A Heated Discussion by Levy Lee Simon

 

Ben Guillory (l), Vanja Renee, David Bollar - Photos by Jermaine Alexander

By Joe Straw

 

Yemaya – Creation, water, motherhood, rivers, lakes, streams, wells, pregnant women, fishermen, shipwreck survivors.

 

Oya – Orisha of winds, lightning, and violent storms, death and rebirth.

 

Oshun - Goddess of divinity, femininity, fertility, beauty and love.

 

Charyse Monet  (l.), Ben Guillory, Ayonna Michelle, Toni-Ann Hampton

 

 

Orishas are spirits send by the Supreme Being. They are sent, because they are needed.   Needed because these are troubling times on earth, troubling times for the human race, and in particular for black people. “Black people are murdered in the streets with impunity.”

 

Yemaya (Tori-Ann Hampton), representing motherhood, cries continuously because of what is going on in the United States of America.  Oshun (Charyse Monet), goddess of divinity, and Oya (Ayonna Michele), sword at her side, tries to calm Yemaya with some success. Each, in their own way,  know trouble plagues this part of the earth and the only way they can solve the problems is to call upon the creators to see if they can offer solutions.

 

The creators appear to enter through a portal, long coils of pipe-like structures that run horizontal to a non-earthly plain, one that ventures to and from the neither regions of time and space. But however they appear, the creators come ready to do verbal battle, or speak a truth that is familiar to them but a truth nevertheless. (Earthly accouterments were provided in this setting to those who still take human sustenance in the hereafter.)

 

And they come, shadowy vibrations, not knowing why they come, but they are happy to engage and offer a resolution if they can overcome the conflict among them, to set that aside, and offer solutions. To be here each has previously shaken their mortal coil, some long since past, but they come not knowing why they come, but still happy if only to please.

 

James Baldwin (Julio Hanson), Dr. Francess Welsing Cress (Rosie Lee Hooks), Nina Simone (Lashada Jackson), Zora Neale Hurston (Vanja Renee), Tupac Shakur (Kyle Sparks), Maya Angelou (Kimberly Bailey), Ida B. Wells (Quonta Beasley), Richard Pryor (Philip Bell), Malcolm X (David Bollar), Bob Marley (Alex W.S.T. Chumley), Lorraine Hansberry (Tiffany Coty), and Dr. Martin Luther King (Carret Davis) are called together to find answers.

 

The Robey Theatre Company in association with the Los Angeles Theatre Center present A Heated Discussion written by Levy Lee Simon and directed by Ben Guillory through May 15, 2022.

 

One is not sure how to start, how one is to overcome the humanity in the room, all at once, relating, seeking solutions to unspeakable problems. One thing is certain and that is the feeling of elation, when listening to the dialogue of this strongly driven character play. Levy Lee Simon has written an astounding piece of theatre, bringing together characters from different periods relating to each other, seeking answers from within to address the common good. It is exquisitely written and a breathtaking dramatic work that moves to find a solution to racial inequities and inequality.  

 

Based on an ideal by Ben Guillory, Guillory superbly directs a truly remarkable cast of characters. He expertly guides the characters to a mysterious plain of existence. And each character is at the pinnacle of their being. They are reasonable, articulate, and physical enough to be vocal to express their point of view in the discussion in a controlled setting. It is magnificent work created in part over the course of the two year pandemic layoff.  

 

That said, there are several standout performances in this presentation.

 

Vanja Renee was remarkable as Zora Neale Hurston, vibrant and bubbly. Her dark dress had white dots invoking champagne bubbles. And, the way she projected, in a manner of vibrant bubbles, seemed to be a conscience choice, suggesting that this was the manner in which Zora actually spoke. This personality trait made for an incredible character choice and moved her along splendidly in the role.  

 

Julio Hanson (l.), Tiffany Coty, Rosie Lee Hooks

 

 

Julio Hanson performance of James Baldwin was just shy of perfection. He spoke with benevolent volubility and mannerisms that equally captured Baldwin’s desire to set humanities conflict right.  His performance is sublime and moves with a grace that James Baldwin always invoked.   

 

A statuesque David Bollar plays Malcolm X with a smooth voice and a commanding presence. Bollar captures that truth in Malcolm, angry, and somewhat defiant, but measured in his words when creating his truth.

 

Tiffany Coty is perfect as Lorraine Hansberry a woman who carries a sincere and articulated truth in trying to find a solution. She is a woman who hasn’t forgotten her past, which gets her into a little trouble in the hereafter.  

 

Philip Bell is extremely funny as Richard Pryor, coming back to a terrifying unpredictable situation. Bell brings all the mannerism to the character; the wisecracking stretched left side of his mouth, the blinking eyes, and the left arm that doesn’t bend behind his back when telling a story.

 

Kyle Sparks also presents some fantastic work as Tupac Shakur.  His role is carefully crafted, the voice, the cackle in his laugh, the refulgent smile, his looks, and mannerisms complete the character. It is a remarkable work of art.

 

Lashada Jackson has a nice song as Nina Simone.  She hasn’t captured Nina’s voice but manages to be uplifting to those around her.

 

A reporter asked Martin Luther King Jr., why he was the face of the Civil Rights Moment and he said he didn’t know why. It was possible only because he was there at key fastidious time and moments.  Garret Davis projects another image of Dr. Martin Luther King, Jr. one that is low key, and subtle. But, King had a projected voice like Barry White and offered a peaceful movement, one which carried him with a solid backing of a religious truth.  Also, it did not appear that the other characters gave King the reverence he deserved, that his peaceful message carried any kind of weight when it should have carried a groundswell of support. King presents a lyrical and yet an opposing voice to the proceeding.

 

Rosie Lee Hooks does well as Dr. Frances Welsing Cress, oftentimes raising the hackles of others around her with her off beat comments and lurid point of view.

 

Kimberly Bailey does well as Maya Angelou, somber and intelligence played an important part in her character.  

 

Quonta Beasley, as Ida B. Wells, presents horrific stories from history.  Especially horrific is the story of Mary Turner’s lynching in southern Georgia. It is a story to motivate the others around her for more change and finding a solution. Nicely done.

 

Alex W.S.T. Chumley plays Bob Marley rousing the people around him to get up and stand up for your rights. This should have subtly moved others but may not have had the desired effect of uniting this group who couldn’t agree about anything.  Chumley’s rigorous simplicity gives us a hint of Bob Marley with an infectious wry delivery.

 

Charyse Monet presents a strong visual as Oshun decked out in a wonderful costume. There may be a little more to add in her presentation of peace. Ayonna Michele is Oya and Tori Ann Hampton is Yemaya. All three Orishas are set behind a curtain and at times totally obscure from members of the audience.  That brevity of obscurity on the upper deck loses a little momentum in the projection of their purpose.

 

Ben Guillory plays a spirit, a less benevolent one, dressed in military garb and ready to fight the world.  He seems to be the ultimate decider but one that the others defer to rather than be offended by his rhetoric.

 

But, is there a satisfactory resolution? And, since they are called into the room, shouldn’t it be up artists to come up with a solution? Without giving too much away, shouldn’t the pen take precedent over the sword? If the heated discussion works to find an answer, why is it taken away by one being?

 

Costume Designer, Naila A. Sanders, and Assistant Costume Designer Natalya Shahinyan have created a stunning work of art.

 

Other members of the delightful crew are as follows:  

 

Ben Guillory – Producer

JC Cadena – Associate Producer

Jermain Alexander – Video Production/Associate Producer

Jason Mimms – Graphic Designer

Crystal Nix – Production Stage Manager

Christina Childress – Assistant Sage Manager

Cydney Wayne Davis – Music Director/Composer

James Manning – Music Production/Engineer/Musican

Dave Iwataki – Sound Designer

Benedict Conran – Lighting Designer

Evan A. Bartoletti – Set Designer

James Museitif – Scenic Crew

Joe Seely – Scenic Crew

Lisa Lechuga – Associate Designer

Jan Bouldin Blunt - Choreographer

 

Run! Run! Run! And take a sociologist with you.  It will make all the difference.

 

Also, on this night I sat next to Danny Glover co-founder of The Robey Theatre Company and who was also recently presented with the Academy Award’s Jean Hersholt Humanitarian Award.  What a delightful surprise!

 

Reservations: 213-489-7402

 

Online Ticketing: http://therobeytheatrecompany.org

One Way Ticket to Oregon by BC Caldwell

 

L - R Synthia L Hardy and Eve Sigall

 

By Joe Straw

 

Some days here in Southern California I reminisce about the time I lived in the south. The rustling elms, thundering maples, and sycamores leaves all laughing in the nightly breeze accompanied by sounds of bullfrogs and crickets that came in through my open bedroom window.    

 

So, I jumped at the invitation to visit the sounds again, farther south to Alexandria Louisiana, and what a better way to spend the night watching a play that takes place where people move slower and life is all about living gently and getting by the best way that you can. But, in this show, there’s more to living than just getting by.

 

One Way Ticket To Oregon written and produced by BC Caldwell, and directed by JJ Mayes is now playing at the Blue Door Theatre in Culver City, CA  90232 through April 24, 2022.

 

This is my first foray into The Blue Door and it is a beautiful 50-seat theatre.  The greeters were pleasant and the mood was very festive with a slight taste, well the unmistakable flavor, of southern charm. Joyce Hutter, Scenic Designer, sends us to that place in Alexandria, Louisiana, on the porch, ice teas on a table, and comfortable chairs to rest the weary souls.  

 

Leigh Anne Rainey (Eve Sigall) and June Collins (Synthia L. Hardy) do just that  - sit back and talk. June is Leigh Anne’s caretaker, sage, and most importantly a friend.  Leigh Anne has lived in her majestic home everyone calls the White House. And that home has been in her family for more than 150 years.

 

In the telling, Leigh Anne is suffering to what appears to be more than a slight ailment.

 

Dr. Cavanaugh (Rick Steadman) pays a house call and tells her that her white blood count is elevated but there are more tests to run. June, coming back onto the porch, wants more information from the doctor and he will give her the information when Leigh Anne returns.

 

Leigh Anne delicately implores June for more help, taking her to get to the doctors and tests, but June is hesitant because she can’t live on the little Leigh Anne pays her.

 

In an apartment, not far away, Bobby Rainey (Travis Goodman), Leigh Anne’s son lives with is wife Eve (Kate Krieger) and their son Duke (Ethan Aldridge) in a God forsaken cluttered apartment.  Bobby is an opinionated homebody who would like to make love to his wife or have a beer - and not necessarily in that order.  But Eve wants more out of life.  Her dreams of a successful life include traveling and becoming a model. Their dreams are not mutually inclusive.

 

And now their life is wrought with interruptions as Duke comes into the living room and Eve has to send him off to sleep with a song. And oh, does she have a lovely voice.

 

Prominently displayed, above the door, an overbearing shotgun looms in a gun rack, foreshadowing what may be an unbearable event.  Or, maybe it’s just something people have in the south.

 

Well, the news comes for Leigh Anne, and it’s not good, she is heading for troublous times, and is advised to get her affairs in order.   And the pain slowly becomes excruciating for her.  She asks June if her nephew, Andre Calhoun (Matt Jennings), would stop by with some weed to help with the pain. Andre is happy to oblige.  He is going off to dental school in Atlanta and one supposes he does this to supplement his future expenses.

 

Bobby, coming by, doesn’t like Andre around the house.  He calls him “boy”.  Andre lets this go, this time. Bobby’s relationship with his mother is amicable.  It’s been tough living with the knowledge that his father committed suicide. (And the shotgun is still above the head jam.)

 

Leigh Anne has found her answers, but she seeks her pastor, Father Brooks (Carl Weintraub) after his unctuous sermon, for consultations. Father Brooks’ faith is unshakeable and he is not in agreement with her choice of going to Oregon. But, a choice has nevertheless been made and she makes it clear that it is not a willful renunciation of her faith.      

 

BC Caldwell, the writer, tells a story which is an amalgamation of his history living in the south. It is a ubiquitous play and a toast to the southern way of life. One Way Ticket to Oregon is both beautiful and excruciatingly painful to watch. Beauty in the way one see love, and painful in the way one sees the other side of love. And in addition there is darker side of humanity beyond the disease and that is a play that showcases humans coming to terms too late.

 

JJ Mayes, the director, leads an outstanding cast. And while there were only a few miscues, this night was a very pleasant experience with performances that were exceptional. Exceptional work on an exceptional night.

 

A very spry Eve Sigall manages a steady pace as Leigh Anne Rainey.  Aside from the pain of the disease Leigh Anne holds a competitive edge over the frustrations of her kinfolk and stays the course in this time of her life.  She has made her decisions and firmly moves forward despite the conflict that it will bring. Sigall is beautiful when she meets with the pastor, and when the disease takes over; she slowly moves to take control.   Sigall is remarkable in the role.

 

Synthia Hardy brings a lot of warmth and humor to the role of June Collins. Her performance is a joy to watch.  She dances when spirits needs to be lifted and dances with joy when things go her way.  It is a delightful performance, true to nature, truthful in execution.  

 

Travis Goodman as Bobby Rainey has his work cut out for him. He must move from being a homebody racist to someone who has our complete sympathy.  He loses everything and only comes to an understanding after he retrieves the shotgun above the head jam. (How that happens one is not sure.)  It is a moment when he has lost everything.  But that moment is an accumulation of all things that preceded it and should not be lost in the execution. His last meeting with his mother needs another level of emotion, not only for him but for us as well.  That aside, Goodman was superb in the role.

 

Kate Kreiger’s voice is lovely as Eve Rainey a wife and mother on the eve of her destruction. Her destruction is not so much as to what she wants; it’s how willing she is to sacrifice everything to satisfy her needs. And when drugs are part of the equation then her road will be a difficult one in satisfying those needs. Eve’s character needs to be open to all opportunities the moment we see her.  If wanting a better life, we need to see that when she interacts with the other characters. Relax the hands. Use them when you need to showcase the vitreous glitter of your nails and the model-like hands, and let your objective be the force that guides you.

 

Ethan Aldridge plays Duke Rainey and does very well in the role. He is a cute kid, doing cute things, who could ask for anything more.

 

Rick Steadman does well as Dr. Cavanaugh, a nice guy, doing nice things, and there’s nothing wrong with that. But, there’s very little insight in how the doctor feels, how he really feels, about a woman, a friend, a patient wanting to end her life. The conflict is very subtle here. Steadman also play Quickdraw, a man who is unsure of his role when it comes to a family squabble about football. Pick a side and go with it in this scene. That aside, Steadman showcases some remarkable work.  

 

Carl Weintraub plays Father Brooks as a man who believes in the good book, finding answers in that book, and knowing how to guide his parishioners. His words are for naught which must have some kind of effect on him. He also does well as Uncle Lou.

 

Matt Jennings is Andre Calhoun who is June’s nephew. Andre is working to become a better man, possibly a dentist. But for now, in this town of Alexandria, he appears when he is needed. A ride, some drugs, an unwanted friend/lover are some of the things he does to make life easier. But two of those things drugs and lover will get him into a lot of trouble.  He may be able to manage the solicitation of drugs, precariously, but a married lover, in the south, gets him into dangerous territories. This is a better outing for Jennings showing much improvements than his last show.

 

Costumes by Linda Muggeridge, Costume Designer, worked well in this 2010 period piece.

 

One heard a lot of birds from Jaime Robledo, Sound Designer, and that worked effectively.

 

Douglas Gabrielle, Lighting Designer, used a different type of lighting system you normally don’t see in this kind of house.  The purple glow when one enters the house had an interesting effect on the set. The lighting was terrific if not subtle.

 

Other members of the crew are as follows:

 

Jeremy Aldridge – Associate Producer/Assistant Director

TJ O’Brien – State Manager

Michael Teoli – Composer

Scott Golden – Publicity

Ronel Alberts – Poster Artist

 

A portion of the proceeds from the show will benefit ArtsUP! LA which is a nonprofit theater and arts program serving people with disabilities, military veterans, and opportunity youth. 

 

The virtual programs compliments of a QR code brings the cost of printing way down.  I've seen that in the last two show I've been to.  In each, the programs were glorious. 

 

Run! Run! And take someone who loves, unconditionally.

 

Fridays & Saturdays @ 8pm, Sundays @3pm, Mondays @7pm

 

The Blue Door

9617 Venice Blvd.

Culver City, CA  90232

 

 

 

 

 

 

 

 

 

 

 

Silent Sky by Lauren Gunderson

Abigail Stewart and Dalen Carlson - Photos by Eric Keitel

 

 

I try not to look at the sun. Knowing the light, originating from the sun, reaches me in approximately 8.3332 minutes or less  - traveling in waves or particles. Looking into the night sky is a better alternative. I can readily observe light bouncing off planets and traveling back to me in a span of time of which I am not acquainted and hardly understand.  All I know is that it is a confusing duration of time   - a projection of light traveling from the sun to the planet and then back to me. Time and space, space and time, and for me it is a mathematical formulation I can’t begin to calculate. Better left for the scientists.  

 

Silent Sky by Lauren Gunderson, directed by Ann Hearn Tobolowsky, and produced by David Hunt Stafford is now playing at Theatre 40 in Beverly Hills California in the Rueben Cordova Theatre where the air is always cool and the parking is free through April 17, 2022 and beyond.   

 

Gunderson’s play is marvelous as it lifts the spirits and awakens the senses.  The play is, by all measures, a time capsule, capturing historical moments that pulse for a second and then disappears, all bound by love, but diverted in search for a truth that may or may or may not be realized.     

 

Henrietta Levitt (Abigail Stewart) walks out of her Wisconsin farmhouse on a Sunday morning, noticing the remnants of vanishing stars in the light of dawn. She is absorbed, no, that’s not right, perhaps focused in her thoughts, unable to hear clearly the morning sounds, compliments of an unattached hearing device.  Her sister, Margaret (Tammy Mora), pinches her to tell her to get ready for church. Their father (not seen) is the minister of the church.

 

Both have a secret they want to share, but only for the right moment.

 

No time like the present and little time to waste, Henrietta tells Margaret that she has been offered a job in the astronomy department at Harvard. Henrietta wants Margaret to move with her to Boston so they can get old and scrappy together. Seeing the inevitable in Henrietta’s eyes, the only offer of advice from Margaret is “not to wear bloomers.”  

 

Henrietta tells Margaret that Radcliff is nearby and she can study her music there but Margaret is not having any part of the discussion. And, there’s one more thing before Margaret gets ready for church, Henrietta wants Margaret to convince their father to give Henrietta her dowry because Harvard is paying her nothing for her work.   .

 

Henrietta offers Margaret one more chance to go with her but Margaret says she has to take care of their father, and besides, her boyfriend Samuel (not seen) has proposed to her.

 

“Come with me.” – Henrietta

 

“Just come back.” – Margaret

 

Later, Henrietta finds her way into her cramped office at Harvard to meet Peter Shaw (Dalen Carlson) who she mistakenly calls “Dr. Pickering”. Shaw is Edward C. Pickering’s apprentice and immediately wants to establish the pecking order of who works for whom.  This doesn’t go over too well with a strong-willed Henrietta who views their newfound relationship as colleagues and wants to get started working in the observatory.

 

“This is the workroom for you girls.” - Peter

 

Hmmm.

 

Their conversation is interrupted by the women she will work with Williamina Fleming (Amy Tolsky), a gregarious woman of Scottish decent, and their boss Annie Cannon (Marie Broderick) who demands that Henrietta find quiet inspiration in her work, and show respect.

 

It is in this room they will take the photographs, every point of light, and map out the stars.  And it is at this moment Henrietta discovers that Annie Cannon is responsible for Stellar Classifications OBAFGKM. But, for now, there is much work to be done.

 

Theatre 40 celebrates Lauren Gunderson’s play during the course of Women’s History Month and it is a fine play introducing us to historical figures that have made an incisive impact with their research.  We immediately want to learn more about these women when we venture off into the night air.

 

There is a lot to enjoy in Lauren Gunderson’s play. Let’s leave aside the excitement of academia and all that it encompass, for here is a remarkable love story, and most importantly a compelling story about family, experiencing love, and handling relationships when confronting obstacles.   

 

When things work most effectively it is not in the science of the work, but in the relationships, which were delightfully realized under Ann Hearn Tobolowsky’s direction.  

Tobolowsky manages to capture time, the essence of images projected in moments in the lives of all of the characters.  Just as the observatory photographs captures a historical perspective of light, so are the significant moments in the lives of the characters captured as well, moments with significant heart.  

 

 

 

Abigail Stewart creates the fine life of Henrietta Leavitt a woman who pushes the boundaries of her knowledge, wanting to find purpose, and seeks to discover more from her observations. Stewart finds the intangibles in the character and creates a wonderful silent life in her observational moments.  Digging deeper into character she may find the afflatus that will help guide her. 

 

Tammy Mora plays Margaret Leavitt, Henrietta’s sister. Margaret is left with holding down the fort, taking care of her father, and playing the piano in the church choir. It was her choice but she becomes slightly bitter when the work is too much for her.  Mora must find a way to communicate when speaking to the fourth wall, in the letter writing scenes, to strengthen the relationship with her sister.  The opening and the piano scene are filled with warmth. Not to take anything away but there are other levels to find and add to her already pleasant work.     

 

Dalen Carlson plays Peter Shaw a man who presents himself as rugged but has a very soft side when he wants what he wants.   Carlson creates a character that will find a way to be with the woman he wants and unfortunately nothing will stop him except time. Still he manages to stay in the periphery. His performance is intimate, warm, and very funny.

 

Amy Tolsky is marvelous as Williamina Fleming someone who soothes the jagged edges of conflicting life around her. Her altruistic impulse is to manage the people around her  especially during their initial meeting. Originally she was Pickering’s housekeeper, but finding out that she was capable of much more he found a way to bring her organization skills to the Harvard astronomy department. Tolsky gives a performance that makes one sit back, smile, and absorb her work.

 

Marie Broderick brings a lot of life to Annie Cannon.  Annie is gruff in the beginning but manages to lift that veil when things come to life and the department realizes its full potential.  In real life Annie Cannon was hard of hearing as well due to scarlet fever but there was no mention of that in the play. (It probably would have been too much.) Broderick’s performance was pleasant and wonderful to watch. And with that said it seems there may be a stronger objective, or a better choice to get what she wants.

 

Marilia Angeline and Sarilee Kahn were alternates who did not perform the night I was there.

 

There was a lot of good work in Jeff G. Rack’s set design. A circular riser takes center stage with a walkway shaped like a “P” just on top of the riser. A visual “Pi” brought a smile to my face. Also, on stage right and stage left were the facades of an ocean liner, also a very nice touch.

 

Projections on the upstage walls lifted the production to another level provided by Fritz David and accompanied with interesting sounds by Nick Foran, Sound Designer.  

 

Derrick McDaniel was the lighting designer.

 

Costume Designer Michele Young did exceptional work and Judi Lewin added to the look with Wigs, Hair and Makeup Design.

 

Jean Franzblau was the Intimacy Director, bringing something new in this age of intimacy on stage and COVID. Her job was to help the actors in the intimate moments, feeling safe in the blocking, kissing, and hugging scenes.  

 

Cameron Kauffman is the stage manager. 

 

The Hubble telescope released a photograph of a star 28 billion light years away this week. Edwin Hubble's work was influenced by Henrietta Leavitt. 

 

Run! Run! And don't take a scientist with you, bring a lay person who loves night gazing and speaking to the brightest star in the sky. 

 

Reservations:  310-364-0535

 

Online Ticketing:  www.theatre40.org

 

Theatre 40

241 S. Moreno Dr.

Beverly Hills, CA  90212

The How and the Why by Sarah Treem

L - R Faye Viviana and Andrea Nittoli Kelly - Photos by Maria Proios

By Joe Straw

 

 

My parents divorced before I was ten years old. My four siblings and I saw my father briefly during the weekends when he would drop us off at the movies and go have a couple of beers.  My mother remarried when I was in the sixth grade. After a series of court battles, we didn’t see our father anymore. Many years later, I found out he was still alive. I Google searched his phone number and I decide to get in touch with him.  There were questions I needed answering. I stared at the phone for what must have been forty minutes, shaking at times, wondering if I was doing the right thing before I made the call. – Narrator

 

An impenetrable huge gate now fortifies the Beverly Hills Playhouse. Knocking is of little use.  Knocking creates a cavernous sound similarly like the sound of the doors in Young Frankenstein.  Knocking only complicates things. “Who’s there?” they asked, and if your answers are not satisfactory, they will not open the gate.  So it was back to the car to wait in the warmth on this chilly night. It’s a shame because mingling outside before the theatre doors open is always a pleasant pastime. Naytheless.

 

Crimson Square theatre Company presents The How and the Why by Sarah Treem and directed by Allen Barton.  Produced by Crimson Square Theatre Company in association with Beverly Hills Playhouse, and Cheshire Moon, Inc. through February 20, 2022. 

 

Rachel Hardman (Faye Viviana) stood alone.  And when I mean alone, she is alone.  Her parents were dead.  The boyfriend dropped her off where she found her way into a cold, grey, and inhospitable office.  There’s a lot to explain, a lot to overcome, to find answers that probably won’t be forthcoming, but first she wants to sit and not say anything.

 

Beginnings are usually traumatic.  Hence the opening words of “Oh, my God” spoken by Zelda Kahn (Andrea Nittoli Kelly) at their first encounter speaks volumes of what is to come. 

 

In the quiet of a professor’s office in Cambridge, Massachusetts, Zelda is willing to wait Rachel out.  Zelda has very little planned; well at least for the moment.  It’s her office, her home away from home, and she has the time. Academia and the mystery of life make life so enticing.   

 

“You are very beautiful.” – Zelda

 

“I know.” – Rachael

 

That’s odd and certainly too familiar as an icebreaker.  But, it was said.  It’s over and done with and Rachael can only look straight ahead, filled with something resembling unforgiving anger.

 

Rachel Hardman is a grad student at NYU in evolutionary biology who has recently discovered her birth parent is Professor Zelda Kahn at a Cambridge Massachusetts university. Their meeting is preceded by a phone call, possibly a dramatic intrusion, but a long expected phone call leading to the get-together.

 

Now knowing whom her mother is, Rachel’s next quest is to find the identity of her father.

 

Zelda discovers that Rachael is also an evolutionary biologist. Or, maybe she knows this already. And even though it is only 10:00 am, Zelda breaks out the celebratory champagne for just this occasion.

 

Trying to break the ice, Zelda is interrupted by a phone call.  It’s her “boyfriend” Michael, an oncologist, who is taking her to Vienna after the conference. She is rather upset by the call and loses track of their conversation.  She does this a lot during the course of their discussion.

 

Zelda wants to know about Rachel’s paper about “human menstruation.” 

 

Rachel said she submitted the paper to the National Organization of Research Biologist (NOORB) conference, of which Zelda is on the board, but the paper didn’t get the necessary votes and was rejected. Rachel calls the selection process “bullsh*t”.   

 

To veer away from a heated discussion, Zelda wants to know more about Rachel and her boyfriend, Dean. But the discussion veers back to Rachel’s work and the exigency of sharing her work with an audience of scientists.

 

Rachel describes her research and Zelda is impressed by its originality and complexity. Zelda secures a slot at the NOORB conference for Rachel. After the presentation, Rachel gets some tough questions during the question-and-answer period. In Rachel’s mind, this is disastrous, especially when she realizes that Zelda has mysteriously left the room.

 

L - R Faye Viviana and Andrea Nittoli Kelly Kelly

 

 

The How And The Why by Sarah Treem is exceptional. It is a ravishingly and mentally satisfying soul-searching quest for the truth. And, in this play, finding the truth is quixotic and inexhaustible because it is dolled out in increments. Obfuscated by a necessity to achieve success in a professional setting, neither of the characters are totally reliable reporters. They admit it themselves. They hide the truth when it is convenient and when they feel it is necessary. And with that said, Treem is marvelous at foreshadowing dialogue, giving us hints of what is to come underlying events that will be revealed in the second act.

 

Wonderfully directed by Allen Barton (author of The Oasis of Insanity: The Study and Pursuit of Acting at the Beverly Hills Playhouse – a wonderful book by the way), the play seems to be a slight variation of the published work, especially the ending that is exquisitely tender. Barton’s work seems to press all the right buttons and the emotional outpouring on this particular night validated the night.

 

Andrea Nittoli Kelly is true to form at Zelda Kahn, a professor who hits all the right notes. After all, she is the adult of the two.  She is sensible and reasonable when the discussion veers ugly and the barrage comes at breakneck speeds.  There was a slight false note when she is looking for the tissues. Most professors, without looking around, know exactly where the tissues are when graduate students come in to cry in their offices.

 

Faye Viviana is exceptional as Rachel Hardman as she rattles off her hypothesis as though she can do it in her sleep, forward and backwards too. A character choice Viviana has made seems to have the character sealed in a glass test tube. She looks forward to the fourth wall only occasionally glancing back to her counterpart with stinging requitals of abandonment without coming right out and saying it.   It is a fascinating state of loneliness and nerves, bubbling, boiling, and waiting to explode at any given moment. It is a remarkable choice and one that makes for a remarkable night.

 

Faye Viviana was also the Executive Producer of the show.

 

Other members of the crew are as follows:

 

Jeffery Sun – Stage Manager

Derrick McDaniels – Lighting Designer

Lisagaye Tomlinson – House Manager

Jessica Ott – Box Office

Mark Iverson & Whitney Nielsen – Set Building

Allen Barton & Jeffrey Sun – Sound Design

Jeffrey Sun – Graphics Design

Maria Proios – Promo Photography

V3 Productions – Marketing

Emily Chapman – Social Media

 

Donations to Crimson Square can made at www.crimsonsquare.org/support

 

Ticket information available at: www.CrimsonSquare.org

 

   

 

 

Death, With Benefits by John Strysik

L to R Susan Damante, Larry Eisenbert, and Cherly David - Photo credit: Eric Keitel

 

By Joe Straw

“Did I see them Killer Grannies of Santa Monica?  Yeah, you could say that. I lived near them.  From what I heard they were just a couple of streets east and two blocks north from what you see here, a homeless encampment. I thought it was strange at first seeing these two, totally out of place and unsure of themselves, fondling ham sandwiches as a sort of enticement to get a someone here to get into the car with them.  Guys out here are so hungry and want for drink it was almost like they was throwing bread crumbs to pigeons, leading them into the car, their car.  Are pigeons homeless? No!  Thank you! They was nicely dressed, wearing athletic gear, and truth be told weren’t very athletic. Those that got into her car, well I never saw them again.  And we know what happened to the two grannies.” – A homeless witness who didn’t want his name release for fear of reprisal.

 

Ned (Kevin Dulude), an elderly gentleman, seventies or eighties, uses his walker to go into the kitchen to get some food. The phone rings, he seems oblivious to it all. Something is not completely right in his head. His quest on this night is to find food, any food. But locks on the cupboard and the refrigerator are reason why he is excruciatingly thin. His hunger makes his mind weak.  A few grapes do not make a meal and so he goes back into his room, hungry and pathetic looking.

 

Theatre 40 presents Death, with Benefits written by John Strysik, directed by Jeff G. Rack, and produced by David Hunt Stafford through February 20^th, 2022.  

 

Mary (Susan Damante) has a pretty good life.  She owns an apartment building and lives here in one of the better units on the ground floor.  And life would be heavenly if only she could keep the pesky tenants happy. The troublesome phone calls left on her answering machine were endless.  And Mary could feel for them,  only she couldn’t do anything because she was broke. Flat broke.  The only thing affordable to her was an exercise class.

 

Today is different.

 

Mary invites Duscha (Cheryl David) a name of Slavic origins, possibly Russian, meaning Divine Spirit. And Duscha is a happy person, athletic, widowed, and in want of a drink this fine morning - typical Slav.

 

Mary obliges, fixes them a pitcher of Long Island Ice Teas, and pours them into Bascal aluminum glasses.  The kind of cup that makes you cringe when teeth meet metal.

 

Mary and Duscha get to talk about life. Mary’s life in particular, how things are bad, she has no money, and how difficult it is to upkeep the apartment building.  Duscha tells her that she can fix anything, even the front door to her apartment that doesn’t stay closed. Duscha says she would fix that if Mary let her move in.

 

At first, Mary is hesitant. (Why?  One is not sure. Playing hard to get?) But, she sees the advantages of such a prospect.

 

So Duscha moves in and discovers there’s another person living there, Ned. Mary tells her that Ned is her son-in-law and that her daughter left him there.  Mary explains to Duscha that she doesn’t want to throw him out because “He’s family.”

 

Possibly, little time passed, and the front door still not completely fixed, suddenly opens which allows Ned to make a fast escape on his walker. Unfortunately, taking advantage of the Santa Monica sunshine, Ned is run over by a car, squished flat, and dies.

 

So, the policeman (Phil Sokoloff) arrives, asks a few questions, and is off.

 

Ned had a life insurance policy and this gets Mary to thinking they could offer older homeless gentlemen a place to stay, take out life insurance policies on these men, and then collect when they die.

 

Unfortunately, for the men, Mary and Duscha would speed that process along.  And Joe (Larry Eisenberg) would be their first roommate.

 

Death, With Benefits by John Strysik is being billed as a dark comedy and it most definitely was. There was a lot to enjoy in this production. 

 

Directed by Jeff G. Rack one would question if it were dark or a comedy.  Maybe that is unfair; there were a lot of good things in this play.  But, timing is critical and moments really need to hit the mark if the comedy is to work. One really has to believe the life and death circumstances of these two ladies to complete the execution of the comedy.  Playing to the fourth wall does not constitute comedy, interaction between characters do.   The audience has to believe the circumstances are real, the physical actions work, and the stakes are monumental.There are other levels yet to be explored.

 

Let’s look at this play from another perspective without changing any of the dialogue. Ned has to be perceived as an annoyance. It is Mary’s best interest to get rid of Ned so, how does she do this?

 

It has to be in Mary’s mind that she needs help getting rid of Ned. She needs a partner, someone who is physically fit, and isn’t a lunatic.  From the moment Mary comes into the apartment with Duscha, Mary has to want something from Duscha. Mary must have a plan, a belief in nihilism, and she must see if she can seduce Duscha to implement that plan.

 

Does Mary “accidentally” leave the door open, and how does that play into their next plan of action?

 

There has to be a leader in this group and one supposes that it has to be Mary and we need to see that in action and in deed.

 

Phil Sokoloff and Susan Damante - Photo credit: Eric Keitel

 

 

Susan Damante as Mary Helmsworth screams a lot in this play.  She does a fine job but this role really needs fine-tuning. Keep what she’s got just add to her action - one being the oblique prowler of a near dead man.   

 

Cheryl David has her moments as Duscha Gehenlegen.  She is the conscience of the group worrying about God and what is to become to the both of them. Duscha must put up more of a fight.  She seems to play into whatever hand she is dealt. One is not sure how or why the opera music plays into her motives or the scenes for that matter. The operatic music must play a significant role or contribute to her objective.  

 

Kevin Dulude had on this night a white beard that almost came off while he was banging on the refrigerator door trying to get it open.  The problem with the beard is that if you lose it, reality is lost, and comedy is equally lost. He also plays Geoffrey, a hairdresser, who comes to the house to change the appearance of Duscha, an action that is not completely or reasonably worked out.

 

Larry Eisenberg does a fine job as Joe, the obstreperous homeless man. He does well in playing off one woman against the other.

 

Phil Sokoloff does dual duty as A Policeman and then as a homeless man. More could be added to the Policeman but maybe that was the director’s choice. To show the audience that a policeman could come into their building and not scare with wits out of the two ladies. There is little in the reaction from the two ladies from this policeman. And possibly Mary come to the realization they could act however they wanted to act with future tenants knowing the incompetent police were nearby.   Sokoloff also does a fine job as homeless man number two.

 

Jeff G. Rack was also the Set Designer and another nice job.

 

Other members of the crew are as follows:

 

Michèle Young – Costume Designer

Derrick McDaniel – Lighting Designer

Nick Foran – Sound Designer

Judi Lewin – Wigs, Hair & Makeup Design

Marc Antonio Pritchett – Fight Choreographer

Don Solosan – Stage Manager

 

There is always free parking at Theatre 40, the people are friendly, and the atmosphere is incredible.

 

Online Ticketing:  www.theatre40.org

 

Reservations: 310-364-0535

 

 

 

Good People by David Lindsay-Abaire

 

L - R Scott Facher, Alison Blanchard, Charlotte Willimas Roberts photos by Eric Keitel

by Joe Straw

 

I had the opportunity to direct Israel Horovitz’s Line a one-act play about five people waiting in line for an event. For the first rehearsal I drew a line on the stage, simple enough, a small line the actors were to stand behind while waiting.  The first actor took his position on one end of the line and would not stand behind it, the second actor stood behind the line giving enough room for the first actor to jump in when he came to his senses, and the third actor ranted and raved his dialogue throwing other actors out of line in a style of acting incomprehensible to any thespian on the face of the planet.  There wasn’t a second rehearsal. They were not bad actors, but I wondered if they were good people. - Narrator

 

That’s the thing these days, protocol about the way you want to do the best thing to people you want to do the worst to.  And it comes as no surprise to anyone, how far one is willing to go to demean another person in that act.   

 

So, here we find ourselves in an alleyway among the imagined smell of garbage, urine, and who knows what else. It is an act in the worst possible place to do the worst possible thing that one can do to another human being and that is to fire someone from their low paying job.

 

Theatre Forty presents Good People by David Lindsay-Abaire directed by Ann Hearn Tobolowsky and produced by David Hunt Stafford through January 9, 2022.

 

Margaret (Alison Blanchard) doesn’t like it and she wants to avoid the discussion at all costs. But Stevie (Michael Kerr) is having no part of her story or excuses of being late.  It is inevitable this job must be done and done is done in this South Boston Massachusetts Dollar Store.

 

And, Margaret knows she is at the end of her rope so she starts regaling the stories of Stevie’s mother and the Flanagan’s turkey she tried to steal.  Old justice is no justice. And just for good measure she tells him about his father who was locked up in Walpole at that time. 

 

(Interesting note: Walpoling is the conscious decision to irk the living crap out of everyone around you by constantly pointing out the one thing that separates you from them, to point out that in one tiny area you are a have, rather than a have not.  - Urban Dictionary)

 

And no matter what excuses Margaret gives about her daughter Joyce (not seen) with mental problems, and other workers who are late as well. The worst part of it all is that they (her co-workers) accuse him of being gay.  But, you know, brush that aside, it’s not about him but the district manager and so the deed is done. 

 

Stevie tells Margaret that his brother works at Gillette and that he will ask if there is an opening for her.

 

The next morning Margaret, Dottie (Mariko Van Kampen) leafing though newspaper flyers, and Jean (Suzan Solomon) are now engaging in instant coffee talk about what happened to Margaret the previous day. Dottie says her son Russell (not seen) is having hard times and might need a place to stay and if Margaret cannot make the rent, she might have to move out to make way for her son. She can lay her lot with other homeless people on the streets some of which she knows.

 

Margaret now believes she is going to be the next Cookie McDermott, a homeless woman they went to school with sending her thoughts and actions into a self-preservation mode.

 

Jean then accuses Dottie of helping Margaret lose her job.  If she had shown up in time Margaret wouldn’t have been late. Some friend.

 

Jean tells Margaret that he should hit up her old flame Mikey Dillon (Scott Facher).  She saw him at a luncheon at the hotel for a Boys and Girls Club event. Maybe he can give her a job.

 

Jean: Ask him what he’s got available.  Southie pride, right?  Maybe he’ll cut ya a break.

 

So, after many calls Margaret shows up at Mike’s office. Mike is now a doctor, a reproductive endocrinologist. Those are highfalutin words for Margaret.  

 

Margaret: I only went to Southie High after all.  You can’t be using those five-dollar words on me.

 

Margie (with a hard g) overstays her welcome in that office pushing for something that she desperately needs, a job, but knowing all the while that she holds the master card should she, or, when she decides to use it.

 

David Lindsay-Abaire’s play is exceptional and has a lot of biting moments that cut deep into each character’s psyche whether the characters acknowledge it or not.  Everyone knows each other’s business, their history, so when the blades of retribution strike they strike deep sending everyone into timorous desperation.  And desperation is a key element here. Not having a job means not paying the rent to the slumlord. The slumlord goes into overdrive thinking of finding a new tenant, etc. which leads everyone on the edge in this poverty stricken South Boston setting all fighting for scraps by playing bingo in the church basement to win some money or to sell some ridiculous bunny pottery.  

 

Ann Hearn Tobolowsky’s direction is also exceptional capturing the uncomfortable moments when characters overstay their welcome. The characters glide, the moments are genuine, and the play moves with remarkable precision.  The relationship with Joyce needs work mostly the onstage characters interaction with an offstage character.  Still, this was a joy to watch.

 

L - R Mariko Van Kampen, Suzan Solomon, Alison Blanchard, and Michael Kerr

 

 

It is the killer smile Alison Blanchard uses as Margie when she makes her point that digs, a half smile scrunched up nose that places her counterpart at ill ease. But, can you blame her?  She is fighting for her life. But she is not evil and she is willing to let anyone off the hook should the battle become too tenuous for her opponent. Blanchard is perfect in this role.

 

Scott Facher as Mike is immediately uncomfortable by the presence of Margie and stays at a heightened sense of alert throughout. The wrong word said at the wrong time incriminates him and he is not willing to have that conversation, ever. And, honestly, things are not going well in his marriage possibly because he is not honest about his past. Facher is terrific in the role.

 

Michael Kerr as Stevie presents a pleasant demeanor that is unaffected by the injustices around him. He does what he is told and rarely gets angry from flying accusations. With the chaos around him it is pleasant to know there is someone present with an even keel to smooth out the edges of injustice. One is not completely sure where this defined character is going but it was an enjoyable performance.

 

Suzan Solomon plays Jean as a woman who knows everything about everyone’s business.  She is quick to defend her friend and throws might to right and she calls justice where justice needs to be served. Unfortunately, she is in the same predicament as the rest of her friends living in South Boston and one financial step from losing everything. And, her performance was wonderful.

 

Mariko Van Kampen is Jean the unreliable upstairs landlord and part time caretaker of Joyce at fifty dollars a week. She is at fault for not showing up on time but doesn’t want to take fault.  She likes to blame others for her inconsistencies. Along with the cute bunnies was a very cute performance.

 

Charlotte Williams Roberts is impressive as Kate.  Under her pleasant demeanor is a woman searching for the truth and that is from her husband who is not totally honest with her.  Yes, they are having problems but she is willing to work on those problems until everything is settled. But, on the flip side she is willing to defend her husband at every opportunity. But, she is open-minded about correcting her husband’s past.

 

Jeff G. Rack’s set design is functional although lacking in kitchen, church basement, and alleyway scene.  A little creative symbolism goes a long way here.

 

The setting takes place in 2009 and Costume Designer Michèle Young’s work was impressive.

 

Alternates who did not perform the night I was there are Milda Dacys (Dottie) and Sherrie Scott (Jean).

 

Other members of the crew are as follows:

 

Derrick McDaniel – Lighting Designer

Nick Foran – Sound Designer

Ernest McDaniel – Stage Manager

 

Run! Run! Run! Take someone who is unemployed.

 

Reservations: 310-364-0535

 

Online Ticketing: www.theatre40.org

Little Women The Broadway Musical by Jason Howland, Allan Knee, and Mindi Dickstein based on the novel by Louisa May Alcott

L - R Juliett Rojas, Sophia Joy, Eadric Einbinder, and Taos Pressman

 

 

By Joe Straw

One must take note that on Sunday November 21^st, 2021, at approximately two in the afternoon, the blistering sun was unforgiving on our stroll from the Venice Family Clinic parking lot, which by the way, has an abundant amount of free parking on Sundays, to sally forth to the Morgan-Wixson Theatre in Santa Monica.

 

Outside, the affable crew was checking for our vaccination status, stamping our left hand with unidentifiable red marks, along with checking our identifications. Easily, retrieving our tickets we escaped the heat as we entered the nice cool confines of rustic The Morgan-Wixson Theatre.

 

In my life, or maybe my past lives, I have visited this theatre before.  It is still beautiful with a large stage, very cool, and comfortable seating for two hundred souls. It is the perfect place to see a musical and that is what we did on this pleasant afternoon.

 

The Morgan-Wixson Theatre’s Youth Education/Entertainment Series (Y.E.S.) proudly present its 25^th Annual Youth Musical Little Women the Broadway Musical, Music by Jason Howland, Book by Allan Knee, Lyrics by Mindi Dickstein and based on the novel by Louisa May Alcott through November 28^th, 2021. Directed by Anne Gesling and produced by Cori Goldberg, Eve Keller, and Evelyn Vizzi.

 

Children’s musical theatre has its ups and downs.  One goes hoping for the best but expecting a limited number of incalculable mistakes as part of the “growing up on stage” one has to do as young performers negotiate their craft.  I saw no mistakes on this afternoon.

 

Little Women The Broadway Musical was remarkable in all the ways that make musicals fantastic to watch and to absorb in its entirety. The young performers were excellent in their craft, conflicts were realized, relationships were superb, and the singing, oh the singing! This was an absolute joy to watch and with all theatre the significant moments in this production were all realized. And these are the moments one personally takes home and relishes throughout the following days.  

 

The story begins in Mrs. Kirk’s boarding house. Jo March (Eadric Einbinder) is having problems having any publisher buy her “blood and guts” periodicals, which are the rage in this 1860s setting.  She employs Professor Baher (Cole Kaller), also living in there, to listen to her story as she performs it for him.

 

And magically the players Clarissa (Abby Penny), Braxton (Filip Alexander) and Rodrigo (Ethan Kuwata) appear in an overly dramatic melodrama that Jo has created.

 

Professor Baher, a focused simpleton, is not amused and suggests that her work is not very good.

 

Jo, filled with drive, continues on her quest to writing a better story but for now her life continues with her mother Marmee (Monty Oxman) and her sisters Meg (Sophia Joy), Beth (Bo-Violet) and Amy (Mimi Vizzi) all negotiate life without their father who is so far removed, working as a Chaplain for the Northern Army.  

 

It is necessary to note that the March family is poor and manages only to get by on their wits and their willingness to see the future and all that it holds for them. But for now they manage to get by, by any means necessary including chopping down and stealing a Christmas tree, they cannot afford to buy, from their rich neighbor Mr. Lawrence (Charli Austin).

 

Mr. Lawrence, along with his grandson Laurie (Taos Pressman) tagging along, comes to scold the thieves who have stolen his tree.  But Laurie immediately falls in love with Jo and Mr. Lawrence takes a fancy to Beth who steals his heart with her piano playing and singing.

 

Jo eventually finds her way in life and finishes the book she was born to write.

 

Anne Gesling, the director, retiring after 25 years at the Morgan-Wixson Theatre has created a wonderful work of art. From beginning to end the work captures you and envelops your entire being with heartbreaking moments and moments that will make you howl with laughter.  The characters, all teenagers, are richly developed and wonderfully expressive. In short, this was a wonderful experience that works on so many levels.  Anne was also responsible for the wonderful costumes. Just amazing work!

 

Daniel Koh, Musical Director, had all of the performers readied in their quest to perform beautifully. The voices were strong and it was a pleasure listening to the voices with no discernable mics attached. In short it was a wonderful job.

 

Michael J. Marchak, Choreographer, gave a delightful look and feeling of those times.  The dancing was marvelous and the merriment was infectious.

 

Marc Antonio Pritchette, Fight Choreographer, prepared the actors in some wonderfully expressive fight scenes.

 

William Wilday wore many hats for the lighting design, set design, and technical director. Larry Gesling’s work as the stage manager was also impressive.

 

L - R Sophia Joy, Walden Sullivan, Charli Austin, Juliett Rojas

 

 

The remarkable thing about Charli Austin’s work as Mr. Laurence is her creativity in making the role genuine, leaving behind the false character choices of a dawdling grandfather. Wonderful work!

 

Lilliana Bettinelli was exceptional as the disruptive Amy March.

 

Eadric Einbinder is lovely as Jo March a woman who creates dreams from the smallest of inspirations.  Einbinder’s voice is lovely and his manner on stage is exceptional.

 

Sophia Joy as Meg March, the oldest sister, manages her way and is funny and delightful throughout. Her voice is very strong hitting the high notes with ease and her acting skills are formidable.

 

Cole Kaller is impressive as German professor Bhaer.  As stodgy as professor Bhaer can be, there can be more made of his love for Jo March, finding it in the beginning until the very end. Still, his work is solid.

 

Monty Oxman is stoic as Marmee March, the matriarch of the family. Oxman manages to find that thing in the character that makes her expressive as the mother of four daughters. The scene with cap sleeves with Meg works wonderfully as well as the patch on Jo’s dress.  It is funny and impressive work.

 

Abby Penny bounces in and out of stage as Aunt March, a somewhat mean spirited woman that wants to control the things around her, including her nieces.  Her actions showcase a different kind of love from her being.

 

Taos Pressman as Laurie is a young man wanting the woman of his dreams only to be confused as to who the woman of his dreams really is.  It is a role of confusion, of wanting so much from a woman who does not reciprocate his love.

 

Bo-Violet Vig was wonderful as sympathetic Beth March and has a very strong stage presence.  Her song “Off to Massachusetts” pulled on some very emotional heartstrings.

 

Walden Sullivan is impressive as John Brooke, a suitor to Meg March.  The small talk to Meg scene was very funny and very real.

 

Other members in The Operatic Tragedy were Avery Fox (Hag), Sarah Hajmomenian (Troll), Kheian Washington (Knight) and Juliette Rojas (Rodrigo II).

 

And still other member of this troupe who were either in the ensemble or did not perform the day I was there are as follows:  Filip Alexander (John Brooke), Maria Goldberg (Aunt March), Chase Klein (Jo March), Emily OckoMichalak (Marmee March), Yaya Toubassy (Meg March), Juliett Rojas Vig (Beth), and Mimi Vizzi (Amy March).

 

It takes a village or in this case an army to create a production as fantastic as this one. One has seen a lot of children’s theatre in the past and by far this has to be one of the best!  

 

Run! Run! Run!  There are only three more performances!  Take someone who loves the book Little Women and enjoy it all over again.

 

Other members of this delightful crew are as follows:

 

Christopher Aruffo – Dialect Coach

Ethan Kuwata – Assistant Stage Manager

Mira Keller – Youth Producer

Ever Golden – Sound Technician

Lauren Drzata – Poster/Postcard Design, Program Design

Carter Nowak – Box Office Manager

 

Box Office: 310-828-7519

Website: www.morgan-Wixson.org

 

Morgan Wixson Theatre

2627 Pico Blvd.

Santa Monica, CA  90405