GHOST ROAD PRESENTS THE UNRAVELING AT THE BROADWATER

 

THE UNRAVELING   

Ann Noble and Ensemble Photo Austin Crowley

 

Conceived and Directed by Katharine Noon, Ghost Road invites us to take Homer's epic poem The Odyssey: splash in current culture with on line gaming while Circe is up to old tricks with Odysseus on the controller and up comes a 'pop culture' take on an old, old story.  So much fun!

Susan ( Powerful Ann Noble) is a hard line college professor bent on awakening students to the foundations of learning the classics. It ain't easy.. toss in an on line romance between  Felix (Kelvin Morales) and Penelope (Camila Rozo) as they scrimmage with one old video game and then a new one and the stage is set.  Attempting to expand on the narrative is not easy.   However,  Ghost Road's ensemble creation presents an amazing and funny and poignant piece of Theatre that pretty much defies description.  The actors are all spot on. the wonderful set by David Offner is expensive and almost constantly in motion to reveal one  spectacular effect after another.. Okay.. some are a little corny..but still.  great.. The wide stage of the Broadwater  mostly works for this deliberately ensemble piece. Christine Breihan and Adam Dlugolecki's choreography is intricate. The final effect including movement and technology is Pure Magic!  

For folks who recall the Cohen Brothers'  "Oh Brother Where Art Thou"? references to some of the challenges that Odysseus conquers will find the 'video game'  version familiar..  

I love to be invited to participate in this kind of energy. To the producer's credit!! There s No Curtain Speech. the audience enters. We absorb the set.. Circe's  impressive loom  dominates stage left..  Is Circe weaving the story?  There's a chronoloy involvng an 'incideent' that remains a mystery. 

The fully engaged dedication of every member of the ensemble works to create wonderful special effects. 

Subtle harmonies from the women of the chorus (Christine Breihan, Liz Eldridge & Raven Pinkston) and the well coordinated efforts of the entire ensemble:  all are impressive.

For students who waded through The Golden Bough and The Odyssey  or saw the Cohen Brothers' film..  it will be a blast. 

For others, , it's Theatre with a Big T!

Parking for the theatre can be a challenge.. and the sidewalks up Lillian Way toward Santa Monica Boulevard are literally very dangerous.  Come early and have a care.

It's so much fun to  join an enthusiastic audience, wide eyed at innovative and  evocative Theatre.   It is, at once:

 Phantasmagorical and Fun!

 Cast

Ann Noble:  Susan, 

Kelvin Morales:  Felix, 

Camila Rozo: Pen

Chorus
Christine Breihan
Liz Eldridge
Raven Pinkston

Ensemble
Ronnie Clark
Sika Lonner
Brian Weir

CREATIVE TEAM

Conceived and Directed 

by Katharine Noon

Music Composed by Liz Eldridge
Movement Direction by Christine Breihan and Adam Dlugolecki
Lighting Design by Brandon Baruch
Scenic Design by David Offner
Sound Design by Cricket Myers
Costume Design by Adriana Lambarri
Prop Design by Cate Chapman
Puppet Designer Emory Royston
Associate Puppet Designer Jack Pullman
Technical Direction by Brad Bentz 

Intimacy Coordination by Carly DW Bones
Stage Management by Sam Pribyl
Produced by Mark Seldis, with assistance from Jen Kays
Music Production & Sound Engineering by Scott Cornish

 

Devised in workshop by Christine Breihan, Ronnie Clark, Liz Eldridge, Jen Kays, Sika Lonner, Kelvin Morales, Katharine Noon, Raven Pinkerton, Camila Rozo, Mark Seldis, and Brian Weir

The Broadwater Mainstage

1078 Lillian Way, 

Hollywood 90038

Tickets and information:

https://app.arts-people.com/index.php?preseason=g

Sat March 8 8pm OPENING

Sun March 9 3pm

Mon March 10 8pm

Thurs March 13 8pm

Sat March 15 8pm

Sun March 16 3pm

Mon March 17 8pm

Thurs March 20 8pm

Sat March 22 8pm

Sun March 23 3pm

Mon March 24 8pm

Thurs March 27 8pm

Fri March 28 8pm

Sat March 29 8pm

Sun March 30 3pm CLOSING

 

OPEN FIST ROCKS BAT BOY at Tehe OPEN FIST BIG OLD BARN

What happens when a spunky little LA theatre company discovers a funky musical from the late 20th Century first produced at The Actors Gang and then off to Bright Lights Big City in 2001 to high acclaim?  A morality tale? Broad characters and a big reveal waiting at the end?

Pat Towne directs.  That he directed Zappa's "Joe's Garage" is great credit!

It's a cast of thousands and an ambitious take on a 1992 super market tabloid feature story. . Bizarre?  You  said it!.

 A doubled edged take on life in a small West Virginia town ..slightly dated with fear and religion bubbling up as we progress with live accompaniment by Sean Paxton. 

   

Grace Soens, Bethany Koulias, Amir Levi,
Ben Raanan and Ensemble
Photo by John Dlugolecki

A terrific set by Brad Bentz becomes sundry and effective locations including the forest primevil  with an encounter with Pan (Amir Levi)  and a merry band of critters who take stage with a gratuitous  orgy rocking out to make Bat Boy (Ben Raanan) feel less like a freak and unite him with the girl of his dreams, Shelley Parker  (Bethany Koulias) *uh oh..* But I'm getting ahead of myself.

Whatever excited Tim Robbins and The Actors Gang to embrace this bizarre creative prompt is a gift.  Why do it? Because we can! It's an ambitious story and presented with broad strokes ..the subtext of which is a little fuzzy.  Why Doc Parker  (Scott Mosenson) does what he does is a bit vague.. uh oh.. and the final reveal is a little like Hamlet Act Five   Scene Two (I had to look it up..) 

Raanan as the titular  Bat Boy  succeeds with panache.   On Bentz's heavy wooden set, he scampers like Gollum in search of his Precious and brings the tabloid critter to life.   He is a quick study!

There are mysteries lurking in the plot that really don't matter that much. Why a tiny West Virginia  town is stirred by fear turns on religion.. a good goad..and the result is mixed emotions: Christian Charity? Fear of the Unholy/unknown? This we learn in the prequel as we approach the finale. I really liked the shadow play. 

The rag tag chorus over does the unique West Virginia accent, but it works..It's broad and amplfied by musical numbers. The really wonderful choreography is by Jennifer Maples.

The reputation of the play is wide spread and the opportunity to see what can happen with a splashy tabloid story expanded  creatively rocks at THE OPEN FIST. I recommend it.  It ain't Broadway! and appropriately so: less than slick and full of "let's put on a show!" heart. Mickey and Judy in the Open Fist's barn!

The entire cast is on board to  sell it and the audience is down with every number.

Well hidden upstage is The Band!  Excellent!

Mike Flick - Bass

Jim Miller -Drums

Sean Paxton - Keyboards

Kevin Tiernan - Guitar

Lights by Brandon Baruch are wonderful. 

BAT BOY: THE MUSICAL
CAST
BAT BOY: Ben Raanan
MEREDITH PARKER: Robyn Roth
DR.THOMAS PARKER Scott Mosenson *
SHELLEY PARKER: Bethany Koulias *
SHERIFF REYNOLDS::  Michael Lanahan *
RICK TAYLOR: Ethen Remez-Cott
RON TAYLOR: Isaac Council
RUTHIE TAYLOR: Sandra Kate Burck
MRS TAYLOR: Rebecca Larsen*
MAGGIE: Beth Robbins
REVEREND HIGHTOWER:Chima Rok
PAN:  Amir Levi *
LORRAINE: Grace Soens
BUD: Hutchins Foster
NED: Ziare Rene
DAISY: Carmella Jenkins

Crew:

Choreography by Jennifer Maples
Music Direction by Sean Paxtonscenic Scenic designer Brad Bentz; 

Lighting designer Brandon Baruch; 

Sound designer Christopher Moscatiello Mixer Alex Hix; 

Costume designer Michael Mullen; 

Graphic designer D. Morris. 

Produced byAmanda Weier and Christian Lebano co-produce for Open Fist Theatre Company. 

The production stage manager is John Dimitri.

Publicity for Theatre Lucy Pollak

BAT BOY: THE MUSICAL
STORY & BOOK BY
KEYTHE FARLEY& BRIAN
FLEMMING  MUSIC & LYRICS BY LAURENCE O'KEEFE

Directed by Pat Towne

Presented by Open Fist Theatre Company

Martha Demson, artistic director
 
WHEN:
• Previews: Feb. 22 through Feb. 28
• Performances: March 1 through April 6:
• Click here to view the performance schedule, which varies throughout the run.

WHERE:
Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

TICKETS:
• Previews: Pay–What–You–Will starting at $10
• Performances: $26–$45

HOW:
www.openfist.org
(323) 882-6912

 

 

 

ALABASTER AT THE FOUNTAIN

 

 

Audrey Cefaly's fanciful trip to Alabaster, Alabama, with shades of  romance and art  takes place where the whirlwind has reaped death, destruction and survival for June (Virginia Newcomb almost channeling Sissy Spacek).  June has spent  Three years or so..   alone.. 

except for the goats. 

In 2011, a tornado actually touched down in Alabaster, which may be the impetus for this odd tale.

Greeted by Fountain's new Artistic Director, Raymond O. Caldwell, we abandon our disbelief at the door and settle in for a psychological trip that has Tempest Tossed June and Alice (Erin Pineda) together for mutual combat and prickly banter; with what seems a current trend, with dialogue salted with FUs.

Well. F Me.. I think it works.  

June has been to Hell and Back, surviving a devastating tornado that flattened the family farm.  The former barn now supplies wooden panels that June uses to create "outsider art". Sadly, the reason that Alice  has arrived to photograph and interview June is because the tornado literally ripped June's body and spirit to shreds as it laid waste the farm. That June bears the literal scars from the storm as well as her mental and enduring psychic scars sets the scene for June and Alice's verbal fisticuffs  to reveal not one, but two poignant stories dealing with hurt and survival.

At Rise..  Weezy (Carolyn Messina)  introduces us to the devicce of talking goats.  Weezy is a goat.  Hers is another story of life and death which weighs heavily upon an odd sort of comic relief. Ms Messina created her role for the World Premiere. 

Weezy is a goat.  Not an actor in a goat suit. well she is an actor in a goat get up. .but we take her literally as a goat.  Weezy's elderly mother goat, Bib (Laura Gardner),  is slowly fading.

The  life stories of June and Alice with interjections from Weezy, sometimes in English and sometimes in Goat (baaah), move inevitably to personal revelations that draw us in to care about  both women, and the goats, as well.

As June, Ms Newcomb  finds nuance in the roar of PTSD and an inate conrary attitude which defends her from her memories and sad history.  June's solitary life seems to have channeled  the early 20th Century outsider Alabama artist Jimmy Lee Suddeth. This impresses Alice.  Alice on the phone to a friend. says that June's paintings are 'ridiculously good!'       Paintings created by  Jenine MacDonald are very very impressive!

Weezy's mom, Bib, mostly naps and bleets in her sleep..  Bib's transmogrification is highly symbolic with Frederica Nascimento's excellent set supplying a  waiting earthen  plot. 

The Fountain's use of projections is vivid and impressive. Tech for some scenes is over the top astonishing. A nightmare scene is truly a nightmare.

Casey Stengl directs with fluid motion that has Weezy into and out of ongoing scenes. Some scenes are slow and methodically   evotative with others delivered overlapping:  flashes of lightning

Welcome to Mr. Caldwell and Happy Annieversary to The Fountain  for 35 years service to art and social conscience in Los Angeles and our thirsty community.

Cast

Laura Gardner  as Bib (a elderly goat)

Carolyn Messina  as Weezy (recreating her origingal role)

Virginia Newcomb as  June

Erin Pineda as Alice

 Creative Team:

Scenic designer Frederica Nascimento; Lighting designer Alison Brummer; 

Sound designer Andrea Allmond; 

Video designer Ly Eisenstein; 

Costume designer Rebecca Carr; 

Makeup designer Krys Fehervari; and Properties designer Jenine MacDonald, who also created the paintings for the production. 

Intimacy director  Allison Bibicoff.  Assisted by Gina DeLuca..

Public Relations / Publicity Lucy Pollak

ALABASTER
• Written by Audrey Cefaly
• Directed by Casey Stangl
• Starring Laura Gardner, Carolyn Messina, Virginia Newcomb, Erin Pineda
• Presented by The Fountain Theatre

WHEN:
• Previews: Wednesday, Feb. 12 through Saturday, Feb. 15 at 8 p.m.
• Opening Night: Sunday, Feb. 16 at 7 p.m.
• Thereafter, through March 30: Fridays, Saturdays and Mondays at 8 p.m.; Sundays at 2 p.m. (dark Monday, Feb. 17)

WHERE:
The Fountain Theatre
5060 Fountain Ave.
Los Angeles CA 90029
(Fountain at Normandie)

TICKET PRICES:
$25 – $45:
• Premium Seating: $45
• Regular Seating: $40
• Seniors 65 or older: $35 (regular seating only)
• Students: $25 (valid ID required)
• Monday nights: Regular seating ($40) and Pay–What–You–Want (subject to availability)
• Previews: Pay–What–You–Want

PARKING:
• Secure, on-site parking: $5
• Street parking available in the neighborhood north of Fountain Ave.
• No parking after 6 p.m. on Mariposa or Alexandria Avenues south of Fountain Ave.
• Allow extra time to find street parking; make sure to read all parking signs

HOW:
FountainTheatre.com
(323) 663-1525

MARGOT ROSE "UNCONDITIONAL" AT THE SKYLIGHT

I cannot recall how long ago I reviewed, SORDID LIVES, one of Del Shores' pithy plays with a Texas Twinge.. It was there I saw for the first time the talent of Margot Rose: singer, actor, song writer and after a few years?  "Marme" to twins.

Margot Rose

Margot's beautifully produced memoir with music currently at The Skylight Theatre on Vermont features the talents of five musicians including Melina Young as Nora around whom Margot's 'unconditional love' revolves.  Ms Young provides the voice of Margot's daugher, Nora, in nice harmony with equal billing to percussionist Justin Lottie, keyboard/conductor Aaron Benham , Novi Novog on violin and Larry Tuttle on electric bass.

No expense has been spared to creat what feels a little like a posh Cabaret/Jazz Club. Set by Tommy Brown. Uncredted lights  are great.

Margot's hopscotch tale comes loose in chronological time over years of bliss and challenges with her former partner, Pat, who served as the vehicle for the birth of the couple's twins.  Foreshadowing comes to a passionate conclusion  showcasing  Margot's considerable musical talents.

The beautiful program for the show gets a nod because it's classy, sharing names and photos of the talented cast.

Director Anne Kenny's hand is subtle. Kenny has worked with Margot for years to fine tune this heart rending memoir.

Margot Rose is a suigenerous  survivor: extolling her sober age of 73.  The ebb and flow of her story shares her devotion to the memory of the good times and some sad ones.  

 

Performers: Margot Rose (Playwright/Performer), Melina Young (Singer), Aaron Benham (Musical Direction/Arrangements), Justin Lottie, (Drums) Novi Novog (Violin), Larry Tuttle (Guitar).

 

Production Team: Tommy Brown (Scenic Design), William Mellon (Producer), Nico Parducho (Stage Manager) Photos Sherry Rayn Barnett

 

What: “UNCONDITIONAL, A Musical Memoir”

Written and performed by Margot Rose

Directed by Anne Kenny 

Produced by William Mellon

Musical Direction/Arrangements by Aaron Benham

Recommended for ages 14+

 

Description: In the wake of one of life’s most profound challenges, Margot Rose’s UNCONDITIONAL, A Musical Memoir forges a path to resilience with a commitment to go on in a world of unpredictability. This is a true story of dedication and loss; community and love, in which two women, already in their mid-forties, went to extraordinary lengths to have kids. After a tragic loss, the family would be thrown into a spiral that, once again, forced them to grapple with the question – how do we become (and stay) a family? How are we able to go on?

 

Where:

Skylight Theatre

1816 ½ North Vermont Ave.

Los Angeles, CA. 90027

Parking information: http://skylighttheatre.org/plan-your-visit/

When: Previews 7:30pm on February 13, 14

Opening: 7:30pm Saturday, February 15, 2025

Schedule: 7:30pm on Thursdays, Fridays & Saturdays; 3pm Sundays

No performances on 2/28, 3/1, 3/2

Closing: March 9, 2025

 

How: Ticketing at https://www.unconditionalmusical.com/. More information: 818-749-6842.

 

How Much: Previews $20

Opening night tickets $40

Regular: $30

Discounts: Students and Seniors 10%

Antaeus prsents Twelfth Night

In the final scenes of director John Madden's "Shakespeare in Love," Shakespeare (Joseph Fiennes) .now smitten with his girl to boy actress/boy to girl: GIRL, Juliet (Gwyneth Paltrow as Viola),  he rushes to his parchment,  shapens his quill and sets forth with a new play for Twelfh Night at the request of Queen Elizabeth 

Open Act I Scene 1.. Shipwrect and a castaway maiden... Viola.

If you are familiar with the play? Good.  if not  go to Cliff Noes and refresh.   It's a comedy of cross dressed disguise and challenging wordplay and eventually .. as the Geoffrey Rush character says in the film.. It all works out! Great!

 

Director Armin Shimerman's reputation for knowledge of The Bard is well known. Antaeus Theatre Company's dedication to 'the classics' is right up there, too and this production reflects a wonderful use of the space in Glendale with a tribute to how the beautiful stuff of four hundred years ago...  .as our ears adjust to Elizabethan dialogue.. a fun time may be had by all. 

Shimerman's direction adds depth and good humor with swift action that pulls it all together. The mark of good direction is that each and all of the charcters/actors is in the same play  at the same time... 

Well.. ...except for Joel Swetow's  Malvolio, who knocks it out of the park with the passions of The Master Thespian!  Appropriately!

Quick synopsis? Shipwreck!   Twins tempest tossed on different distant shores. Viola  (Liza Seneca) becomes Cesario and snuggles up to Orsino, the Duke, played by David DeSantos, smitten with Olivia.

   Belch makes mischief. Jocularity ensues. Not drowned at sea, Sebastian (Isaac Ybarra ) shows up.  All's Well, etc. 

Here comes a slight 'quibble' as an actor pal of mine might say.  Shimerman's double   casting slightly challenges the audience with a couple of uses of the same actors for different roles.  If you are familiar with the plot, properly abandoning disbelief and going with the flow, it all works out. Referring to the program helps. .  

Flip side of this tiny note is the choice to double cast Kitty Swink.. one of my very favorite actresses for a long time.. as the crusty Maria (pronounced Mar eye uh) who is smitten with Sir Toby (Rob Nagle) and takes no prisoners..She also plays the rascal, Fabian. Slap a mustache on her and a cool hat and we have some fun.

 Liza Seneca's transformation from Viola to the man servant, Cesario is very clever and as long as you go along with the story, works beautifully.   

Stamndout John Allee as Feste (the Fool!) may be.. as Shimerman suggests . the only truly sane person on the stage.  His great physicality and professional piano chops give the production nice boosts of energy, especially with the finale  Hey Ho The Wind and the Rain!

 As with every Antaeus production I've reviewed. for years.. the sets are imaginative and functional and beautiful.  Christopher Scott Murillo is the designer and Vickie J. Scott's gorgeous lighting keep the flow of the action moving well.  

Kate Burg's  'modern' dress costume designs are rustic and earthy, making the characters more down  to earth than  if we'd seen them in Elizabethan finery.  

A fun surprise is Alberto Isaac as Sir Andrew Aguecheek.  Shakepeare describes  him as a sort of an Ichabod Crane. Mr. Isaac is five two and plays it broadly.

Veralyn Jones  as Olivia wears her mourning weeds well and is risen from the funk of her departed brother's passing  to find Cesario pretty interesting as does Count Orsino (David DeSantos) as well with very mixed and confused emotions  flying left and right when it comes to Viola / Cesario..

Know the story. If you are familiar with the plot and tune your ear to the language, be prepared to rise and sing along with  Feste and the cast:

Hey Ho.. The Wind and the Rain.. 

TWELFTH NIGHT

by William Shakespeare

Antaeus Theatre Company

110 E Broadway, Glendale, CA 91205

 Now through March 17, 2025

Save Your Seats Now!
Single Tickets start at $45, or SUBSCRIBE and see Twelfth Night and The Glass Menagerie for $60 

Cast:
FESTE: John Allee  
ORSINO/POLICE OFFICER: David DeSantos 
ANDREW AGUECHEEK/CURIO: Alberto Isaac  
OLIVIA: Veralyn Jones .jones
ANTONIO/OLIVIA’S VALET: Luis Kelly-Duarte
TOBY BELCH: Rob Nagle
VIOLA: Liza Seneca
MALVOLIO/SEA CAPTAIN/POLICE OFFICER: Joel Swetow
MARIA/FABIAN: Kitty Swink 
SEBASTIAN/SAILOR: Isaac Ybarra 
 
 

CREW:

Scenic Designer: Christopher Scott Murillo  

Costume Designer: Kate Bergh
Lighting Designer: Vickie J. Scott
Sound Designer: Carter Dean .
Properties Designer: John McElveney
Composer/Music Director: John Allee
Intimacy Director: Jen Albert
Scenic Assistant: Carter Vickers
Production Stage Manager: Jessaica Shields
Production Dramaturg/Assistant Director: Kaite Brandt 

Assistant Stage Manager: Jess Osorio 

Exchange Parking Structure

Address: 115 North Artsakh Avenue
Number of Spaces: 694
Rates: First 90 minutes free, $2.00/hour, Maximum daily charge: $9.00
With validation: $1 for up to four hours

Marketplace Parking Structure

Address: 120 Artsakh Avenue
Number of Spaces: 1,124
Rates: First 90 minutes free, $2.00/hour, Maximum daily charge: $9.00
With validation: $1 for up to four hours

 

Recommended for Ages 10+

Run Time: 2 hours and 30 minutes, including one 10 minute intermission.

We have Free Special Events Following These Shows:

Sunday, February 16 at 2:00pm - After Words: A casual post-show discussion with Artistic Director Nike Doukas, exploring how the show resonated, raising new questions, and continuing the conversation.

Monday, March 3 at 8:00pm - Meet the Artists: A post-show conversation with the actors, where they share insights, behind-the-scenes stories, and answer your questions.

EVANSTON SALT COST CLIMBING at Rogue Machine

Author Will Arbery 's "Evanston Salt Costs Climbing"...     Rogue Machine's first effort with new Artistic Director, Guillermo Cinefuentes, offers at least a partial  answer to the question "What might happen if Samuel Beckett met Michael McClure's  The Beard?"  In Rogue Machine's West Coast Premiere, the voice of the playwright is heard clearly in each of his four strong eclectic characters whose dialogue turns on suicide, death, exitential angst and the issue of the best way to make the roads in Evanston, Illinois safe when the snows fly and the icy roads become slick and dangerous.  It's a comedy of sorts.

Michael Redfield  (Right)  as Peter and Hugo Armstrong as Basil

 

Brilliant performances by Michael Redfield  as Peter and Hugo Armstrong as Basil with Peter being the guy most conflicted with situations in his life.. considerng suicide.  When the 'FUs' start flying, we see the loving comradery that Peter and Basil share. They are  the salt truckers who spread salt on winter roads in  Evanston, Illinois and survive the Angst of Life.  

Lesley Fara (Maiworm) is excellent as   supervisor for Public Works and grateful for Basil's attention in the mix. She appears and disappears along with the mysterious woman in the purple hat. 

   

Kaia Gerber  is wonderful as Maiworm's daughter Jane, Jr.  with her glass shattering screams she presentss another of the playwright's voices whose anxiety and dreams congeal in a final loving rendition of John Prine's Angel from Montgomery. 

The basic theme of Salt seems to be the appreciation of   life.. and death... with side trips to angst,  doubt and changes in the confidence of each of the four characters. .

The fundamental essence of Rogue Machine Theatre .. as I've come to appreciate this company over the years, turns on cutting edge theatre that challenges the company as well as their loyal audience.  This is a play to be experienced.

 

Full disclosure.  I have known Michael Redfield (Peter) all of his life and am a fan. The challenge that he and fellow trucker Basil (Hugo Armstrong) share, along with Maiworm and Jane Jr. is to sustain a relentless pace in an existential and slightly loopy scenario.  Director Cienfuegos  boosts the the banter  with appropriate physical movement  choreographed by Myrna Gawryn.  Dan Weingarten's Lighting Design and Chris Moscatiello's Sound Design are spot on.  Mark Mendelson's scenic Desig :  spectacular

  

Arbery's text echoes Beckett occasionally, but it all comes back to the author's own angst and how to deal with it.. The wide stage at the Matrix is  perfect for this piece AND!  the air conditioning for the Sunday Matinee brought the icy chill of Evanston, which prompts an advisory to bring a sweater!

 

Cast

Hugo Armstrong as Basil

Lesley Fera as Maiworm

Kaia Gerberas Jane Jr.

Michael Redfield as Peter 

PRODUCTION TEAM: Mark Mendelson (Scenic Design), Dan Weingarten (Lighting Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Jenine Mac Donald (Prop Design), Michelle Hanzelova-Bierbauer (Projection Design), Victoria Hoffman (Casting), Myrna Gawryn (Movement Director/Intimacy Coordinator), Rachel Ann Manheimer (Stage Manager), Grant Gerrard (Technical Director)

"Evanston Salt Costs Climbing"

bu Will Arbery

Directed by Guillermo Cinfuegous

 ROGUE MACHINE (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(street parking)

 8pm Fridays, Saturdays&Mondays; 

3pm Sundays 

(No performances on February 10)

Closing: March 9, 2025

 Reservations https://www.roguemachinetheatre.org/

Information 855-585-5185

 

General Seating on Fridays and Saturdays: $60

General Seating on Sundays and Mondays: $45

Seniors: $35

Students with ID and children under 18: $25

Shows4Less: Mondays, February 17 ($20+) February 24 ($25+)

Photos by Jeff Lorch

Eclectic and challenging MOTHER SISTERS

 

 What a chance meeting in Pasadena has turned into is a Trip in the literal sense of the word. Thanks to an ingenious way to produce a play and the serendipity of finding the most unique space in all of Los Angeles to produce a show in, Makela Vogel has invited special women in her life, her Aunties (I think her mother's sisters)  from a huge family,  to share. She tells their stories with simple costume changes and a bit of attitude boosted by interstitial musical themes.

Finding Claire Graham's fantastic studio at Avenue Fifty and York is your first challenge.  Look for the amazing new marquee at the Bob Baker Theater and then with any luck at all, you'll find parking. Go early and meet the guys across the street creating huge burritos.. What ever you do..  cross only at the stop light.  Streets are dark and the traffic is in a hurry.

Prepare to enter a whole new world, Ariel. Graham's studio / performance space contains a collection of wonderful artifacts that help..in an odd juxtaposition  to set the scene for Ms Vogel's very personal tribute to her family.

It takes a while to understand.. at least for me, (there was no program for references) to get it that each of the actress's monologues turns on special women in her life: Ms Vogel's real life aunties whom she interviewed and took verbatim notes to present their stories  in their own words. 

It's personal.  

The stage setting is a seat of the pants deal.  If you are not well padded, bring a cushion!  

This sort of autobiograhical stuff is a great way to expose some very deep feelings and, in a way.. work them out to share the wonderfulness of your family.  

On a tiny "stage" in the MorYork space, we are basically in a straight forward proscenium situation. One note: sitting front row audience right, one of the back lights (clever desk lamps clamped to large wooden folding walls, shines into the eyes of the guy in the far right seat.  Lighting never changes.. in a more expanded theatre setting, that would be an asset to depict mood of each aunt and their individual time periods.

As Ms Vogel has mostly directed herself, assisted by Echo Theatre Company member Natalya Nielsen, the simple and straight forward approach makes no effort at extreme character shifts.. She adopts a new hair style and wardrobe each time from an antique chest of drawers. With no ceremony, she comfortably moves in mood and costume to her next "mother sister"..   The entire experience of seeing Claire Graham's studio and absorbing the  relatively short one act monologue (monologues) brings one close to the heart of what theatre is supposed to do:  share feelings. and maybe ideas.. I especially liked the Hippy Auntie who traveled all across the country and wound up in a Washington State commune with all the trimmings. Far Out. 

"The first time I left home.." was probably the prompt that the actress gave to her aunts.  I was at  first confused because of the  ages of the women. But, as Ms Vogel moves from one story to the next, it became clear that her goal was to tell each individual aunt's story and then..concluding with her own.

Hailing from Roswell, (I think) New Mexico, no mention of UFOs or the Alien Landing are included, but my guess is that the actresse's family may have some personal insights there, along with the adventures of young women, naive and Fertile! who wend their way into the lives they often had to create all on their own.

In conclusion, Ms Vogel's reads to us from her journal; coming back to her present self and to her family with the caveat that when one seeks Freedom. that the strength to forge ahead comes from personal resolve and action.  Don't forget the doing.. the action and be prepared to accept the consequences.. come what may.  

Understand that this is a work in progress.  It is a double dip arts adventure. Only three performances remain. So!  Head to Highland Park to support this tender and heart warming effort.

I highly recommend this short run performance  for the double whammy of the archival stuff created and collected by Mr. Graham,  Mother Sisters is a poignant work in progress.

MOTHER SISTERS

• Written, Directed and Performed by Makaela Vogel
• Assistant Drector Natalya Nielsen
• Presented by The Echo Theater Company, Chris Fields artistic director

WHEN:
Nov. 21 – Nov. 24
• Thursday, Nov. 21 at 8 p.m.
• Friday, Nov. 22 at 8 p.m.
• Saturday, Nov. 23 at 8 p.m.
• Sunday, Nov. 24 at 8 p.m.

WHERE:
MorYork
4959 York Blvd.
Highland Park, CA 90042

TICKET PRICE:
$25

HOW:
www.EchoTheaterCompany.com
310-307-3753