Friday, March 9, 2018


Unemployed Elephants by Wendy Graf 

This poster was irresistible! 

I cannot remember ever leaving the production of any play, in the literally hundreds of plays that I’ve reviewed, feeling angry.  Tonight is a night to remember and then forget.  The tiny Victory Theatre in Burbank has spared no expense to mount the World Premiere of Wendy Graf’s play, Unemployed Elephants. It’s a two hander that I’ll get to in a minute, but I must mention the pristine setting, a beauty of a set by Evan Bartoletti supplemented nicely by Carol Doehring’s lights and nice projections by Nick Santiago. 

Perhaps the most vital thing when we attend the theatre is to abandon the reality outside and come to the reality of what’s on the stage.  As the house lights dimmed two old biddies and I use the term specifically because their behavior was not only extremely rude, but through out the entire presentation they schmoozed, chatted and compared notes, using the white pages from their press kits illuminated by the stage lighting to bone up on one bit of information or another.  I was told that the biddy with the dyed brown hair was a woman named Pat Taylor who writes for the local weekly, The Tolucan.  I did not find out the other biddy’s name, but as they whispered during the scene changes and sometimes in the middle of a scene, inches from Marshall McCabe (Alex) as he brought one speech down toward the edge of the stage, the biddy on the right had the gall to lean in with her program to check some obscure information that most experienced reviewers might have checked before hand.

The nerve of folks who pass themselves off as theatre critics to so blatantly disturb the play is inexcusable.  It’s rude. If I knew the name of the blonder big hair biddy, I’d publish her name, too.  A fellow critic whose writing I admire said that I should have just told these old biddies to shut up.  I considered it, but as they were literally three feet from the stage in this intimate little space, and I directly behind them, five feet away from the action,  I silently fumed and made rude comments in my notes. I hope that the collaboration that Ms Taylor and her pal come up with become an interesting take on Wendy Graf’s World Premiere. Ms Graf and her collaborators deserve more respect than these women gave them. 

In press notes and in the text of the play, the plight of the elephants of Myanmar is spelled out sadly with information that because of the depletion of lumber and other political issues in the country, the elephants are falling into despair for lack of work. They are intelligent and productive critters who thrive when kept busy.

Episodic and fruitful, Graf’s long one act provides fodder for a marginal love story that Jane (Brea Bee) declares more than one time is ‘not real.’  Clever dialogue and the inevitable connection between two attractive twenty somethings, Alex and Jane, both lying through their teeth may or may not fall in love.

The meeting of the lovebirds in a distant airport is rocky.  Conflict is the fruit of drama and though it’s mostly banter, McCabe, a ringer for Harry Anderson of Night Court, persists to win favor and companionship as the coincidence of their bumping into one another from one scene to another progresses. 

To this progress, I must protest.  The play is written in twelve disparate scenes that call for the actors to provide scene changes for themselves. This made me wish that director Maria Gobetti, might have employed at least one silent koken, whom the actors may or may not acknowledge, who would facilitate the mostly simple scene changes. This would allow the actors to stay in character shifting from one situation to the next. Students of Kabuki Theatre will recall Kuroko who appear ‘invisibly’ on stage to change scenery or even provide props for the actors.  The audience cooperates by dismissing these black clad stage hands as an "invisible" part of the presentation. I felt sorry for the actors as they diligently moved scenery and props, staying in character I suppose, but it’s hard to keep the illusion going with the donkey work of changing the scenery.  To me, a koken (or two?) in the guise of a servant who worked at the various locations, even subtly changing costumes from scene to scene might have kept the flow of the play moving more smoothly. 

Unemployed Elephants is very cinematic in nature and though settings are nicely portrayed by Santiago’s projections, seeing this story as a Movie of the Week with actual locations might be very interesting. 

Aside from being distracted by the old biddies, this show deserves an audience who might behave and enjoy the clever dialogue with laughter in all the right places.  It gets a little heavy toward the end with Alex disclosing secrets that were a bit difficult to follow.  Ms Brea’s voice was not easy to take from time to time, but I think that young women in their twenties may be falling in to some kind of vocal thing, infected by one another, like Valley Talk (but this is NOT Valley Talk) that makes some of her dialogue difficult to handle. Acting chops are solid and Ms Gobetti’s direction is letter perfect (except for my koken idea..).

Brea Bee and Marshall McCabe
Photo by Tim Sullens

A World Premiere
by Wendy Graf
Directed by Maria Gobetti
The Little Victory Theatre
3324 W Victory Blvd
Burbank, CA 91505
 March 9 – April 15
Fridays at 8 p.m.: March  9 (Opening Night), 16, 23, 30; April 6, 13
Saturdays at 8 p.m.: March 3 (preview), 10, 17, 24, 31; April 7, 14
Sundays at 4 p.m.: March 11, 18, 25; April 1, 8, 15 
Tickets and Information:


Andrew Perez as Kinski

 (written and performed by Andrew Perez)

Theatre Row is home to experimental theatre unlike almost any other area of Los Angeles. Many years ago, actor/mime Richmond Shepard, became a visionary by purchasing store fronts in the 6400 Block of Santa Monica Boulevard in Hollywood. Recently, thanks to the efforts of Los Angeles City Councilman Mitch O'Farrell, the area, including The Complex, Second Stage, Sacred Fools and The Hudson Guild officially became "Theatre Row!" The Hollywood Fringe Festival centers in the area.  It's a funky stretch of Santa Monica, no glitz or glamor here, but some of the plays coming along are enterprising and "take chances." I use that term a lot when reviewing new works: taking chances. Pushing the envelope of relevance and art is not for the faint of heart. Thanks to playwrights, actors, directors, producers with vision like these, we move to new heights. Hopefully.

Having just learned of this piece by Andrew Perez that premiered in the Hollywood Fringe Festival last year, I was invited to come to review it. Parking can be a major challenge in this neighborhood. Not impossible, but.. if you come to see a show here, plan ahead! 

Pre-show brings Klaus Kinski to life with a chronology of his life including reproductions of paintings and video that shows the volatile spirit that fought tooth an nail with German director Werner Herzog. In this 'reliquary' of information we learn that Kinski may have been addicted to sex by his own admission having had sex with more than 130 women over his life time.  

The energy that permeates Mr. Perez's performance fades in and out of the manic episodes that Kinski was famous for. Part of the story tells of the two performances of Kinski's one man show that took him ten years to create, announcing that he, Kinski, was Jesus Christ. He was heckled off stage and abandoned it during the second performance.

Perez's presentation takes us on a ninety minute tour of the life of this irascible and outrageous personality whose ragged vocabulary and vomit of epithets was par for the course, especially, if he was challenged regarding his work. Frightening at times and perhaps confused at others, for those who are familiar with Herzog's films that starred Kinski, it may be an evening of enlightenment. Perez's performance was somewhat uneven, but, knowing the back story by reading the time line of Kinski's life and understanding the psychological hardships that the man experienced in his life, including the death of his mother during WWII by Allied forces, along with his voracious appetite for sex, that may explain deliberate moments of pause

Anyone who rents a tiny little space on Theatre Rowwell, Studio C just east of the Comlex entrance, and gathers an audience deserves to be seen. It's an education and though rough around the edges, it's clear that Kinski himself would most likely have a love/hate relationship with the man as seen through the eyes of Andrew Perez.  

(written and performed by Andrew Perez)
Directed by Eric G. Johnson 
Studio C - 6448 Santa Monica Blvd
Hollywood, CA 90038
Thursdays at 8PM
Through March 29, 2018 with possible extensions.
Tickets and information:

Friday, March 2, 2018


After enjoying the "Ducks" cast for the opening of Harold Pinter's The Hothouse at Antaeus, I was delighted to see the "Pelicans" cast to compare and contrast. 
Steve Hofvendahl, Melanie Lora,
John Bobek, Leo Marks, Josh Clark,
Gregory Itzin, Adrian LaTourelle
Photo by Geoffrey Wade Photography

On the page, the words of Harold Pinter don't really have a voice.  The intention and the severity of the characters is there, but unlike the poetry of Williams or the starkness of Beckett, the words are more suggestions and it takes a director like Nike Doukas with an excellent cast, actually two excellent casts at The Antaeus, to bring this very odd story of an asylum / rest home /convalescent home to life.  It's Christmas!  The eclectic cast of characters each have a story to tell, more or less through the eye of Griggs (crisp and present Leo Marks), whose actual job is a bit unclear until we figure out that he stands smartly out of the danger zone and may be the shadow government in charge of the whole shebang!  

In the first scene, setting the pace, the contradictions all insisted upon by Roote (Josh Clark) ricochet at a dizzying pace.  Roote's complete incompetence is obvious, yet he's managed to attract the very attractive Miss Cutts (cool in red Melanie Lora) to dally and dilly and folderol while she, at the same time charms sweet Lamb (to the slaughter Steve Hofvendahl)  and finds that Mr. Griggs is also someone to snuggle up to.

Enter  brash and forceful Adrian LaTourelle as Lush, matching Roote's alcohol consumption one for one and then some.  His job... (the actual job of anyone seems to have only to do with shuffling papers as well as the inmates/patients/guests?) is unclear.  Guests are never referred to by a name because that's the way it must be done.  "6457" is dead but Lush convinces his mother that he's off to another facility.  Roote thinks that he has had a chat with him on a date AFTER the patient's death!  Impeccable Griggs points out that the diary/calendar of Mr. Roote is sticking poorly in his memory and shows that "6457" indeed has passed away. A clerical error by Roote:  a '7' for a '9', shows that 6459 is, in fact.. a woman who has just given birth!  Hilarity ensues. 

John Bobek as the modest Tubb brings a Christmas cake from the under-staff with a bit more English accent than necessary and after a severe interval and much commotion, we meet Lobb  (Gregory Itzin), the new chap in charge of the facility accompanied by the ubiquitous Griggs and life goes on, pretty much as always with the inmates in charge of the store.

The Pelicans bring a totally different energy to Pinter's play and the effect is funny and chilling. Director Nike Doukas has the luxury of a  company roster deep with excellent actors to fill Pinter's imagination.  The ability to allow the actors to bring their own energy to each of these roles is the sign of a director who really understands the business of collaboration in the theatre.  Julie Keen's costumes, especially for Miss Cutts, reflect to a "T" the style of the fifties. Written in 1958, Pinter shelved the play for twenty years with the first production in 1980.  Doukas has captured the fifties and the voice of Pinter with aplomb.  With only a few more dates for performance, I highly recommend this show with either cast, but seeing both will be a revelation and the second time, with anticipation, the audience will not be disappointed. 

THE HOTHOUSE by Harold Pinter
Antaeus Theatre
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Maryland Ave.)
Thursday, March 8, 2018 at 8PM Fridays at 8 p.m March 2, 9 Saturdays at 2 p.m.: March 3, 10  Saturdays at 8 p.m.: March 3, 10 Sundays at 2 p.m.:  March 4, 11, 2018
Tickets and information: (818) 506-1983 or

Tuesday, February 27, 2018

THE ALAMO: a world premiere

Bobby Costanzo and Eileen Galindo

                                                      Photo by Ed Krieger

Ian McRae’s THE ALAMO, currently at The Ruskin Group Theatre at the Santa Monica Airport; directed by Kent Thompson was inspired by an op ed piece in the New York Times that sparked McRae's response to the “lies about WMD” and the subsequent war in Iraq. McRae’s strong polemic evokes the past and what seems to be an inevitable future for the long established Alamo Bar in the Bay Ridge section of Brooklyn.

Through the fourth wall, Joey (Bobby Costanzo) recalls his days of being a New York City cop and the subsequent hate that overwhelms him from time to time. He spouts angry alt-right rhetoric as we get to know the sundry denizens of The Alamo. Having lost his brother in Vietnam, Joey laments the drug bust that he eventually acknowledges led to his brother's service in the army instead of serving a couple of years in the slammer.  “He shoulda done the time.” More wounds are revealed as we meet the cast and dig deeper into neighborhood lore.

Munce (Tim True) and  Carmen, his wife (excellent Eileen Galindo) own The Alamo. Carmen reminds,  “It’s a business!”   Time for some changes: a new paint job and the revision of the name to suit the new neighbors: hipsters, poets and artists. She is considering The Poplar Tree (which refers in a gentrified way to what “Alamo” translates to in English.)  Plans for entertainment and fancy drinks are waiting in the wings.

In a parallel story we meet Mary (Milica Govich) and her rebellious daughter, Micaela (spot on Kelsey Griswold).  Munce and Carmen are long time friends of Mary and god parents to Micaela. Micaela’s dad, was lost that terrible day, September 11, 2001. The wounds are closing... but very slowly.  Mary volunteers at the 9/11 Memorial which Micaela denounces as a "sewage treatment plant."  Guilt drives Mary to do her best to keep some memory of her husband alive. Micaela plans to move forward with her own life and encourages her mother to do the same.  A beautifully moving “chat” with her dead father reveals that it’s not such a bad idea.

Joey rants and notes his brother’s picture has been removed for repainting the interior of the bar to change the atmosphere to welcome the gentrified tide on the horizon. 

An unnecessary third story involving the lone Mets fan (in heavy Yankees territory),  Tick (Jack Merrill) and his frantic wife, Claudine (over the top Nancy Georgini) expands their personal tragedy onto a side track that might be better examined in another story all together. 
John Lacey appears as Dominic, another long time pal and patron of The Alamo.

We return again and again to Joey’s story; rubbing away his hate, polishing his "worry stone" given to him by a therapist to help deal with his anger issues that entwine with the unwelcome changes at The Alamo.  His contrary feelings expand to his hatred of John Lennon and all that John and Yoko stood for: celebrated, while his brother and American soldiers were falling in Vietnam.  Highlights of his drunken encounter with the “Imagine” mosaic in Central Park and later, his heroic actions on December 8, 1980 at The Dakota in Manhattan are perfectly delivered and ultimately make Joey a Human being: worthy of our appreciation in spite of his angry reaction to the way the world is turning. 

John Iacovelli's multi-functional set brings the play home simply and realistically.   

More moments of irony and levity might better balance this somewhat over written piece. The world is changing, whether we like it or not.   

THE ALAMO by Ian McRae
A World Premiere
The Ruskin Theatre
3000 Airport Avenue
Santa Monica, CA 90405
Opened Friday, February 24th
Continues Fridays – Saturday at 8pm,
Sundays at 2pm through March 31, 2018
Tickets are $30 ($25 for students, 
seniors, and guild members)
(310) 397-3244
Ample free parking available on site

Thursday, February 8, 2018


Edward Albee (1928 - 2016) states that he was a long time pal of the American sculptor, Louise Nevelson.  The heady connections that we imagine in the world of the arts comes to life, more or less with his play, OCCUPANT.  Friends had told him that his imagined interview with Nevelson thirty years after her death, now on stage at The Garry Marshall, pretty much captured "her essence, her ambivalence, her sense of self."  The conceit that "Man" (James Leibman), who seems to have done his research very well on the long dead Nevelson (Martha Hackett), makes no bones about arguing the fine details of her life, conducting the interview and correcting her recollections from time to time.  
James Liebman and Martha Hackett
 Originally planned to star Anne Bancroft in 2002, that production was scrubbed due to Ms Bancroft's ill health. 

Nevelson was a 'self made' woman who says in the play that when she was a tiny baby that the great Shalom Aleichem lifted her to his eye level and declared, 
"... she is destined for greatness!"  From humble roots and hard working parents, Louise (nee Leah Berliawsky) grew up feeling that the prophesy would some how come true. 

Director Heather Chesley's choices for Liebman and Hackett have either been co-opted by the actors or she may have had a reason to allow the huge gaps of time and space to elapse between the characters as the play progressed.  Albee's style of having the characters address the audience from time to time is charming. The only impression left is that the energies of both actors seemed to be somehow compromised each by the other.  Liebman as a somewhat cynical interviewer works slowly and deliberately.  Ms Hackett misses opportunities to move things along with a change of pace. 

Ms Hackett presents Nevelson as a strong and capable woman in the words but less so in the performance. Who's in charge of the interview and where does its ultimate power lie?  In the text, it feels as though Nevelson herself is coming back from the dead to expansively share her story.  The premise must be of interest to anyone who loves her work, as she relates that she spent a better part of her life struggling for recognition. For the play it seems that in her inimitable style she would be presenting her life with vigor and panache.  The energy is lacking.

Nevelson discusses how the "eyes" are the most important part of her presentation, (though Paula Higgins' signature headscarf and flowing garments are perfect)  saying that she never went anywhere without two pairs of 'sable eyelashes.'  "Did you ever try three," the Man asks.  She did, she said,  but couldn't keep her eyes open and everyone thought she was going around asleep!

The strong statements of Nevelson's sculptures, an example of which looms over the second act, are impossible not to recognize.  She fell in love with wood and it's the wood that she'll always be remembered for.  The energy of the discussion between the living and the dead must come to life with passion and enthusiasm on behalf of the woman and for her art. There is a palpable energy when confronted by one of Nevelson's huge black sculptures in any art museum in the world.  For the play to work, that energy must be present.  It seems to be in the text and, hopefully, may be on the stage as the production moves along. This somewhat static 'two hander' is physically lethargic which no noe would ever have thought about the artist herself.  "Don't smoke!"

OCCUPANT by Edward Albee
West Coast Premiere
The Garry Marshall Theatre
4252 W Riverside Drive
Burbank, CA 91505
Through  March 4, 2018
Tickets and Information 
818 955 8101


Sunday, January 28, 2018


JD Cullum, Paul Eiding, Jocelyn Towne,
Rob Nagle, Peter Van Norden,
John Apicella, Graham Hamilton
Photo by Geoffrey Wade Photograph

When the wonderful local theatre company, A Noise Within, was essentially escorted out of Glendale, it took a couple of years for another wonderful company to come to town, to Broadway, no less, to bring professional productions to our fair City.  Having been a fan of Antaeus Theatre Company, a company of professional actors, and directors and designers for many years, enjoying their work in North Hollywood, it was exciting to see Glendale City luminaries attend the ‘ground breaking’ at the former electronics store just up the street from Brand to continue the Antaeus tradition of reviving ‘classic’ theatre. Embracing both ancient and relatively current dramatic literature, the appeal to those seeking to be enlightened and those just ready to be entertained is blossoming here.  What I’ve discovered, though having known it all along, is that when a community embraces an established theatre company, as Glendale did for years with A Noise Within, and is now beginning to embrace Antaeus, something happens.  There is a deeper feeling than just spending an evening to see a play.

We realize that this performance is happening before our very eyes.  It’s Living Theatre and no two performances are alike.  Antaeus embraces the tradition of double casting. The Hothouse currently up and running, presents two separate casts: The Ducks and The Pelicans. (See the show and these references will be clear!)  They do this for good reason. Company members are working professionals. Most actors are members of Actors Equity and earn a living not only from their work on the stage but in television and feature films.  Company members: representatives of Deep Space Nine and The Big Bang Theory were in attendance and other recognizable folks are supporting members of the company.

Our Antaeus actors are professional.  This preamble is to point up that when you go to see Harold Pinter’s The Hothouse, and I highly recommend that you do so… or any of the other productions scheduled for this season at Antaeus, you will find yourself in the company of well trained professionals who love living theatre.. both in the audience and on the stage.  (Not sure that the audience is well trained, but you get the picture.) The classics are presented to keep the company sharp and steeped in the long tradition of dramatic literature. 

Pinter is particularly challenging because his biting British satire rides sharply on the ears. Literally, in this production.  The crack of hard soles and heels on the stage underscore the sharp edges of the institution, the hothouse, where the ‘patients’ are known only by their numbers. Why?  Because that’s the way we do it.  That’s the way it’s always been done.

  Director Nike Doukas’s “Ducks” cast finds a comfortable and realistic ground of British accents. The play’s crisp pace has an undertaste of cruelty, which may be the whole point.  Roote (Peter Van Noorden)  is the doughty director of the .. what shall we call it.. asylum? The Home?  He rails and is confused.  Subtly, Gibbs (Graham Hamilton) has his eye on things, mostly clever self-preservation.  Cutts (blonde, pert and pointy Joycelyn Towne) enjoys time with almost anyone who can keep her ‘satisfied.’  The ambiguity of who’s who as the story unfolds introduces us to Lamb (hapless JD Cullum) and Lush (bombastic Rob Nagle). Moving us through a mystery of whom the father of a baby boy born to an inmate might be, as well as the death of 6457: another confusing and unhappy chapter in a day at The Hothouse.  It’s Christmas, for Christ’s sake! 

Rambling on, it’s clear that mismanagement, alcohol and just plain incompetence must all build to a raucus climax:  introducing us to the conclusion with Gibbs and John Apicella (Lobb) on board to continue the status quo.  Paul Eiding’s (Tubb) delivery of a Christmas Cake is testament to how even brief parts are enlivened by fine actors. 

Kudos to tech and Julie Keen’s period costumes to a fine point!

The Hothouse by Harold Pinter
Performances: Jan. 25 – March 11
Tuesday at 8 p.m.: Jan. 23 ONLY (preview)
Wednesday at 8 p.m.: Jan. 24 ONLY (preview)
Thursdays at 8 p.m.: Jan. 18 (preview), Jan. 25 (opening); Feb. 1, 8, 15, 22; March 1, 8
Fridays at 8 p.m.: Jan. 19 (preview), Jan. 26 (opening); Feb. 2, 9, 16, 23; March 2, 9
Saturdays at 2 p.m.: Feb. 3, 10, 17, 24; March 3, 10 (no 2 p.m. perf. on Jan. 20 or Jan. 27)
Saturdays at 8 p.m.: Jan. 20 (preview), Jan. 27; Feb. 3, 10, 17, 24; March 3, 10
Sundays at 2 p.m.: Jan. 21 (preview), Jan. 28, Feb. 4, 11, 18, 25; March 4, 11
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Maryland Ave.)
Tickets and Information:
(818) 506-1983 or

Sunday, January 21, 2018

Lee Meriwether honored by Theatre West


LEE MERIWETHER has spent many years as a recognized and beloved member of Theatre West while working as a celebrated actress in TV and feature films.  Just yesterday I enjoyed an early Star Trek ("That Which Survives" 1959!) with Lee as an otherworldly beauty whose very touch disintegrates the cells of those unfortunate crew members whom we know will meet a sorry end when beaming down to 'the planet.'  

Theatre West's planned celebration of Lee and her career and her work on behalf of the theatre will take place Saturday February 10, 2018.  See below for details.

Please reference Onstagelosangeles if you make reservations to attend this wonderful tribute.  And... please pass this invitation on to friends who understand the importance of 99 Seat Theatre in Los Angeles!  
Forgive the odd spacing.. this from the Theatre West PR representative Phil Sokoloff:
            Theatre West is celebrating its 55th Anniversary this year as Los Angeles’ oldest continuously operating professional theatre company by honoring one of its most famous members, someone who has been active with the company since its very inception.
            Lee Meriwether first became a national figure when she won the Miss America pageant in 1955. Following that, she was the first “woman’s editor” on The Today Show with Dave Garroway. Prime time series followed, including roles as a series regular on The Time Tunnel, Mission: Impossible, The New Andy Griffith Show, The Munsters Today (succeeding Yvonne De Carlo), Barnaby Jones (with Emmy® and Golden Globe nominations) and All My Children. Her thirty-plus feature film credits in a career spanning almost six decades include Batman: The Movie (in which she became the first feature film Catwoman, opposite Adam West), The Undefeated (with John Wayne and Rock Hudson), The Legend of Lylah Clare (with Kim Novak), Angel in My Pocket (with Andy Griffith), 4-D Man and Namu the Killer Whale (both with Robert Lansing).
            Live theatre, however, has long been Ms. Meriwether’s first love, and her many memorable appearances at Theatre West include its very first production, Spoon River Anthology with Betty Garrett, returning to that show four decades later for its 40th anniversary production; Aesop in Central Park with Richard Dreyfuss; Ladies of Hanover Towers with Carroll O’Connor; Pop.7, Passionate Ladies; Nunsense; A Short Stay at Carranor; and more, plus numerous appearances in regional theatres around the country, including productions of Follies (with seven former Miss Americas), The King and I (with George Chakiris); Plaza Suite; Hello, Dolly!; Mame; Last Summer at Bluefish Cove; The Odd Couple (female version); and her solo show Women of Spoon River: Their Voices from the Hill.
            Now, just in time before Valentine’s Day, Theatre West gets to return the love shown by Lee for the company with a special evening of performances, song and dance. The show features appearances and/or performances by Jim Beaver (Deadwood, Supernatural, Justified), Doug Jones (The Shape of Water, Star Trek: Discovery, Hellboy), George Chakiris (West Side Story), George Tovar (Magic Castle magician) , Michael E. Knight (All My Children), Bernie Kopell (The Love Boat, Get Smart), Adam Huss (Power), Robert Colbert (The Time Tunnel), Chad Darnell, Barbara Minkus (I’m Not Famous), Anthony Gruppuso (off-Broadway musical The Babies), Kiki Ebsen (daughter of Buddy Ebsen), Garrett Parks and Andrew Parks (sons of Theatre West co-founder and MGM legend Betty Garrett),  Lori Gangemi (CEO of Lee’s favorite charity, Ability First), more to come.
            Ms. Meriwether will also be presented with an award from the Hollywood Chamber of Commerce.
            Saturday, February 10, 2018 is the date of the gala occasion with festivities beginning at 6:00 p.m. with a reception featuring hors d’ouevres and beverages, as well as a silent auction.  The show begins at 8:00 p.m.
            The event is presented by Theatre West.
            At Theatre West, 3333 Cahuenga Blvd. West, in Los Angeles, CA 90068. This is near North Hollywood, Universal City and Studio City. There is parking available in the Panasonic Lot across the street (fee is charged). 
Admission: $55 (includes reception). Advance reservations are suggested, as a sell-out is anticipated. For tickets, go to, or call (323) 851-7977 (and reserve with a credit card).
Proceeds from the evening support the ongoing artistic and educational activities of Theatre West, a 501c3 non-profit organization.