4/12/2019 0 Comments
Sacred Fools Theatre Company Presents: Tangerine Sunset by Peter Fluet
Directed by JJ Mayes
March 8th, 2019 - April 13th, 2019
Venue: Broadwater 1076 Lillian Way, Los Angeles, CA 90038
General Admission: $15
Run Time: 2 Hours with a 15 minute intermission.
Tickets can be purchased at http://tickets.sacredfools.org/
Synopsis: Born of Sacred Fools "Serial Killers" a weekly event where five different episodic shows compete and are voted on by the audience to continue, this format has served as an incubator for Sacred Fools spawning multiple full length productions including this show.
First and foremost, let us start with what the show is. An outrageous, farcical out of this world adventure that exemplifies physical comedy and timing.
It pays homage and draws inspirations from such classics as, Agatha Christie's Ten Little Indians, Clue, James Bond films, and The Most Dangerous Game.
If you are not a fan of ostentatious, cheesy and anachronistic entertainment, then this show might not be for you. Lucky for me, this was right up my ally.
The story begins in an airport where a plane sits for takeoff to beautiful sunny Curacao. World-famous movie star Mark Timmons (Jahmone Duhaney) is on his way to the next leg of the press tour for his brand new Hollywood blockbuster. He is accompanied by his wife Lydia Timmons (Anahi Bustillos) and "Twin Brother" Jacob Timmons (Ryan Coil) as well as Mark's new costar Millenial Youtube sensation Sienna Lordess (Kristyn Evelyn). The start of the show is filled with shenanigans brought to you by a supporting cast that expertly reminds you of the ridiculousness of each conversation. I could have watched the ensemble on the plane for the entire length of the show. Yet, this madness is broken by the foreshadowing appearance of the evilest of evil doers (eye patch and all), the mysteriously ill paralytic wife (crazy outfits and all), and a mad scientist bellhop (grungy red waistcoat and all).
Sound insane? It is. But, you do not want to miss the flight this show wants to take you on. Hilarious, fun, utterly ludicrous, while being a refreshing night of theatre brought to you by Sacred Fools.
You can always trust The Sacred Fools to present you with work of ingenious set design, construction, costuming, and tech. I would be remiss not to mention the ORIGINAL sound design and title song found above this very review.
Jahmone Duhaney as Mark Timmons
Anahi Bustillos as Lydia Timmons
Peter Fluet as Jacob Timmons
Erin J. Lann as CC
Lauren Van Kurin as Brenda
Kristyn Evelyn as Sienna Lordess
Victor Isaac as Shep Halpert
Ren Harris as Connie Halpert
Scott Leggett as Casper Lenz
Heather Schmidt as Moira Lenz
Michael Shaw Fisher as Dawniel
Dave Theune as Dave Tooney
Schoen Hodges as Mark Timmons
Alli Miller as Lydia Timmons
Ryan Coil as Jacob Timmons
Nikki Muller as CC
Jennifer Christina DeRosa as Brenda
Naina Michaud as Sienna Lordess
Ryan Gowland as Shep Halpert / Dawniel
Alaya Lee Walton as Connie Halpert
Allison Reeves as Cassandra Lenz
Katie McDermott as Moira Lenz
Produced for Sacred Fools by Jamie Fluet, David Mayes & Brian W. Wallis
Assistant Director - Alyssa Preston
Stage Manager - Sofija Dutcher
Lighting Designer - Matt Richter
Sound Designer - Jaime Robledo
Costume Designer - Linda Muggeridge
Set Designer - Pete Hickok
Prop Designer - Brandon Clark
"Tangerine Sunset" Theme Song - Words & Music by Richard Levinson , Jamie Fluet & Joel Wachbrit; vocals by Jamie Fluet
Original Raps - Chris Alvarado
Movement Director - Tavi Stutz
Fight Director - Mike Mahaffey, SDC
Fight Captain - Kristyn Evelyn
Dramaturg - Bob DeRosa
Assistant Stage Manager - Erin Cazares M. Sanzo
Assistant Lighting Designer - Kaitlin Chang
Run Crew - Chairman Barnes
Photography - Matt Kamimura
Key Art - Mara Hesed
(Claw Marks designed by Freepik)
Theatre Unleashed presents: Ada and the Engine by Lauren Gunderson
Directed by Heidi Powers
March 22nd- 31st
Venue: Studio/Stage Theatre, 520 N. Western Avenue, Los Angeles, CA 90004
General Admission: $20
Run Time: 90 minutes
Tickets can be purchased by clicking here or at www.theatreunleashed.org
As the British Industrial Revolution dawns, young Ada Byron Lovelace (daughter of the flamboyant and notorious Lord Byron) sees the boundless creative potential in the “analytic engines” of her friend and soul mate Charles Babbage, inventor of the first mechanical computer. Ada envisions a whole new world where art and information converge—a world she might not live to see. A music-laced story of love, friendship, and the edgiest dreams of the future. Jane Austen meets Steve Jobs in this poignant pre-tech romance heralding the computer age.
The story begins with our titular character, Ada Bryon(Jessie Sherman) who is the only legitimate child of the disreputable and widely regarded philanderer Victorian-era poet Lord Byron(Casey Hunter), who promptly abdicated from his wife, Anabella Byron(Denise Nicholson) and daughter to continue his pursuit of earthly passions. Byron parted from his wife a month after Ada was born and left England forever four months later. He sole tribute to his daughter in his writings is included in Extracts from Childe Harold’s Pilgrimage: Harold the Wanderer, in Canto III where he writes"Is thy face like thy mother's my fair child! ADA! sole daughter of my house and heart?". Lord Byran will eventually pass during the Greek War of Independence when Ada was eight years old. Her mother remained resentful and embittered towards Bryan and insisted on advancing Ada's interest in mathematics and reasoning to deter her from acquiring her father's perceived foolhardiness. Notwithstanding, Ada remained interested in Byron and his work and was, upon her eventual death, buried next to him at her request.
Now Lady Annabella had instructed Ada, to find a proper husband, one with possessed earldom and prestige and might extinguish her burning curiosity about the arts, and her romanticized image of the storied father whom she never knew.
When Ada is invited to a party of Charles Babbage(Alex Knox) regarded as a pioneering mathematician, designer, and mechanical engineer by a mutual friend and tutor Mary Somerville(Michelle Holmes). He quickly enamored Ada with his talk and demonstration of the theoretical model of his "Difference Engine" a machine used to calculate numbers using the method of finite differences. This would spark the beginning of a 20-year bond between the two, who go on to collaborate and perfect his concept of the "Analytical Engine." That would come to be recognized as a forerunner to the modern day computer. Ada's significant contribution included publishing a translation in 1843 of a French article of Babish's Analytical Engine by an Italian designer, Luigi Menabrea, to which Ada added her own comprehensive and detailed notes. The Notes included the first printed classification of the sequence of operations for solving specific mathematical equations, and it is for this reason Ada is often referred to as 'the first programmer.' Regrettably, Charles Babbage never finished the project. However, Ada's notes credited her the title as the first computer programmer.
Babbage is immediately taken with the precocious young Ada who describes her “intellectual vibrancy” and “leaps of mental acuity,” as he puts it, as an “effervescence for the mind” and it seems there is more to the relationship than just mentor and mentee.
Lady Annabella playing matchmaker at the party decides that William King-Noel, 1st Earl of Lovelace(Gregory Crafts) English Nobleman and Politician is the more appropriate fit for matrimony for Ada. They would eventually wed and have three children, and remain together until Ada passed away from uterine Cancer at age 36.
Jessie Sherman fire in the belly performance of Ada Lovelace is worth the ticket price alone, her passion for analytic reasoning and mathematics translates so well on stage, you can't help be excited with her.
Alex Knox performs equally as well as the electric and troubled genius, whose greatest roadblock is himself.
But what truly resonated with me was the chemistry exhibited by Actors Alex and Jessie, Their on stage presence together is simply electric, from the verbal sparring to the looks of longing, all eyes are on them when they share the stage together.
Moreover, the experienced supporting cast shines just as well, particularly enjoyed Denise Nicholson as the cold calloused mother who is afraid of losing her only daughter the same way she lost her husband. And Gregory Crafts as Lord Lovelace, I applaud his ability to transform the role into such a sympathetic character, his final moments with Ada on her deathbed are heartbreaking and tragic.
Kudos to the production crew for making the most of the demure and straightforward the finesse in painting the floor to make it appear like the beautiful wood in a Victorian mansion, and making fantastic use of projections and light/sound design to help flesh out the world.
I particularly enjoyed the choreography and blocking, literally transforming the cast into a living mechanical engine.
The legacy that Ada Lovelace leaves behind and her foresight to see the Analytical Engine potential far beyond mere number crunching is visible today , she remains a milestone in raising the profile of women in science, technology, engineering, and maths.
This led to the United States Senate providing designation of October 9th, 2018 as National Ada Lovelace Day for contributions as a leading woman in science and mathematics.
Ada and the Engine is hopeful, gripping and heartbreaking, endeavor well worth remembering. I indeed highly recommend this show.
Denise Barrett - Costume Designer
Rosie Byrne - Dialect Coach
Gregory Crafts - Producer / Lighting Designer
Jenn Scuderi Crafts - Producer / Graphic Designer / Hair / Scenic / Property Designer
Roger Fojas - Choreographer
Lauren Gundersond - Playwright
Kevin Hilton - Video/Projection Designer
Matt Kamimura - Production Photographer
Jennifer Lin - Music Director / Composer (Supplemental Music)
Jim Martyka - Press Agent
Tom Moore - Assistant Director
Heidi Powers - Director
Graydon Schlichter - Sound Designer
Tanya Nancy Telson- Stage Manager
The Kilbanes - Composer
Flat Tire Theatre Company Presents The Twins of Gillygate
Directed by Lauren Gaudite
Runs- March 1st-March 9th
Studio/Stage Theatre, 520 N. Western Avenue, Los Angeles, CA 90004.
RUN TIME: 1 hour and 45 minutes (including a 10-minute intermission)
Tickets can be purchased by clicking here or at flattiretheatre.org
We find our twins on the eve of their 18th birthday in the kingdom of GillyGate. One is set to take the throne while the other sits in her tower with only a dragon to keep her company. Unbeknownst to both, a prophecy is about to unfold much to the dismay of their uncle, Lord Grimbert, who will do anything to stop a woman from taking the throne with the help of his trusty talking high horse. A musical tale woven together by a misfit traveling ensemble, this show will take you back to the Ren Faire. Full of bawdy, drunken fun mixed with some good ol' audience interaction, this show is fun for your whole family!…Well maybe not your kids.
It wouldn't be fair to write a review about the show that Flat Tire Theatre is producing, much less a show I am in! So I wanted to take this opportunity to share my thoughts on making my on stage acting debut.
It all started as most good stories do, after a couple of adult beverages and a "dare” which I didn't think much of at the time, with my good friend Martin. But first, let me start from the real beginning of how my relationship and love of Theatre began.
I am ashamed to admit that I went about 25 years of my life without caring much for live theatre. I don't know if it was due to lack of availability in my upbringing or just not understanding the medium itself. I had always assumed it was a sort of mysterious, inclusive art form that wasn't for me (I was incredibly wrong). It wasn't until I moved to Los Angeles did I understand how transformative and powerful live theatre could be. I believe Actor/Writer Simon McBurney said it best, "Theatre is the art form of the present: it exists only in the present, and then it's gone."
It was perhaps when I had a chance to see Arthur Miller's A View from the Bridge directed by Ivo Van Hove at the Ahmanson Theatre in 2016 that I first caught the bug. I was immediately hooked on what I was now convinced was the highest form of art.
Fast-forward to June 2017 and I was asked by Martin, (the very same individual as above) to help out with Flat Tire Theatre Company, a small but fierce independent Theatre company founded that same year, with promoting and networking their show "CringeFest" for the Hollywood Fringe Festival. By day I am a Human Resources professional, with a focus on talent acquisition and recruitment. On any given year I attend about a dozen career fairs, networking with prospective employees and sharing information about why my organization should be their employer of choice. I thought this doesn't sound all that different.
I had a blast my first year participating in the Fringe Festival, seeing over thirty shows and making a ton of new friends. I was surprised how the Los Angeles Theatre community welcomed me with open arms, despite not being a thespian I was shown nothing but inclusivity and support. Therein, of course, which has always led to the question that comes at every theatre event or gathering: "Do you Act?" or "Are you in this show?" To which I would smile and shake my head, informing them I was more of a "behind the scenes kinda guy" or "No. I am not a trained actor, I leave it to the professionals."
Now we arrive at the night of degeneracy with Martin, who asked when I was going to make my on stage acting debut. I jokingly exclaimed "You write me a role, and I will be on stage." I didn't imagine that he actually would!
The Twins of GillyGate, our 2019 Spring Show, was written and devised by ten of our company members. It was brought to my attention that a small cameo role was written for me in the show that was initially intended for me to show up to one or two of our performances. However, after hearing the original music and lyrics that were written by the incredibly talented composer Ben Boquist, I knew I had to perform as a regular member of the ensemble.
After my first full rehearsal and having to start the process of memorizing five original song and dance numbers, I thought to myself “What have I gotten myself into?!” I had three goals going into this performance: 1.) Learn as much as can about the rehearsal and performance process. 2.) Not make a fool of myself and let down my talented group of peers. I have too much respect for Flat Tire Theatre and the hard-working group of individuals who help put this process together for someone to see this show and think less of it because of me. (Truthfully this was my biggest fear going into the show.) 3. Have Fun! I have a bit of a musical background, singing and playing bass guitar are in my past, so I wasn't entirely musically illiterate, and this show was a great way to express my creative outlet.
I am eternally grateful for Flat Tire Theatre for allowing a novice like myself to learn and work alongside such a talented group of individuals. This whole process has been one of the best experiences of my life. Words fail; I am incredibly humbled and thankful for the opportunity to perform alongside my friends and loved ones.
I would be remiss not to mention my Fiancée Sarah, I have had the distinct pleasure of watching her perform on stage since we were sixteen, now she is an Actor and the best Theatre Educator I know. Seeing her joy for her profession is infectious, I am so very grateful for her planting those "theatre" seeds in me all those years ago. It is a joy to have a partner who is both a sounding board and guide to a neophyte like myself.
The ultimate joy, in performing in this show has been getting to work alongside her and seeing her do what she loves up close and in person, never did I imagine we would share the stage.
I don't know if I will continue acting after we close the show this Saturday, March 9th. I eagerly anticipate "retiring" from the stage after our final performance. That being said, this journey has given me new confidence and self-assurance, that if the need ever arose for me to break the leg of the curtain, I will be ready.
Cast & Crew
Original Story by Martin Rodriguez
Written by Amanda Dacks, Ian Price, Krissa Flores, Lauren Gaudite, Lindsay Kelly, Martin Rodriguez, Michael Hettler, Michael Massey, Sarah Marcum, and Thi Nguyen
Music and Lyrics by Ben Boquist
Stage Manager- Jesse Fiene
Light/Sound Design- Michael Massey
Producer/Photography- Amanda Loyd
Choreography- Lindsey Kelly
STARRING Natalie Pellegrini, Ian Price, Brian Calleigh, Nataliz Jimenez, Tony Kim, Carlos Chavez, Sarah Marcum, Shae Tomlinson, Thi Nguyen, Leah Wasylik, Chelsea Langenderfer, and Michael Reyes
M&W Theatre Group presents Carrie: The Musical Horror
Directed by Malissa Marlow
Runs February 7th-17th
8:00pm performances on Thursdays, Fridays & Saturdays
2:00pm on Saturdays and 4:30pm on Sundays
Studio/Stage Theatre, 520 N. Western Avenue, Los Angeles, CA 90004.
Based on the musical by Lawrence D. Cohen (book), Dean Pitchford (lyrics), and Michael Gore (music), and inspired by Stephen King’s novel. Carrie: The Musical Horror is about a woman named Carrie (Tianna Cohen), who discovers she possesses telekinetic powers. She is the persona non grata at Chamberlin High School; the subject of her classmates vicious taunts and cruel bullying. Carrie additionally does not receive any support at home, stuck in an abusive relationship with a fervently religious mother(Leah Dalrymple) whose primary concern is Carrie's salvation, not her overall well-being. When her P.E teacher Miss Gardner(Jeanette Airen), her kind classmate Sue Snell(Malissa Marlow), and Sue's boyfriend Tommy Ross(Noah Canada) reach out to try and help Carrie, it seems that for once, Carrie might have a shot at happiness and acceptance. But Chris Hargensen (Kena Worthen), the schools most barbarous bully and the primary source of torment for Carrie, alongside the schools resident bad boy Billy Nolan (Conner Stevens) formulate a plot to humiliate Carrie the night of their Senior Prom. When all goes awry Carrie’s powers threaten to overwhelm her, and devour everyone in her path.
Tianna Cohen does a tremendous job of portraying timid, meek and docile Carrie, while still hiding great darkness within her. Paired with on stage mother Leah Dalrymple, who so convincingly plays the hurt abused zealot of a mother, clinging to her orthodox doctrine as she deals with her abuse and trauma. Dalrymple commands the stage in every scene she is in with an extraordinary and breathtaking vocal range and performance.
The supporting cast delivers clear voices and beautiful harmonies, notably Cohen and Dalrymple, whose on-stage chemistry and musical duets stand out as strong highlights of the show. At times, unfortunately, hampered by the vocal levels and the mix of the music, the cast can be quiet and hard to hear during the performance.
Setting and design were minimal having to double up on the use of the set for the various scenes, I applaud the great use of special effects and lighting. I would love to see the show on a larger stage and see what this talented crew could do with a larger budget.
Overall I recommend Carrie: The Musical Horror for a bloody good time.
Tickets can be purchased at https://www.mwtheatre.org/
The cast includes: Tianna Cohen (Carrie White), Leah Dalrymple (Margaret White), Malissa Marlow (Susan Snell), Kena Worthen (Chris Hargensen), Noah Canada (Tommy Ross), Conner Stevens (Billy Nolan), Jeanette Airen (Miss Gardener), Michael Dumas (George Dawson), Blake Kevin Dwyer (Kenny Stokes), Luke Smith (Freddy Holt), Tiffany Bobbs(Norma Watson), Bella Phillips (Frieda Jason), Audrey Fischer (Helen Shyres), and Dave Faulkner (Mr. Stephens/Reverend Bliss/Detective).
Creative team: Choreography and Costume Design by Kena Worthen. Musical Direction by Mark Nilan. Lighting Design by Greg Crafts
Neo Ensemble Theatre presents Airport Encounters BRACE FOR IMPACT!
Directed by: June Carryl, David Bickford, Valerie Gould, Joe Ochman, Richard Pierce, Matthew Singletary and Lauren Smerkanich
Running February 9th-24th
Fridays and Saturdays at 8:00 p.m. Sundays at 3:00 p.m.
The Lounge Theatre 6201 Santa Monica Blvd. Los Angeles, CA 90038
Airport Encounters: Brace for Impact! is a comedic anthology of eight inter-connected vignettes that range from comedic, to heartfelt, to outright silly, centered around one central location, an Airport Terminal hub. Although each scene is an individual story entirely independent of each other, the stories comprise a more significant picture, coming together to form a cohesive theatrical experience.
The entire cast does a tremendous job of taking on multidisciplinary roles, often performing in multiple scenes. Standout performances and my personal favorites scenes performed were "Ordained", "Till Death Do Us Part", and "Ninjas". That being said, no one vignette seemed out of place, and the pacing and transition of the scenes are fluid and engaging, making great use of the space.
I particularity enjoyed the simplistic design. Kudos to the set and sound design team for transporting the audience to the bustling airport terminal through its use of props and sound effects.
This performance was my first introduction to the Neo Ensemble Theatre Company, and they have made me a life long fan. I applaud this group of professionals who were able to come together with so many unique voices and tell a unified story. Airport Encounters BRACE FOR IMPACT! makes for a great night of theatre. I highly encourage supporting this production.
Tickets available at http://www.neoensembletheatre.org/ or click here for the direct ticket link.
Vignettes in order of appearance:
ORDAINED by Mark Harvey Levine
directed by June Carryl
Abby: Tracy Winters Gary: Jerry Weil Sharon: Starina Johnson.
I WISH YOU HAD NEVER BEEN BORN by Scott Mullen
directed by David Bickford
Wendy: Julie Lippert Quinn: Jennifer Cheung Ryan: Jason Paul Evens
THREE SYLLABLES OF SHAME by Rom Watson
directed by Richard Pierce
Charlie Doth: Spencer Krambler Angela Doth: Sheila Daley
HIS NAME IS HENRY by Jessica June Rowe
directed by Matthew Singletary
Thomas: Jerry Weil Mel: Valerie Gould Karen: Tracy Elliot Daphne: Joan Kubicek
TILL DEATH DO US PART by Elayne Heilviel
directed Valerie Gould
Mary Jane: Connie Monroe Billy Joe: Jason Paul Evans Al: David St. James
MY CELL PHONE SAYS YOU'RE MY SOULMATE by Scott Mullen
directed by Matthew Singletary
Max: Anthony Marquez Celeste: Julie Lippert Jane: Cassidy Davis
NINJAS by Scott Mullen
directed by Lauren Smerkanich
Hannah: Starina Johnson Kate: Tracy Elliot
CHARLIE by Beth Polsky
directed by Joe Ochman
David: David St. James Charlie:Anthony Marquez
Violet: Valerie Gould Marcy: Abby Kammeraad-Campbell
Creative team includes:
Lead Producer: Richard Pierce
Producers: Tracy Elliot, Valerie Gould, Starina Johnson, Scott Mullen
Lighting Design: Tommy Dunn
Set Design: Chris Soley
Sound Design: Tommy Dunn
Props: Jerry Weil
Production Stage Manager: Tommy Dunn
Choreographer, Charlie: Valerie Gould
Graphic Designer: Noami Gibson
House Manager: Agnes Cotti
Press: Jim Matyka
Produced by: Neo Ensemble Theatre
2/11/2019 0 Comments
Crown City Theatre Presents Oscar Wilde's The Importance of Being Earnest
Directed by Michael Marchak
Running February 1st - March 31st. Thursdays, Fridays and Saturdays at 8:00pm, Sundays at 3:00pm.
Crown City Theatre, 11031 Camarillo Street, North Hollywood, 91602
This classic piece of literature,"The Importance of Being Earnest, A Trivial Comedy for Serious People" by Oscar Wilde was first performed on February 14, 1895 at the St James's Theatre in London. Despite the fact it has recently celebrated its 120th anniversary, this facetious satire feels just as fresh and witty in Los Angeles 2019.
The show contains a tremendous amount of nuanced dialogue that can be tricky to perform, but each actor delivers the many epigrams with clarity and gusto. It is apparent that this crew relishes the opportunity to develop these characters and brilliantly rise to the occasion.
On the evening I attended, I was privileged to watch Hans Obma bring a sweet, sincere naïveté to Jack Worthing, a perfect foil to Bobby Slaski as Algernon Moncrieff who plays the role with roguish and debonair charm. They are supported by Riegan Sage as Gwendolen, Megan Cochrane as Cecily, Mouchette van Helsdingen as Miss Prism, John Sala as the Rev. Canon Chasuble, and Will Potter as the butler. Michael Mullen commands the room as Lady Bracknell, and his extraordinary outrageous performance is worth the ticket price alone. The costuming and staging deserve praise, making great use of the space to transport you to the Victoria-era city/countryside.
Perfectly paced, the entire cast does a tremendous job of keeping the energy high and engaging. This is a long show with a run time of 2.5 hours and a three-act structure, containing two 10- minute intermissions. That being said, never does the performance feel sluggish or dull.
Wildly entertaining and a guaranteed night of raucous laughter, Crown City Theatre is in rare form in its iteration of The Importance of Being Earnest. I highly recommend catching this show while you have the opportunity.
of one hundred twenty-four, at Crown City Theatre it seems scarcely a day older than
The creative team includes Joanne Lamb (Scenic Design), Michael Mullen (Costume Design), Zad Potter (Lighting Design), Joe Shea (Sound Design), Renee Cohen (Casting), and Zad Potter (Production Stage Manager).
Tickets and information available at https://www.crowncitytheatre.com e o