THIS IS ME

LETTER FROM THE FRONT LINE  by Carol Kaufman Segal

 

After celebrating its 25^th Anniversary at The Soraya in 2017,  DIAVOLO  Architecture in Motion returned to The Soraya for its fourth time with This is Me: Letters From the Front Lines.  This production from Artistic Director Jacque Heim premiered Friday, July 31, at 4 PM on The Soraya Facebook page, The Soraya’s fourth online performance.

 

This is Me is offering an insight into how military veterans respond to their lives and what it means to be true warriors on the front lines, a lesson for all of us today to fight the invisible enemy that all humanity is currently battling.

 

The dancers’ performances are outstanding.  They navigate through and around huge props that are made to look like apartment buildings and other structures that affected their lives, all the while never losing their gracefulness as they perform flips, jumps, and falls, all the while wearing masks.  They are amazing to watch.

 

The Warriors in the production are as follows:  Shannon Corbell, U.S. Air Force, Tyler Grayson, U.S. Army, Lucas Haas, EMT, Mariella Keating, Nurse, Chris Loverro, U.S, Army, Sasan Najibi, MD, and La’Vel Stacy, U.S. Navy.  Other performers include a Matt Wagner, Safety Coordinator/ Performer/ Co-Choreographer, Abraham Meisel, Video Archivist/Performer, and the following Performers/Co- Choreographers, Derion Loman, Daniel Jacob Glenn, Evan Turner, Lex Shimko, BethanyRose Boutwell, and Amanda MacLeod.

 

Jacque Heim is now in the fifth year of the company’s The Veteran Project, creating This is Me to help illustrate words of veterans by interweaving them through DIAVOLO choreography that expresses their thoughts.  More than 500 Los Angeles area veterans have participated in the project.  Heim said, “The Veterans Project has completely changed my life, changed my mission changed my company”…..“ Even though these men and women do not like to be called heroes, we consider them to be.  They sacrificed their lives for a giant cause…their country and its people.  Who can do that?  I cannot do that.  It is beyond courage, and the reason we’re in the land of the free, because all those men and women gave their lives.  Beyond thanking them for their service, we have to embrace them as our brothers and sisters as part of our own family.  The work and mission of DIAVOLO and this film, This is Me, is about celebrating humanity, Veterans and COVID 19 responders are beautiful humans.  That has to be shown.”

 

 

SHOW ME A HERO by Carol Kaufman Segal

             

Show Me A Hero, written by Willard Manus, is making its world premiere at the Brickhouse Theatre in North Hollywood.  The play is about two real people, Alexander Panagoulis (1939-76), a Greek politician, and Oriana Fallaci (1929-2006), an Italian journalist, author and political reviewer.  When living in Greece, Manus was intrigued by Panagoulis when he first heard about him.  After reading a story about him being interviewed by Fallaci, he wrote Show Me a Hero about their love affair, fictionalizing their names.

            

In 1974, following the collapse of the military dictatorship in Greece, Luisa (Lisa Robins) came from Italy to interview Petros (Ilia Volok).  He had become famous for fighting against the military dictatorship that had taken over in 1967 and was arrested after his failed attempt to assassinate the dictator on August, 1968.  During the interview, Petros becomes very emotional in relaying his years of pain, torture, and deprivation to Luisa.  He finds her easy to talk to and she, in turn, finds him to be a real hero.  Very quickly, they fall in love.  Thus begins their amorous romance.

When they are together it is quite obvious that Petros and Luisa are very much in love, but she is not free to spend all of her time with him.  She still has a job to do and must leave Greece, periodically.  However, after each assignment is finished, Luisa returns to Petros.

Petros is not a man who can sit back without wanting to fight for what he feels is right. He has decided that he must seek out the perpetrators who were involved in overthrowing the Greek government.  Despite the warning of his friend Dimitry (Rico Simonini) and the woman who loves him, he is fixated on finding those who tried and succeeded, for a while, in taking over and ruining the country he loves.  Sadly, this time he pays for his unsuccessful attempt with his life.

            

I was simply mesmerized throughout this one act play, not only for the work by Willard Manus, but by the emotional and truly phenomenal performances by Ilia Volok and Lisa Robins.  I also have to give credit to Rico Simonini for his small, but important role as well.  This world premiere production was scheduled to play at the Brickhouse Theatre in North Hollywood through March 29.  I am hoping it will be able to return, and if and when it does, I highly recommend it.

HIGHLY RECOMMENDED

           

TAMING THE LION by Stan Mazin, Guest Reviewer

A World Premiere of a new play, “TAMING THE LION” written by Jack Rushen opened at Theatre 40… and what an interesting play this is.  Based on a true incident, the play concerns a gay actor named William Haines who acted in 50 films between 1922 and 1934, and who was the number one box office draw at the end of the silent era.  Fearing that Haines’ gayness might prove to be detrimental to the MGM Studio name, Louis B. Mayer and Irving Thalberg attempted to force Haines to marry.  Haines was already in a committed relationship with Jimmie Shields, a relationship that lasted until Haines death in 1973.  Consequently, he refused to comply with MGM’s wishes, ultimately giving up the business and becoming an interior decorator from then on.  Comparisons were made with, supposedly, closeted Ramon Navarro and Rudolph Valentino, but Haines stood his ground and refused to live a lie.  And so you have the story.  Written with believable conversation by actor playwright Jack Rushen who was a two time recipient of the Julie Harris Playwriting Award from the Beverly Hills Theatre Guild, the play flows comfortably from scene to scene.  The second act has more action than the first which naturally contains more exposition.  Directed with acute sharpness by Melanie MacQueen, the characters come to life as quickly as the play begins.  Landon Beatty does an excellent job as William Haines, while Niko Boles portrays his lover Jimmie with emotion.  Marie Broderick portrays Joan Crawford, and while she does not give an impersonation, she is strong and real in her relationship with Haines until the end.  Kevin Delude gives another realistic portrayal of Irving Thalberg, as does Jean Mackie as Ida, Mayer’s secretary.  But it is Jeffrey Winner, in his portrayal of Louis B. Mayer, who carries the bravado necessary to ‘become’ the head of the MGM Studios.  While the title makes you think that Taming the Lion refers to the taming of Mayer himself, I believe it is his pressure to try to influence Haines’ decision to marry that the title of the play refers to.  The set design by Jeff G. Rack is another great set for Theatre 40, containing basically 3 areas, the Haines/Shields living room, Mayer’s office, and a table at the Brown Derby, complete with black and white character drawings of Hollywood stars.  The costumes by Michele Young served the play well as did sound design by Joseph “Sloe” Slawinski, and Hair, Wigs, and Makeup by Judi Lewin, and Stage Manager, Don Solosan.  Press is by Philip Sokoloff.  Overall the play stands as a lesson in American theatrical history to show us all what a long way we have come to accept this subject matter. 

Reviewed by Stan Mazin, March 13, 2020

LA VIE EN ROSE by Stan Mazin, Guest Reviewer

“La Vie en Rose” at The Odyssey Theatre starring Julia Migenes.

What can I say?  After a four year absence from the stage, Julia Migenes performed her one person almost farewell performance, and as it happened, it was the last performance at The Odyssey Theatre, since the upcoming performances have been cancelled due to the Carona Virus, spreading throughout our country.  So, how fortunate can we be to have seen this artist perform one of her past concerts.! Her show, “La Vie en Rose” is scheduled to return to the Odyssey stage sometime in September, so whatever you do, make sure you run, race, and rush to get tickets to this beyond excellent performance.  Julia is a master craftsman, and I cannot stress enough how watching her perform is more like a master class in acting, singing, and interpreting a song as no other person can.  And the songs were all in French.  What she does in her relaxed almost humorous way to to describe what the next song is about, while giving a little of the history of the song, and who sang it… then she follows by performing in her own brilliant way the song she described.  Most of the songs were heart wrenching, while some were whimsical.  And even though other than part of the last song, they were all in another language, she has a way of acting the song so we could understand her emotional commitment during her performance.  Among the songs sung were first a combination of Mon Homme (My Man), music by Maurice Yvain with French lyrics by Jacques-Charles and Albert Willametz… with Milord (My Lord), written by Georges Moustaki and Marguerite Monnot, both tunes very recognizable to those of us who do not speak French.  She followed these with two Charles Aznavour songs, Hier Encore and La Boheme.  Other songs sung were Les Paumas Du Petit Matin by Francois Rauber and Jacques Brel, and La Chanson Des Vielles Amants by Jacques Brel.  Julia even talked about certain songs not sung in tonights performance.  She closed with Les Parapluies de Cherbourg (The Umbrellas of Cherbourg), lyrics by Jacques Demy with music by Michel Legrand, and it was this final song that she performed partially in English, and it only showed her prowess being able to sing in any language with equal emotion.  The lighting for this show was as emotionally full as the performance of the soloist, and was designed by Bosco Flanagan.  The scenic design was by Chris Bell, simple with a grand piano, a couple of chairs, an old phonograph, and small step stool so Julia could sit on the piano.  The sound design was by Christopher Moscatiello, and included her head microphone so she could almost whisper sometimes, but could be clearly heard throughout the theatre.  The stage manager who also ran the sound and lights was Jacob Price.  The PR person was Lucy Pollack, and the show was produced by Beth Hogan.  Directed by Peter Medak, Julia used all parts of the stage, creating one emotional moment to another.  But the woman who was onstage with her, supporting her in every way possible, was her accompanist on piano, Victoria H. Kirsch, an outstanding pianist who felt every emotion with Ms. Migenes.  I cannot say enough about this very special show.  Look for it when it comes back and DON’T MISS IT!

Reviewed by Stan Mazin, 3/14, 2020

MURDER MAFIA by Carol Kaufman Segal

           

Murder Mafia is a presentation at the Edgemar Center For the Arts in Santa Monica. It is directed and produced by Derek Jeremiah Reid.  It features a cast that includes Vanessa Gelacio, Carly Harper, Deia Jain, Marion Maclou, Malu Martins, Albi Neziri, Meitar Paz, Mariana T. Restrepo, Manni J. Santamaria, Salvatore Tabone, Rory V, Josefine Wallensgaard and Sashil Zakwai.

            

Since Murder Mafia is an improvisational show, there is no written scrip for this production.  The actors know what the play is about, what is supposed to occur throughout to make it all happen, and the actors are given their characters to perform in order to do just that.   

            

The party game Mafia is the inspiration for this murder mystery/comedy and the audience becomes involved when Derek Jeremiah Reid, the Master of Ceremonies of the production, tells them there will be ten suspects, one of whom is a member of the Murder Mafia. He then asks the audience if any one of them can find the killer…”before it’s too late”. 

            

Then the production begins with one murder after another before the real culprit is discovered.  Reid, as Master of Ceremonies, does an outstanding job keeping the play moving and adding to the laughs throughout until the very end.  It’s all in fun, especially if you enjoy feeling as though you are a part of the show.

            

Murder Mafia, is scheduled to continue March 21, and March 28, at 8 PM, at The Edgemar Center For the Arts, 2437 Main St., #B, Santa Monica.  Reservations are available by phone at (310) 392-7327, or online at edgemarcenter.org.  Please check to see if the theater is still open.

FRANKENSTEIN by Carol Kaufman Segal

           

I never read Mary Shelley’s novel Frankenstein, nor did I ever see any movies about Frankenstein.  All I was ever aware of was that Frankenstein was known as something “spooky”, and as a child, I never wanted to have anything to do with “spooky.”  So when I knew that Frankenstein was being presented by Four Larks at The Wallis Theatre in Beverly Hills, I thought I might like to find out what it was all about.

           

Having seen this world premiere production of Frankenstein, I must be honest and admit that I was completely baffled by the entire creation.  I wish I had read the story printed in the program book I received upon entering the theatre so that, at least, I would have had an inkling of what was really happening throughout the production. 

            

Though I had difficulty discerning the story, I have to say that this was an unusual and very interesting performance by an unbelievably talented cast, including music developed and arranged by Mat Sweeney with his ensemble of musicians (cast members).  Kila Packett, who performs the role of Victor Frankenstein, is the most physically talented person I have ever seen, creating the role while performing unbelievable body movements. Other cast members include Max Baumgarten, Lu Coy, Philip Graulty, Yvette Holzwarth, Joanna Lynn-Jacobs, Kila Packett, Lukas Papenfusscline, Craig Piaget, James Vitz-Wong, Katherine Washington, James Waterman, and Claire Woolner.  The cast performes double roles, some perform the music.  The scenic and properties design by Sebatian Peters-Lazaro was difficult to understand as most of it was just a lot of stuff on the stage that had no use.

            

The play was adapted from Mary Shelley’s novel by Mat Sweeny, Sebastian Peters-Lazaro, and Jesse Rasmussen, choreographed by Sebastian Peters-Lazaro, directed and composed by Mat Diafos Sweeney.  There is a warning in the book that the production utilizes a strobe light effect, flashing lights, theatrical haze and contains partial nudity.  The most difficult for me was the strobe light and some flashing lights.

            

Though I found Frankenstein left me perplexed throughout most of it, I appreciated the performances by the entire company.

Ballet BC   ROMEO + JULIET by Carol Kaufman Segal

            

Described as one of North America’s finest Dance Companies, the Vancouver’s Ballet BC presented their ballet production, of Romeo + Juliet, choreographed by French Choreographer Medhi Walerski, at the Soraya, the Valley’s Center for the Arts, located on the grounds of Cal State Northridge.

            

The ballet is accompanied by Prokofiev’s Romeo & Juliet, Op.64, performed by the London Symphony Orchestra conducted by Andre Previn which, alone, is beautiful.  Add to that, an exceptionally excellent dance company, as well as the creative choreography, makes Shakespeare’s tragic story of forbidden love come to being.  This full-length work is a first for Ballet BC and the two performances at the Soraya that was seen February 29 and March 2, marked the United States debut of the production, directed by Emily Molnar.

          

  Ballet BC’s dancers are exceptional in their style of movement like no other company of dancers I have ever seen.  Their technique is thrilling to watch.  They will continue touring with this production to Vancouver and Victoria, British Columbia, then on to the Sydney Opera House where they will make their Australian debut.  Hopefully Ballet BC will return to Los Angeles in the future. 

HUMAN INTEREST STORY by Carol Kaufman Segal

            

Human Interest Story is making its world premier at the Fountain Theatre in Los Angeles.  The play was written by Stephen Sachs, a man of immense talent who is not only a playwright, but a director, a producer, and a Co-Artistic Director of the Fountain Theatre.  He also directed this superb production that features a highly talented cast of men and women.  The play takes on situations that we are very much aware of today, loss of jobs, fake news, and homeless people,

            

Andy Kramer (Rob Nagle) has written columns at The Chronicle for twenty years. When the newspaper is taken over by a new owner he, along with others, is given his last day.  When he happens to run into, a homeless woman in the park, he talks her into letting him write a story about her for his final column in the paper, hoping it will save his job.  She agrees and he writes a fictitious story about a homeless woman using the name “Jane Doe” (performed outstandingly by Tanya Alexander).  In reality, the woman is Betty Frazier who earned a master’s degree and was a teacher before falling on hard times.

           

Andy’s article, about Jane Doe facing a destitute existence and promising to kill herself on July 4 due to a heartless civilization, saves Andy’s job.  Because his article arouses the public, multimillionaire Harold Cain (James Harper), who took over The Chronicle, is quick to give him his job back.

           

“Jane Doe” becomes a phenomenon overnight and is interviewed and seen on television stations throughout the country.  Andy Kramer insists on writing Jane Doe’s speeches.  With the success of his newspaper, Harold Cane finds it a good time to run for Mayor of the city.  All of the characters’ personas become changed over the fallout that has affected them and the country by the story of “Jane Doe”.  Will Jane Doe really commit suicide on July 4^th?  Does Andy Kramer begin to respect her abilities?  And what effect does she have over whether or not Harold Cane wins his bid for the Mayor’s office? 

           

Stephen Sachs has written a most interesting and well-thought-out play.  It certainly is a Human Interest Story.  A superb cast brings realism to the production.   Other cast members include Richard Azurdia, Aleisha Force, Matt Kirkwood, and Tarina Pouncy.

 Human Interest Story plays Fridays at 8 PM, Saturdays at 2 PM and 8 PM, Sundays at 2 PM, and Mondays at 8 PM, through April 5, at The Fountain Theatre, 5060 Fountain Ave., Los Angeles.  Tickets are available online at www.FountainTheatre.com, or by phone at (323) 663-1525.

            HIGHLY RECOMMENDED                                  

REVENGE SONG, A Vampire Cowboys Creation by Carol Kaufman Segal

           

Revenge Song, a Vampire Cowboys Creation, playing at the Geffen Playhouse in Los Angeles, is a most unusual, interesting and enjoyable musical extravaganza.  Written by Qui Nguyen and directed by Robert Ross Parker, this world premiere is brought to Los Angeles by New York’s Vampire Cowboys.

The play is based on the true-life story of Julie d’Aubigny, an unusual 17^th century French woman.  It is told with rousing music (Shane Rettig), and vim and vigor from beginning to end.  Emcee Madame De Senneterre (Amy Kim Waschke) begins the tale by introducing Julie, (Margaret Odette) a swordswoman and opera singer on her journey to discover her true self.

At the age of 14, Julie disguises herself as a boy in order to get a job working in the stables owned by Count Louis de Lorraine (Tom Myers).  This is where Julie learns to fence and fight for herself.  When the Count finds out that Julie is a girl, he brings her into his house as a sex slave. Eventually, Julie escapes from the home of the count and meets Albert (Eugene Young) who challenges her to a duel.  Lo and behold, Albert is no challenge for Julie who wounds him, then ends up nursing him back to good health.  They become forever friends, but Albert always has hopes that Julie will become his wife. 

            

Because Julie could never be content as a wife, she continues on her journeys, looking to fulfill her life, often finding herself in unusual/and or dangerous situations such as her first love affair with a woman (Beth Hawkes as Emily), to her mishap at a convent where she causes the convent to burn down.  For this incident, she is sentenced to death but escapes to Paris and becomes an opera singer.  She finds herself challenged to a duel by several men when she is caught kissing a woman at an event.  Needless to say, she beats them all.  This is but a “drop-in-the-bucket” of the fun and laughter you will encounter as you “travel” with Julie throughout this fascinating tale.  Of course, Albert shows up throughout her entire life, trying to convince her to marry him.

The six actors, members of the Vampire Cowboys, are stupendous.  They all play multiple roles, except for Odette who performs the role of Julie.  Moshir Dalal plays Serammes, Gaston and others, while Beth Hawkes Tom Myers, Amy Kin Waschke, and Eugene Young, all play other relevant characters that make up t his stimulating production.

Revenge Song:  A Vampire Cowboy’s Creation plays Tuesday through Fridays at 8 PM Saturdays at 3 PM and 8 PM, and Sundays at 2 PM and 7 PM, through March 8, in the Gil Gates Theatre at the Geffen Playhouse, 10886 Le Conte Ave., Los Angeles.  Tickets are available online at www.geffenplayhouse.org, by phone at (310) 208-5454, or at the Geffen Playhouse box office.

            HIGHLY RECOMMENDED        

IN MY MIND’S EYE by Carol Kaufman Segal      

            

In My Mind’s Eye, written by Lonny Chapman’s Artistic Director, Doug Haverty, is being presented by the Group Rep, the first presentation of their 46^th season, at the Lonny Chapman Theatre in North Hollywood.  This play is a revival that was the first full-length play produced years ago in the Lonny Chapman Theatre.  It became an award-winning play and is every bit as meaningful, thought-provoking and compelling as it was then.  The play was inspired by true events, and is based on a legally-blind female public school teacher who was Haverty’s teacher when he was in the 7^th grade.

           

Patty is a young precocious school girl (played by very talented 14-year old Peyton Kirkner) who is legally blind, though she can see a bit through one eye at an extremely close range.  She happens to meet an elderly man, Calhoon (Lloyd Pedersen) who has a bit of trouble walking, and when he falls in her front yard, she befriends him.  Patty’s mother, Mrs. Lola Henderson (Maria Kress) finds him visiting with Patty when she arrives home.

           

Patty and Calhoon are both lonely people, and though he is 78 years old, they discover camaraderie with one another.  Patty and Calhoon form a very close friendship.  Her mother finds him visiting Patty each day that she arrives home and this causes her a great deal of concern.  Due to her apprehension, Lola can be too overbearing with Patty that often creates tension between mother and daughter.         

           

Eventually Lola makes arrangements to transfer Patty to a public school after discussing it with Miss Hester (Clara Rodriguez), dean of the school.  When Miss Hester meets Patty, she is impressed with her and agrees to allow her to attend the 9^th grade class where she acclimates to fully.

            

The time has passed and grown-up Patty, using the name Trish (Kait Haire), is beginning a new position as a public school teacher where she meets Hugo, (Bobby Slaski) an English teacher next door to her room.  They develop a friendship that grows into a romantic affair and Lola voices her concern that, once again, creates tension between mother and daughter.  But Trish, more independent now than in past years, no longer feels the hold that her mother once held over her.  Happily, she and Hugo become man and wife.            

           

Bruce Kimmel did a sterling job as director of this exceptional cast and the play, having been written years ago, shows no signs of being outdated in any way.  There are human beings today that, undoubtedly, have characteristics that could match those we see in this production.  It is normal, I presume, for a parent of a child with special needs to become overly stringent in their lives.

           

In My Mind’s Eye plays Fridays and Saturdays at 8 PM, Sunday’s at 2 PM through March 15, at the Lonny Chapman Theatre, 10900 Burbank Blvd., North Hollywood.  Tickets are available online at www.theGrouPrep.com, or for reservations and information, call (818) 763-5990.

            

HIGHLY RECOMMENDED

VOLTA (Cirque du Soleil) by Carol Kaufman Segal

           

I have thrilled over every Cirque Du Soleil production that I have seen over the years.   Their latest show, Volta, is its 15^th Big Top performance to visit Los Angeles, and its 22^nd show presented here.  I happen to especially enjoy Volta for its theme, music, acts and performers.

           

Written and directed by Bastien Alexandre with Jean Guibert as the director of creation, Volta presents outstanding acrobatics accompanied by thrilling music composed and directed by Anthony Gonzales (from electronic group M83).  You can see this extravaganza under the Big Top at Dodger Stadium.

            

The performances are inspired by street-sports; feats performed by aerialists, acrobat and trampoline artists who perform unbelievable achievements with jumping ropes, on roller skates, with bicycles, or simply their own human bodies, sometimes seemingly flying through the air,.  The breathtaking accomplishments, throughout the show, are astounding.  Bicyclists fly from a high structure as they spin their bicycles in the air.  A lovely woman performs a ballet suspended at the top of the tent by her hair. There are unique accomplishments by all of the performers that will take your breath away. 

A story ties all of the performances together while accompanied by the outstanding music, dazzling costumes by Zaldy Goco, and a cast of forty-six men and women from fourteen countries that include  the United States, Canada, Finland, United Kingdom, Brazil, Uruguay, Japan, Russia, China, South Africa, Switzerland, Australia, Slovakia, and Poland.

            

Volta will perform under the Big Top at Dodger Stadium in Los Angles through March 8, 2020 and at the OC Fair and Event Center in Costa Mesa beginning March 18 through April 19, 2020.  Tickets are available online at cirquedusoleil.com/volta, or by calling (877) 924-7783.

            

 HIGHLY RECOMMENDED       

NOWHERE ON THE BORDER by Carol Kaufman Segal

            

The Road on Magnolia is presenting a newly revised and re-written version of a play, Nowhere On The Border by Carlos Lacamara, directed by Stewart J. Zully.  The subject is extremely relevant today as it is a retrospect of the dramas that people endured in order to cross the borders into the United States and still do.

           

Roberto (Jonathan Nichols) is waiting around in a desert area to meet his daughter Pilar (Natalie Llerena) near the border in Arizona.  He found out that she had paid someone to get her across to Arizona where her husband has been for three years.  Gary (Chet Grissom) happens to be patrolling the area, and upon seeing Roberto, is very suspicious of him.  Gary doesn’t believe him when he tells him why he is hanging around in the area and calls for the Border Patrol               

            

Pilar had met with Don Rey (Thom Rivera) and paid him to make arrangements for her to travel to Arizona with a fellow traveler, Jesus (Leandro Cano), and the leader, extremely inadequate Montoya (Diana Delacruz).  Meanwhile, during the wait for the Border Patrol to arrive, the scenes are interspersed between Gary and Roberto and the three travelers on their hazardous trip.

            

With the passing of time, Gary and Roberto discover that they have both lived through similar situations during their lives.  The more Gary gets to know more about Roberto, the more he realizes he likes him.  In each segment with them, the two men find they have a lot in common and gradually become friendly with one another.  When the play reverts to the segments with the travelers, their situation becomes more and more challenging, and it is questionable when and if they will make it to their destination.  Guitarist Mackenzie Redvers Bryce performs soothing melodic music between the scenes.

            

Much of the time, I felt breathless through some of the scenes as I watched this production, not the easiest, but worth every minute of it.  I left the theatre with so much feeling for the marvelous performances by the entire cast.  The set design by Paul Dufresne, constructed by Red Colegrove, and the lighting design by Derrick McDonald added to its strength.

           

Nowhere on the Border plays Fridays and Saturdays at 8 PM, and Sundays at 2 PM, at The Road on Magnolia, located at 10747 Magnolia Blvd., North Hollywood.  Tickets are available online at www.roadtheatre.org, or by phone at (818) 761-8838.

           

RECOMMENDED                         

SUNDAY DINNER by Carol Kaufman Segal

           

Theatre 40, in Beverly Hills, is presenting the world premiere of Sunday Dinner, the latest play written by well-known playwright Tony Blake who also directs the very talented cast.  It takes place in the Bronx at the home of the Matera Family (lovely set by Jeff G. Rack).

Michael Matera (James Tabeek) is a young priest in the Chicago Archdiocese who comes home following the death of his grandfather.  A family gathering is planned for a Sunday dinner.  Very shortly after Michael arrives, his father Eddy (John Combs) corners him in order to make a confession to him, hoping to receive absolution from his son.  Eddy is a retired blue-collar worker, and confesses to Michael that he has committed a misdeed that will, undoubtedly, affect the rest of the family.  Well, in reality, it is more likely a crime.  Eddy wants his son to grant him absolution and is appalled by his refusal to do so.  However, Michael has his reasons for his refusal.

      

 Eddy’s wife Rose (Sharron Shayne) and relative Margaret (Michele Schultz) are busy cooking and setting up for the dinner.   Those who will be arriving for the Sunday dinner are Richie (Kevin Linehan) Michael’s older brother, a cousin Flip (Dennis Hadley), and Richie’s former wife, Diane (Meghan Lloyd).

           

Before everyone arrives, we learn that Michael also has secrets that he has not revealed to his family.  He has, at last, admitted to himself that he is gay, but no one in his family has ever suspected it, and he has not yet let them know that he has given up the priesthood (his good reason for denying his father’s request).  Michael’s life is made more difficult because he will have to confront his former sister-in-law with whom he became involved in the past and who still has a crush on him.  This Sunday can certainly be a difficult day for him.

            

At last, when everyone sits down to Sunday Dinner, we soon discover that the Matera family is burdened with many secrets which perpetrates the fact that they are, undoubtedly, an extremely dysfunctional family.  When all is revealed at the Sunday Dinner, will the members of this family be able to understand each other and their problems, or will the Matera Family be destroyed?  

            

The answer can be found at Theatre 40 where Sunday Dinner is playing Thursdays through Saturdays at 8 PM, Sundays at 2 PM through February 16.  The theatre is located in the Reuben Cordova Theatre, 241 S. Moreno Dr., Beverly Hills.  For reservations, call (310) 364-0535, or for tickets, go online at www.theatre40.org.

THE LITTLE MATCH GIRL by Carol Kaufman Segal

            

The Little Match Girl is a short story written by Christian Anderson in 1845.  Loft Ensemble in North Hollywood is featuring an adaptation of Anderson’s tale by Elizabeth Suzanne, directed by Tor Brown and featuring a cast of fifteen actors. 

           

The Little Match Girl is a story about a little girl, Annelise, (Ella Grace Bergeron) who lives in poverty with an abusive father (Raymond Donahey).  On New Year’s Eve, he sends her out in the cold, wintry weather to sell matches. The story follows Annalise as she spends the dreary night wandering the streets and the adventures she encounters.  It all opens her eyes to life, the suffering and the blessings of giving, and in the end, it is all about love and kindness.

            

The Little Match Girl is the fourth production of the eighth season of the Loft Ensemble.  It was quite an undertaking due to the very large cast who make up the people Annalise meets in her journey.  They include Barbera Ann Howard (Grandmother), Britt Crisp (Gisela), Paul Brodo (Vilhelm), Benjamin Shuman (Henrik), Ben Anderson (Jantzen), Jessica Wells (Petra), Ignacio Navarro (Stefan), Aaron Castle (Police Officer), Emma Gini (Incheline/Ensemble), Lemon Baardsen (Snow Queen/Ensemble), Maysa Sweeten (Shepherdess/Ensemble), Matthew Monaco (Tin Soldier/Ensemble), and Thatcher Boyd (Chimney Sweep/Ensemble). 

            

The scenic design is by Madylin Durrie, lighting design by Elza Hofeld, sound design by Tor Brown, costume design by Linda Muggeridge and Bree Pavey, choreography by La’Vel Stacy, and Jared Pugh is the Music Director.

            

The Little Match Girl plays Saturdays at 8 PM and Sundays at 7 PM, through February 16, at the Loft Ensemble, 11031 Camarillo St., North Hollywood.  Tickets are available online at www.loftensemble.org, or by phone at (818) 452-3153.