Gray

Later Allison walks into Dr. Gray’s office and tells him that it is not okay to break the rules.  He’s got to get his bookshelf off his floor, it’s in the memo, and she doesn’t care that he hits his head when he stands up.

Meanwhile in the underwear section, Meena meets Frances (K. Callan), an elderly woman, having trouble choosing which “old lady” underwear she wants.  Meena, feeling better, helps her decide, and the decorations on the top will do nicely.

Michael Dempsey and Kristen Kollender 

Later Allison grabs Dr. Gray and pulls him into a marketing meeting with Richard (Michael Dempsey) who finds it an unmistakable pleasure to introduce a new drug to a doctor.  Richard, now excited, brings a small boom box, an easel, and two cards to introduce THRIVEON (spelled as “thrive on” but pronounced by Richard as “thriv EEE on”) 9 to 5.  Allison is beyond excited as Richard hits the box and plays Dolly Parton’s 9 to 5 as he dances about the room.

“You can Thrive from 9 to 5.” - Richard

Dr. Gray is none too pleased.

Back for a follow-up, Meena at this point really doesn’t know if she is getting the medication or the placebo. Dr. Gray, not much for rule breaking, except for moving the shelf, putting bare hands on patients, and emailing pictures of his feet, tells Meena that she is getting the drug. He also tells her that he loves her poetry and breaks another rule, the doctor-patient rule, and a romantic relationship ensues complete with photograph of naked feet in various positions.  

Kate Fordor, the writer, has written a wonderful play and something so very unusual that it keeps your interest throughout. A question came to mind during intermission: How does she know all of this stuff?  The names of drugs? The ailments? The doctors? The marketing and pharmaceutical team? Where and how did she accumulate this knowledge? It is probably better left a mystery but suffice it to say this is a wonderful play that will keep audiences enthralled.  

John Pleshette, the director, keeps things moving at an interesting pace.  It is a play about love and drugs and their effects on the human condition.  The through line here could be strengthened with the various characters that take us to the denouement. Allison, who will stop at nothing to get the drug made, Meena who needs the drug to be a better person, worker, lover, etc., Dr. Gray who really needs Meena to keep him going, and the drugs when love is just not getting it done.  Which leaves us with Simon.  Where and how does Simon fit in, in all of this?  Still, Pleshette does a marvelous job with the actors and providing us with a message about love and drugs.   It’s funny when love is lost, the characters frantically run to a drug that will relieve their symptoms, whether it is alcohol, or the orange pill that’s been effectively proven to give dogs a bad case of the runs.

Mina Badie is charming as Meena Pierotti.  It is an interesting role in that it takes her from her depressed charming self, to a loving voluptuous woman, to someone controlling herself and the others around her all the span of an hour and a half.  Things got so wacky on this particular night Badie could hardly control herself.  Still, this was a very nice job.

Jonathan Pressin is Dr. Phil Gray.  Dr. Gray is a man who has a licentious foot fetish so much so that he emails pictures of his feet to his patients – well, one patient.  Amatory speculations set aside, Dr. Gray is slightly nebbish and on the outside sticks by his guns and will not break any rules.  But outside his exterior self, he breaks all the rules continuously.  We all know he wants the girl, but does he try hard enough to get her?  Is he moving his nebbish little self in that direction? – through actions on stage? It is hard to tell with the final outcome.  Nevertheless, I did find Dr. Gray rolling all over the floor just hilarious and will remember that moment for some time to come. Pressin does a fine job with this character.

Kristen Kollender is marvelous as Allison Hardy a backslapping, happy-go-lucky worker for big pharma.  She is as gregarious as she is annoying. And never let it be said the she doesn’t love her job.  On top of all the money she is making, she is watching the pennies. Still, she is the one person co-workers do not want walking into their room, especially after something good has happened, or something bad, or anything at all. It is preferable that she just stays away.   Still you have to love Hardy’s tenacious spirit and Kollender is fantastic in the role.  

James Donovan plays Simon, a nerdy character with a foreign accent.  And an odd thing about this particular character is that he shows up at the most inopportune time, obliquely prowling around the old ladies underwear section by inadvertent happenstance.  Seems like the character has more in his being than being at the wrong place at the right time. Still I enjoyed Donovan’s performance and loved the office party scene.  It was one more moment when things felt just right.  

Michael Dempsey is a wonderful actor, plain and simple. Although he is not plain and simple, but a robust character that brings his characters to extraordinary life. His audacious gestures send the audience into fits of laughter.  Dempsey is an actor that other actors love to watch and steal. Dempsey’s Richard is a character who is slightly off kilter with many layers.  A man who is not sure of his own self worth, wishing for the day back when he decided to drop out of college or medical school.  And as Dr. Ed Morgon he creates an entirely different character, so offbeat and unique, one cannot take your eyes off the mess that is this being. And the glove scene this night was incomparable to anything thing I’ve ever seen in a doctors office.  His performance was just wonderful.

L - R,  K Callan and Mina Badie 

K Callan gives a very special performance, as Frances, a very kind elderly woman who is, in the politest sense of the word, slightly confused, but very kind.  She is ill and knows her time has come. She refuses the drugs she needs but inspires Meena to enjoy life to the fullest.  Frances gives us a chance to breath with all this lunacy going on.  And it is Callan who provides that relief and a time to step back to enjoy her character and her performance. Callan is terrific as Frances.

Karina Farah was the Stage Manager as was David Rubin.

Nicholas Davidson was the Lighting Designer and gave the cast the lighting required to be their best.

Joseph “Sloe” Slawinski was the Sound Designer and everything worked to perfection.  

Esther Rydell was responsible for the Costumes and also did a great job with actors looking and living the part in various costumes.

Ken Werther Publicity was responsible for the publicity.

Other member of the crew were Ariana Hode, House Manager, Debra Valencia DeVa Communications, Graphic Design and Cinda Jackson for The Lost Studio. 

The sign Rx is much too real hanging outside the Lost Stage on La Brea – I walked past thinking it was a pharmacy.

Run! Run! Run! Take someone who has a clear head.

JANUARY 11 — MARCH 1, 2014

FRIDAY & SATURDAY AT 8PM

SUNDAY AT 3PM 

FOR TICKETS:

www.Plays411.com/rx

(323) 960-7780