Bearings by Matt Chait

 

By Joe Straw

 

One would question Richard Kalvar’s (Will Bradley) viability as he stepped into the swank lobby of the Langham-Huntington Hotel.  He was unsteady on his feet, loud, and projected a continual stream of imperfect thought. His fogged synapses were not all firing with any degree of regularity. He was not completely soiled to be considered homeless, and his attenuated body leads a casual observer to speculate on his drug use.

 

Chip (Trip Langley), at the hospitality center, rotates his stiff body like a carnival cut-out but has the wherewithal to keep a steady eye first on the disruptions in the lobby and secondly on his computer.  

 

But now Richard has grown tired and wants to go up to his room to get some rest.   He tells Chip (observed as an uncaring clerk with a contemptuous sneer masquerading as a smile) that he’s left everything up in his room and would like another key. But Chip, knowing the answer before looking it up, says there’s no one registered by his name in that room.

 

Richard asks to speak to the manager. Jack Wyndham (Kim Estes) appears and is hugely sympathetic to his cause. He offers to take Richard up to the room where he is supposedly staying. Richard is lost but Jack sees a glimmer of truth to his story, and he resolves to get to the bottom of Richard’s plight.

 

But Jack can’t do this alone; he has the rest of the Langham-Huntington Hotel to run. So, he enlists Mike Salcedo (Justin Huen) a member of the security staff to investigate Richard’s problem.

 

Mike will help and he tells Jack that looking into this will cost the hotel more money. Jack is a little hesitant but gives in.  He tells Mike to take him into the restaurant, feed him, and get as much information as possible.

 

Connie (Rebecca O’Brien) the waitress comes over to take his order and she does so reluctantly.  Connie is weighed down by the day and possibly gravity.  Tired after a full day, her name tag is on upside down, obvious to the casual observer but not to her, and she’s a little angry about working overtime.  Jack, the manager has assured her she will be paid the overtime.

 

So now it’s just Richard Kalvar and Mike Salcedo. Mike has questions to ask, and Richard has stories to tell. And they meticulously pour over Richard’s history to find out what has happened to him.    

 

The Complex presents the world premiere of Bearings written and directed by Matt Chait and produced by Erin Trainer now playing at the Flight Theatre through October 9, 2022.

 

Bearings is an exceptional play with an extraordinary and diverse cast. In a world where everyone is looking out for themselves Matt Chait, the writer, finds the human in humanity, giving us characters who go out of their way to help someone in trouble.  As bad as their daily lives are and as ugly as they may feel, hope resurrects in the responsiveness of those willing to go the extra mile.

 

That said, not everything works, some things need tweaking, moments need defining to highlight a change in the relationships. In other words, defining why a character thinks one way only to change his mind when discovering additional information. It doesn’t have to be obvious it just needs to ring true.         

 

And, not to throw bad blood on a terrific play with a particular scene, but the snake scene has got to work and have a purpose.

 

Will Bradley is exceptional as Richard Kalvar. A man in profound darkness who is trying to get his bearings as is the title of the play. The character is never tripped up with his counterparts trying to see if his story checks out. This is a character that can go in many directions given the circumstances of his predicament. One thinks that discoveries within the mind of the character may be another element of the character’s journey. Naytheless, Bradley’s performance is fluid, and his understated moments are sublime.

 

Vanessa Born has two roles Eli Timber and Maria and although not seen as Maria this was the most successful character. Eli Timber is a campground administrator and a character who is on the take, not to mention carrying a large rattlesnake around ‘they’ neck. That adds insults to serious injury. But there is room to add an element of danger with the snake and proximity of all around ‘they’.

 

Kim Estes is Jack Wyndham, the hotel’s doughty manager. Estes gives the character a compassionate and noble trait going all out in order to help a man in trouble. It is a wonderful performance.

 

Justin Huen is Mike Salcedo, a hotel security person that moves to find the answer to the puzzle. And he does so, taking a mundane observation and turning it into a significant solution to the problem. Huen gives an outstanding and funny performance.

 

Trip Langley is equally good as Chip. It is a very good character role that moves a specific character into critical depths giving that character the hole he needs to climb out of. It doesn’t make Chip good or bad person but it’s a character that moves the play along splendidly.

 

 

 

Valerie Larsen is Holly who suffers the miserable indignities of loneliness but someone who has dreams of her own. One is not sure what those dreams are given her complaints about staying at home and taking care of their two kids.  This, one believes, is a character who wants more of an equal relationship. Larsen’s performance is outstanding but needs additional layers and a clearer objective.

 

Rebecca O’Brien is Connie and does a splendid job. She is the waitress and not too happy about staying late on her job after already putting in a good day’s work but since she’s being paid overtime, she manages to put up a false smiling front.  But something changes in her, she understands that she needs to help this person in trouble.  One is not sure exactly how that happened but there was a subtle change in their relationship that was a remarkable moment and a moment that makes one smile.    

 

 

Jane Papageorge is exceptional as Nina in a very physical role.  Without giving too much away, Nina is an acting student who has taking a liking to her teacher with little regard of the consequences. Nina pursues with dogged determination that ultimately sends another in a downward spiral.  It is a significant part of the story and Papageorge excels in moving the play along in that role.

 

 

 

Allison Reeves is Aunt Ruth. Ruth gets a surprise that wraps up the journey. Her emotional filled performance is terrific with many layers. There’s enough ambiguity in the performance to not fully grasp the reasons for her crying. Two scenarios come to mine, but in the end and in the final analysis, she cares.  Reeves fills the stage with a remarkable life and that is always wonderful to observe.

 

Marco De León’s set design gives us a fine symbolic representation of the Langham-Huntington Hotel.

 

Other members of the crew are as follows:

 

Gregory Crafts – Lighting Design

Ross Chait – Sound Design

Michael Donovan – Casting Director

Kiff Scholl, AFK Design

Jim Niedzialkowski – Stage Manager

Sarah Fanous – Production Stage Manager

 

Run! Run! Run! And take someone who has lost his/her/they bearings.

 

The Flight Theatre is small and a wonderful space.

 

Reservations: https://www.eventbrite.com/e/bearings-tickets-395606518747

 

Cinderella – Music by Richard Rodgers, Lyrics by Oscar Hammerstein II, New Book by Douglas Carter Beane, Original Book by Oscar Hammerstein II

Eadric Einbinder - Photo by Sam Gianfala

 

 

By Joe Straw

 

Opening night had its problems. The background music was too loud and the singers could not be heard except that one baritone who was singing loudly and so out of tune as to make one cringe, uncontrollably.  Cinderella’s (Katelyn Coon) quick-change pauperess’ costume change into the princess dress was met with awe one moment, tragedy the next when her costume underneath was dragging across the floor and then onto the carriage. Also, the stepmother (Sara Kaner) and her daughter Charlotte (Caroline Hawthorne) were caught on stage powdering each other to a lengthy degree waiting for someone’s entrance. Opening night mishaps.  

 

To add insult to serious injury, the following week’s shows were cancelled when five actors tested positive for COVID.

 

But in the succeeding week, something magical happened. No, it was not the pumpkin turning in a carriage, or the animals turning into coachmen, nothing really magical.  The magic was that all the problems were fixed, understudies came on and did remarkably well, the singing was more than terrific, and it was just one magical night. Impossible? 

 

Santa Monica’s Morgan-Wixson Theatre present Rogers & Hammerstein’s Cinderella music by Richard Rodgers, lyrics by Oscar Hammerstein II, new book by Douglas Carter Beane, original book by Oscar Hammerstein II, Orchestrations by Danny Troob, music Adaptation & Arrangements by David Chase, additional lyrics by Douglas Carter Beane, David Chase & Bruce Pomahac, Produced by Regina Niles and Jeff Stevens, and directed and choreographed by Niko Montelibano.  

 

One recalls seeing Cinderella back in the 1960’s with Lesley Ann Warren and Stuart Damon on CBS.  The songs in this showing were very similar to the 1965 event although there were differences in the book.  

 

In Douglas Carter Beane’s version Prince Topher’s (Eadric Einbinder) parents have died. The kingdom is now essentially being run by the not-so-completely-ruthless Sebastian (Jack Bernaz), the caretaker of the kingdom.  Sebastian secretly engages in the art of eminent domain and takes away the homes of its citizens.  Jean-Michel (Steve Weber) leads the way for an uprising of sorts who incidentally falls in love with Gabrielle (Morgan Rysso), Cinderella’s (Amy Coles) not-so-completely-evil stepsister. This version moves us away from the main focus of Cinderella love story and partly veers off into the social welfare of the community.

 

The songs that stayed with me from the sixties were Cinderella’s “In My Own Little Corner”, “Impossible/It’s Possible” sung by Fairy Godmother Marie and Ella.  But on this particular night it was “When You’re Driving Through the Moonlight” and “A Lovely Night” with Ella (Amy Coles), Madame (Kim Peterson), Charlotte (Erin Brownett) and Gabrielle (Morgan Rysso) who filled the night with such an exquisite sound – a beautiful four-part harmony that blended so magnificently and sent the musical on this night to incredible heights.  To add to that was the beautiful sounds of the ensemble. Whatever happened during the COVID layoff paid off in big dividends in this theatre of 225 seats.

 

Niko Montelibano, director and choreographer, did yeoman’s work creating a show as fine as any musical recently witnesses.  There were additional moments added after the COVID break that gave the characters a defined personality and made the musical that much better. Terrific work.

 

(One witnessed the leads in one performance and the understudies on a later night. Both are mentioned in this write up.)  

 

Katelyn Coon had her moments as Ella in that first night and Eadric Einbinder as Prince Topher sang beautifully.

 

Steve Weber was outstanding as Jean-Michel pleading with townsfolk to pay attention with what he was trying to convey. But, drowned out by the thoughts of the Prince throwing a party. The Jean-Michel love interest required a definition - mostly the start of the relationship - to carry the progression of that relationship throughout the rest of the performance.   

 

Photo by Miriam Billington

 

 

Audrey Pennington does some fine work as Gabrielle. Caroline Hawthorne has her funny moments as Charlotte. Sara Kaner is fantastic as Madame who has a little more evil streak in her.

 

Julie Hinton plays Marie, the fairy godmother coming around as a kind is ditzy homeless person. There seems to be something missing this with particular character, some moments that needed defining.  Marie is locked into getting Ella married to the prince and that was good, but she is left out of the picture on the social issue.  

 

Jack Bernaz plays Sebastian and appeared to be more focused after the break giving the character more layers and much more specific actions in his moments.  Bernaz has a strong and crystal clear voice.

 

Steven Flowers is Lord Pinkelton and is funny throughout.

 

Amy Coles was astonishing as Ella.  Her voice was strong and her movements were specific to her moments on stage. 

 

Morgan Rysso is Gabrielle, the not-too-evil-stepsister.  Gabrielle confronts her stepsister and they share a secret of love and want. These moments work to great satisfaction.

 

Erin Brownett as Charlotte has a terrific presence on stage.  “Stepsister’s Lament” was another wonderful song in the show. 

 

Natalie Kahn made Marie her own as there were very fine moments in her performance.

 

And Kim Peterson added her own very fine touches as Madame. Peterson’s performance had a very nice comedy flair to it and was enjoyable from top to bottom.

 

Kelly Ciurczak was the dance captain and there were some very nice dance numbers in the show.  She was also a member of the ensemble.

 

Other members of this fantastic ensemble were Alex Brown, and Jake Burnett. Holly (Weber) Childers did some very nice acrobat turns on stage and gave a character’s stage life that much more.

 

Others were Cydney Freeman, Grant Garry, Sam Gianfala, Sheryl Katzovitz, Miranda Miller, Helena Nelson, Eileen Cherry O’Donnell, Anne Verrier Scatolini, and Christina Wioch.

 

Sophia Joy, a member of the ensemble, was seen losing her underskirt in a dance number, she quickly jumped out of it, rolled it up, threw it into the wings, and then continued on with her dancing. All are signs of a very promising talent.

 

Abby Penny was a standout member of the ensemble and has a very nice stage presence.

 

Danny Troob’s orchestration was quite marvelous and worked playing over the speakers for this type of production. David Chase was responsible for the music adaptation and arrangements, which also made quite an impression these nights. And Greg Koppenhaven was the musical director.

 

Anne Gesling’s work as Costume Design was simply terrific!

 

Other members of this delightful crew are as follows:

 

Emily Ellis – Stage Manager & intimacy Coordinator

Tara Brown – Assistant Stage Manager

Ethan Kuwata – Assistant Stage Manager

Bill Wilday – Set Design and Lighting Design

Jon Sparks – Wigs and Hair

Marc Antonio Pritchett – Casting

Ever Golden – Light Board Operator

Kaiya Eisenberg – Sound Board Operator

 

This show has closed but there are more on the way “Romeo & Juliet Choose Your Own Ending”, “The Wild Party”, Matilda, and more!!!!

 

https://www.morgan-wixson.org/

 

 

Get it Together by Michael Quinn

 

Hadley Durkee and Joseph Basquill - Photo Austin Martinez

 

 

by Joe Straw

 

The Zephyr Theatre is a favorite of mine.  It is an intimate house of 74 seats.  This is a very intimate stage, an intimate evening, and with a packed crowd watching.  

 

Get It Together written and directed by Michael Quinn is now playing at the Zephyr Theatre on Melrose through August 7^th, 2022. A one-week run just seems impossible to comprehend.

 

Get It Together is a beautiful play about two lonely souls trying to make a go in any relationship but particularly this one.  Michael Quinn has written a dramatic comedy that surrounds the senses with so much unbearable truth that one feels for both characters on their incredible journey through a few years in their lives.

 

Harold (Joseph Basquill), a future computer science professional, and Mary (Hadley Durkee) find themselves alone in a spare bedroom on a Philadelphia house party. They haven’t seen each other since they were in high school.  Mary was a freshman while he was a senior.

 

Harold is casually dressed in a white pullover, rust colored pants and tan boots.  A few of his fingers have tattoos on them as though he has been through a few things. Mary is dressed in translucent patterned shirt, black jeans, and black boots with black matching fingernails. Both are dressed in very casual but attractive party attire.

 

Their relationship would have been cemented in high school if only Harold would have texted her but he was involved with another woman at the exact moment he thought about texting her and then he didn’t do it.

 

What happened to the other woman?

 

“That didn’t work out. I guess I’ll find someone uglier.” – Harold

 

That was a nice little moment for the pretty women standing uncomfortably before him and wanting to get to know him a little better before committing to anything that would be beyond her control, his control, their control.  

 

So, they take it slowly.  Harold wants to know more about Mary, about her interests, and her education in college.  Mary tells Harold that she is a poet and Harold immediately wants to hear some of her work.

 

She recites a poem about a cadaver, something she is remotely familiar with before Harold asks her if she smokes.  Harold pulls out a red pipe, some content, and starts to light up.

 

“I know, it looks like a dick.” – Harold

 

She is hesitant, somewhat afraid that she’ll get into trouble and she asks him if he’s gotten into trouble. He tells her that he got arrested for a parking ticket. Small stuff so they move forward.

 

He teaches her how to smoke as she coughs profusely after each inhalation.

 

Mary says her parents are separated but live in the same house.  Harold says his parents are together but are sleeping apart.

 

Mary finally asks if he is with his girlfriend Emma.

 

“Are you in love with Emma?” – Mary

 

“Yes, I guess.” – Harold

 

And while he is being truthful he tells her that he was arrested for simple assault and explains in detail what happened. But, truth be told, he is an unreliable reporter.

 

Something was different about this production, the way it flowed, the sincerity in which the actors expressed themselves as they moved toward their destination. It felt as though the actors have been rehearsing the show for some time, as they were fluid from one moment to the next. One doesn’t see this level of acting often. It is superior and mesmerizing.

 

Two people attracted to each other stare in the face of love, unable to look away, knowing that if they do, they will lose contact forever.  But for a moment they are pulled away by other forces, an emotional reticent, or a commitment to another. Love is the master of confusion. So they must get it together in order to be with the one they truly love.

 

Michael Quinn writes and directs this wonderful production. His dialogue is comfortable and takes the audience in wonderful directions of personal discoveries. When the dialogue veers off, a response from something impenetrable, it manages to find its way back to the subject of love.

 

Joseph Basquill is excellent as Harold.  His level of concentration is exceptional and he is fluid in movement.  He is creative in his choices and offers us a glimpse of a reason why he can’t get it together.  The choice is so easy but the forces within himself tear Harold dramatically.  And, he is his own worst enemy.

 

Hadley Durkee as Mary doesn’t like to take chances.  Or, maybe she does.  She is uncomfortable walking into an empty bedroom with a man she barely knows. She is inexperienced in some ways but inquisitive to the moment and stubbornly tenacious in finding an answer to her question. She is infatuated with him, but doesn’t want him to know it, at least not right away. Durkee is wonderful in the role, and grows dramatically as the play progresses and the time moves further in their relationship. It’s a wonderful role and Durkee is wonderful in it.

 

This show has a one-week run ending on Sunday August 7^th, 2022.

 

Run! Run! Run! And take a former lover or someone you haven’t quite made a decision on.

 

Zoe Brown produces this outstanding production. Other member of the outstanding crew are as follows: 

Ally Lardner - Stage Manager

Olivia Meredith - Production Designer

Hayden Kirschbaum - Lighting Designer

Bailee Herrera - Sound Designer

Austin Martinez - Pre-Production Photos:

 

Ticket Purchases:  https://www.eventbrite.com/e/get-it-together-a-new-play-tickets-294111604727

 

Zephyr Theatre

7456 Melrose Ave.

Los Angeles, CA 90046

 

The Metromaniacs Written by David Ives Adapted from LeMétonamie (1738) by Alexis Piron

 

By Joe Straw

 

What in the world were those fake trees and rocks on the set?  Set pieces one supposes on a makeshift stage to showcase a play that eventually was not presented on this night.  Yes, not on this night, but there were rumblings of another performance somewhere in this sphere of influence that got an amazing applause.  Unfortunately we were not to see that show but we understand it was a grand event.

 

Upon inspection of the play, one is reminded of the old bait and switch trick, and the selling of a bill of goods. Yes, it was a grand night for deception and for one to take delight in that deception.

 

And the play is all done in rhyme, pentameter couplets no less.  

 

Perusing the menu, ahem, the program one notices the actors on stage are not the usual Theatre 40 members; a few cast members are from the University of North Texas and the California Institute of the Arts.  Interesting. Majorie Hayes, the director, is a Professor of Acting-Directing at the University of North Texas and alumni of California Institute of the Arts. Hmm. Also, interesting.  And so there is a connection as some of the actors are alumni of both schools.

 

Theatre 40 presents the first production of the 2022-2023 season of The Metromaniacs by David Ives adapted from Le Métronamie by Alexis Piron, directed by Marjorie Hayes and produced by David Hunt Stafford through August 21, 2022.

 

Francalou (David Hunt Stafford) rhymes with strangle you is a gifted writer.  An accolade presented to him by himself as others are not necessarily of the same mind.  So Francalou confuses those people by using a female pseudonym to write what he regards as dreck to be published in a writers rag called “Parnasus”.

 

“Parnasus” may be something the common folk would regard as nothing but linings on the bottom of a birdcage, but the poets regard it as nothing short of a Holy parchment.

 

And those people are here today, in Francalou’s ballroom, for a writer’s conference with objectives that will rankle the timid and confuse the smoldering minds of confused beings who are now looking for the rave and mania that is communicating using the rhyming of couplets.   

 

One of those poets, a glorious writer himself, Damis (Alec Anderson Carrasco), a poor young poet, seeks to find that writer from “Parnasas” to ask for her hand in marriage.  Unfortunately, Dorante (Jeremy), a rich and self-absorbed magnanimous individual, wants that same woman. 

 

Dorante, dressed in magnificent manly attire,  is a quivering mass of a gelatinous facade when expressing or writing the poetic words.   

 

 

 

Fancalou’s daughter Lucille is a wonderful poet herself, besotted with the written word, and, at this point, suitable for marriage but she will only wed a writer who moves her wet in a way that no one can.

 

Lucille is also a bit daft, luscious but daft, and Francalou recognizes her characterization in a play he has written and pushes at every given moment to anyone who would listen including Baliveau (Hisato Masuyama) Damis’s uncle.

 

Lisette (Mandy Fason), Lucille’s maid, does a wonderful impression of Lucille and has decided to take the role in Fancalou’s play as well as Mondor (John Wallace Combs), Damis’s valet, an unpredictable but obsequious servant who relishes the role.

 

Dorante, up against a poetic cliff, convinces Damis to write poetry for him so that he can present it to Lucille with his intentions to marry unbeknownst to Damis.  Damis does this because writing comes easy to him.

 

Once Lucille reads the poem, she will fall in love with Dorante without question.

 

Meanwhile Damis is convinced that Lisette is Lucille, or the writer of the poetry in “Parnasas”. He falls in love with her, because he loves the words she writes.

 

Both men find out they are in love with the same woman (who are not the same) and take up arms in a duel against each other.

 

 

 

Alec Anderson Carrasco (Damis) is a gifted actor. One supposes that he has stolen from the greats and all that works well for him and the character he portrays.  It is an emotionally satisfying and outstanding performance that moves from moment to moment until the satisfying end.  

 

John Wallace Combs (Mondor) is a Theatre 40 regular and works well in this play. In fact, his work is outstanding. Mondor seems to take his role seriously and includes all the bad things actors do once they have gotten the job.  

 

Mandy Fason (Lisette) is exceptional in the role. Lisette, the maid, is an actress at heart and would only act if the money thing didn’t get into the way. But, giving the opportunity, she’ll give it her all, all for the sake of her craft. Lisette rides the deception wave to the bitter end and Fason is terrific and outstanding in her performance. Also, Fason has this incredible charm about her that really worked well in this character.

 

Hisato Masuyama (Baliveau) present an odd character, one without much poetic dialogue, but rather projects his words in nonsensical puffs of howling and screeching. Imagine a juddering howler monkey running about the stage, disrupting, or adding to the action and you’ve got your character. Still, it is terrific work.  

 

Josephine Núñez (Lucille) is also excellent. She has a commanding presence and is also a physically gifted actor. She moves unobtrusively from one moment to the next delighting all around her.  

 

Jeremy Schaye (Dorante) presents strength, brawn without brain, in his quest for the ultimate goal. He will not lose, no not one inch, to find the love of his life.  Schaye’s performance is wonderful, playful, and exciting to watch.  

 

David Hunt Stafford (Francalou) got himself into a little trouble in the second act on the night I went.  One is not sure what happened but Stafford, like a trouper, managed to work his way out of it. This is a hallmark of a truly professional actor. One is not sure how he does it but he also produced this marvelous production.

 

David Ives, is gifted and a genius, there’s no question about it. This is a difficult play to adapt and one can imagine the work that went into this marvelous and problematic play. One can go to theatre and take many things away from a viewing. One may not have gotten all of the references, or the changes from one moment to the next but this was a completely satisfying work of art that demands to be seen time and time again.

 

Marjorie Hayes, the director, gets it and guides the cast to a marvelous night of theatre.  Moments were not wasted and were also defined in character and relationship. The comedy played out in glorious colors and costumes. Hayes is an incredible director and the work is outstanding.The work is enjoyable from top to bottom!

 

Michele Young, Costume Designer, gives us another night of wonderful costumes and what we are to expect coming to a Theatre 40 production. Judi Lewin’s work as Hair/Wig/Makeup Designer compliments the costuming.

 

Other members of this outstanding crew are as follows:

 

Jeff G. Rick – Set Designer

Derrick McDaniel – Lighting Design

Nick Foran – Sound Design

Nathan Danielson – Assistant Director

Michele Bernath – Choreographer

Ryan Rowles – Stage Manager

Isabella Fried Leeman – Assistant Stage Manager/Wig Maintenance

Eric Keitel – Photography

Philip Sokoloff – Publicity

 

Reservation and information – Jay Bell 310-364-0535

 

Run! Run! Run!

 

Parking is free!

Ayano by Chris Collins

Kazumi Aihara and Carlo Mancasola - Photos by Jenny Graham

 

By Joe Straw

 

My partner and I spoke about this production quite a bit comprising hours of discussions. Her perspective, an all-together different assessment was valid, while I had seen it from a completely different angle. Our assessments were not even in the same realm. What are we to make of this?

 

Black Bough Production presents the World Premiere of Ayano written by Chris Collins and directed by Kiff Scholl at The Other Space in Hollywood through August 7, 2022.

 

Ayano (Kazumi Aihara) has had little success as an actor.  She is a Japanese transplant. She works as a waitress to make ends meet and all she has to show for it is a cramped and messy Hollywood apartment she shares with her unemployed and abusive husband, Charlie (Carlo Mancasola) an Afghanistan veteran who was wounded in that war.

 

Ayano is also in debt to her eyeballs.

 

Still, despite her problems, her dreams are right around the corner.  

 

Tom (Gabriel Pranter) visiting, in a pre-celebratory birthday visit, speaks to his brother Charlie about his relationship with his wife Ayano and how he is not too enamored with her.  Charlie, sipping sake, says his past troubled relationship of abuse, alcohol, and extra-marital affairs are now behind him. Charlie has spent $500.00 on a birthday gift but Tom tells him she is not worth it.  He tells Charlie to take it back. 

 

The one constant in Charlie’s life is his rosary beads given to him by his mother for protection. But, throughout, he is never seen in meditation or prayer. Although he is not now gainfully employed, there is a rumor that his old job is moving to Las Vegas. So Charlie is essentially relying on the practical word without prayer and/or divine intervention. For him it may be a recipe for disaster.     

 

In the meantime, the celebration continues, among the effluvium of brotherly bodies, and in a sloppy apartment Tom offers Charlie a few 100-dollar bills to make up for the rest of the rent.  They go off and to buy Ayano a birthday cake because today is her birthday and are going to pick up a friend from the military Carl (John-Peter Cruz).  He is the man who saved Charlie’s life in Afghanistan.  

 

Bara Kim and Kazumi Aihara

 

 

Julie (Bara Kim) a Chinese American woman and convivial friend praises Ayano about her acting skills and beauty for reasons only known to her own being. Perhaps it’s to raise their spirits, as they are both actors.  But as sincere as she may be, her undertones suggest she is looking out for her own best interest.

 

Julie’s boyfriend is Tom, Charlie’s brother, and they wait for the boys to come back to celebrate. But, there’s trouble brewing. Ayano confesses that she has maxed out her husband’s credit card to pay for a show she produced with an outside friend Peter (Glenn Ratcliffe) but the contract he had with her was not a co-production deal but a loan that needed to be paid back. It was a reprehensible deal taking advantage of an immigrant without a complete grasp of the English language on a contract.

 

(Most actors never read the fine print to anything.)

 

Now Ayano has been trying to pay Peter back and started making payments on the credit card but because her husband Charlie is no longer working and things have gotten really rough.

 

Hiro Matsunga and Kazumi Aihara

 

 

With these thoughts in her mind, Ayano sees her dead father (Hiro Matsunaga) visiting her as she falls into a trance or severe daydream.  He is rebuking her for not doing the right thing, staying in Japan, and taking care of things in order to pursue a frivolous thespian dream.

 

Ayano tells Julie that he died a few months earlier and she did not have the resources to go to Japan for his farewell.

 

And just when things can’t get any worse Peter comes knocking at her door looking for his Hollywood ending.

 

Chris Collins, the playwright, takes us into the lives of the characters with deep character flaws and differing goals in life. We see the dark side of every character in this play, characters that circumambulate their adversary without communicating exactly what they want until it is too late. Lust, jealousy, adultery, and crimes of passion are only a few components to this play that steers itself into the sleazy underbelly of self-interest. This play cries out for even a small scene between Peter and Charlie so the ending becomes much more dramatic. There are some winning moments in the play and in retrospect, having lengthy discussion after viewing is a hallmark of an accomplished play.  

 

One hopes by the second week actors start using what works for them and settling in on the roles, but there were problems, not anything that can’t be resolved, but problems under the guidance of Kiff Scholl’s direction. Portions of the film Shane are used as a backdrop in this production.  We get the idea that maybe this film moved Ayano to move to the United States but Ayano pay little regard to this and other Japanese films. Love plays an important part in this play, it makes the characters do bad things, but the characters don’t move seamlessly to heir objectives. The through line is not clear and one can’t get a grasp of what the director was trying to convey.  Scholl was responsible of the scenic design.

 

Kazumi Aihara (Ayano) presented another persona during the curtain call, which surprised me. Gone was the façade of Ayano and standing before me was a person that was completely different, one that was pleasant, and someone who could have filled the role of Ayano with no problems.  However, there were problems with this performance starting with the opening audition scene.   First and foremost, her dialogue was lost to the first row of seats in this small theatre. Ayano is a woman who wants her career, wants to keep her marriage, and does everything in her power to keep the first, but somehow manages to sabotage the second. Ayano’s relationship with her father must be stronger. The heliotropic effect of waking into the light can’t be treated as an everyday occurrence. What is she conveying when she comes out of her trance speaking Japanese?

 

John-Peter Cruz (Carl) presents a fascinating character.  Decidedly in the moment even when he is alone on the couch with Ayano deflecting her subtle advances. He soothes the dramatic edges and helps others when he is asked. He is remarkable the moment he enters the apartment to the moment he leaves.

 

Bara Kim (Julie) seems to be the Ayano’s best friend later she turns on her, working to secure a better world for herself. Julie plays many sides of the fence hoping for the best outcome. Removing the dress scene did not work in that it questions her motivations and her relationship to her boyfriend and her other love affair.   

 

Carlo Mancasola is Ayano’s husband Charlie. Their relationship is lost and it has gotten worse since he lost his job. He has no faith in his wife and listens to his brother when trying to figure out what to do about their marital relationship. He has to figure out what he wants and how he’s going to get there. And then, he needs to build the moments that lead him into committing a heinous crime. Love is a strong component for this character.  He can’t be bad throughout. Loving her would be the better choice so the end becomes that much more dramatic. People do odd and even dangerous things in the name of love. Still, there is some very good work here.

 

Hiro Matsunga (father) does some excellent work but even a ghostly figure has an objective, and that wasn’t very clear in the play.  What does he want from his daughter? Is he doing enough to get what he wants?  Headstrong in his ways he must find the humanity in the father and daughter relationship, and that relationship must be strong. He’s telling her something, warning her, sheltering her, or beckoning her into the afterlife, one doesn’t know.

 

Tom, played by Gabriel Pranter has his Iago moments. But, to what end?  One really didn’t get a sense of this character, his makeup, his long hair and beard, unkempt, or his job.  Why was he placing a wedge between his brother and his wife? The moments between him and his brother need clarification and the conflict needs to be clearer.

 

Glenn Ratcliffe has his moments as Peter.  This is a tough character because he comes off as sleazy throughout with his opprobrious behavior.  He says it’s not about the money but he has a hard time telling her what it is about.  There must be other ways to project love to give life to this unsympathetic character. At one point he turns his back and cries.  If he really loved Ayano he would find a way to show her that he really cared. Ratcliffe’s Scottish heritage had his accent stronger in the second part of the play.  One would suggest using it, or making it stronger throughout the play.

 

Other members of the crew are as follows:

 

Shon Leblanc – Costume Design

Azra king-Abadi – Lighting Design

Bill Froggatt – Sound Design

Christopher Jerabek – Projection Design

Philip Sokoloff – Publicity

Angelica Diaz Estevez – Production Stage Manager

 

Run! And take someone who thinks about the other side.

 

THE OTHER SPACE @ THE ACTORS COMPANY

916-A N. FORMOSA AVE.

WEST HOLLYWOOD, CA 90046

 

 

   

 

 

Sleep with the Angels by Evelina Fernández

 

Esperanza America and Saul Nieto
Photos by Grettel Cortes Photography

By Joe Straw

 

On our drive to downtown Vilma asked me, “What are we seeing?”

 

“Sleep with the Angels by Evelina Fernández.”

 

“What’s it about?”

 

“I’m not really sure, it’s a world premier, but knowing her and José Luis Valenzuela (the director) there will probably be singing, dancing, some mystical stuff, and or some kind of supernatural movement from origins unknown.”

 

Our regular parking lot is full so we park across the street, no problem, and then head for Guisados for the Chiles Toreados. I tell them leave the hottest chili out but they refused.  So it was a hot start to an even hotter Latino night of theatre. - narrator

 

Sleep with the Angels written by Evelina Fernández and directed by José Luis Valenzuela is now playing at The Los Angeles Theatre Center through June 26, 2022.

 

The color of life has left this family.  They are all now dressed in greys and whites occupying a home that was possibly once home to an optimistic and vibrant life.

 

But, time passes and revelations within the family give light to unsettling choices setting off a chain of irreconcilable events. 

 

And for now, all is not right. This family is a crumpled mass of humanity much like the pieces of paper that litter the floor and the fast food refuse on the dinning room table that are scattered like the occupants who are now screaming at each other for their space and things they want while hardly taking the time to extricate themselves from their phones.

 

It’s apparent the parents are no longer living with each other. The father has moved out, and the mother wonders why he can’t take the kids on this very important day for her. He believes his job is more important and he makes most of the money. And even though she is in lawyer mode, she is now managing the house with kids while trying to negotiate childcare.  All the while positioning herself to become a partner in a law firm   

 

Dad has left for a reason, some measure of traversing his life that fits his lifestyle or something or someone he is not entirely satisfied with.  His daughter loves him but his son is ambivalent to share his feelings with his father.

 

For the moment, their childcare is now gone, lost, taken away by the winds of unfortunate events and now, in a turbulent gust of action, mom has to find someone else, and quickly.

 

But the winds turn favorable this day, strong and hot, but favorable.  And when the gardener enters into the house the winds nearly blow mom and the kids to the floor.

 

Meanwhile outside, riding the winds like a dandelion, an umbrella floats safely, and brings the heroine from south of the border like the iconic Disney character, who shall remain nameless but her name starts with an M and ends with an s.  Setting herself down, nice and pretty, into the back of a gardener’s pickup truck one supposes.  

 

The gardener says she’s there, a niece that would be happy to take care of her kids. How he knows that within minutes of her arrival is a matter of fantasy; yes she has her papers and yes she is willing to work.

 

So Juana (Espéranza America) arrives through the door, umbrella in tow that is suddenly released and now magically floats to the ceiling, without anyone taking notice, making herself right at home not even questioning if she has the job, she makes it her job. 

 

And so Juana, bringing color into the room, has some pretty heavy lifting to do. Thrust into the lives of a single mother Molly (Elia Saldana) and her two children Cindy (Victoria Tamez) and a questioning younger sibling Alex (Saul Nieto) that do not appear at first glance to get along, at all.

 

Juana is the calming adult in a house full of turmoil negotiating the lives of the children and their father John (Randy Vasquez) who doesn’t understand his son, and her mother-in-law Rose (Tina D’Marco) with her biting commentary on everything. Juana brings the color back into their lives and she does it in some very unusual ways.

 

Evelina Fernández has written her best comedy to date. Sleep With The Angels is about many ideas but most prevalent it’s about childcare making a significant difference in the lives of others. One thinks the ending will go one way but decidedly turns another spoiling my ending for a feel good moment. (Welcome to the harsh realities of the real world!) Nevertheless, despite those realities, the play is remarkable in the way that weaves relationships and moves the characters in increments of understanding the pride of personal freedoms.  It takes one character in action to make a significant difference in the lives of others and that aspect of the play created a very successful evening.   

 

José Luis Valenzuela, the director, doesn’t disappoint and does a remarkable job.  The work is almost seamless. There is always music, singing, and a little bit of dancing in a Valenzuela production and it all works. The relationships, the conflict, and resolutions fit but the enhanced mysticism played out needs an additional boost, which would benefit with enhanced colorful lighting.  And this may have happened but to a lesser degree that one is thinking.  As an example, Juana brings color when she first appears in the home, and to that extent she should recognize the household as her tapestry.

 

Esperanza América as Juana brings color into the family’s lives. Color in dress, and attitude. She sings a few songs and has a very lovely voice. She mixes a concoction of tea, a bubbling, smoking brew, that, despite its appearance, no one can turn it away. América’s work is outstanding, very comical, and magical.    

 

Tina D’Marco is remarkable as Rose and if you had some preconceived ideas of what a mother-in-law is and does D’Marco is just the opposite.  She is delightful and unusual as Rose and manages to pull off an impressive work of art in the short time she is on stage. She is also Louise.

 

Saul Nieto

 

 

Saul Nieto is also Alex, a young man that knows what he wants but is afraid to disappoint his father.  He hides until he is ready to present himself in living color without excuses.  Nieto’s performance is worthy.

 

Eduardo Roman is Pablo the gardener. As of now, he is the one who introduces his niece, but maybe there could be an additional backstory here.  Roman has a commanding presence. His character presents a strong virile man without the conflict, internal or external, necessary to drive the character. The conflict could present itself in a myriad of ways, starting with the unhappy wife, next the estranged husband, and lastly a very peculiar niece. There are many “what ifs” that need additional exploration. Not to take away from anything on stage on this night but to add to Roman’s work which is enjoyable from start to finish.  He is also Lou, a partner in the law firm with a nasty disposition.

 

Saul Nieto, Elia Saldana, Victoria Tamez

 

 

Elia Saldana is Molly a woman that is preoccupied with being a wife, lawyer, and a homemaker. There’s not a lot of room to engage in other business except with her law firm to which she makes strides.  Saldana is impressive as Molly.

 

Victoria Tamez is Cindy, a young lady who learns a lot during the course of the play and love plays an important part.  Her relationship with her brother grows exponentially as well as with her mother and with Juana. There is plenty to like in her performance.

 

Randy Vasquez plays John, lawyer, father, and husband in that order. We don’t really know why he has left but he is willing to do anything to help his estranged wife get what she wants or needs.  We suspect that he leaves the family because of his effeminate son – that whole Latin machismo thing – but it may not be the only reason. Vasquez gives John a hard edge, someone who has lived a harsh life, more than he lets on. His clothing and manner suggests a less than successful lawyer and a mind preoccupied with other outside conflicts. The ending is another harsh reality he has to face, maybe not one he really wants but is willing to face. (If we are having this ending, then the emotional outpouring should represent the realities of the situation.) Still, this is a very interesting and nuanced performance and was thoroughly enjoyable.

 

Robert Revelle is the musician, a guitarist, and the composer of the original music with lyrics by Evelina Fernández and Esperanza América.   The music is beautiful; the songs were wonderful and on the whole added to a marvelous night of theatre.

 

Noelle Franco and Xavi Moreno as understudies did not perform the night I was there.

 

When coming to the LATC one always enjoys the work of the sound design of John Zalewski.  His work always gives the production a boost and stays with you long after the final curtain.

 

Wonderfully cast by Blanca Valdez.

 

Other members of the crew are as follows:

 

Scenic, Costume, Lighting & Projection Design – Emily Anne MacDonald & Cameron Jay Mock

Assistant Director – Jean Carlo Yunén Aróstegui

Movement Coordinator & Choreography – Urbanie Lucero

Production State Manager – Henry “Heno” Fernández

Assistant Stage Manager – Martha Espinoza

Production Manager – Nate Rufus Edelman

 

 

Sleep With The Angels is an outstanding production! Run! Run! Run!