Death of A Salesman by Arthur Miller

 

 

By Joe Straw

 

Love is always the key that motivates a character.

 

One recently witness Picnic by William Inge at the Odyssey Theatre directed by John Formanesh-Bocca with an African American cast. The culture was exuberantly embedded into the production and made the night that much more unusual and pleasant.  So, having Death of a Salesman with a mostly Latino cast, one was expecting something of that same magnitude, and it was not. Still, this was a remarkable night!

 

Casa 0101 Theater and Brown Fist Productions presents Death of a Salesman written by Arthur Miller, directed by Corky Dominguez, and produced by Emmanuel Deleage, MariaElena Yepes and David Reyes through July 16, 2023.

 

Willy Loman (Vance Valencia) is emotionally exhausted when he returns home on this night of all nights.  He is weighed down by his sample cases, masquerading as luggage, filled with his stock in trade, an interior voice attached to each item in that luggage.  His aptitude in life is/was to sell.  By hook or crook, it is the manner to which he has survived and provided support for his doting wife Linda Loman (Christine Avila) and his two lost-in-life sons Biff (Eddie Diaz) and Happy (Adam Hollick).

 

On this night, in his life, Willy Loman has taken a turn for the worse. Recently, he has been hearing voices other than his own, and they come to him frequently. He is haunted by his past which are now shadowy vibrations that transport him back in time to relive the happy memories and most importantly refresh the mistakes he has made along the way in his sixty-three years of life.  Because knowingly he has made a few major mistakes and the time to regroup into some type of forgiveness is now.  This is his journey into the unknown, soon to be known, and he has one chance to turn it all around - if he can find it.  

 

Earlier in the day, his trip to Boston has only gotten him as far as Yonkers, a meager 9 miles away, a dillydallying four-hour return trip back home to Brooklyn to make amends, a firm inner justification to action, or a stopping point to his career and his life.  

 

When home, he expresses his thoughts of nearly driving off the road and killing someone to Linda who refuses to acknowledge his mental state.

 

“Willy, dear.  Talk to them again.  There’s no reason why you can’t work in New York.” – Linda

 

Biff, now thirty-four, has returned home. Linda, for the moment is happy, she tells Willy that she loves the smell of their aftershave lotion and asks Willy to be gentle with him.

 

“There’s such an undercurrent in him.  He became a moody man. Did he apologize when I left this morning?” - Willy

 

Willy blames Biff for being lazy and then immediately says he’s not lazy. There is a point of contention between them, a dagger plunged so deep, it’s not so easily removed. And with both of his sons presently living under his roof the world and his home starts closing in on him.  All he can think about were the things that might have been.  He wanders his dilapidated house, unfinished colors, gyres of blacks and browns hurriedly spread on the walls without an afterthought, and now he is walking around like a somnambulist speaking to himself in search of a Swiss cheese sandwich and a cold glass of milk.  

 

 

 

Hearing his voice from the upstairs bedroom Biff and Happy reminisce.  They are concerned about their father’s driving habits. And Biff remembers that time right after high school and possibly a secret he is holding on to.   

 

“You’re not still sour on Dad, are you Biff?” – Happy

 

“He’s all right, I guess.” – Biff

Happy, proposes a business venture but suddenly loses focus, and can’t keep his mind on what he wants in life moving to tell his stories of his sexual conquests.

 

“About five hundred women would like to know what was said in this room.” - Happy

 

Biff can only think about how far he has not gotten in life.

 

Downstairs and reliving the past, Willy is transported to the time in the backyard, tossing around a football with his sons when Bernard (Jared Treviño) tells Biff that he’s waiting for him to come over and study for the Regents. But Biff, with the blessing of his father runs into the basement to sweep out the furnace room with his friends.

 

While Willy speaks to his wife about money, his minds drifts to The Woman (Leah Verrill) with whom he has had an affair with years earlier only to mentally come back to his wife saying that he will make it up to her. And while Uncle Ben (Jack Bernaz) is flashing in and out of Willy’s memory the one constant thing is Bernard saying that Biff must study for the exam or else they will flunk him. It is an important moment in Biff’s life that sets the course for the tragedy that will unfold.

 

Arthur Miller’s Death of a Salesman is a tragedy with enough ambiguity to have actors give their take on the play.   On face value there’s little to like about the main characters.  Willy, beset with dementia, early Alzheimer, or just mis-remembering thinks little of the consequences of having an affair and having his sons cheat and bully their way through life. Linda is enamored with Willy but staves off his brutal verbal abuse with a kind smile and a gently loving pat on the arm.   Biff has made a lot of bad choices and blames his father for all the trouble he has gotten into, including jail time. Happy only wants for himself, and that’s probably the worst trait a man can have.

 

The director Corky Dominguez has taken on yeoman’s work on this play and there are some brilliant moments. There’s still more work to be done. Hats off to the supporting cast members of this production that were outstanding and lifted the play into the stratosphere.  They filled the production with so much humor, invention, and life and it is a reason to see this show.

 

Vance Valencia has his moments as the obstreperous Willy Loman, but hope is the key factor of this piece and without that we lose sight of how Willy is to overcome the problems he is facing, and he must dramatically move a solution to exhaustion until he is ultimately defeated. Valencia has a strong presence, dramatic at times, and moving with fluidity on stage but one was questioning his choices and how they related to the finality of the play. Certainly, more could be made of the shamefaced regret that provokes him to his final action.

 

There is much to enjoy of Christine Avila’s performance as Linda Loman. Her love for her husband is the dominate character trait. Linda is trying to save him, and she must use her wills to accomplish that goal. A force of silent deferential, she is always on her husband’s side but there are a couple of things that should give her clues about the kind of man he is - one is the nylon stockings, the other is the mention of “the woman” which passes by her without any kind of ineffectuality. There is more to be had from that moment. The telephone conversation between her and her first born is played to perfection.

 

Eddie Diaz does well as Biff Loman but missing most is the backstory of the character. The hotel scene with his father in the hotel should be part of his backstory including the moment he is introduced in his opening moments of the play. Biff is pertinaciously holding on to his playing card to use as he is willing to use it.  It is the emotional undercurrent of everything he does and feels on stage, the thing that provokes him in imaginative and emotional ways.

 

Adam Hollick plays Happy Loman and has some very fine moments on stage. One being taking notice of the fireworks going off all around the theatre on this night. Hollick is a fine actor but there is more to be had in his objective.

 

 

 

Jack Bernaz is fantastic as Uncle Ben.  The character is supremely defined, and his work is brilliantly executed.  

 

Daniel E. Mora is Charley. Charley is the next-door neighbor and is disheveled as though he just woke up, got out of his La-Z-Boy recliner, and came over to see what the fuss was all about. But that’s also how he appeared in his office in the second act despite wearing a suit. He is a successful businessman, but his hair and beard appearance are not suited for a businessman with stature of money and middle-class wealth. Charley has a very pleasant demeanor and an unembarrassed friendliness, and Mora plays that well, not letting Willy get away with insulting him. There is more room for Mora to be much more compassionate when dealing with the likes of that man. Still, not a bad interpretation of the role and ultimately successful in many ways.

 

 

 

Jared Treviño is excellent as Bernard. Throughout he is very inquisitive even through the second act. The character is well defined and moves with the confidence of a respected, but humble lawyer. This is a performance to go see and take note of.

 

Leah Verrill is The Woman. She is a transactional woman, petulantly playful, who in the end only wants her nylons, caring little for Willy. There is an interesting matter in which she runs out of the bathroom and outs Willy in the hotel room and for the actor a very creative choice must be made. Verrill has a very strong voice, is successful on many fronts, and brings a grand physical life to the character.

 

 

 

Jeff Blumberg is very efficacious as Howard Wagner, a man who has taken over his father’s business. Blumberg captures the moment when the play congeals and moves it in a very serious direction. His work has depth and meaning and is important in its intensity.

 

 

 

Fresh faced Chloe Diaz is impressive as Jenny. Jenny is compassionate and is looking out for her boss as well. In her time on stage Diaz manages to memorably fill the role.

 

Gor Leo Babakhanyan brings a lot of creative work to the role of Stanley, the waiter. His work is imaginative and infectious.

 

 

 

Kriss Dozel is the stunning Miss Forsythe and manages to have her way with the boys as they try to take advantage of her. Her work is impressive as well as creative.

 

Mariana Campos is very funny as Letta and brings a lot of life to the character.

 

Marco De Leon, Set Designer, creates a very functional set for the actors to employ their magic. Symbolically structured with angles and floating suitcases. Lorenzo Tambriz and Jeremiah Ocañas gave life to the project as set builders.

 

Costume Designer Abel Alvarado always impresses with his costumes that are very functional and one thinks he outdid himself in this venture. Jules Bronola was the wardrobe assistant and Omar Gutierrez did the hair and makeup keeping us in the time frame of the period.

 

This is a huge show made up of many parts and other members of the crew are as follows:

 

Ari Rich – Stage Manager

Max Brother – Sound Designer

Kevin E. Vasquez – Lighting Designer

Roberta H. Martinez – Assistant Director

Roberta H. Martinez, Itzel Ocampo – Voiceovers

Cesar Castro – Sound Composer

Danny Mora – Fight Choreographer

Jorge Villanueva – Board Operator

Doreen Sanchez – Assistant Stage Manager

Andy James Garcia – Prop Master

Al Aquilar – Production Assistant

Steve Moyer – Press Representative

Itzel Ocampo – Casa 0101Administrator

Rudy Torres, Doreen Sanchez – Production Photographer

Soap Studio, Inc. – Playbill Design

 

As a matter of record that on this night Saturday June 24, 2023, a fireworks parks display was in full force.  Also, the electricity went off twice. The production resumed and Casa 0101 was gracious to allow anyone to come back and see the show again at no cost.

 

Run! Run! 

Tickets:  www.casa0101.org

 

Evolution of a Sonero by Flaco Navaja

Flaco Navaja photos by Victoria Sanders

 

 

By Joe Straw

 

 

"Dicen que bailar mambo es como hablar con los ángeles”

 

Hundreds of invitations from press agents fly into my computer emails. And one person shows seems to be the thing these days - the probable cause being the pandemic which has led to some incredible thinking about performance in a space.  

 

My preference is to see at least two actors interacting because the interaction provides a glimpse of reality through the craft sometimes played out in the extreme in action, reaction, and emotions so deep and connecting that it drives ones' sensations to critical levels.  

 

So, one must wing it sometimes.  What is my relationship to the man, the artist? And how does the journey move me as a critical spectator?

 

Flaco Navaja brings it,

Sings it.

from the Puerto Rican

bowels of the Bronx

expressing the songs

in a syncopating

rhythm

and raising his arms

like he’s guided

by a creator

pulling invisible

marionette strings

serendipitously

feet never touching

the floor

What is life?

If it’s not

charmed

enigmatic

evolution

  

 

Latino Theater Company presents Evolution of a Sonero written and performed by Flaco Navaja, directed by Miranda Gozález, produced in association with the Urban Theater Company through May 28, 2022.

 

The Latino Theater Company presented a packed house on this night. And as one looked about the room, everyone knew everyone else, tons of hugs and laughter filled the auditorium awaiting the respectable spectacle. Most were decked in colorful garb, and in just a very good mood.  And it stayed that way throughout the 90-minute delightful presentation.

 

 

Flaco Navaja gave an inspired and physically creative performance. The Evolution of a Sonero mixes song, poetry, and the telling of stories from his past and through his eyes. The joyfulness is in the imitations and the humor that accompanies his observations of life.   

 

And specifically, Navaja tells the story of how the music defined his life, and how the night came to be. And he does this by relating the sonero, the mechanics of music, to the significant moments in his journey. Those moments are often hilarious, sometimes soul searching, but told with the love he has in his performance of a song, his unraveling life, and the storytelling that accompanies his passage.  

 

Navaja is backed by The Razor Blades, a sextet featuring Carlos Ordiano on piano, Edward Resto on electriBass, Juan Moreno on congas, Richard Velzen on trombome, Joey De Leon on Timbales, and Gener Miguel López Alcantara on timbales (sub).

 

Flaco Navaja

 

 

There is something here, something that can be significant if the pieces, directed by Miranda González, sedulously lined up with the theatre gods and the book of this musical.  The underlying bridge may not work, that being his first arrest at school, and is not dramatic enough to take us away from whatever may be the verse or the chorus.  The clave-key-code is a little more direct with his start of his parents meeting in 1964 giving us an insight to his humble beginning, his first musical interlude in the third grade.  The mambo is a little more unswerving with his call for prayer, and for the answers to his life disrupted by drugs.  There is very little in the story of the pain that must be overcome with addiction and that specifically needs to be highlighted. Finally, the coda is the end, it may be the end of the night, but not the end of the story. If the theatrical harmony is possible, it is only possible with a clear definition and harmoniously in tune with the result.

 

The night was exceptional, the audience sang along, and they were up on their feet on this night swaying the sounds of this remarkable band.   

 

The Urban Theater Company, founded by Marilyn Camacho, Madrid St. Angelo, and Ivan Vega in 2005 in Chicago, Illinois and is “deeply rooted in their (Latino) community and culture.”

 

https://urbantheaterchicago.org/about-us/

 

The wonderful night would not have been possible without the help of this fantastic crew:

 

Manuel Ortiz – Scenic Design

Sarah Albrecht – Costume Design

Lighting Design – Ellie Humphrys

Carlos Ordiano – Musical Director

Iván Vega – Co-Producer

Antonio Bruno – Co-Producer

Miranda González – Co-Producer

Illiana Citlaly Solorzano – Stage Manager

May Fei – Production Manager

 

Para mis amigos hispanohablantes, mis disculpas, mi español no es tan bueno como me gustaría.

 

Run! Run! Run! And take your Puerto Rican friend. I did and we had a great time.

 

Twitter: @joestraw9

 

Sharing or comments are greatly appreciated. 

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles, CA 90013

Favorite Cousins by Written by Lindsey Haley

 

By Joe Straw

 

The light that illuminates a human being and clarifies the character is something one finds totally gratifying. In that respect, one is open to the unlimited possibilities.  

 

Casa 0101 is one of my favorite theatres in Los Angeles.  It is a warm place and very inviting for developing Latino writers and directors. On this night one is here to see a play that is the composition of Latina writer Lindsey Haley and Latina director Vilma Villela.

 

Favorite Cousins by Lindsey Haley, directed by Vilma Villela, and produced by Emmanuel Deleage is now playing at Casa 0101 through May 21, 2023, in the newly named Gloria Molina Auditorium.  

 

Los Angeles is the land of dreamers, those who put forth the effort to create in whatever limited time they have, always thinking about the next step to move forward in that act of creation. So, one must applaud the creators of this play, that they moved, in some kind of uniformity to put on a play before an audience, tall and small, young and old, to all who are open to receive what they have offered on this night.

 

As it comes to all people, someone has died, a grandmother (una abuela), their grandmother, she had a home in Santa Monica that she has sold to Junior (Daniel Ruiz) to pay for her medical bills. He is planning to sell it, and the ones that will be doing the cleaning up are her granddaughters Gloria (Raquel Salinas) and Frances (Vanessa Arias-Herra) with the help of their Comadre Josephine (Tina D’Marco).

 

Josephine is a friend to the family, a neighbor, someone who helped when that need came. She is going through a box of photographs, commenting on the times and the things that made her happy.

 

To her, it seems a shame the family had to give up their home that they’ve had in the family for many generations. The family has been living there since the opening of the Santa Monica Pier in 1909.  

 

Gloria, busy putting things in boxes, takes a break and sits beside her to reminisce.  They await the arrival of Gloria’s cousin Frances.

 

Frances, arrives, all decked out, jewelry, fancy purse, and a black dress, designer no doubt. Not something someone would wear when cleaning up a home but there you have it. But the moment Frances opens the door she ignores her cousin Gloria and greets her Comadre Josephine with open arms.

 

Hope is critical to this play.  It is the driving force that brings the two women (cousins) together despite their conflict and without love there is no hope.

 

All plays are a work in progress (even the ones headed to Broadway), and Lindsey Haley’s work found a very appreciative crowd on this night. There are many things that are so unique and warm about this play, things that worked, and other things that did not work. It is mainly the collaboration between the actors and the director that finds the significant moments to accentuate and to move the play forward. They were once favorite cousins, now they are not. The conflict seems too great to overcome and yet they manage to find a way.

 

This is a five-character play - however there are a multitude of characters in the proverbial wings - Berto, Linda, Joey, Kiki (Enrique), Marcos, Armando, parents, grandmother, other cousins they didn’t know about, and spouses.  Keeping it a little simpler, and defining the characters would help the play along.

 

 

 

Finding a way to become favorite cousins again becomes the way the players move – a through line to accomplish their goals. And while Vilma Villela, the director, moves them in that direction it starts and stops in ways that does not move the character to a satisfying end. If the tree and the roses are set pieces, then she must find a way to use them.  (Also, as a practical note: The art piece of the tree with the names of people murdered by guns in the neighborhood may not be a good selling point when you’re trying to sell the house.)  The play has two other characters as well that would be well to have a connection with the ladies that are in the house. A possible way is for them to enter the bedroom as Junior is showing the house.  As it divides the women in the scene, it would also unite them, or move them closer together.   

 

Raquel Salinas must make a choice in the type of character she wants to be. She is rough around the edges, we get that. But she has got a timeline to clear the house and she does little to get that done.  Her boxes remain empty for the first twenty minutes of the play.  She has beer, lots of it sitting on the vanity, but makes a choice to drink very little of it. Whether that is purposeful remains to be seen. And when her cousin enters the bedroom, someone must connect, or at least try to in the opening moments, whether it’s emotional or physical there must be that effort of trying, conflict, or no conflict. Give that opening moment a chance to make a meaningful connection. There’s a huge history in their backstory that gets ignored when that connection is not made.

 

Vanessa Arias-Herrera as Frances has a different backstory and must bring that story to light the moment she enters the room. Frances rolls into the room with her bankers’ boxes but must also feel the weight on her shoulders when she steps into her childhood home. She needs her cousin, and we must see that in the opening moments until her pride gets in her way.   Also, (and this may be me) but doing business for the sake of doing something on stage doesn’t move the play along. A case in point, Frances takes out neatly folded clothes in the chest of drawers only to neatly fold them again to put them in the boxes, rather than taking the neatly folded clothes and putting them in the box.

 

Daniel Ruiz plays Junior on this night. Ruiz has a strong voice but has a lot more work to do to give the character a stronger objective and to create a relationship to the two women in the house. There is much to highlight in this beautiful home in Santa Monica except the tree which he must somehow hide.   His objective must be to get the best price for his home. If the women are in the house, and looking out the window, he must tell them that he’s got it all under control, dialogue, or no dialogue.

 

Scott Golden is Tim, the prospective home buyer, and he does remarkably well for the short time he is on stage.

 

Tina D’Marco plays Comadre Josephine and is a longtime family friend. This is a very peculiar role for this character. In the opening moments she is looking through old photographs as though she was part of the family, the appearance of this action suggests that she is a family member and is confusing when trying to find out who this person is which we get later in the dialogue. But to give this character more life, she is after all the comic foil, she should create some action for us to know who she really is. It is something to give the character a three dimensional life. There are a thousand creative choices she can make but make she must.

 

Tricia Cruz and Johnny Ortiz did not perform the night I attended.

 

 

 

Marco De Leon has given the actors a beautiful set from which to make their magic. It is both functional and is a living and breathing bedroom set in Santa Monica masterfully built by Jeremiah Ocañas.  Doreen Sanchez adds to the beautiful home as the prop master.

 

Other members of the production team are as follows:

 

Max Brother – Technical Director/Sound Designer

Kevin Vasquez – Lighting Designer

Daniel Corona – Stage Manager

Al Aguilar – Production Assistant

Steve Moyer – Publicist

Itzel Ocampo - Art Design/Casa 0101 Administrator

Production Photographer – LeeAnna “Sparky” Bowman-Carpio

Soap Studio, Inc. – Playbill Design  

 

www.casa0101.org/tickets

 

Whittier Boulevard by Evelina Fernández, Sal Lopez, Geoffrey Rivas, Lucky Rodriguez, and José Luis Valenzuela

Geoffrey Rivas, Sal López, Lucy Rodriguez
Photos by Grettel Cortes Photography

 

By Joe Straw

The man to my right, covered in tattoos, unshaven with a long mustache, was wearing what appeared to be a bare sleeved green t-shirt (una camiseta verde) on this theatrical night. To his left side he had two glasses of beer one full and the other half full.  (Se tomó dos vasos de cerveza.)  Finished at a little after eight, he went out and got another two glasses of beer. He didn’t appear to be happy, never smiled or spoke to anyone, possibly a self-imposed silence, he just drank and waited patiently for the outcome. One imagined he felt that much better when the lights eventually dimmed at twenty minutes after eight in a packed auditorium.

 

Whittier Boulevard is a great title that conjures up memories, mostly visuals of cruising cars.  The second thing that comes to mind is the film Sunset Boulevard with William Holden and Gloria Swanson and their relationship which was never meant to be.  

 

There are no cruising cars in this play (rats) but there are peculiar relationships here and that may be one of many reasons you want to venture out and see this theatrical event.

 

Latino Theatre Company presents Whittier Boulevard written by Evelina Fernández, Sal Lopez, Geoffrey Rivas, Lucy Rodriguez, and José Luis Valenzuela, directed by José Luis Valenzuela through May 28, 2023.

 

Veronica (Evelina Fernández) is an aging actress which is never a good thing especially in Hollywood. But it’s even worse now in year of 2042 in Los Angeles where everyone, unattached and turning 75 years of age, are immediately taken from their homes to cruise their last trip down Whittier Boulevard never to be seen or heard from again.  

 

How ghastly!

 

Today is the day before Veronica’s 75^th birthday and Veronica finds herself alone with only the comfort of her non-compliant assistant Pilar (Lucy Rodriguez) to help her in any way possible.

 

One of the miserable indignities of life as we know it in 2042 is having the police arrive the day before your birthday. Office Roger (Geoffrey Rivas) comes to check on, well let’s just say, prepares Veronica for her trip.  But first he needs all the necessary information from Veronica, matching what they have on record. He also notes that he is her biggest fan, knowing everything she has been in.

 

“..you used to be big.”  “I am big it’s the pictures that got small. “ – Sunset Blvd.  

 

Alas, Veronica is not willing to provide Roger that information readily and with any measure of assurance, offering her assistant Pilar instead to help her in her desperate act of deception with fake documents.

 

But help is on the way, mostly in the help of an acquaintance Pablo (Sal Lopez) who has an answer for her desperation.

 

The writers Fernández, Lopez, Rivas, Rodriguez, and Valenzuela have managed to create a fun filled night of theatre. It is funnier when dealing with character mishaps and less so when speaking about the injustices of laws passed that has destroyed the fabric of human kindness as we know it. But the play takes a hard look at both sides of the political coin with one being a grim dystopian view of life.   

 

José Luis Valenzuela, the director, offers us a visual sumptuous spectacle with neon lights reflecting suits, and colorful patterns that accentuates the spectacle on stage. Time progression is sometimes slowed to a brevity of thought while the characters, in slow motion, take a moment to catch a breath and regroup for another course of action and that’s what makes the night so special.   

 

Lucy Rodriguez, Evelina Fernández,
and Geoffrey Rivas

 

 

Evelina Fernández brings a lot of her own humor to the role standing majestically, her hand crooked with a cigarette in one hand and her left leg extended to complete the pose, part Norman Desmond, “All right, Mr. DeMille I’m ready for my closeup.” and part Miss Havisham with four wedding dresses attached to her being.  One supposes four missed opportunities. 

 

Sal Lopez is always funny as Pablo, a sort of mixed-up character with misguided generosities, who wants to do the right thing. Unfortunately, not everyone agrees and isn’t that always the case. Head up, chest out, arms out with palms up, spinning his hands like Bette Davis trying to make his point. Lopez is always infinitely enlightening and funny. 

 

Evelina Fernández, Geoffrey Rivas,
Lucy Rodriguez and Sal López

 

 

Geoffrey Rivas offers us another look as Roger, the police officer, a malicious specter of the inevitable, and sometimes flamboyant persona, who risks a lot coming out during the night.  Roger is aware of the woman he is dealing with and is willing to give her every opportunity to prove him wrong. That’s hard to do when you’re wearing a police uniform and go by the letter of the law.  Roger is her biggest fan and wants to give her every opportunity not to be cuffed and then escorted down Whittier Boulevard.

 

Lucy Rodriguez is Pilar, an assistant to the star but hasn’t the wherewithal to save her client. Pilar stands insensate without a clear direction and focus. Opportunities missed are opportunities yet to be served.  In the end we know where she winds up, but we don’t see the steps that got her there and the position she assumed when she reaches her destination. Still, there is some very good work on stage.

 

Understudies J. Ed Araiza and Dyana Ortelli did not perform the night I was there.

 

Whittier Boulevard is a visual feast!

 

The upstairs window is long and rectangular.  Enough to let the morning light in and high enough to keep onlookers from peeking in to see a movie star. François-Pierre Couture, Scenic Design, provides us with a setting that is both opulent and claustrophobic depending on the scene.

 

Naila Aladdin Sanders, Costume Design, fills the stage with remarkable costumes.

 

Projection Design by Yee Eun Nam and Yuki Izumihara adds so much creative art to the space including photos of people who have given so much to the community.

 

Other members of this fantastic crew are as follows:

 

Pablo Santiago – Lighting Design

Robert J. Revell – Sound Design and Composer

Urbanie Lucero – Movement

Chantal Rodriguez, PH.D. – Dramaturg

Alexa Wolfe – Stage Manager

Martha Espinoza – Assistant Stage Manager

May Fei – Assistant Director, Sound Design Consultant

Natalie Shahinyan – Assistant Costume Design

Henry Tran – Assistant Lighting Design

John Zalewski – Sound Design Consultant

Nate Rufus Edelman – Production Manager

 

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles, CA 90013

 

Email: tickets@thelatc.org