Archive for Theater – Page 2

Final weekend – The Water’s Edge at The Road

PHOTO CREDIT: Chris Goss

::LAST WEEKEND::

Final extension of this successful season — this exceptional play must close Saturday, April 28, 2011.

Four dinner plates, a flash of gold at the ears, a lingering kiss, a bottle of scotch, a swipe of color on a tarpaulin… The clues are all there. In her thrilling two-act play Theresa Rebeck allows the right amount of foreshadowing. The Water’s Edge marches along with a degree of inevitability, because it’s certain things are not going to end well.

But no matter what we divine, the beauty of Rebeck’s craft is the thrill of watching this intensely raw family drama unfold.

When a man estranged for 17 years from his (now grown) kids and wife shows up to reclaim his old family home, unsurprisingly he is not welcomed with open arms. Now a wealthy investment manager, Richard (Albie Selznick) encounters a hostile daughter Erica (Paris Perrault) – no doubt poisoned against her father by her mother Helen (Nicole Farmer), whose blistering fury is still aflame, even after so many years have passed. Of course, bringing along a much younger girlfriend Lucy (Lauren Birriel) doesn’t help matters with the women. Then there’s his goofy college dropout son Nate (Patrick Rieger) – a sensitive, inarticulate fellow who seems to lack ambition of any kind. There’s an indication that the kids may have known that their long-absent father still provided for them, but that’s all they knew of his attempts at contact over the years.

As Richard tries to bond with his kids and reason with his incensed wife, Rebeck lets an old crime resurface halfway through Act One to explain the antagonism. But that’s not all she reveals in Act One, which ends with an alfresco dinner party from which Lucy has been excluded. Curiously, the tone of the play seems to have softened during our intermission, and by the opening of Act Two, the family appears to be getting along well and coalescing once again. Or are they?

Like Mauritius and Poor Behavior, Rebeck’s ear for naturalistic dialogue, well-observed inter-gender argument rhythms and credible plotting is once again on display. Rebeck captures the extreme awkwardness of the early scenes but the pace soon picks up and her pointed dialogue finds its fluidity and stride. She doesn’t just focus on piecing together a shattered family either, she also gives insight into the mindset of the younger girlfriend Lucy, revealing how and why she’d date a twenty-years older man. In a lesser playwright’s hands this character would merely have been an incidental figure.

Company Co-Artistic director Sam Anderson directs his well-selected cast with a sure hand, and everyone gives superb performances. With its wild and lush canopy of leaves, the magnificent and detailed set, designed by Desma Murphy, beautifully recreates the back porch and sandy pebble strewn back yard, ringed by tall trees, of this idyllic lakeside home in Neponset, Massachusetts.

 

The Water’s Edge is a powerful and thrilling drama with echoes of classic Greek tragedy. Don’t miss this play!

 

PHOTO CREDIT: Chris Goss

The Water’s Edge

The Road Theatre Company

Located two blocks south of Magnolia Bl. in the historic Lankershim Arts Center,

5108 Lankershim Boulevard., in the heart of North Hollywood’s NoHo Arts District.

Performances:

Runs until Saturday, April 28, 2012

Friday & Saturday at 8pm

Running time:

Approximately 2 hours, and 20 minutes, including a 15 minute intermission

TICKETS:

$20.00 – students and seniors

$25.00 – adults

Box Office:

Purchase tickets online here or by calling (866) 506 1248

Check their website for ***Pay-What-You-Can Nights***

 

ABOUT THE ROAD THEATRE:

Founded by Taylor Gilbert in 1991, The Road Theatre Company has amassed more than 130 regional theater awards and is helmed by Artistic Directors Taylor Gilbert and Sam Anderson, and Corporate Board President Ian Bryce. Celebrated for its commitment to the most meaningful and dangerous of theater missions – New Work for the Stage, The Road Theatre Company also remains committed to community service and is the resident company in charge of the Historic Lankershim Arts Center and its programming. Please visit The Road Theatre and the Lankershim Arts Center.

 

 

 

 

L.A. Views V: April 29, 1992 – Company of Angels

Company of Angels’ Playwrights Group presents the world premiere of L.A Views V: April 29, 1992 – eight short plays written by Gabriel Rivas Gomez, Jonathan Ceniceroz, Julie Taiwo Oni, Malik Burrogughs, Mayank Keshaviah, Michael Patrick Spillers and Nic Cha Kim.

Opening tonight (Saturday, April 28, 2012) the season will run on weekends until May 27, 2012 at their Downtown theater space.

Each of these eight one-act plays are set in Los Angeles, 1992, during the civil unrest that followed the exoneration of four LAPD officers involved in the Rodney King beating. The unrest sparked widespread looting, assault and arson. In all, 53 people died, thousands more were injured and property damage topped $1 billion dollars.

Twenty years later, these plays dig through our City’s ashes and offer accounts of a time whose impact on Angelenos is still being assessed. From business owners to looters, newscasters to people trapped in the darkness of it all, a diversity of perspectives shed light on the legacy of 4/29/92. Launched in 2008, the L.A. Views series embraces a different City of Angels theme each year. Previous L.A. Views productions explored the concepts of hunger, gentrification and the wanting of community, as well as the famous former residents of Company of Angels Home at The Alexandria Hotel.

 

Cast includes:
Charles Kim, Christian Gibbs, Dash You, Donald Lett, Donzell Lewis, Jennifer Perez, Jully Lee, Kamil Haque, Kenneth Sears, Lynnette DuPree*, Matt Pascua*, Michelle Young Cho, Noro Otitigbe, Phillip Garcia, Rafeal F. Clements*, Rebecca Cherkoss, Riley Rose Critchlow, Tripp Pickell, Travis McHenry and Xavi Moreno.

*Member of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States.

Directed by:
Carolyn Zeller, Daniel Munoz, John Miyasaki, Jully Lee, Nathan Singh and Xavi Moreno. Lead Director is Armando Molina.

 

 

L.A Views V: April 29, 1992

Company of Angels at The Alexandria
501 S.Spring St., 3rd Floor.
Downtown Los Angeles, CA 90013

213.489.3703
Performances:

APRIL 28 – May 27, 2012
Fridays—Saturdays 8PM;

Sundays 7PM

 

Tickets:
General $20.00
Seniors $15.00 w/I.D
Students $12.00 w/I.D

 

Opening NightSaturday, April 28, 2012 – $25.00 all seats, includes Post-Show reception with cast & crew

Discounts for Groups of 10 or more contact xmoreno@companyofangels.org

 

About the Production:
This production is made possible by in part by The James Irvine Foundation, Los Angeles County Arts Commission and the generous contributions of Company of Angels supporters and contributors.
Company of Angels would like to thank The Amerland Group, LLC, and Buxbaum Group for their patronage to CoA at The Alexandria.

info@companyofangels.org

 

 

 

Theater review for LA Weekly – “I was a Cellist in the Marching Band.”

Dear readers, this week’s theater review for the LA Weekly is of a mildly humorous reading by Sherry Netherlandfrom her book, “I was a Cellist in the Marching Band.

One performance remains at the Lonny Chapman Group Repertory Theatre in Burbank, this Sunday night.

Click here to go to the LA Weekly’s theater page with my review of I was a Cellist in the Marching Band, and then scroll down to find it.

 

~ OR ~

 

You can just read it here!!

 

Happy reading!

 

I was a Cellist in the Marching Band

Drawing on her stand up roots as well as her book, solo performer Sherry Netherland relates a string of mildly humorous, self-deprecating true stories that display her affable idiosyncrasies and general “cluelessness.”

Reading from papers behind a music stand, with a handheld mic to her lips, Netherland’s relaxed and confident delivery sells the quirky tales that touch on everything from growing up with a butch Mom and a Dad who loved show tunes (outwardly “gay” yet hetero parents) to decoding date signals to a rumination on the mysterious alacrity and demise of lesbian relationships. She occasionally alludes to – but omits – a handful of the presumably juicier tales.

During a handful of pleasant song interludes, Netherland strums her ukulele prettily, at one instance urging a sing along to the refrain of “I Hate People, Don’t You?” Less than successful is a “Rap song for people who read,” where she dons a blingy medallion and newsboy cap over her spiky hair, then finds rhymes for words such as “quotidian.”

 

I Was a Cellist in the Marching Band

Written and performed by Sherry Netherland.

Sundays only through April 29, 2012.

7pm

(818) 763-599

Lonny Chapman Group Repertory Theatre,

10900 Burbank Blvd.,

North Hollywood.

 

 

 

LA Stage Alliance announces LA Stage Talks

The LA STAGE Alliance has announced LA Stage Talks, a series of panel discussions moderated by LA STAGE Alliance CEO Terence McFarland, exploring various aspects of the creation of performing arts in the Southern California region.

The four remaining panels explore the creation of performing arts in Southern California Region, select Monday nights through July 9, 2012.

 

All events are free, but space is limited.  RSVP is required and can be obtained here.

 

For questions regarding tickets to the LA STAGE Talks, you may contact events@lastagealliance.com

           

The schedule of future LA Stage Talks includes the following:

Arts Criticism – How Does It Serve Los Angeles?

Monday, April 30, 2012

7 PM — 9 PM Co-hosted by Southern California Public Radio at KPCC Crawford Family Forum in Pasadena.

Location: KPCC’s Crawford Family Forum
474 South Raymond Avenue
Pasadena, CA, 91105

 

We know the first thing that arts criticism accomplishes – it tells the critic’s readers if they should attend the arts event or not. But does arts criticism bring other benefits to our communities and our society?

With a panel of leading film and theatre critics paired with arts academics and historians and the artists themselves, this Talk will explore the history and impact of arts criticism and what other ways our communities have utilized the writings of critics – or what new ways we might want to start!

Speakers include LA STAGE Watch columnist Don Shirley, LA WEEKLY Critic-at-Large Steven Leigh Morris, and several other speakers currently TBA.

 

Why Are Theatre-Makers the Masters of Collaboration?

Monday, May 14, 2012

7 PM — 9 PM Co-hosted by LA County Arts Commission/Ford Theatres at Inside the Ford.

Location: [Inside] the Ford
2580 Cahuenga Blvd East
Los Angeles, CA 90068

 

When we go to the theatre, we are (hopefully) presented with a seamless combination of creation, crossing many mediums, including lights, sounds, physical sets and furniture, costumes, language, and action, that all fuse together into one unified message and experience. But in most cases this unified creation is the product of many different artists, each with their own creativity and vision for how their part of the puzzle can best serve the script and the story being told. Just look in a program and you’ll see a huge list of artists, often running into multiple pages. So how does the director bring those many disparate creative voices together, collaborate in a constructive and exciting way to bring out the best of each artist’s talent, but also to make sure everything works together?

A collective of directors and designers will speak about the creative process, with stories of how they’ve found wonderful ways (and sometimes not so wonderful ways) to make this collaborative process work. The Talk will also include multi-media elements, so the participants can experience in sped-up form how creative ideas are born and then move through the process of collaboration to the final product we see on stage.

Speakers currently TBA.

 

What Is Artistic Direction and How Can You Tell When Someone Is Doing It? Monday, June 11, 2012

7 PM — 9 PM Co-hosted by the Geffen Playhouse, at the Geffen.

Location: The Geffen Playhouse
10886 Le Conte Avenue
Los Angeles, CA 90024

 

Theatres are arts organizations, and are led (in most cases) by an Artistic Director. But what does an Artistic Director actually do? Is it different than what Artistic Directors used to do, decades ago? And how can you tell if an Artistic Director is doing their job well or poorly? What are the qualities and talents that are most important for an Artistic Director to have? How do Boards and Consulting agencies find a new Artistic Director when someone retires or moves on? And what, exactly, should the relationship be between an Artistic Director and the artists, the audience, and their staff?

This dynamic Talk will move beyond the usual issues of finances, subscribers and ‘finding new audiences’ to dig into what’s at the core of being an artistic leader, and what sorts of people and behavior can best lead the cultural life of Los Angeles into the future.

Speakers currently include Randall Arney, Artistic Director of the Geffen Playhouse, and other speakers TBA.

 

What Am I Hearing? The Aural Life of the Theatre

Monday, July 9, 2012.

7 PM — 9 PM Co-hosted by the Colburn School at Zipper Hall.
Location: Zipper Hall
200 South Grand Avenue
Los Angeles, CA 90012

Composers. Music Directors. Arrangers. Sound Designers. Sound Engineers. So many different artists and technicians are intimately involved in what you HEAR when you attend the theatre. But what do they all do and how do they work together? How can you tell who created that particular bit of auditory magic that worked so well to tell the story?

In this interactive session, including many samples of music and sound from a variety of Los Angeles artists and productions, sound-based artists will shine a light into the inner workings of how they work together every day.

Speakers currently TBA.

LA Stage Alliance CEO Terence McFarland will moderate all discussions, with special guests.

All LA Stage Talks will be livestreamed, and panelists will take questions from online viewers during the events. Information on how to view and how to ask questions will be posted on each event date here, where further information on the LA Stage Talks program is available now.

 

LA STAGE Alliance, a non-profit organization empowering artists and engaging audiences since 1975, is dedicated to building awareness, appreciation, and support for the performing arts in Greater Los Angeles by strengthening the sector through community building, collaborative marketing, audience engagement, professional development, and advocacy.

LA STAGE Alliance serves over 900 arts organizations annually, including over 450 dues-paying member professional, educational, and community based producing and presenting performing arts organizations in the counties of Los Angeles, Orange, Riverside, San Bernardino, Santa  Barbara, and Ventura. LA STAGE Alliance’s constituents operate in intimate sized venues (99 seats or less), mid-sized venues (100-499 seats), and in large venues (500+ seats), and include independent producers, educational groups, and social service organizations that have a performing arts component.

 

Additionally, LA STAGE Alliance directly serves over 50,000 diverse local, regional, national, and international performing arts patrons and, indirectly, three million unique patron households by conducting research on their behavior and buying habits. Providing access to the performing arts for patrons and access to resources for organizations has been our focus for 35 years.

 

LA STAGE Alliance programs are sponsored, in part, by Actors Equity Association, The Angell Foundation, Arts Council for Long Beach, California Arts Council, California Community Foundation, City of Los Angeles Community Redevelopment Agency (CRA/LA), City of Los Angeles Department of Cultural Affairs, City of Pasadena Cultural Affairs Division, City of Santa Monica Cultural Affairs Division, Doris Duke Charitable Foundation, Goldstar, the James Irvine Foundation, Los Angeles County Supervisors through the LA County Arts Commission, Los Angeles Times, MusiCares/Grammy Foundation, National Endowment for the Arts, Ralph M. Parsons Foundation, The Sheri and Les Biller Family Foundation, SDC, The Shubert Foundation, and Sony Pictures Entertainment.

 

 

 

Tate Donovan talks about “Good People”

Making its West Coast Premiere at the Geffen Playhouse is David Lindsay-Abaire’s Tony-award nominated play Good People.

Last year I spoke with Tate Donovan shortly after he wrapped the New York season of Good People, which made its world premier at the Samuel J. Friedman Theater. The actor originated the role of “Mike”, a South-side Bostonite who has made good but whose past crops up in the guise of an old flame, Margie, who is looking for a life-line (played by Frances McDormand, perhaps best known for her lead role in the movie Fargo).

Effuses Donovan, “Yeah, it was one of the greatest experiences of my life, that’s for sure.”

Good People was  nominated for a Tony award for Best Play and McDormand won the Tony for Best Actress. The New York Times praised Donovan’s multi-layered performance, saying he “makes Mike an artful study in willed amnesia, and the pain that surprises him when Margie summons the ghosts of their shared past is all the more palpable by not being directly expressed.”

Donovan, who also appeared in David Lindsay-Abaire’s other renowned play, Rabbit Hole, claims Good People is the best play he’s ever been involved in, saying, “It’s set in ‘Southie,’ which is a very poor neighborhood in South Boston. In the first scene Frances McDormand’s character loses her job and she is convinced by her friends to hit up her old high school boyfriend who has become a successful doctor. There are few people who make it out of this insular, uneducated, sort of bad neighborhood. I don’t mind seeing her again, but I don’t have a job for her. She ends up coming to my house in the second act and she makes a lot of trouble for me.”

The actor has nothing but high praise for his Tony-nominated co-star, “Frances was brilliant in this. She was perfectly cast,” going on to add, “It’s one of the great plays of the modern era. When you read it or see a production, it’s incredibly well written. It’s crazy good. He is my favorite writer; every single play he does is so different. The world, the characters, the language, the genre – it’s amazing. Meanwhile, he’s super funny.”

 

Tate Donovan’s Broadway credits include Amy’s View (Barrymore) and Picnic (Roundabout). His Off-Broadway credits include Lobby Hero (Playwrights Horizon), The American Plan (MTC). Regional Theatre: Rabbit Hole (Geffen Playhouse); Glass Menagerie, Once In A Lifetime, Under The Blue Sky (Williamstown); Bent (Coast Playhouse); and productions at the Long Wharf and Mark Taper Forum.

Donovan has appeared in more than 25 films including Good Night and Good Luck; Neal Cassady; Nancy Drew; Ethan Frome; Memphis Belle; Love Potion No. 9; Clean and Sober; SpaceCamp and was the title voice in Disney’s animated feature Hercules. Appearances on TV include “Damages,” “The O.C.,” “Friends,” “Ally McBeal.” Tate has also directed episodes of “Glee,” “Weeds,” “Damages,” “Gossip Girl,” “Nip/Tuck,” “Medium” and “The O.C.”

Good People is now playing at the Geffen Playhouse.

The West-Coast production cast comprises of:

Cherise Boothe, Sara Botsford, Marylouise Burke, Brad Fleischer, Jane Kaczmarek as Margie and Jon Tenney in the role Donovan originated, “Mike.”

For more information on the current LA Season of Good People, visit the Geffen Playhouse’s official site.

 

A portion of this article first appeared on LA Stage Times.