Glass House Distribution – Generating Buzz at the American Film Market

November 2, 2016

GLASS HOUSE DISTRIBUTION, a new sales company has been generating buzz at the 2016 AMERICAN FILM MARKET for one important reason. They deliver to both filmmakers and buyers exactly what they advertise. A straight-forward approach, transparency, fairness, and hard work on the films they are selling.

The companyIMG_3374 was created as a partnership between well known indie film producer/actor/writer (and author of the book BANKROLL, the gold standard book on film financing), TOM MALLOY, and BRYAN GLASS, a wall street broker-dealer with a keen eye and a strong interest in films.

“When I was approached by Bryan to start this company, I stated my goal was to not do what distribution companies had been doing to me as a filmmaker for years,” says Malloy. “Glass House has producer-friendly contracts, numbers we have to hit, or rights revert back to the filmmaker, pic5and transparent spending. The name Glass House was taken from Bryan’s surname, but it ended up serving another purpose. You can look inside and see everything that’s going on.”

The company was launched at last year’s AFM, Malloy’s eleventh consecutive market, but the first time he was an exhibitor. He brought in MICHELLE ALEXANDRIA, formerly in acquisitions for several companies, and the pair hit the ground running.

“Our approach positions Glass House to become to be the number one trusted and transparent “go-to” distribution company of choice for the independent film community,” states Bryan Glass. “If last year is any indication, 2016 will be ever strongerIMG_3388 for us.

“Glass House has recently added film producer, ROBERT DEEGE, to the company’s roster. With credits that include Soul Surfer and the Emily Dickinson biopic, A Quiet Passion, Deege’s expertise is an important asset for Glass House.

“What attracted me to Glass House is the immediate focus on well-crafted movies,” says Deege. “I’m excited to help develop the company’s reputation for quality.”

Glass House brings several high profile indies to this year’s AFM. Stand is an intense thriller that stars LUKE ALBRIGHT. Turnabout, another thriller that isIMG_3372 racking up festivals and acclaim with PETER GREENE, and the award-winning, Warren, starring ALEX BEH, JEAN SMART and JOHN HEARD, a dramedy that RogerEbert.com says “recalls the Graduate.”

With so much in play, Glass House Distribution is sure to climb the ranks of the top sales and distribution companies who are offering their films to the world market.

 

“It’s Time” Is A Poignant Celebration Of Love And Life

Review by: Peter Foldy

The Beatles said it best. “All You Need is Love.” Paul Linke reaffirms that notion in his heartfelt, nostalgic solo performance currently running at the Ruskin Group Theatre in Santa Monica. Linke’s current piece, IT’S TIME, bookends his Ace Award Nominated HBO Showcase entitled “Time Flies When You’re Alive.”

This time Linke shares a remarkable journey that saw him love deeply and then grieve desperately before finding a new love again, I_T_Paul_Linke2a love that has sustained him and his family for over twenty five years.

Best recognized for his role as “Artie Grossman” on the NBC-TV series CHiPs as well as for his co-starring roles in “Parenthood” and “K-PAX,” Linke’s story starts out in the 1960s. He introduces us to his younger self, a horny pot smoking college kid who has no clue where his journey is headed. Nor does he care. His main focus are girls and seeing the Doors at the Whisky Au Go Go. By chance he finds himself in a college acting workshop where at his audition he proceeds to embarrass himself with an impromptu improvised sex act on a plant. Not a great start, but, hey, it’s the 60s.  Fortunately, the people running the workshop see something in this free spirited wild child–a potential of talent–which gets him into class and ultimately sparks his interest in pursuing a life as an actor.

Having finally discovered his calling, Linke also manages to fall in love. It’s a deep, committedI_T_Paul Linke4 love that brings him much happiness and produces three beautiful children. But as most of us know, life sometimes has other plans. Linke’s wife is diagnosed with breast cancer and before long he finds himself a single dad with not a clue as to how to move forward.

Linke shares his deep debilitating grief while humorously revealing his attempts at dating and parenting. It’s a time of  pain and desperation but somehow Linke carries on.

Eventually, through an unexpected introduction, he meets a beautiful actress called Christine and he is instantly smitten. His nerves however get the better of him and he makes an obnoxious first impression. The opportunity almost implodes but the actress gives him another chance and gradually a deep, caring relationship is formed and a broken family slowly becomes whole again.

Expertly directed by I_T_Paul Linke8EDWARD EDWARDS, Linke’s story is brought to life through a series of projected photographs that ably connects the audience to Linke’s loved ones.

This is a beautiful journey. One that is honestly and openly shared. It is hard not to shed a tear, nor to feel empathy during Linke’s 70 minute performance. He celebrates the magnitude of life, the power of love and applauds the contributions of those around him who helped turn his life around. And isn’t that something we can all relate to? Seeing “It’s Time,” may compel you say thank you, or I love you to those who matter the most in your life.

When: IT’S TIME runs at 8pm on Fridays, 5pm Saturdays, and 2pm on Sundays through December 4, 2016 (no performances November 25 – 27).

Where: Ruskin Group Theatre is located at 3000 Airport Avenue, Santa Monica, CA 90405.

How Much: Tickets are $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.

 

 

“Last Days Of Summer” Seeking First Place This Winter

Los Angeles: October 27, 2016

Festival circuit darling,  “LAST DAYS OF SUMMER” produced by British born OLIVER RIDGE, is going for another win at the upcoming Whistler Film Festival. Having taken the grand prize for best feature at the Rhode Island Film Festival, the acclaimed drama starring WILLIAM FICHTNER next goes into competition at the prestigious Canadian event, which starts Nov. 30th.

Getting great buzzOliverRidgepic (1) ahead of an anticipated theatrical release next year, the film offers the kind of role we’ve never seen before from Fichtner, best known for “ARMAGEDDON” and “PRISON BREAK” and currently starring in CBS sitcom “MOM.” In Last Days of Summer” he  plays a suburban husband whose quiet life is turned upside down when he becomes obsessed with the beautiful young woman who moves in next door.

“It was an honor to work with such a talented and dedicated actor and make art with him” said producer Ridge, whose Last Days team also included director AARON HARVEY.

Ridge made his directorial debut recently and managed to pull of a coup by being able to recruit Academy Award nominee ERIC ROBERTS to star in Ridge’s “BLUEBIRD,” a poetic short film based on one of the works of the late Charles Bukowski.

We caught up with Oliver Ridge to to talk about his experiences in Hollywood.

Hollywood Revealed: How hard has the transition beenlastdaysofsummerposter (1) for you, moving from the UK to L.A? What were some of the challenges you faced?

Ridge: Driving was pretty scary! Away from that I think media has united us recently in western culture, but certainly when you’re moving five thousand miles away from home, it can be daunting. There are so many people in Los Angeles, but I think the biggest challenge was finding like minded people who I could drink whiskey with and talk movies.

Hollywood Revealed: How did you transition from producing to directing?

Ridge: I loved producing Last Days of Summer, but it certainly made me impatient to be in creative control again. I think that desire made my pre-production for Bluebird even more detailed and thorough, so that helped smooth the transition.

Hollywood Revealed: What kind of genres interest you as a producer/director?

Ridge: Can I say all oliverstepsof them? Because they all do. I want my films to have a universal feel and tone that you can see, but I also want them all to have an emotional weight. I like exploring the darker emotions, because I want my audience to feel something. But specific genres? My next film is a revenge thriller, but I’ve also just finished writing a science fiction film and have plans for a western. So I am all over the place!

Hollywood Revealed: Who are some of the directors you look up to? Who has been your biggest influence?

Ridge: David Fincher and Denis Villeneuve are two of my all time favorites, but Nicolas Winding Refn has certainly had the biggest influence on me.

Hollywood Revealed: Thanks for chatting with us, Oliver.

Ridge: It was a pleasure.

 

“All About The Afterglow” Announced As Next Feature for Jonny Walls and David Foy Bauer

Los Angeles: October 23, 2016

Writer/Director JONNY WALLS and Producer/Actor DAVID FOY BAUER have teamed up on an up-coming independent feature film, entitled “ALL ABOUT THE AFTERGLOW.” The film deals with two soon-to-be stepbrothers as they road trip up the California Coastline to their parent’s wedding. Along the way they encounterIndigogVideo_02.00_04_27_03.Still004 eccentric characters and various roadblocks that cause them to rethink the trip, their parent’s union as well as their own lives.

Afterglow will be Walls and Bauer’s second collaboration after working on Cineline Production’s 2015 comedy feature, “Couch Survivor.” That film has been picked up for world-wide release by Glass House Distribution.

Joining Walls again as Director of Photography will be IndigogVideo_02.00_04_52_15.Still005MARK FARNEY, another “Couch Survivor” alumni. Other cast announcements include NATHAN CHAMPION, MELISSA LAWLOR, NICCO ANNAN, SIGFRIED TIEBER and ANGIE LISTER.

“All About the Afterglow” begins shooting October 30, 2016 in Los Angeles and San Francisco, CA.

Skulduggery – Never Trust A Ghost

Play Review by:Peter Foldy

MICHAEL SHAW FISHER’S musical prequel to Hamlet, SKULLDUGGERY, currently playing at the Sacred Fools Theater in Hollywood, is an emancipation of one of history’s most epic stories. Fisher takes Shakespeare’s greatest play and extracts the core, bringing the characters to life in a most vibrant and colorful way. In particular, Fisher shines a light on Claudius, Hamlet’s uncle and the villain of the original story, showing us his human perspective.

Skullduggery takes placeskullduggery-the-musical-prequel-to-hamlet_29404314503_o years before the birth of young Hamlet. Claudius is a meek and poetic teenager when he and his brother, the imposing Hamlet Senior, meet Gertrude for the first time. Emotions run high among the three youngsters and an attraction between Claudius and Gertrude is apparent. With the kingdom is on the brink of war swift choices must be made. Claudius’ sickly demeanor makes him more of a battlefield liability than a viability and he is soon left behind while Hamlet and their father, known only as “The King,” leave for war. Seven years later Hamlet Senior returns to Elsinore and takes Gertrude as his bride, leaving his brother nursing a broken heart.

Time passes. Chaos ensues and the country is forced to reconcile with the new, warmongering king.

While this may sound dark and gloomy, Skullduggery is also a light-hearted musical romp with songs such as “Never Trust A Ghost,” “Girl Talk” skullduggery-the-musical-prequel-to-hamlet_29737035550_oand “Snake In The Garden.” The play attempts to reveal answers missing from the original Hamlet. What really happened to Yorkick? What fate befell Ophelia and Laertes’ mother. The skeletons in Shakespeare’s masterpiece all come come out to play and ultimately, Claudius is faced with his most difficult decision. To kill or not to kill?

JOHN BOBEK as Claudius convincingly transforms from a poetic teen, filled with puppy love, to a murderous villain and the nemesis of Shakespeare’s classic play. DAVID HAVERTY creates an ominous force as Hamlet Senior, while LEIGH WULFF’S brilliant and melodic Gertrude brings them together and helps to reveal the humanity in the villain.

JOE FRIA (substituting last week for Brendan Hunt) as Yorick is a stunt-laden spectacle while CURT BONNEM as Polonius and REBECCAskullduggery-the-musical-prequel-to-hamlet_29404310583_o LARSEN as Berta, bring a lighthearted, comedic essence to the production.

The Scenic Design by DEANNE MILLAIS and the costumes by LINDA MUGGERIDGE bring character and a sense of reality to the incredible story.

Fisher’s intelligent play, (he wrote the script and the music), SCOTT LEGGETT’S sure handed direction, NATASHA NORMAN’S fluid choreography and MICHAEL TEOLI’S impressive musical direction, (leading a tight 10 piece band), make Skulduggery a not to be missed theatrical event. It’s a Broadway worthy production right here in our own backyard.

WHERE: Sacred Fools Theater, 1076 Lillian Way, Los Angeles, CA 90038

WHEN: Fridays and Saturdays at 8pm, Sunday Matinees at 3pm. Ending November 5.

COST: $25 online at http://www.sacredfools.org or by calling 310 281 8337

“Other People’s Money” Presents Both Sides of the Moral Question – Director Oliver Muirhead Lets Audiences Decide on the Answer

InterACT Theatre Company will stage the award-winning, provocative comedy, OTHER PEOPLE’S MONEY, at the Pico Playhouse, beginning October 21st.

Dealing with hostile takeovers and the inner workings of corporate America, the play was written by Jerry Sterner who got the idea for the story while working the night-shift for the New York Transit Authority where he managed to write seven plays during the nearly six years he spent working in the booth.

Director, Oliver Muirhead has taken on the controversy that comes with perennial conversations Oliver Muirhead CAPabout corporate takeovers. He is working with two casts to tell this compelling story. The questions are analogous to those presented during every financial crisis since Capitalism began, but Muirhead’s challenge is to stay true to the characters and to both sides of the story that Sterner set out to tell.

Unlike the terms of Blockbuster going at Hollywood Entertainment or Comcast buying Dreamworks Animation, when New England Wire and Cable is threatened by “Larry the Liquidator,” audiences can inspect the moral aspects of the deal so that they are able to take home both sides of the questions being raised. Written in the late 1980’s, this piece rings just as true today. Oliver Muirhead offers a directors perspective on juggling all of those elements.

HR: What was it about this script that sucked you into wanting to direct it? Are you still glad that you took on this job?

Oliver: It’s a great story and a fascinating message, but it was the lives of the characters that made me want to direct the play. The story involves the fate of a whole town and it presents the debate of whether or not it is right to try to hold back change. This electoral season forces us to see how the evolution of the American economy has createdHarner Minault Heins Adler winners and losers, and this play brilliantly asks how we feel about that.

Am I still glad I took on the job? That’s a cruel question for any director to answer one week before opening. But yes, and that’s because working with such talented actors is always a pleasure.

HR: Do you think that good directing comes from good instincts, or is it something that you can learn?

Oliver: Like most jobs, even good directing comes from good instincts…and then you realize how much you have to learn. I guess it’s like the term “practicing medicine,” you’d hope your doctor would have it down by now. But there’s always stuff to learn.

HR: What are your biggest challenges in directing this piece?

Oliver: Too many talented cast members: they get other gigs, they have teaching jobs, and some even have real lives! The scheduling of rehearsals in L.A.‘s intimate theatre scene has always been a huge challenge. AllRob Adler and Robyn Cohen credit goes to Daniel James Clark, our producer, for juggling the actor’s times and conflicts to keep it working in the most efficient way so that we can keep moving forward.

HR: How do you think audiences will relate to the story, and what will stay with them from the experience of having seen this play?

Oliver: It’s what’s happening in the economy right now. The play was written in the 1980’s but the message is even more topical today. The populist rebellions in the U.S and around the world are protests from the victims of progress. Can we stop progress? Should we try to mitigate the damage that comes with economic change? Capitalism is like fire: it warms us but it can badly burn us as well.

HR: Your film credits, like Austin Powers: The Spy Who Shagged Me and 2 Broke Girls show that you have a sense of humor. Do you think that humor is one of your strengths as a director?

Oliver: A sense of humor is essential in life, and not just in directing. Without a sense of humor I’d be strapped in a straitjacket or washing downPeterMcDonald JohnTowey AmandaCarlin the Prozac with a tumbler of Jack.

HR: What’s your biggest weakness as a director?

Oliver: Weakness? That’s a sly question. Well, following on from your last question I’d say sometimes I take things a bit too seriously. Lest we forget, it’s a play…we should be playing, and having fun so that we can better entertain people. A play is not a lesson or a lecture. You can go to school for that. Remember, theatre is cheaper and only takes a couple of hours. Another weakness of mine, “I’m a lousy mind reader.” That’s a quote from OTHER PEOPLE’S MONEY. If only I could read minds…

HR: Anything else that you want readers to know about you, this play…or anything?

Oliver: Well, I hope that readers will come and see the play twice…it’s double cast. They will have a wonderfully different experience both times. Other than that, vote. This show is running at the perfect time to make us all think about the important choices we get to weigh in on. Men and women died for our right to vote. Exercise it. Exercise is good for all of us, right? Thank you, it’s been a pleasure.

Other People’s Money opens at 8pm on Friday, October 21st and runs on Fridays and Saturdays at 8pm, Sundays at 3pm through November 20, 2016.

The Pico Playhouse is located at 10508 W. Pico Blvd. Los Angeles, CA 90064.

Tickets are $32 (Senior & Students $27).

For more information and reservations: 818-765-8732 or online http://www.brownpapertickets.com/event/2588643

Moral Imperative At Theatre 40

Play review by: Peter Foldy

A moral imperative is a strongly-felt principle that compels a person to act. It is when something must happen because it’s the right thing to do.

Using this definition it might have been correct to eliminate Adolph Hitler before he ignited World War II. Or to have disposed of Charlie Manson before he and his minions went on their murderous rampage. While I suspect moral imperatives are seldom murder related, SAMUEL WARREN JOSEPH’S riveting new play, MORAL IMPERATIVE, tackles a dilemma that does ultimately lead to someone’s demise.

Joseph’s M_I_0109 copy 2 story concerns “Seth” (MARTIN THOMPSON) a self righteous professor and Provost who has waited patiently to be appointed president of Briarton University, his Alma Mater. Seth’s world is shattered when his most hated rival, Oscar (DAVID HUNT STAFFORD) is unexpectedly bestowed that prestigious position.

When Oscar’s modus operandi becomes clear it drives Seth to the edge of desperation. Oscar, we discover, intends to eliminate tenure for the professorial staff, start a school hockey team, and perhaps most offensive, start a hotel management school.

Already disgusted with the dumbing down of America, Seth seethes with anger as he commiserates with his close friend and colleague, “Robert” (KEN KAMLET). As they discuss various options, German philosopher, Immanuel Kant’s name is mentioned and Seth suggests that perhaps it is their moral imperative to wipe Oscar from the face of the earth. It takes some convincing but a plot is hatched and eventually executed, but not without complications.

Seth finally realizes his dream and becomes University president, delivering a touching eulogy at Oscar’s funeral. His partner in crime however slowly begins to unravel.

Soon a Colombo like detective, (BRANDEE STEGER) pits Robert and Seth against each other in order to confirm her suspicions that Oscar didn’t die of natural causes. Here the play takes some brilliant Hitchcockian turns as it spirals toward it’s poignant conclusion.

Director, HOWARD STORM,M_I_0236 copy 2 expertly guides his talented cast through this twisted thriller. One and all deliver stellar performances.

Martin Thompson as “Seth” capably hides his desperation as a pompous man with little left to lose. SUSAN DAMANTE as his wife, “Mary” is powerful as a woman who recognizes the truth but tries to ignore it for as long as possible. Ken Kamlet as the volatile Robert is compelling. It is painful to watch him unravel and crumble.

The set design by JEFF G RACK is detailed and exceptional. At times I felt like I was watching a wide screen movie.

If you’re fan of intelligent theater, Moral Imperative is the play to see.

WHERE: Theatre 40, in the Reuben Cordova Theatre, 241 S. Moreno Dr., Beverly Hills, CA 90212. The venue is on the campus of Beverly Hills High School and there is free parking.

WHEN: Thurs., Fri. & Sat. at 8:00, Sun. at 2:00, Mon. at 8:00

TICKET PRICES: $30.

HOW: Reservations may be made by calling (310) 364-0535 or online at www.theatre40.org.

 

 

 

Siamese Sex Show Will Leave You Smiling–And Maybe Scratching Your Head

Review by Peter Foldy

Who cares if the story line of the SIAMESE SEX SHOW by JOHN PAPAGEORGE, now playing at the Lounge Theatre on Santa Monica Blvd in Hollywood make little sense. It’s a light-hearted romp with great costumes and talented singers and dancers performing radio worthy pop tunes that are going to entertain and have you leaving the theater with a smile on your face.

Okay, you really want SSS_0159 copyto know what the show is about?

Let me try and explain it if I can.

We’re in the future. A mysterious military, industrial, entertainment complex called Monocorp has fabricated a global epidemic claiming that sex will lead to certain death. By controlling our most basic human need Monocorp stands to profit. Why you ask? Because they have created a “safe” sex product called the Love Light that is guaranteed to increase their power and wealth. Or something.

This somehow brings the world to the brink of an apocalypse and it will now take four fallen pop stars to overcome their pop star differences and band together in order to stop Monocorp’s evil agenda.

Are you following me?

If not it really doesn’t matter, because here’s SSS_0078 copythe thing. The Siamese Sex Show is a hoot. Director, KIFF SCHOLL, calls it “a living comic book that satirizes pop music, technology, and of course sex,” and while the story line may be a yawn to some, the show is a joy ride with cutting edge music and some stand out performances.

The entire cast gives it their all. Some are worthy of special mention.

EDDIE GUTIERREZ as “George O Thornhill” delivers a Broadway worthy turn as a nerdy Clark Kent type who ultimately betrays Monocorp. A strong singer and dancer Mr. Gutierrez presence here centers the craziness whenever he’s on stage.

ERIN RYE is hilarious as a sex robot with a “Doctor Evil” like tic, placing her little finger in the corner of her mouthSSS_0362 copy before speaking. Her joyful exuberance in this role is contagious.

RICCARDO BERDINI is at ease as “Mr. Hadji,” an Italian magician who also happens to be a great singer, while JILLIAN EASTON is an alluring love interest.

JANELLE DOTTE, MIKI HOLMES, ALYSSA NOTO and DAYNA ALICE AUSTIN, the four beautiful ladies the play calls “The Board” are excellent in their song and dance routines.

Other impressive cast members include ISAAC CRUZ, SEAN LEON, CLOIE WYATT TAYLOR and KEITH E. WRIGHT.

Kudos to APRIL THOMAS’ choreography, MICHAEL MULLEN’S costume design, SHEILA DORN’S wig and makeup design, DAVID OFFNER’S sets, YEE EUN NAM’S production design as well as the effective lighting by KELLEY FINN.

Produced by RACQUEL LEHRMAN and Associate Produced by VICTORIA WATSON of Theatre Planners, Book, Music and Lyrics by JOHN PAPAGEORGE, Rap Lyrics by rap lyrics by KOOL KEITH, MISTAH FAB ans J DIGGS, Siamese Sex Show is presented by El Greco Production.

WHEN:
Performances through Nov. 13:
Fridays October 14, 21, 28, November 4, 11 at 8:00 p.m.
Saturdays October 15, 22, 29 November 5, 12 at 8:00 p.m.
Sundays October 9, 16, 23, 30 November 6, 13 at 7:00 p.m.

WHERE:
Lounge Theatre
6201 Santa Monica Blvd., Los Angeles, CA  90038

TICKET PRICES:
$30 general admission

HOW:
(323) 960-7738 or http://www.plays411.com/siamese

Check out the music for the Siamese Sex Show here: http://www.siamesesexshow.com/music1.html

Hero Of The Underworld – Film Review

Review by: Peter Foldy

A gritty character study, HERO OF THE UNDERWORLD,  slowly draws you in and doesn’t let go as it exposes the lives of several down on their luck characters living and working in New York City.

“Dylan” (TOM MALLOY)  is the likeable, quick thinking overnight manager at a chic, upscale downtown hotel. Clearly heTom Malloy in Hero of the Underworld - 2 should by now have advanced higher on the ladder of success, both at his job and with life in general, but Dylan struggles with demons that won’t let go. He is a heroin addict whose girl friend hung herself  in his apartment and Dylan is burdened by the guilt. Abandoned by his his family and struggling to hold on to his job, Dylan is a pained and desperate man.

When a young woman, “Holly” ( NICOLE FOX) is badly beaten at the hotel, Dylan takes it upon himself to find her and save her from the drug underworld that he is quite familiar with. This leads to a bout of regret and self examinationNicole Fox in Hero of the Underworld as Dylan tries to overcome his demons, somehow convincing himself that Holly can help save him.

Ably directed by JOHN VINCENT, the film crackles with nervous energy and cutting edge humor. It also portrays a revealing look behind the scenes of hotel management–how they handle double bookings, who gets preferential treatment and why.

As you might imagine, money always talks.

Though lacking in some production values due to it’s budgetary restrictions, there are strong quality moments and stand out performances in this otherwise well made indie.

DAVID JOSH LAWRENCENicole Fox and Tom Malloy in Hero of the Underworld - 2 is likeable as the caustic hotel clerk, “Jarrod.”

LISA VARGA is convincing as an ill-fated call girl working to support her 9 year old daughter.

QUINTON AARON, lead in the film, “The Blind Side” (opposite Sandra Bullock) brings some star power as the drug dealer, “Tino,” as does the always impressive, CATHERINE MARY STEWART, playing a woman who has been moved out of her hotel room without her permission.

But this is Tom Malloy’s vehicle. Giving a believable, heart-felt performance as the wounded “Dylan,” he hits all the right notes. Malloy carries the film and helps elevate “Hero of the Underworld” to the top of this year’s indie releases.  Raw and emotional, “Hero of the Underworld” is a winner.

Available through Gravitas Ventures on November 14, 2016 to outlets everywhere.

 

 

 

Center Theatre Group Mourns The Loss of Founding Director, Gordon Davidson

October 3, 2016

Center Theatre Group Founding Artistic Director, Gordon Davidson, passed away Sunday, October 2, 2016.

“Gordon Davidson was one of the most renowned and respected artistic directors in regional theatre, in large part because he was one of the original founders of the entire concept,” said Center Theatre Group Artistic Director, Michael Ritchie. “He led Center Theatre Group for 38 years and produced one of the broadest arrays of plays, particularly new plays, of any theatre in the country.

Gordon Davidson. Photo by Craig Schwartz.

Gordon Davidson. Photo by Craig Schwartz.

Without his prolific vision for Center Theatre Group 50 years ago, the theatrical landscape in Los Angeles, and the country, would be very different. He remains one of theatre’s great leaders and I was proud to call him a mentor, friend, and colleague.”

From 1967 to 2005 Gordon Davidson was the Artistic Director of Center Theatre Group/Mark Taper Forum at the Music Center of Los Angeles. In addition to his role at the Taper, Davidson was the Producing Director of the Center Theatre Group/Ahmanson Theatre for 15 years, and the Artistic Director of the inaugural season (2004-2005) at the Kirk Douglas Theatre. In addition to redefining theatre in Southern California, he was one of the founders of the regional theatre movement and had a permanent impact on theatre throughout the country and the world.

Gordon guided hundreds of productions to the Taper stage while overseeing numerous special projects sponsored by the Taper. This work and his direction of many of the Taper plays were acclaimed both in Los Angeles and New York, garnering the Taper a Tony Award for theatrical excellence in 1977.

Plans for a memorial event will be announced in the coming days.