This “Curious Incident” is Innovative Entertainment

Review by: Peter Foldy

Christopher John Francis Boone, the lead character  in Simon Stephens’ Tony-winning adaptation of Mark Haddon’s bestselling novel, The Curious Incident of the Dog in the Night-Time, is anything but your normal 15 year old. Christopher knows that adults “do sex” but bristles at human touch. He’s a genious at math and has a mind that is able to observe and remember minute details, but finds the trials and tribulations of everyday life overwhelming. His condition would seem to be Asperger’s but that is never verbally expressed. All we know is that Christopher sees the world differently. That he is a sharp, likeable young man.

The Curious Incident begins with Christopher finding his neighbor’s dog brutally murdered, killed by a garden fork. Strongly identifying with Sherlock Holmes, our young protagonist sets out to discover the killer’s identity, only to conclude that his own father, Ed, committed the deed. Fearing for his own life, Christopher runs away. Makes what is for him a difficult journey by train from Swindon to London to find and reunites with his mother, Judy. Told by his father that she died of a heart attack, mom clearly feels guilt for having abandoned Christopher and is happy to reignite their relationship.

Christopher eventually returns to Swindon, aces an important math test and reunites with his dad.

While the stakes here may read as simplistic, The Curious Incident is an intelligently conceived, entertaining theatrical experience, it’s execution nothing short of brilliant.

Marianne Elliott’s direction is imaginative and fluid, making powerful use of what at first appears to be a minimalistic set by Bunny Christie. The stage resembles the inside of a box, but the sound design and video projection by Finn Ross and the lighting design by Paule Constable smoothly transform it, among other things, into streets, escalators and train tracks. The visual and aural aspects play an important part of the show and distract us from any bumps in the story line.

Curious Incident is blessed with a highly talented cast. Adam Langdon as Christoper is fully committed in his role. He is agile, confident and likable, with an impressive amount of dialogue that he handles with ease. Langdon allows us a glimpse into Christopher’s soul and he makes us care. In a short scene after the curtain call, Christopher reappears to solve a math problem posed earlier in the show. This last little tag is a clever touch and, incase you were not already convinced, clearly demonstrates the character’s astute intelligence.

Felicity Jones Latta and Gene Gillette as Christopher’s parents and Maria Elena Ramirez as his teacher, who narrates some of the play, are especially strong but the entire ensemble works hard to bring the caper to life.

Winner of 5 Tony awards on Broadway, this touring production of The Curious Incident of the Dog in the Night-Time should not be missed. It is a timely show that compels you to focus, learn and listen as it thoroughly entertains.

Where: Ahmanson Theatre, 135 N. Grand Ave., L.A.

When: 8 p.m. Tuesdays-Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays; ends Sept. 10 (call for exceptions)

Tickets: $25-$130 (subject to change)

Information: (213) 972-4400 or www.centertheatregroup.org

Running time: 2 hour, 30 minutes (including intermission)

 

Two More Nights Left to see “Any Night”

Review by Peter Foldy

“ANY NIGHT” by Daniel Arnold and Medina Hahn is a play that takes us to a surreal and voyeuristic world where troubled souls, twisted minds and nightmares collide.

A young dancer, Anna, (Maria Fahlgren) moves into a basement apartment after a bad breakup. Anna has a chronic sleepwalking problem. Her caring upstairs neighbor, Patrick (Zac Thomas) a shy, nerdy handyman and jack-of all trades, is determined to make her stay safe and comfortable. The question is can Anna trust him–and can she trust herself as her nocturnal hallucinations refuse to go away?

Patrick understands her. He always manages to be there for her. As their friendship turns to romance it doesn’t take long to figure out that this needy relationship has a limited shelf life that come with consequences.

Ably directed by Elizabeth V. Newman, “Any Night” bounces between fractured reality and carnal intent. There is hardly a dull moment. Like in a horror film, the play lets you know early on that something bad is going to happen, and  as you wait for it, the tension becomes electric.

Ms. Fahlgren and Mr. Thomas give powerful performances, both as engaging actors and as agile dancers, delivering impressive and complicated moves choreographed by Erica Giondfriddo.

Great use of music, a clever set design by Vanessa Montano, and well thought out lighting and sound from Chris Conard also help wratch up the tension.

With only two more performances left in it’s Los Angeles run, “Any Night” is a psychological thriller that is well worth checking out.

Where: Sacred Fools Theater Company, 1076 Lillian Way, Hollywood, CA 90038

When: Saturday (July 29) at 8:00 p.m. Sunday (July 30) at 5:00 p.m.

Tickets: $30.00 for General Admission, $25.00 each Seniors and Students.

To purchase call 512-496-5208, or email filigreetheatre@gmail.com.

To learn more about the show, please visit the website, www.anynightaustin.com

Cast Photos by: Joshua Scott

 

 

“The Rainbow Bridge” – A Review

Review by: Peter Foldy

The punchlines just keep on coming in “The Rainbow Bridge,” the new, Woody Allen-esque comedy currently playing at the Ruskin Group Theatre in Santa Monica.  Clever writing from Ron Nelson, strong acting from a superb cast, and tight, fluid direction by Michael Myers make this a production well worth checking out.

The story deals with a middle-aged defense attorney, Jerry, who visits a veterinarian, Dr. Stein, in order to put his late mother’s ailing dog to sleep. The good doctor, who happens to be not only attractive but also a little bit sex crazed, has had the hots for old Jerry since he first started dropping by.

After the sad procedure is over,  Dr. Stein hands Jerry some text that she keeps on her wall in order to soothe the pain of grieving pet owners. The sappy, heartfelt little poem talks about pets and owners being reunited in the afterlife.

No sooner does Jerry finish uttering the words, his dead mother, Lois, and his dead sister, Amanda, materialize in front of his eyes. No one but Jerry can see them, and he is suddenly dragged back into the family chaos that has surrounded him all his life.

Jerry begs his mom to leave him alone, to let him live his life, and the feisty old broad agrees under one condition. That Jerry kill her nemesis, an elderly lady now suffering with dementia. Jerry says no way but mom and sis keep haunting the poor bastard, making his life miserable, until Jerry reluctantly gives in.

While this seems a far fetched and unexpected compromise from a fine, upstanding criminal attorney, you haven’t met his mother and sister. They are a foul mouthed pair who mock and taunt Jerry, pushing all his buttons because they know exactly where they are. After all, they’re the ones who installed them.

Though “The Rainbow Bridge” has a dark undercurrent, it is the non stop humor that help make that undercurrent, and the suspension of disbelief that much easier to digest.

Ron Nelson puts hillarious dialogue into the mouths of his characters. Lynne Marie Stewart as Lois, and Mary Carrig as Jerry’s sister, Amanda, are both rewarded with raunchy one-liners–though Paul Schackman as Jerry easily holds his own in the comedy department. The repartee between the trio delivers most of the laughs.

Emily Jerez is relatable as Jerry’s wife. Jaimi Paige is sexy and seductive as the veterinarian, and L. Emille Thomas is particularly strong as Jerry’s client, Theodore, a gay arsonist who unexpectedly gets dragged into the madness.

Rounding out the cast is Mouchette Van Helsdingen as Harriet, the intended murder victim who manages to get considerable laughs despite barely opening her eyes, and muttering only a few lines of dialogue.

“The Rainbow Bridge” is a fun diversion that will definitely leave you with a smile on your face.

When: 8pm Fridays – Saturday, and 2pm on Sundays, through September 17, 2017

Where: Ruskin Group Theatre – 3000 Airport Avenue, Santa Monica, CA 90405

Tickets: $25 ($20 for students, seniors, and guild members) and can be purchased in advance by calling (310) 397-3244 or online at www.ruskingrouptheatre.com

Ample free parking available on site.

Cast Photos: Ed Krieger

 

 

 

 

 

 

We’re All “Johnny” in Part Three of “The Johnny Cycle”

Review by: Peter Foldy

Set in a 19th-century marble Mausoleum in Altadena, the powerful conclusion to The Speakeasy Society’s THE JOHNNY CYCLE: Part III – The Living is immersive theater at it’s best.

As soon as you arrive at the venue you feel like you’ve stepped into a time warp. The place has a sense of timelessness that reminded me of the old abandoned hotel in the Stanley Kubrick psychological thriller, “The Shining.”

Here you are surrounded by the human remains and heart-felt memories that have been left abandoned. A perfect setting for what’s to come.

As you wait for the play to begin, wine and beer is served in the courtyard. Visits to the bathroom prior to the show are in groups, escorted by production staff. Thank you for that because you soon realize it would be very creepy to get lost in this foreboding monument to the dearly departed.

And then it starts. The audience is told that we are extras in a film. It’s a funeral scene and we’re instructed to cry on every take as the blacklisted Academy Award winning writer, “Dalton Trumbo” types away nearby, finishing Johnny Got His Gun, the novel that was the genesis for this masterful production.

Audience members are soon separated and suddenly we “become” Johnny, the title character. All of us are addressed that way as we are plunged into the tragic story of this once innocent young man – now a damaged war survivor.

Scenes begin to play out in various locations throughout the mausoleum. An office, an apartment, a courtroom, a picnic and more. Some audience members are selected for one on one encounters with the cast. While my friend was being interrogated by “Stripling,” a rabid Communist hunter portrayed by a powerful Michael Pignatelli, I was in a dimly lit closet side by side with “Yuri,” (an intense Michael Bates), his eyes burning into mine as he tells me how I, (“Johnny”) left him to suffer on the battlefield. All I can do is mutter “I’m sorry” before being sent back to join the rest of my group who are now wearing party hats and sipping champagne as they celebrate Dalton Trumbo’s birthday.

As the show progresses we meet other significant figures in the title character’s life. Among them his grieving mother, (a memorable Jenny Curtis) his innocent girlfriend, (Colleen Pulawski) and “Lucky,” a scantily dressed prostitute well portrayed here by Julia Henning.

The Johnny Cycle gets most everything right. Costumes by Felicia Rose and production design by The Speakeasy Society are distinctly authentic, but it’s the fine performances that really leave an impact. Some are downright haunting. Other members of this excellent troupe include Matthew Bamberg-Johnson, Jonathan Bangs, Zach Davidson, Alex Demers, Christie Harms, Zan Headley, Jessica Rosilyn, Chynna Skye and James Cowan.

Written by Julianne Just and Chris Porter, (the latter also composed the music), and directed by Ms. Just and Genevieve Gearhart, the show enables an audience to ponder questions of personal choice as well as experience the hurtful impact of war – not only those who are required to fight, but also those who are left behind to pick up the shattered pieces.

If immersive theater is your thing and you’re looking for a visceral pick-me-up, this Johnny is definitely the one to see.

WHO: The Speakeasy Society, www.speakeasysociety.com

WHEN:

Saturday, May 13th, 8:00 pm

Thursday, May 18th, 8:00 pm

Friday, May 19th, 8:00 pm

Saturday, May 20th, 8:00 pm

Thursday, May 25th, 8:00 pm

Friday, May 26th, 8:00 pm

Saturday, May 27th, 8:00 pm

WHERE: Mountain View Mausoleum

2300 Marengo Ave Altadena, California 91001

HOW: Johnny is performed in a guided, individualized experience over the course of about 90 minutes.  For audiences 14 and over.  (Performance requires mobility.)

General Admission: $65

For tickets and more info:  johnnytheliving.bpt.me

Photos by: Daniel Kleen and Sara Martin of Model 05 Productions

Pure Confidence Takes Us Back To A Complicated Chapter In America’s Past

Review by Peter Foldy

It’s perhaps a little known fact that prior to the Civil War, black jockeys dominated the sport of horse racing. Pure Confidence by Carlyle Brown explores that world in Lower Depth Theatre Ensemble’s West Coast Premiere of a powerful and multi layered tale that explores the complicated relationship between master and slave.

Simon Cato (Armond Edward Dorsey) is a cocky, confident and most winning jockey owned by two children who have inherited him. Through their lawyer, they lease Simon to Colonel Wiley Johnson (William Salyers) — a man Simon rides and wins for. The colonel’s horse is also the title of this play; Pure Confidence.

Simon and the colonel have an understanding, a friendship of sorts, and the colonel and his wife begin to think of their jockey and rented slave as a distant family member. Simon begs the colonel to buy him from the children so that he in turn can buy his own freedom with money he hopes to win by racing.

The colonel’s wife, Mattie (Deborah Puette) helps Simon put his plan in motion and even allows the Simon to buy her “girl,” Caroline (Tamarra Graham) on the condition that Simon marry her. These are forward thinking, modern minded people who are certainly out of step in their class conscious, racist world.

The first act sees Simon achieve his dream. He gets his freedom, but by the second act Simon’s fortunes have changed. Injured in a racing accident, he has suffered permanent damage that prevents him from riding and now works as a bellboy for an abusive, racist hotel clerk (Eamon Hunt). His marriage to Caroline, though caring on many levels has also turned abusive. Simon vents his anger by hitting his wife.

When a newspaper reporter (Dylan John Seaton) tracks Simon 15 years later so that he can write a story about the once great jockey, we learn that it was Colonel Johnson and his wife who hired the writer to locate their former jockey.

At a touching, heart-felt reunion, these two couples, one white and powerful, the other black and struggling, try to rekindle their prior relationship in the new age of Reconstruction, but they are thwarted by the social climate, ultimately having to acknowledge that it is not a level playing field, and a legitimate friendship between them is never to be.

Staged in a black box at the Sacred Fools Theatre, this production is most impressive.  Director, Marya Mazor has crafted a poignant piece that feels as real as it is disturbing.

The set design by Tom Buderwitz and clever use of film and photo projections from Nicholas Santiago help give Pure Confidence a slick, almost off-Broadway feel. Kudos to Mylette Nora for her costume design that looks and feels so authentic. But it is the acting that makes this play well worth seeing. Armond Edward Dorsey is exceptional as the ambitious Simon. William Salyers ably unfolds Colonel’s mindset, letting us see the complexities of his character.

Tamarra Graham asCaroline” is both sensitive and fragile, but strong when she needs to be, while Deborah Puette as the colonel’s wife convincingly portrays a modern thinking woman from a troubled time.

The rest of the cast, Eamon Hunt and Dylan John Seaton are both solid in their respective roles.

Pure Confidence is a thought provoking drama that compels as it takes us back to an ugly chapter in America’s past. Its message is not only powerful – it may also move you to tears.

Where: Sacred Fools
1076 Lillian Way
Los Angeles, CA 90038

Schedule: 8pm Fridays and Saturdays, 3pm Sundays
Closing: April 30, 2017

For reservations call (323) 960-7745 or online at www.lower-depth.com/on-stage

Tickets: $25 – $34

Production photos by: Ed Krieger

 

Mark Ballas To Reprise His Acclaimed Broadway Performance In L.A. Production of “Jersey Boys”

March 31, 2017

Casting has been announced for the Los Angeles engagement of the Tony, Grammy and Olivier Award-winning hit musical “Jersey Boys,” the story of Frankie Valli and The Four Seasons, previewing May 16 and 17, opening May 18 and continuing through June 24, 2017, at Center Theatre Group/Ahmanson Theatre.

Mark Ballas

Mark Ballas will reprise his hit Broadway performance as Frankie Valli for the Los Angeles engagement of the tour. Ballas, known for his Emmy nominated work on “Dancing with the Stars,” made his Broadway debut in the role last fall (October 18, 2016 – January 15, 2017).

Critically acclaimed ‘Frankie veterans’ Aaron De Jesus and Miguel Jarquin-Moreland will play Frankie Valli at certain performances during the week. The cast of “Jersey Boys” will also feature Matthew Dailey (Tommy DeVito), Keith Hines (Nick Massi) and Cory Jeacoma (Bob Gaudio) as The Four Seasons, with Barry Anderson and Thomas Fiscella.

Directed by two-time Tony Award-winner Des McAnuff, “Jersey Boys” is written by Academy Award-winner Marshall Brickman and Rick Elice, with music by Bob Gaudio, lyrics by Bob Crewe and choreography by Sergio Trujillo.

“Jersey Boys” is the behind-the-music story of Frankie Valli and The Four Seasons. They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard – and the radio just couldn’t get enough of it. But while their harmonies were perfect on stage, off stage it was a very different story – a story that has made them an international sensation all over again. The show features all their hits including “Sherry,” “Big Girls Don’t Cry,” “Oh What A Night,” “Walk Like A Man,” “Can’t Take My Eyes Off You” and “Working My Way Back To You.”

 

“Punk Rock” Screams Teenage Angst

by Peter Foldy

Our teenage years were fragile. Many of us grew up wondering how the other half lived. At times,  we wondered whether our class mates had the same fears and insecurities we did. Were they as fragile as we sometimes felt? Did they think crazy thoughts or was their journey as easy as it looked at the time?

Tony Award winning playwright Simon Stephens attempts to answer some of these questions as he examines the life of seven British teenagers in the excellent new production, PUNK ROCK, produced by Sally Essex-Lopresti and Ron Sossi, and currently playing at the Odyssey Theatre in West L.A.

Set in an up-scale Grammar school in the north west of England, Punk Rock gives us a fly-on-the-wall experience as these bright, articulate kids, living in a privileged bubble, prepare to take their college entrance exams.

William (Zachary Grant) is a quirky lad who could have easily stepped out of the hilarious British TV series, “The In Betweeners.” He is instantly likeable and reluctantly wears his heart on his sleeve. When a new girl, Lilly (Raven Scott), transfers to the school, William develops a crush on her but is soon shattered to learn that she has been seeing and sleeping with Nicholas (Nick Marini), a handsome student who is also a part of their core group.

We also meet Cissy, (Miranda Wynne) a pretty blonde who dates Bennett (Jacob B. Gibson), a savage bully who, under the guise of being macho, may in fact be secretly unsure about his sexual preference. Bennett’s main victim at school is the brilliant young student, Chadwick, (Kenney Selvey) a kid who doesn’t bother trying to defend himself from Bennett’s verbal and physical attacks. Chadwick is caught up instead in an existential belief system where nothing really matters.

Bennett’s other target of choice is Cissy’s best friend, the somewhat chunky Tanya (Story Slaughter). Bennett berates the girl, calling her fat, and Cissy does little to stop him. By her silence, she is also complicit, as are the other kids who stand by and do almost nothing to stop him. Nobody wants to get involved.

At first, the group gossips, talks about sex, teachers, and their prospects in the outside world; but as the pressure mounts and the story begins a slow simmer, the characters amp up their anxieties, allowing their true personalities to rise to the surface. We begin to wonder who will make it through this final semester. Who will allow the truth to be revealed – who will be the one to snap and reign chaos on their classmates?

Playwright Simon Stephens examines this vulnerable age where everything seemed so important. Sexual desire is hard to control and teenage angst feels like the world is coming to an end. A look, a rejection, a slight from a friend has a deep and profound effect.

Though this production might have benefited from pushing the envelope even a little further, director Lisa James manages to keep the tension building. She plays her cast like a game of chess, moving them fluidly around the stage. She is also fortunate in that she has assembled a fine cast who expertly bring this story to life.

Zachary Grant as William is charming and enigmatic; his transformation seems tragic and real. Jacob Gibson’s Bennett feels threatening but threatened at the same time – a victim of his suppressed insecurities. Kenney Selvey is the perfect little bookworm here,
detached, intelligent, and in need of a hug.

The rest of the talented performers, Scott, Marini, Wynne, and Slaughter, as well as Mark Daneri, who makes a brief appearance as Dr. Harvey, are on the mark in their respective roles. Each actor feels real and three-dimensional. Each scene change is punctuated by loud punk rock music as a statement of their youthful rebellion.

Punk Rock is raw, graphic, erotic, and ultimately highly disturbing. It reminds me of that time you pick up a large stone to find hundreds of little bugs scurrying about underneath. The turmoil is just below the surface – till it isn’t.

When: Fridays & Saturdays @ 8 p.m. and Sundays @ 2 p.m.
plus 2 Wednesdays: April 12 & May 3, and 1 Thursday: April 27, all @ 8 p.m.

Where: The Odyssey Theatre, 2055 S. Sepulveda Blvd. Los Angeles, CA 90025

Tickets: $15 – $30 (Student, Guild and Senior Discounts available)

www.odysseytheatre.com

 

 

 

 

 

 

“Game Of Thrones – The Musical” Slays at the Macha In West Hollywood

Hollywood, CA: March 16, 2016

GAME OF THRONES-The Musical is rocking the Macha Theatre, garnering rave reviews. Co-written, Co-Produced and Directed by STEPHEN CHRISTOPHER PARKER, he is an actor with credits in a slew of hit movies including Juno, Rebound, Blades of Glory and Little Miss Sunshine. Parker also had substantial roles on prime-time television in shows such as ER, Rizzoli and Isles, Fish Hooks and 90210.

His Co-Writer and Co-Producer, STEVEN BRANDON, hails from Australia where he was a successful theater producer in Sydney, starring in and directing productions of I Love You, You’re Perfect, Now Change, and Urinetown: The Musical. With his company Canned Laughter, Steven produced productions of Rent, Lend Me A Tenor, Closer, and Noises Off. Soon after moving to L.A. Brandon and his writing partner sold a single-camera comedy pilot titled, Single Girl Theory to ABC Family and were staffed on the CBS sitcom Friend Me.

Hollywood Revealed: Hi, guys. Congrats on the success of Game of Thrones, the musical.

Steven Brandon: Thank you.

HR: How did you decide to do this particular show?

Steven Parker: It’s been two years since we produced “Lost – The Musical” and Brandon and I thought it was time to step up to the plate again.

Steven Brandon: Parker always had a passion for Game of Thrones. The TV series is currently at the height of its popularity. I was not yet a convert and had to sit down and binge all sixty episodes to get acquainted with the show.

HR: How did the two of you meet?

Steven Brandon: At the wrap party for the final episode of ER. Parker was a recurring guest star on the show and I happened to be working on the Warner Bros. lot. I had previously seen Parker in a short film directed by my cousin and after saying hello we became instant friends.

HR: Tell us about the music for GOT. Who wrote it?

Steven Parker: When we decided that we would do original music we knew we would have to team up the other people. We are not the most musically inclined but we did write the lyrics and teamed up with ERIN STEGEMAN and ACE MARRERO, whom we know from their show, “Once Upon a Time: The Rock Opera.” Erin and Ace came on board as our musical producers and directors and really knocked it out of the park, turning in catchy rock ‘n’ roll versions of all of our songs.

HR: You have thirty cast members in your production and you doubled down by hiring two separate groups of actors who alternate the roles. How hard was that?

Steven Brandon: Casting went pretty well. A number of actors knew of our reputation from other shows, such as “Lost-The Musical, and we got a lot of strong candidates walking through the door.

Steven Parker: Knowing that we could pick two actors for each role saved a lot of arguing and dicussion because they were a lot of people that we liked and wanted in the show.

HR: What about the role of Tyrion? Did you try to get an actual little person to play Tyrion Lannister?

Steven Brandon: At first we did and we met with a few of them but they were not musical theater trained or ready. A lot of great actors and comedians came in to read but they were not the best of singers.

Steven Parker: Plus they are all constantly working and could not commit to the length of our run.

Steven Brandon: We ended up finding BRAD SIMANSKI and DREW BOUDREAU, both 5 feet tall, who are fantastic and do their job perfectly in their show stopping number.

HR: Did the cast contribute to the material in any way?

Steven Parker: Both casts are super talented and bring so much extra to their roles. The character of Jon Snow is picked on quite a lot in the show and the different reactions from MAX REED and ZACK KANNER are priceless.

Steven Brandon: During the second act the Lannister’s get together and really pour it on thick. The cast decided themselves to put on dark make up and glam outfits and become the “Glamisters.” It was not in the script but it became a brilliant addition to the show.

HR: What is next for GOT musical?

Steven Parker: We are still performing for the next five weeks at the Macha theater in West Hollywood. After that we take a small break and then head to San Diego for Comic Con to do shows from July 20-22!

HR: Why is THIS the GOT show to see in L.A?

Steven Brandon: The TV series does not come back on the air until July 16. We have the perfect refresher course with our show as we start from the beginning and tell the story in order ,parodying season one, book one.

Steven Parker: This will definitely wet your appetite for the return of the TV show and is a great introduction to fans of musical theater who have not seen “Game of Thrones” would like to know what it’s all about.

Steven Brandon: Plus we are the only Game of Thrones musical in town with an actual throne!

HR: You also have a Soundtrack?

Steven Brandon: Yes, we are very proud of our Original Cast Recording. All 12 Original songs from the show plus 4 bonus tracks. You can sample the tracks and purchase the CD at www.cdbaby.com/cd/gameofthronesthemusicala

HR: Nice! Any ticket discounts?

Steven Parker: For readers of Hollywood Revealed, you can type in the coupon code “sword” at checkout to receive a 15% discount off tickets.

HR: That’s very generous, guys. Thank you for taking the time to talk to us and wishing you continued success.

Steven Brandon: Thank you.

Where: The Macha Theatre, 1107 N Kings Rd, West Hollywood, CA 90069

When: Running now through April 16th at 8:00 pm. Fridays at 8pm, Saturdays at 4pm and 8pm, Sundays at 7pm.

Tickets: www.gotthemusical.com

(Remember the discount code)

 

 

“Shades Of Disclosure” Celebrates Life

Review by: Peter Foldy

Heartbreaking, but ultimately positive and powerful, the World Premiere of SHADES OF DISCLOSURE, reminds us of the effects of the HIV/AIDS epidemic that still continues to pose a host of social injustices such as homophobia, racism, immigration rights, healthcare discrimination, and the rights of transpersons.

Created and performed by the revolutionary QueerWise, a Los Angeles based group of LGBTQ writers and spoken word artists, Shades of Disclosure introduces us to a a number of HIV/AIDS survivors, and a few that were spared. Their deep and personal stories illuminate not only what they went through when the plague hit some thirty years earlier but how it still impacts their lives today.

The cast members on stage are not actors playing roles. They are real people sharing remembrances of heartbreak and loss, of good luck and bad. Some on stage were infected early while others, though promiscuous and care-free, escaped the epidemic.

Wrapped in an atmosphere of the current political climate, QueerWise tell their stories in well staged production that encourages others to do the same. “Who Are You?” they ask.

The outpouring of truthfulness on stage soon becomes contagious and one cannot help but feel a deep empathy.

Ultimately, we know that honesty about ones self is a beautiful, unifying and galvanizing force that we need to carry into 2017 if we are to survive, thrive, and maintain, says director, Michael Kearns.

Though it may sound like this performance piece is a downer, it is actually a celebration of being alive. Something we can all relate to.

Featuring Albert Auben, Gil Feroli, Cheri Gaulke, Randy (Joe) Gravelle, John Glenn Harding, Jessie Jacobson, Sophie Kim, Darrell Larson, Timothy Mack, Mason Mahoney, Jen O’Connor, Roland Palencia, Christine Papalexis, Jim Pentecost, Ken Pienkos and David Trudel, Shades of Disclosure plays at 8:00pm Saturdays, and 3:00pm on Sundays through February 25, 2017.

Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027.

Tickets are $15 – $40. Reservations: 213-761-7061 or online at http://SkylightTix.com

Skylight Theatre Company’s Board of Directors present “Salute 2016”

Los Angeles, Ca – SHARON LAWRENCE (Rizzoli & Isles) and BARRETT FOA (NCIS: Los Angeles) lead the list of celebrities who join event hosts FRENCH STEWART (3rd Rock from the Sun, Mom) & VANESSA CLAIRE STEWARD (Louis & Keely Live at the Sahara) as Skylight Theatre’s Board of Directors celebrates the artistic achievements of GARY GROSSMAN and the Skylight Theatre Company for this year’s annual Skylight French & Vanessa names from internetSalute being held December 4th at the Colony Theatre in Burbank.

Over the past three decades, from Camelot Artists Productions to Katselas Theatre Company and in 2013 becoming Skylight Theatre Company, the one constant thread has been Gary Grossman. First as a producer and eventually becoming its Artistic Director in 2008, Skylight and Gary have become synonymous with nurturing artists, producing live theatre in Los Angeles and developing new work.

Over 2500 different artists have graced Skylight’s stages including 204 Los Angeles based writers. Skylight and Grossman have helped to craft, develop, workshop and mount a large body of original works, generating 166 readings, 157 workshops, and 69 world premiere productions.

Works developed under Skylight’s auspices have gone on to garner awards and accolades for their playwrights, around the world. Sigrid Gilmer, a member of Skylight’s resident writers’ PlayLAb received the coveted 2014 USA Artists Ford Fellowship and PinkLemaireCraginColemanJames_edited-1$50,000, while Nathan Allan Davis’ play “Dontrell, Who Kissed The Sea” received the prestigious Steinberg/American Theatre Critics Association 2015 New Play Citation. The Humanitas PlayLA workshop, launched in 2015 with support from the Center Theatre Group, has selected Skylight resident writers to fill five out of the ten available positions from over 200 candidate submissions. Louisa Hill, another of Skylight’s resident writers, won Third Place in the inaugural year of the associated Humanitas PlayLA Playwriting Prize.

Through Grossman’s leadership, Skylight’s plays have made their way across the United States to New York, Chicago, Baltimore, Cincinnati, Kansas City, Denver, and San Francisco, while internationally they have been performed in Paris and Edinburgh, with additional productions scheduled for Australia, Canada and Greece.

Skylight has been a community leader, providing artistic opportunities for at-riskTM_2A022 teens and helping to feed the hungry. In the last three years, 1250 teens in Los Angeles detention centers and high schools have experienced Lyric Project writing workshops. Supported through partnerships with ASCAP Foundation, the City of Los Angeles, and Boeing’s Employee Community Fund, 45 of the young lyricists have been mentored and teamed with professional songwriters to create new songs that are performed in a unique and fully realized musical event for the stage. Since 2012, Skylight artists have been putting Art Into Action, donating their time and talent to help feed LA’s hungry on Thanksgiving Day; since the program began over 1200 hungry people have been fed in the Downtown and MacArthur Park areas.

Gary Grossman’s unselfish efforts for the Los Angeles theatre community were recognized at the 2016 Stage Raw Theatre Awards with a Lifetime Achievement Award. He continues to be an adSandersAnassiCASTvocate for the Los Angeles theatre community leading interactions with Actors Equity Association and LA Theatre Producers for a workable agreement between the actors union and Los Angeles producers.

Eileen Barnett, Gigi Bermingham, Dale Kristien, Marcelo Tubert, and Denise Woods, will be performing along with additional surprise guests. Directed by David Galligan, Choreography by Lee Martino, Musical Direction by Michael Sobi, and hosted by French Stewart & Vanessa Claire Stewart.

David Galligan has directed all the S.T.A.G.E benefit shows in LA since 1984 and began directing for Grossman and Skylight back in 1985 with a celebrated production of Leonard Bernstein’s Trouble in Tahiti.

French Stewart is perhaps best known for his roles in the television series Mom and 3rd Rock From the Sun. He is a member of Sacred Fools Theater Company, playing the title role in their 2012 hit production of “Stoneface: The Rise and Fall and Rise of Buster Keaton” which moved to the Pasadena Playhouse.PRISON BOXING Leah Joki Group-102

Vanessa Claire Stewart is recognized as a quadruple threat – singer, actress, director and writer. She is most often recognized for her performance as Keely Smith in Louis and Keely Live at the Sahara (Los Angeles, Chicago) that she co-wrote with Taylor Hackford and Jake Broder, but she has also opened the Newport Jazz Festival as a vocalist, and penned and then directed the wildly successful “Stoneface: The Rise and Fall and Rise of Buster Keaton,” which starred her husband French Stewart.

SALUTE kicks off at 6pm with a VIP dinner and 7:30pm for the stage show on Sunday, December 4, 2016. The Colony Theatre is located at 555 N. 3rd Street, Burbank CA. 91502. Tickets range from $150 – $425. Proceeds benefit Skylight’s Artistic Development Programs. Dinner reservations and show only tickets can be purchased online at http://skylighttix.com with more information at 213-761-7061. All performers are subject to availability.

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