The Rain Cloud of 2010

As I look back on 2010, I am reminded of the many challenges, heartbreak, and loss that has followed me through the year. I hope to leave behind the pain and disappointment of 2010 in order to better myself in the coming New Year.

I suppose 2010 began as an ordinary year for me, working at an ordinary day job, living in an ordinary apartment with an ordinary roommate in an ordinary town. I thought 2010 would be a year of change for me – A year to develop into something greater then my former self – A year to validate my life choices.

2010 began with the building blocks of success. I booked a magical play in early months of 2010. The play, though simple and light-hearted in nature, taught me a lot about myself. During the rehearsal process I took a trip to Detroit, Michigan, to make my first attempt at booking the graduate school of my choice. Perhaps this was the beginning of the end of 2010 – A graduate school rejection that cost me my confidence as an actor.

In 2010 I lost myself. I lost my ability to believe in my craft. Failed audition after failed audition made be question the validity of my talent. A family health scare jolted me awake to the mortality of those closest to me. I lost my best friend and though we are beginning to reconcile it will never be the same. I lost my apartment, which it turns out wasn’t as ordinary as I thought, but seems quite beautiful to me now that it is gone. I lost my cousin to a sudden heart attack. I lost 2 fellow actors to sudden illness. A long-time friend of mine went off his rocker and committed a heinous crime (which is like death since he is no longer the person I had grown to “know”). I lost the prospect of graduate school last summer. I lost my general sense of happiness.

But I also look back on 2010 and see all my blessings. I was blessed to work on Almost, Maine at the WTC. I was blessed to work on Edward II at Theatre Out, a show on which I made several strong friendships. I was blessed to direct “A Bridge to Something” as part of BRIEFS: A Festival of Short Plays at Theatre Out. I was blessed to find a new apartment that I could afford on my own. I am blessed to have a stable career to support my theatre antics. I am blessed to have my mother and my father in my life to love and support me. Yes, as it turns out, I am blessed in so many ways.

As I stand on the threshold of 2011, I commit myself to seeing the potential in everything I do. I commit myself to keeping the faith. I hope to make 2011 a year of positive change. I look forward to opening myself to new possibilities, to breaking away from routine, to obtaining a great wealth of knowledge. I pray that the universe will allow me to reach my full potential. 2011 will be my year of empowerment!

Killjoy closes with the playwright by its side

This afternoon marked the closing performance of Killjoy at the Newport Theatre Arts Center. After a 5 week run I am ready to bid farewell to the murder and mayhem.

I am happy to boast that we entertained the playwright himself, Jerry Mayer and his lovely wife Emily. “You guys did a great job,” he said as we greeting him at the stage door. As a former television writer-turned playwright – Mr. Mayer wrote for such shows as M*A*S*H, The Facts of Life, and Bewitched.

I found Jerry to be a jovial and kind-hearted man. He joked that many of the lines in the show were actually things he had said in conversation – using his own phrases such as “I want to live as long as my taste buds are working,” as dialog.

His wife and producer, Emily stood by with an elegant amusement as we discussed the show. It was truly an honor to perform Killjoy for the Mayers.

As I take a brief break for the holiday season, I look forward to a new year of theatre projects. Let’s make 2011 a year to remember!

[From Lef to Right: Mark Kaufman, Alex DesCombes, Jamie Sowers, Andrea Pacquin, Andrea LaVela, Jerry Mayer, Emily Mayer, Brian Page]

In Memory of Jerad Callen

I saddened to learn of the sudden death of friend and fellow actor, Jerad Callen. I hear that he passed away in bed of pancreatitis on Monday morning December 6th, 2010. As an active member of the Orange County/ Los Angeles theatre community and a kind hearted gentleman, Jerad will be deeply missed.

I first met Jerad in the Fall of 2007 at the La Habra Depot theatre, where a mutual friend was directing a production of Rehearsal for Murder. Jerad played the lead, Alex Dennison, a playwright and self-proclaimed detective investigating the mysterious death of his fiancé, Monica Welles. I played Monica in a series of flashbacks. While Jerad and I had some conflicting ideas regarding our approach to the work, it was clear to me that his dedication was immeasurable and his work soulful in nature. He lived and breathed the theatre. He was a quirky character in his real life drama. One that had a fascination for nickels (known as the Nickel King to his family and close friends), enjoyed a stiff drink and a smoke after the show, boasted a plethora of pop culture knowledge and almost always had a joke to tell and a smile on his face.

When we opened Rehearsal for Murder in January of 2008, it was clear to anyone watching that Jerad was a veteran of the stage. He had appeared in over 30 productions including the part of Billy in Behold a Pale Bronco for which he was given an acting award by the American Association of Community Theaters. Jared’s family also had a long history in Fullerton, California, where his grandparents purchased their first home in 1947 on Fern Drive.

When Rehearsal for Murder closed, we urged our director to start a new project in which we could all be involved. It was our vision that he should direct Hamilton Deane’s adaptation of Bram Stoker’s Drucula. Jerad had coveted the role of R.M. Renfield – and we could think of no one else more fitted to play the role. Unfortunately we never had the opportunity to work together again.

My deepest condolences to Jerad’s family and close friends – I only had a glimpse into his short life, but I know he will be missed.

(Jerad Callen and Jamie Sowers in Rehearsal for Murder presented at the La Habra Depot)

Celebrate Jerad Memorial:
Monday December 13, 2010 at 1:00 p.m.
Craigs Regional Park, 3300 State College Blvd, Fullerton Ca.

Follow the signs to the Lake - Sports fields. We will be in Shelter 13 on a point overlooking the lake. Sandwich makings and beverages will be available.

This will not be a structure formal service. Come ...whenever you can and stay as long as you like. Come prepared with stories, songs, skits or whatever you wish to share memories, tears, and laughter. Let's CELEBRATE having had Jerad in our lives.

Spider Man Gets Trapped in His Own Net

What happened to the good old days, when Aristotle’s notion of spectacle was satisfied with something as simple as a costume? Wasn’t it Aristotle was said that too much spectacle will “create a sense, not of the terrible, but only of the monstrous”?

Yet here we are creating 21st century theatre that is not only monstrous, but disastrous. I am usually a fan of Julie Taymor creations, but her recent imagining of Spider-Man: Turn of the Dark does not exactly inspire confidence. Read the latest for yourself: U2's 'Spider-Man' Musical Spins Tangled Web of Disaster at First Preview.

Next to Normal Soars at the Ahmanson!

The national tour of the Pulitzer Prize-winning musical by Tom Kitt and Brian Yorkey, Next to Normal, begins in Los Angeles at the Ahmanson Theatre. Next to Normal won three 2009 Tony Awards, including best score, best orchestrations and best actress in a musical for Alice Ripley as the mother. It received 11 nominations overall.

This self proclaimed rock musical breaks the boundaries of conventional musical theatre by diving in to heavy subject matters typically reserved for drama. In the wake of similar modern musicals like Spring Awakening and American Idiot, Next to Normal soars above its contemporaries with inspiring insight into the effects of mental illness.

The music is splendidly original with its story telling quality, even though it is not as catchy as typical show tines. The story-line is emotionally terrifying with just enough humor to defuse the overall tragic tone and inspire hope.

It is a given that actress Alice Ripley as Diana is spellbinding. Her vocal talent and emotional availability is truly touching. She has had ample time to profect her role, and relives her award winning performance every time she steps on the stage.

Curt Hansen, protraying Diana's son, is equally memorizing. He commands attention as he negotiates his way around the complexly leveled set, holds his ground and belts his heart out.

Asa Somers plays the father, desperate to hold on to his family. His portrayal of the head of the household is level-headed, yet aids in the dysfunction that surrounds him.

Tickets are on the expensive side, but this show really is a must see for theatre lovers.

Next to Normal, Ahmanson Theatre, 135 N. Grand Ave., Los Angeles Music Center. 8 p.m. Tuesdays through Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays (call for exceptions). Ends Jan. 2. $20 to $95.

Vote Now to Have Your Say on the BEST of Theatre in Southern California!

Earlier this year I was involved in a truly inspired production of Christopher Marlowe’s Edward II, adapted and directed by the talented Darcy Hogan. I always speak about this show in fondness because it was not only a satisfying experience as an artist, but I also made some life-long friends on the journey. I am so thankful to have played Margaret, and that Darcy provided me with the opportunity to originate a role which she so lovingly created.

I am proud to announce that Darcy’s adaptation has been nominated by Broadwayworld.com for Best New Work/New Adaptation. Please help support the Theatre Out family by voting today.

There are many great productions and categories on the ballot. I hope you can take a few minutes to vote for all of the wonderful artists – but if time is limited, just skip to question #17 and vote Edward II!

Vote Now to Have Your Say on the BEST of Theatre in Southern California!

Voting Ends December 20

Vote Edward II for Best New Work/New Adaptation (Resident Non-Equity)!

Go to http://losangeles.broadwayworld.com/vote2010socal.cfm and enter in your email address to vote.

As You Like It - Laurence Olivier

Killjoy opens with laughs!

Opening night of Killjoy at NTAC – The Thursday night crowd packed the house, eager to laugh and comment on every uncomfortable situation. What an intelligent audience! By the time the first couple of lines were said, no one seemed to take notice of our leading lady’s tech-week injuries, which left her face black and blue. While the cast and crew have been struggling for the last week to put to finishing touches on the performance, all efforts were paid back in full by the mirthful patrons attending the performance. Whatever hardships we have faced along this journey, one thing is for certain – the audience loved the show!

Killjoy Gets a Bump on the Head

Killjoy’s final dress rehearsal before preview night – Just when it looked like we were back in the swing of things, our lovely and talented leading lady, Andrea LaVela, took a tumble during the blackout prior to Act 1 scene 2.

A terrible thud was heard in the darkness, and I turned around in the black to see the shadow of Andrea on the floor.

Apparently she walked up stage to retrieve a prop and tripped on the step to the upstage platform.

“What’s happened? Is everyone alright?” I heard the director call from the house. “We need lights up!” I called. With an empty house I had decided that in this case the show didn’t have to go on.

Poor Andrea knocked her head really good. It started swelling before we could get ice on her head. We kept her away from a mirror for a good 20 minutes. But once she insisted on looking there was not stopping her. “Ah! I looked like the elephant man!” she shouted.

It looked bad enough that we all urged her to go to urgent care, but the tough as nails Ms. LaVela would have none of our fussing. She finished the run sitting in our prop wheelchair with a bag of frozen spinach on her head.

Our invited dress (preview) is tomorrow night, and we open Thursday. Let’s hope the cliché, a bad dress rehearsal means a good show, holds true. We can’t afford any more injuries.

Finding Vicki's Truth....

I find myself on the cusp of opening Killjoy at the Newport Theatre Arts Center.

When I began this project I looked at "Vicki" as a modest and simple role. Playing the level-headed daughter in a modern romantic comedy/murder mystery with 52 lines cues and 5 entrances seemed mildly simple compared to my former projects this year – playing 4 separate characters in Almost, Maine and tackling Christopher Marlowe’s Edward II.

Yet, somewhere along the way I lost touch with my initial impressions of this play, and allowed the text to overwhelm me. There was a period in rehearsal when – much to my director’s dismay, I am sure – I could not find the truth in the lines.

My character became flat and hypocritical in my mind—I wondered what motivated her. I questioned her choice of diction, her actions, her relationships with her family. I could not connect the action. What was the moment before? I could not imagine what she was doing offstage, what she did when she was alone, what her relationship was like with her finance (who never appears in the show, but is frequently spoken about).

Worst of all, I could not figure out her function in the play. Here is a young woman who is about to enter into marriage with Lester – a man that “worships” her, despite the fact that he never appears in the play to support her. She is responsible, business savvy and intelligent, yet she shows her immaturity by calling her father “Daddy”. Her immediate family is completely dysfunctional, only coming together to plan her wedding—a wedding that is only important to the play due to a plot convention used to serve a piece of poisoned wedding cake to her despicable father.

Last weekend I finally had an epiphany – What if I approached this play as a film script?

In college I remember sitting in film class, with the camera over my right shoulder as my scene partner recited a rather lengthy monologue (as far as films go) from Sex, Lies and Video Tape. I remember my scene partner struggling, asking questions – Do I know about the affair at this point in the script? Have I made the decision to ask for a divorce? Etc. I remember my professor passing down these words of knowledge: Keep it simple. Play the moment.

What he meant when he said these words is something that he emphasized many times in class. When you make a film you will most likely be filming scenes out of order –so to think in terms of a timeline is often counterproductive. The successful film actor asks themselves these two things: What do I want in this scene? How am I going to get it? The rest is just listening and reacting.

So I thought to myself, what if I just play the moment? I brought myself back to the basics. I found myself in the moment, discovered goals and new tactics for my character. I listened to my mother, I listened to my brother and I listened to my father. And somehow through it all I think I got back to the roots of my character.

With only three rehearsals left, I am ready to put on my costumes for the first time tonight and hopefully discover the inner Vicki. Let’s get this show on a roll!

A Charming Devil! - Who Knew?

Clive Barker’s The History of the Devil, is a surprising brilliant play, if you are able to sit still for the 3.5 hour ordeal. For an actor it is an exercise in character development and stamina. For an audience it can easily become tedious and long. However, director M.S., Cliff E. Threadgold’s production at the Garage Theatre proves that this epic play is an edge of your seat adventure.

While plays with a religious connotation are often a reminder of the forsaken mystery and morality plays of the medieval ages, The History of the Devil is a modern and edgy twist on the subculture surrounding Lucifer’s fall from grace.

The play revolves around a trial by jury – where the devil seeks a pardon for his heinous deeds in order to return to heaven. The defense and prosecution both plead their case in the dessert wasteland of Kenya. As the plot unravels the audience is transported through time and space – given an inside glimpse into the devil’s past.

Angel Correa gives a standout performance as the devil. He is charmingly deceptive, despicable and sensual. He seems otherworldly in his mannerisms and speech. His performance provokes the question – What is evil? Can we be seduced by such evil and for what purpose?

Amy Louise Sebetius matches Correa’s ferocity in many characters she plays –using a variety of dialects added distinction to her roles. Most haunting of all was her portrayal of an accused Salem Witch, beaten down and imprisoned, pleading for the devil to come to her aid.

While there is some disunity in time provided on behalf of Clive Barker, this otherwise well structured play with a strong ensemble cast is a must see this season.

Read more review at What the Butler Saw and in the Daily 49er.

The History of the Devil; Performances are 8pm, Thurs. - Sat. The show runs until Oct. 30. Tickets are $15-18. The Garage Theatre is located at 251 E 7th St. For more info call 433-8337 or visit www.thegaragetheatre.org.

Grey's Anatomy Plays Mumford & Sons

Has anyone else noticed that Grey's Anatomy has used Mumford & Sons songs in the first two episode of their 2010 Fall Season?

I remember the first time I discovered the musical melodies of Mumfod & Sons earlier this year (blog entry). It is very exciting to me that they have squeezed their way into popular culture.

I hope this folk band will enjoy further success because of their newfound television exposure. I am crossing my fingers that they will make it to the US for a tour, or release a new album next year.

Killjoy Casting!

I am pleased to announce that I will be playing Vicki in Newport Theatre Arts Center’s upcoming production of Killjoy by Jerry Mayer.

The audition process for this production was quite unusual. I originally responded to a casting call for Room Service, by John Murray. But as luck would have it Room Service was canceled abruptly and I was left with nothing on my schedule. I just got the call yesterday, that NTAC decided to replace their production of Room Service with Killjoy and before I knew it I received the role of Vicki.

Our first read-through is tomorrow, so I have very little time to prep for the role. I do not even think I will make it out to Samuel French in time to procure a copy before our table read. I can’t wait to get the ball rolling on this production!

BRIEFS Closing!

Theatre Out ’s production of BRIEFS: A Festival of Short Plays closed this weekend. Our closing matinee performance was sold out, so I watched my directing piece from the booth. The cast really pulled out all the stops today – ending this high energy show with a bang.

As part of the audience experience we asked our patrons to vote for their favorite play. The playwright will receive a special recognition from Theatre Out. The awards went to:

The Best of the Fest - Audience Favorite was Attack of the Dorothies by J.E. Phelan

The Best of the Fest - Producer's Choice was Shiny Pair of Complications by J. Stephen Brantley

Congratulations to all on a wonderful performance! I sincerely hope that Theatre Out will continue this tradition with another short play festival in 2011. Let’s keep our fingers crossed!

Chrysalis Stage Presents Anna Karenina

Chrysalis Stage presents Anna Karenina, adapted by Helen Edmundson from the novel by Leo Tolstoy.

Husband and wife co-founders, Andrea and Aaron Morgan, have developed Chrysalis State to bring great works of theatre to the Whittier area – a goal which they have easily achieved with Anna Karenina.

Anna Karenina, arguably one of the greatest novels ever written, follows the self-destructive path of a beautiful, prominent, and sensual Russian aristocrat. Anna’s sexuality and passion is stifled by her marriage to the respectable and powerful statesman, Alexei Karenin. She soon finds excitement in a handsome officer by the name of Count Vronsky. She leaves her husband and her young child for a life of passion that ultimately leads to her destruction.

Meanwhile, Anna’s story is juxtaposed by the melancholy Constantine Levin, who seeks the love of Kitty. Levin is also searching for the fulfillment and happiness in his life. He courts Kitty with vigor in order to content his wild heart.

"This is my story…” Anna begins at the top of the show; To which Levin replies “It appears it is mine, too.” In Edmundson’s adaptation, both Anna and Levin narrate. Though their characters do not meet until the end of the story, they interact in scenes that are otherworldly – surprised at first that they should share their inner thoughts with each other and the audience.

Smooth scene transitions create the world of 1860’s Russia. The cast of seven are made up by truly exciting and inspired actors. The quality performances and over all ambiance of the “Little Vic” are remarkably illuminating.

***There are no performances left, but it is my hope that you will follow the wonderful talents of the Chrysalis ensemble by visiting their website.

Shakespeare's Bloody Vampires!

A new imagination of Shakespeare’s Titus Andronicus is now appearing at Zombie Joe's Underground Theatre. Director Steven Sabel has conceptualized a war between vampires, as the conquered Goth Queen Tamora fights violently against her rival Titus.

The 8:30PM showing is cut down to 90 minutes with no intermission. The black box space is perfect for an intimate night of blood and gore. As the audience quickly find out, the front row is definitely a wet section. But not to worry, as the blood, made from detergent, washes out easily.

Staging Titus Andronicus as a vampire tale is a decision that came easily to director Steven Sabel – Even though his immediate colleagues had some reservations. With an abundance of current vampire popularity in films like Twilight and the Trueblood series, audiences are bound to enjoy this Gothic twist on Shakespeare’s most violent play. A quick read of Sabel’s production notes reveal the surprising deep connections between Roman cruelty and mythical vampire violence.

Roman General Titus, played by the posed Tom Newman, returns victorious in the war against the Goths. Along with his returned soldiers, Titus produces the conquered Tamora, Queen of the Goths. In retaliation for the bloodshed of war, he quickly sacrifices her eldest son.

Titus then supports the tyrannical Saturninus (Jordan Maxwell) over his virtuous brother, Bassianus (Casey Williams), as emperor. Together, these two events set in motion the play's cycle of violence and revenge.

Enraged by the murder of her son, Tamora, played by the powerfully sexy Jennifer Blanck, vows to "find a day to massacre" those responsible. Aided by Aaron the Moor and her two devilish sons, Tamora calculates her revenge with deadly accuracy. In the end, no one in Titus' family is untouched by the bloodshed and mayhem.

If audiences continue to pack Zombie Joe’s theatre to see the fall of Titus, there may even be room in the Redlands Shakespeare Festival’s 2011 season for a remounting of this conceptual piece. Let’s hope there will be more vampires to come!

Get your tickets today, as many of the performances are sure to sell out!

Titus Andronicus, presented by Zombie Joe’s Underground Theatre Group and STS Productions, opens Sept. 17; plays Fri.-Sat., 8:30 pm; through Oct. 16. Tickets: $15. ZJU Theatre Group, 4850 Lankershim Blvd., North Hollywood; 818.202.4120 or http://www.zombiejoes.com/.

BRIEFS Opening!

BRIEFS: A Festival of Short Plays opened this weekend at Theatre Out to an enthusiastic crowd. Audience members have already cast their ballots for Best of the Festival. My actors have worked very hard to deliver a heart-felt performance in A Bridge to Something. Playwright Corinne Kawecki came to see the show, not once, but twice this weekend. She traveled a great distance from Chicago to see her piece and support the festival. The cast and I were honored to meet her and hear her input on our work.

If you are planning on seeing the show I suggest ordering your tickets now, as we are already starting to sell out next weekend. Hope to see you there!

PICTURED ABOVE: David Tran & Deana Merced rehearse for A Bridge to Something.

"I will preach to thee: mark."

Tonight I had the privilege of attending Shakespeare Orange County’s production of King Lear. Founded by Thomas Bradac in 1992, Shakespeare Orange County is the only professional performing arts organization in Orange County solely dedicated to producing classical theatre.

I hold SOC close to my heart, as it utilized the talents of Chapman University’s faculty and students, where I completed my undergraduate training. It is always a marvel to me to walk through those iron gates at the Garden Grove Festival Amphitheatre and be greeted by so many familiar faces. More importantly, this production features Dennis Krausnick as King Lear – a founder of Shakespeare & Company, talented actor, and master teacher.

I first met Dennis at a weekend Shakespeare & Company intensive, where I receive one-on-one instruction as he helped me work through an Isabella monologue from William Shakespeare’s Measure for Measure.

Dennis not only changed the way I approached the text, but he also helped my over a hurdle in acting career where I doubted my ability to perform my craft.

I stood before him uttering the words of Isabella, “To whom should I complain? Did I tell this? / Who would believe me…” when he abruptly stopped me. “You don’t think you are good, do you?” – He emphatically stated. I started to cry because I felt that he had stared right through me into my soul and saw my fears. He put his hand on my shoulder and said, “You are good. Now tell yourself and do it.”

The following year I played Isabella in Measure for Measure with the Redlands Shakespeare Festival under the direction of one of Dennis’s colleagues, Eric Tucker. I channeled Dennis’s words before every rehearsal and every performance. It is amazing that such a simple validation could change my outlook forever.

So there I was on Thursday night, watching my mentor on stage—A man, who probably will never know what an immense impact he has had on my life—and having the most intense catharsis as Lear lost everything he held dear to him.

Together Dennis Krausnick as Lear and Michael Nehring as Gloucester bring the audience on a torturous journey through melancholy. Perhaps the most powerful moment it in this production is when the two reunited – Lear in his madness and Gloucester in his blindness. Suddenly two strong men comfort each other as s literal and figurative storm rages over their heads.



KING LEAR
If thou wilt weep my fortunes, take my eyes.
I know thee well enough; thy name is Gloucester:
Thou must be patient; we came crying hither:
Thou know'st, the first time that we smell the air,
We wawl and cry. I will preach to thee: mark.

GLOUCESTER
Alack, alack the day!

KING LEAR
When we are born, we cry that we are come
To this great stage of fools: this a good block;
It were a delicate stratagem, to shoe
A troop of horse with felt: I'll put 't in proof;
And when I have stol'n upon these sons-in-law,
Then, kill, kill, kill, kill, kill, kill!

Shakespeare Orange County’s production of King Lear is honest and terrifying. It glimpses into the phantoms of human nature, striping each character down to the core of their humanity. This powerful production is sure to leave you breathless.

King Lear. Sept 2-18 (Thurs – Sat). All performances start at 8:15pm at the Festival Amphitheatre, 12740 Main St., Garden Grove. Tickets are $27-$32. Call 714-590-1575 or visit the SOC website for more information: http://www.shakespeareoc.org/

Riveting "Sissies" Play On

Theatre Out’s production of Southern Baptist Sissies is most likely one of the best stage production to hit Orange County this year. Christopher Diehl’s direction is clever and thoughtful. Set against the back drop of the Deep South, four young men grapple with their homosexuality in a community dependent on religion. These so-called “sissies” walk a tightrope – attempting to balance their sexual urges with their understanding of God.

Justin Hamby portrays Mark, the leading narrator of the story. He quick quips and jaded asides quickly establish his frustration with the views of the church – which believes that homosexuality is sinful. He marks weaknesses in his religion, question his beliefs and strongly suggests that not all passages are to be considered in their literal context – After all, according to the Bible “eating shrimp is just as back as sucking c**k.”

Mark yearns for his friend T.J., played by Michael Rachlis, whose Bible studies rule his subconscious. While both succumb to temptation, the friction between their personal life philosophies ultimately breaks them apart. T.J. fights his natural feelings in order to conform to the church and please his family.

Hamby’s performance is truly touching as he comes of age in the short span of a two hour performance. As an actor he is a remarkable story-teller, speaking truthfully from the words of the playwright. His counterpart, Rachlis, is riveting as both the tightly laced T.J. and his second role as a confident stripper dancing his way across the set.

Paul Anderson equally portrays the guilt-stricken and sweet-natured Andrew, bouncing back and forth between prayers of forgiveness and the local gay bars where he searches for fulfillment. He hides his passions from his mother, who constantly worries about his sissified impulses and searches for ways to save his soul.

Benny, played by Tito Ortiz, is the only boy who proudly embraces his effeminate nature – dressing in drag and lip-syncing his way through Dolly Parton songs.

On occasion, the audience is transported to the Rose Room where a foppish Preston “Peanut” Leroy (Stan Jenson) exchanges life lessons and advice on men with Odette Annette Barnett (Lori Kelley). While their stories are often filled to the brim with laughter, it is clear that both characters have a dark past, and while they may be an unlikely duo they need each other’s company desperately.

Southern Baptist Sissies is touching audiences with is powerful truth about the relationship between religion and a growing need to follow ones instincts. As director Dielh pointed out in the post show talk-back, this play does not bash God or religion, but rather questions to society in which we live by investigating characters that represent real people and real struggles.

Theatre Out presents Southern Baptist Sissies August 13 - September 4, 2010 - The Empire Theatre, located at 202 N. Broadway, Santa Ana, CA. Tickets are available online at http://www.theatreout.com/ or by calling the Theatre Out Box Office at (714) 826-8700.

WCT's 27th Annual Awards of Excellence

I just returned from Whittier Community Theatre’s 27th Annual Awards of Excellence presented at the Whittier Center Theatre.

I was nominated for best supporting actress for my performance in Almost, Maine. I am honored to have shared the category with such accomplished actresses. My cast-mate, Jennie Silva-Villa received an award for her role in the same production. I cheered and clapped like a proud mother.

In addition to the award ceremony, we also celebrated with a Kick-Off Party for WCT’s 89th Season! We previewed scenes from the upcoming season: A Funny Thing Happened on the Way to the Forum, 12 Angry Jurors , Quilters, and Arsenic and Old Lace. I think I need to put in a word to include some Shakespeare in their 90th Season!

Hamlet and the Ghost Speak ASL

The main event today was seeing Dan Donohue in the role of Hamlet. Upon entering the theatre I was struck by the action already taking place on stage. Hamlet sat along amongst rows and rows of chairs before a casket as if lingering after his father’s funeral. As the audience entered the space everything was slowly cleared around him, until finally he stood up and left the space. Thus the play began.

Stone walls moved in and out of the A-symmetrical space, in the modern world created for this timeless play.

The ghosts appeared, played by the deaf actor Howie Seago, who used ASL to sign his lines to his distressed son. Hamlet repeated many of the lines back to him, althoughthe meaning was clear even to those who are unfamilar with ASL.

Armed with a pair of scissors, which cut at his clothing and ultimately brought and end to Polonius, Hamlet feigned madness to plot the revenge murder of his Uncle.

This production is littered with wonderful tid-bits and is an absolute must see.

OSF Belongs To Its Audience

Today class was filled with discussion, most of which was long-winded, tedious and not worth recounting. It saddens me that I have not felt a deeper connection with the group.

At 12 Noon we were fortunate enough to attend a lecture by artistic director Bill Rauch. He spoke with vigor about how he played a role in choosing the current season of plays and gave us insight into the creation of cast, crew and overall production choices for the season. I can hardly believe the amount of time and the heart that is put into this company. I was most impressed when he quoted the founder by saying that OSF “belongs to its audience.”

I had the immense pleasure of seeing Pride and Prejudice. Kate Hurster stole my heart as Elizabeth Bennet, and Elijah Alexander came in as a dark knight as Mr. Darcy. I was immediately transported to a romantic world filled with wit and eloquence. The costumes were picturesque. This is the only adaptation I have seen on the stage, but it is the standard to which I will compare all other productions.

We ended the afternoon by visiting the first folio at the New Theatre, Mom was a bit bored with this final event, not understanding that she stood over one of the most pristine surviving copies of the folio but I was pleased to see it for the second time.

Now we are taking the time to visit Aunt Marsha and Uncle Brian before we return to the theatre tomorrow for Hamlet.

Fun at Maraczek's Parfumerie!

This morning Anthony Heald graced us with his presence, starting our class activities off right.

His performance as Shylock last night made many of us question the anti-Semitism and prejudice in society. His most interesting comment came when he was asked about his chilling final scene in which Shylock loses the trial and is forced to become a Christian. The diversity of reactions in the audience, ranging from gasps to sighs to giggles showed what a truly relevant issue this still is in today’s society, just as it was in Shakespeare’s. Heald said that he felt Antonio was trying to do the right thing and save Shylock’s soul, not “punish” him.

At 1:30 PM we attended She Loves Me, a musical comedy which inspired the film You’ve Got Mail. I find myself still thinking of the great humor and adorable melodies. The spectacle of the set, costumes, music and physical comedy all made me take a deep sigh of relief after spending the beginning of the week in the realm of drama and tragedy.



In the evening we saw Twelfth Night. Christopher Liam Moore, a Southern Californian actor I have seen at the Pasadena Playhouse in As You Like It delivered a fantastic performance full of pomp. His fall was long and hard. After being confined in a giant birdcage as Malvolio, he returned beaten physically and mentally damaged. Michael Elich as Feste reminded me very much of Ben Kingsley in the film adaptation.

I was also please to see the sadness and tragic romance Brooke Parks brought to the role of Viola. In contrast I found Miriam Laube’s Olivia too silly for my taste.

All in all, a perfectly charming day at the theatre filled with laughter and smiles.

"In sooth, I know not why I am so sad"

Today in class the discussions were heated. There seemed to be mixed reviews over the direction the actor playing Falstaff took in Henry IV, Part One and the use of projections in Throne of Blood. All of which were over-wrought personal opinions.

I am quite annoyed with the group today who are acting like spoiled children, but perhaps that is my illness talking. I am almost certain that I have food poisoning and am constantly nauseated – which is not the best thing to be in a crowded room. I can only hope that a visit to the local drug store will set me right.

Later in the morning Kevin Kenerly (the title character in Throne of Blood and Percy in Henry IV, Part One) joined the class for some valuable insights into his processes. I found it intriguing that he is from a humble Detroit background and has worked with the Hilberry Repertory Theatre!

At noon we attended a lecture by David Riggs from Stanford University, than enjoyed the rest of the afternoon in the park.

We attended the Green Show where I was pleased to see Alta California! They are a really fun group of musicians and singers.

Tonight’s performance of The Merchant of Venice brought a sense of humanity to the state that I find rare in productions of this play. The costumes, a mix of modern and Elizabethan dress, seemed to visually reflect how prejudice in today’s society really hasn’t changed much.

Beyond the greatness of Anthony Heald playing Shylock, there was a beautiful moment at the end that still haunts me. This production chose Antonio to show remorse for his actions, as he parted ways with Bassanio into the darkness of the final blackout. I am very interested to hear from Anthony Heald and my classmates how this choice affected the meaning of the play.

2010 Oregon Shakespeare Festival - So It Begins!

First Day of class at the 2010 Oregon Shakespeare Festival – I find myself in Ashland for the first time with my two favorite people, my parents. My first year at OSF, I took my best girlfriend Nicole. My second year, I took my father. And now here I am with my father and my mother. I am optimistic that they will enjoy this experience as much as I will.

We arrived early last night and checked in to our hotel. We decided to stay at the Holiday Inn again this year. It is about 3 miles from the festival, but we like the familiarity of it.

We drove into Medford for dinner. We ate that the Black Bear Diner and returned early to our hotel so we would be well-rested for today’s activities.

At 9 AM we met New Place for our first Wake Up with Shakespeare discussion class and were greeted by our instructor, Alan Armstrong. He is a pleasant gentleman and very intelligent, but a little disorganized.

The class is much larger this year than I have seen in previous years. And for the first time I am not the youngest audience member in my class. As it turns out I have graduated into the middle age group of Shakespeare – I am not sure how I feel about this yet, but at least I will not be picked on for my youth.

In the afternoon we attended Throne of Blood in the Angus Bowmer. Based on Akira Kurosawa’s film of the same title, this play astounded me with its visual and cultural connections to Noh Theatre, while keeping true to the base story-line of Shakespeare’s Macbeth. Directed and adapted by Ping Chong, this play is truly a spectacle to behold.

Lady Asaji Washizu (Lady Macbeth) is haunting with her white face paint and synchronized Noh movements. Played by the Japanese actress, Ako, Lady Asaji appeared doll-like and nightmarish. Unlike Kevin Kenerly’s portrayal of Taketoki Washizu (Macbeth) which emphasized the humanity of his character.

After the show I felt suddenly ill, so we returned to the car after Throne of Blood to nap. I felt a little sick to my stomach and a headache pressed against the back of my eyes. Perhaps this was a side effect of the dreaded Scottish Play, or a result of yesterday’s dinner at the Black Bear Diner. Luckily the weather was nice enough to nap in the car with the windows down. Later we woke to walk the tiny community of Ashland and eat at the Greenleaf Café.

We then returned to the Elizabethan stage in the evening to watch Henry IV, Part One. I instantly fell in love with this history play. My dear Richard Howard (Cyrano from 2006) played King Henry. I love the silent agony that appears in the sparkle of his eye.

David Kelly stole the show as Sir John Falstaff. Dressed in a fat suit, this remarkable actor delivered the crude character burping and farting his way into our hearts like Don Quixote.

Rounding out the masterful performances of the night John Tufts caught my eye and ear every time he entered the stage as Prince Hal. I assume that they are setting him up to play Hal next year in Henry IV, Part Two. His character arc from a young drunkard to a honorable prince made his dismissal of Falstaf all the more tragic.

We could not have started out theatre experiences here in Ashland on a better note.

All that is left for me to do is take my NyQuil and try to get my body back on track for further adventures.

Bat Boy Headlines at Hunger Artists

The Hunger Artists Theatre Company is staging Bat Boy: The Musical! This off-the-wall musical is as strange as it is entertaining, deriving from a 1992 tabloid story from the infamous Weekly World News describing a half boy, half bat creature found in a cave. While the show contains elements of a typical musical, its bizarre subject matter and grotesque themes speak to an entirely different type of audience.

Glendele Way-Agle lends her directing talents to create a wacky, funny, nightmarish vision of a young man’s struggles to fit into a West Virginia community that shuns him. Her staging is inventive in the small space crowded by an excessive amount of ensemble, making the best of the height of the black box and creating a functional human-size cage to house the bat boy.

While the cast proved energetic and devoted to the world of the play, their weak vocal talents could not be disguised. As if often the case with amateur musical theatre, talented actors tried their hand at singing, while talented singers tried their hand at acting – which in this production did not always prove as successful trade.

This does not by any means diminish the great accomplishment by cast and crew to bring this unique musical to the stage, which is well worth the price of admission. Steven Alcantar gives a tremendous performance as Bat Boy. He embodies the pale and awkward teenager/bat, creating a journey from farel animal to a sensitive student of society.

A full package of humor, music, dance and blood – Bat Boy: The Musical is currently playing through August 15th.

Bat Boy: The Musical, Hunger Artists, 699-A S. State College Blvd., Fullerton, (714) 680-6803. Fri.-Sat., 8 p.m.; Sun., 7 p.m. Thru Aug. 15. $18-$20. www.hungerartists.com.

AUDITIONS - Briefs: A Festival of Short Plays

I have been honored with the privilege of directing a new original play for Theatre Out’s first annual short play festival. This marks my directorial debut at Theatre Out!

I am seeking one male and one female to play MARTY and TERRI in A Bridge to Something by Corinne Kawecki. Must be able to play late teens. Please find the audition information below.

Theatre Out is casting BRIEFS: A Festival of Short Plays, which producers plan to make an annual event. This two-week showcase will feature 10 original plays chosen from over 150 submissions. Keeping with the mission of the theatre, all pieces revolve around the LGBTQ community. Each show will perform every night of the festival and at the end of the run the audience will choose 'Best of the Festival".

Directors: Jack Millis, David Carnevale, Carlos Martin, Katie Chidester, Anthony Galleran, Jamie Sowers, Angela Cruz, & Ted Leib

Auditions: Monday, August 16, 7:00 pm; Tuesday, August 17, 7:00 pm

Rehearsals: Begin shortly after casting, limited rehearsal time.

Performances: September 17 - 26; Fridays, Saturdays and Sundays at The Empire Theatre.

There is no pay. Theatre Out does not work under any Equity agreements.

Theatre Out encourages diversity in casting and, no, you don't have to be gay to work with us!

No Appointments Necessary; ALL ROLES ARE OPEN.

Auditioners will be asked to cold read from the scripts.

Characters: Roles available for teens through late 60s. All ethnicities.

The Plays: Selected from over 150 submissions, these 10 plays represent playwrights from across the United States and range from farcical comedies to meaningful dramas and character studies.

Attack of the Dorothys by J.E. Phelan
A Bridge to Something by Corinne Kawecki
Briefs by Darcy Hogan
Herman's Wedding by John Franceschini
I Should Have Said No by Doug Cooney
I Thought I Liked Girls by Nicole Pandolfo
Saturday Night's Alright for Flaming by Christopher Diehl
Shiny Pair of Complications by J. Stephen Brantley
The Date by Joan Lipkin
The Loose Ends by Mark Harvey Levine

Happy Fourth of July – Bard Style!

What if Shake-Speare had written the Declaration of Indepedence?

In honor of our nation’s most patriotic holiday – here is a Declaration of Independence in the style of the Bard…

Courtesy of SP Hendrick and The Redlands Shakespeare Festival.

Now is the Summer of our Discontent
Expressed by multitudes of men whose pleas
For fair and proper governaunce are rent
By Soverign King, unheeded, as a breeze
Might go unnoticed. Now forlorn, we cry…
For Freedom from that puffed, indiffererent Crown
Which hath despoiled our patience with the lie
That God hath righteously on him bestown
All that we are and have for his sole right
To take and plunder and to sieze at will
So for our Liberty we choose to fight
Against this tyrant whom we wish no ill
But let him now take heed. Let it be said:
Uneasy lies the Crown upon his head.

May all your fireworks exist in the sky…..

Or a great kiss!!

Producers Win at the Maverick

Fullerton’s Maverick Theatre mounts a rather accomplished production of Mel Brook’s The Producers, directed by Brian Newell. Despite the limitations of their small performance space, the cast and crew produced a magical show equally spirited to a full Broadway production – easily transitioning from theatre, to office, to East Side apartment, to courtroom and beyond.

When Max Bialystock, an infamous Broadway producer, teams up with his mousy accountant, Leo Bloom, they soon realize that a play that flops could, theoretically, make a fortune. With a little creative accounting, Max and Leo endeavor to collect an excessive amount of money from their backers and produce a show certain to fail on opening night, leaving them with $2 million to spend. They set out to over sell the shares of their next show, Springtime for Hilter, a surefire flop meant to offend and horrify as many theatre patrons as possible. They hire a nutcase German playwright, persuade the worst director in town to join the team, and gain finances from a string of promiscuous old ladies. With all the pawns in place what could possibly go wrong?

Shaun-Michael McNamara delivers a fantastically funny Leo Bloom, in a character that can easily lead the best of actors into a contrived performance. McNamara proves neurotically amusing and sincere.

Rick Franklin's Max Bialystock begins with vigor, but loses steam toward the end of the play – struggling to keep up with his youthful cast mates. Yet, one can appreciate his fight for success.

Kalinda Gray's seductive Ulla, shines through with her perfect sense of comedic timing, sparkling appearance and strong vocals (even through the filter of her humorous Swedish accent).

David Chorley’s delivers a mantic, escaped Nazi playwright, Franz Liebkind. Among his pigeon companions, his quirky mannerisms and thick accent are the perfect combination of hilarious and frightening.

The Maverick Theatre’s talented ensemble of standout performers creates a thoroughly enjoyable production, with laugh-out-loud qualities. One thing is for sure, audiences will leave the theatre with a smile on their face.

The Producers is presented by Maverick Theater, 110 E. Walnut Ave., Fullerton, (714) 526-7070; http://www.mavericktheater.com/. Fri., 8 p.m.; Sat., 3 & 8 p.m. Through Aug. 1. $15-$25.

Join Wee Thomas's Army of Supporters

"Wee Thomas” the cat has been killed. Even more unfortunate, he was the cherished pet of Padraic, a ruthless Irish National Liberation Army enforcer whose motto is "shoot first, ask idiotic questions later". As his father and a well-meaning neighbor fight over who has to break the bad news, mayhem ensues and an irresistible, wickedly funny play is born.

Tonight’s performance of The Center Theatre Group's production of Martin McDonagh's The Lieutenant of Inishmore began as a dark satire and ended as a violent assault against the senses. Bathed in guts and gore, The Lieutenant of Inishmore is revoltingly comical and shockingly insightful. Set against a cold and severe landscape of an isolated island in Northern Ireland, Padraic paints the walls red in search of Thomas’s killer. Was it an accident or an execution? - Either way, someone has to pay.

Surprisingly, it is not Chris Pine who steels the stoplight as the hot-headed terrorist Padraic, although he is the most recognizable talent. Instead the young Coby Getzug shines thorough as the lovable and sulky teenage Davey, wrongly accused of running over Padraic’s beloved cat with his bicycle. Getzug’s portrayal of Davey is likable and sincere in a cast of absurd characters. Equally commendable is Sean G. Griffin in the role of Donny, Padraic’s father and caretaker of his cat. Together the duo steal the show scene after scene as audience members howl with laughter, grimace with fear, and moan with disgust.

Speaking of blood, there is plenty to go around. This is not a play for the squeamish, but an all too enjoyable night of entertainment (despite our best efforts to fight against it).

Ian Alda, Andrew Connolly, Kevin Kearns, Zoe Perry, and Brett Ryback complete the talented cast of players.

June 30th – August 8th, at the Mark Taper Forum; 135 N. Grand Ave. Los Angeles, CA 90012. Tickets are available online or by calling the Box Office at (213) 628-2772. $25 - $35 General Admission.

WARNING: THIS SHOW CONTAINS GRAPHIC VIOLENCE; Adult language and themes. Not recommended for children under 18.

Theatre Out Presents Zanna Don’t!

Last weekend I was delighted to discover the music, comedy and magic of Zanna Don’t – now playing at Theatre Out. This quirky social satire, filled with colorful characters and energetic music, provides the perfect balance between high comedy and cultural commentary.

Zanna, a mystical matchmaker and student at Heartsville High, maneuvers through a parallel universe where homosexuality is the norm and heterosexuality is taboo. With a wave of his magic wand everyone gets a piece of “extra love” – everyone except Zanna. Chaos ensues when the high school’s drama club prepares a musical production to combat heterophobia, revealing heterosexual love between two characters that is forbidden to exist.

Poignant lyrics disguise a repetitive musical score, creating a relatable emotional journey through the byways of love. With several standout performances from this cast of 8 players, and a running time of 1 hour and 30 minutes with no intermission, this fast paced show provides the perfect dose of entertainment.

June 25th – July 31st, Friday & Saturdays @ 8PM, select Thursdays @ 8PM & select Sundays @ 2PM. Theatre Out's home is The Empire Theatre in the Artists' Village in downtown Santa Ana, located at 202 N. Broadway, Santa Ana, CA. Tickets are available online at http://www.theatreout.com/ or by calling the Theatre Out Box Office at (714) 826-8700. $25 General Admission, $15 Student Admission.

Great American Irish Fair and Music Festival

The Great American Irish Fair and Music Festival is celebrating its 35th year! As the largest festival of its kind in the Western United States, the Fair has 16 entertainment areas featuring the very best in the music, song, dance, and sport of the Irish. The festivities begin Saturday, June 19th, and continues through Sunday, June 20th. Enjoy over 100 shops, arts and crafts, your favorite Irish bands, sheep herding shows, Irish dog shows, and one of the largest Irish Traditional Stepdancing (Riverdance-style) competitions in California.

Please be sure to check out 2 of my favorite Southern California bands: The Fenians and The Young Dubliners.

There is something Irish for everybody at the Great American Irish Fair and Music Festival!

Sat. & Sun. June 19 & 20, 2010, 10:00 am to 7:00 pm. One day tickets $15 - $18 at the gate, $12-$15 advanced sales. Two day tickets $22-28. Irvine Meadows (Next to the Verizon Wireless Amphitheater in Irvine, CA): 8800 Irvine Center Drive. (3 Minutes off the 405 Freeway).

Where was Broadway in the 2010 Tony Awards?

As I watched the 2010 Tony Awards on CBS, I realized how Hollywood-ized the New York theatre scene has become. While many professional theatre actors cross over into the realms of television and film, (Let’s face it, we are hungry for work and take what we can get), more and more motion picture celebrities are taking the stage for the first time. Maybe this has something to do with the economy, as Americans are turning to digital downloads and rental services as movie ticket prices climb to cover big budget films and dwindling box office numbers.

While I enjoy watching actors return to their theatre roots after starting an accomplished career on the Silver Screen (Thank God for Hugh Jackman in The Boy From Oz!), in contrast, I detest watching big name celebrities attempt to break behind the Broadway curtain and fail miserably (Julia Roberts in Three Days of Rain anyone? Read the review.). The truth is stage and film are two entirely different beasts and very few actors have the talent and training to make the transition.

For many of the major acting awards, the Tonys this year opened the door to Hollywood, essentially ostracizing the lesser known, but highly acclaimed, traditionally theatrical nominees.

Fences brought home three major awards, beginning with Best Revival of a Play. Denzel Washington was awarded Best Performance by a Leading Actor in a Play as Troy Maxon. My best advice for Mr. Washington –when you are nominated for an award, please research its history and avoid making puzzling coments during your acceptance speech, like this one; “I’ve been awarded by the Tony Award—what do you call yourselves? The Tony Committee.” What did you mean by that Mr. Washington? Thank goodness for your co-star, Viola Davis who spoke gracefully when accepting her award for Best Performance by a Leading Actress in a Play.

Academy Award-winning actress Catherine Zeta-Jones took the prize for Best Performance by a Leading Actress in a Musical for A Little Night Music. After tripping on her ball-gown on her way to the podium, Zeta-Jones caused controversy during her acceptance speech by pointing to husband Michael Douglas and saying: “See that man there? He’s a movie star and I get to sleep with him every night.” Very classy Catherine! Thanks for continuing the awkwardness of the night, which we all hoped would end with host Sean Hayes lip locking Kristin Chenoweth. I appreciate the statement that was trying to be made (yes, gay actors are more than capable of playing it straight if audiences leave their prejudices and expectations in the theatre lobby), but some things are better to be left alone. Newsweek, we were all disappointed when you called Sean Hayes unconvincing as Chuck Baxter in Promises, Promises, but let’s take the high road on this one.

Hollywood starlet - no pun intended- Scarlett Johansson took home the win for Best Performance by a Featured Actress in a Play for her performance in A View From the Bridge. Scarlett Johansson thanked her husband Ryan Reynolds for “being a theater widower” for her in her acceptance speech. I am not a big fan of Johansson, except for the occasional Woody Allen film (which I probably like more for Allen’s writing/directing then Johansson’s acting), so I was a little miffed when she won this award over the likes of Rosemary Harris.

The night’s biggest winner was the Mark Rothko homage Red, which took home six awards including Best Play. Memphis, featuring music by Bon Jovi’s David Bryan, won Best Musical.

Glee star, Lea Michele, showed up in true Hollywood style to belt out “Don’t Rain on My Parade.” Granted, her performance was brilliant, but for those of us who watch Glee, it was just a less-campy rerun of her performance of the same song on the series and predictable. Perhaps there should be a revival of Funny Girl. I think she is hoping her character on Glee graduates early so she can grace the Broadway stage. At least she sang in the traditional Broadway style, rather than the Pop and Rock remakes, which seemed to be the staple of the night.

For those of you who watching the True Blood season 3 premier, or game 5 of the NBA finals instead, here is a recap of the main categories:

Best Play- Red

Best Musical- Memphis

Best Book of a Musical- Memphis

Best Original Score (Music and/or Lyrics) Written for the Theatre- Memphis

Best Revival of a Play- Fences

Best Revival of a Musical- La Cage aux Folles

Best Performance by a Leading Actor in a Play- Denzel Washington, Fences

Best Performance by a Leading Actress in a Play- Viola Davis, Fences

Best Performance by a Leading Actor in a Musical- Douglas Hodge, La Cage aux Folles

Best Performance by a Leading Actress in a Musical- Catherine Zeta-Jones, A Little Night Music

Best Performance by a Featured Actor in a Play- Eddie Redmayne, Red

Best Performance by a Featured Actress in a Play- Scarlett Johansson, A View from the Bridge

Best Performance by a Featured Actor in a Musical- Levi Kreis, Million Dollar Quartet

Best Performance by a Featured Actress in a Musical- Katie Finneran, Promises, Promises

Best Direction of a Play- Michael Grandage, Red

Best Direction of a Musical- Terry Johnson, La Cage aux Folles

Best Choreography- Bill T. Jones, Fela!

Edward II Closing

Tonight I closed Theatre Out’s production of Edward II at the Empire Theater to a full house. I am in awe of the kind-hearted, talented people I have met during this process. Working with the founders (Joey Baital, David Carnevale and Jack Millis) and director/playwright, Darcy Hogan, has been inspiring. Her innovative use of Christopher Marlowe’s powerhouse history, created an emotional journey for me driven by character, love and desire. I am so thankful to have played Margaret, and that Darcy trusted me to originate a role which she so carefully and lovingly constructed.

"Don’t give them a Punch and Judy show villain."

I recently read an interview conducted with Sir Ben Kingsley, whom I consider one of today’s greatest actors. He is currently promoting his new film Prince of Persia: The Sands of Time, a Jerry Bruckheimer blockbuster film based on the popular video game. In the midst of actors like Shia Labeouf creating controversy by bashing their own films – here is Sir Ben Kingsley showing the next generation of actors how to handle all their roles with grace.

“I do the same job. The background alters, and where the camera is placed, and the effects around me. But I am doing the same job. I serve Nizam as if Nizam was written by Shakespeare and he was called Richard III."

“Why waste my time trivializing a character or a film?” he continued… “If I trivialize it, it’s going to spoil three, four, five months of my life. Instead, I consciously think to myself, ‘Aim high, aim very high with Nizam. If the kids are going to come and watch it, let them see Richard III from Shakespeare. That will make them go, ‘Wow.’ Don’t give them a Punch and Judy show villain.”

To this I say, thank you Sir Ben Kingsley, for being a true knight of the stage and film, and serving art with honor. You are an inspiration to us all.

Stoll & Savor - May 19th!

May 19th and 20th - To start summer off right, Belmont Shore businesses are hosting their annual "Stroll & Savor" - Over 30 restaurants sampling menu items along 2nd Street. Ticket books are $10, sold in front of Chase Bank (5200 E 2nd St Long Beach, CA 90803) and other pre-sale locations. Exchange your tickets for food items and even wine! George's: BEST DEAL ON THE STREET! One plate of hummus, pita, Greek salad, one spanikopita and some gyro meat with tatziki sauce, all for only three tickets!!! 2nd Street has a good variety of very familiar foods, such as pizza, ribs, and cupcakes to slightly more foreign selection such as Thai, Greek, Indian and Pakistani cuisines. Arrive early for shorter lines, and parking. 5:30-9:00 PM.

World Premiere of Edward II

Opening night of Darcy Hogan’s innovative adaptation of Marlowe’s Edward II proved a satisfying experience. I truly congratulate my fellow cast members, dedicated director and crew, for opening with positive reviews. Our small, but eager, audience followed us on our journey through England’s intimate landscapes of passion, malice and vulnerability. Tonight marked the first time I felt the inner truth of my character. When Gaveston spoke to me and touched me, I felt deeply moved. There was a sense of magic tonight that came from just listening to each other – a simple task that is often forgotten and underestimated. My parents, my most adamant supporters and critics, seemed to enjoy the performance. Although, my father did comment on my apparent display of forehead tension (I think I have created a monster!). I suppose I am going to have to focus the emotional angst of my character within the technique of relaxed readiness. With 10 performances left, I intend to continue to make new discoveries and make choices to center Margaret in the world of the play. This week of reflection is sure to further stimulate my creative juices and refresh my focus as I work to fine tune my character with each passing performance.

May 14th – June 5th, Friday & Saturdays @ 8PM, select Thursdays @ 8PM & select Sundays @ 2PM. Theatre Out's home is The Empire Theatre in the Artists' Village in downtown Santa Ana, located at 202 N. Broadway, Santa Ana, CA. Tickets are available online at http://www.theatreout.com/ or by calling the Theatre Out Box Office at (714) 826-8700.

None ever found a thing to praise

I came home to my empty, dark apartment emotionally drained and exhausted from rehearsal. I wish I could say I felt the fatigue from a satisfying emotional journey left on the stage; instead, my weariness came from behind the scenes drama and self-doubt. I felt myself beginning to wreck. Even though it was well past midnight, and I longed for the five hours of sleep I could clock before my 5:45 AM wakeup call, I turned to my dearest friends: my books. I ran my index finger across their spines, and although I expected to pull Shakespeare off the shelf, my finger stopped on Johann Wolfgang von Goethe. I pulled out Bayard Taylor’s translation of Faust, collapsed in my leather armchair and flipped open the tattered cover to a random page, which read:

In young, wild years it suits your ways,
This round and round the world in freedom sweeping;
But then come on the evil days,
And so, as bachelor, into his grave a-creeping,
None ever found a thing to praise.

How appropriate! - I concluded. On any other day, I would comment on Martha’s ironic flirtation with Mephistopheles, as the foil to Faust’s advances on Margaret. Yet, last night, this passage spoke to me on another plain. In the context of my mood, I wondered how I had let myself get into this slump. Have I been wandering too far away from auditioning for quality theatre? Have I lost my ability to adore my work? Or perhaps the stress of dealing with Faustian actors, in all their arrogant and ambitious glory, is taking its toll on my sensibilities as an artist. I have said it before, and I will probably have to say it again: there is nothing more ruinous than a selfish actor. I need to ward off this destructive energy and focus on the positive as I move through the chaos of today’s activities - After all, a bad dress rehearsal means a great opening night!

The 39 Steps - A Parody

Claire Brownwell, Ted Deasy, Eric Hissom and Scott Parkinson portray over 150 characters in the Ahmanson’s production of Alfred Hitchcock’s The 39 Steps. Based on the 1935 film, The 39 Steps is a fun filled parody of Hitchcock’s suspenseful telling of an unlikely bachelor’s adventure into espionage. Richard Hannay begins in his simple apartment, fed up with “elections and wars and rumors of wars.” He longs for “something mindless and trivial. Something utterly pointless.” Deasy delivers a handsome and suave Hannay, as he discovers the solution to his boredom; “I know!” he says. “I’ll go to the theater!” At the theatre, he meets a mysterious woman (Brownwell) claiming to by a spy. When she ends up murdered in his apartment, Hannay is sent on a mission to clear his own name and save England from a plot to destroy the county. The action is non-stop, filled with clever allusions to Hitchcock’s many films and heightened physical comedy. Eric Hissom and Scott Parkinson seamlessly slip between characters at lightning speed. The simple set becomes complex destinations as ladders are transformed into bridges, chairs into vehicles and trunks into train cars. Maria Aitken cleverly mounts this ridiculous comedy under the concept of a small repertory theatre to bring Patrick Barlow’s version to the stage. The program details her vision in her own words: “I envisioned some small rep company in the 1950s in England where this leading man wants to play the Richard Hannay character... This leading man can only muster a leading lady if he gives her three parts to play. And there are two old annoying vaudevillians that are left over from some other production at the theatre. He tells them they have to play all the rest of the roles, all 150 of them, and play them straight. But they don’t always behave like they are suppose to.” This combination creates one of the best slap-stick comedies to grace the Los Angeles stage in some time. A comedy for young and old, The 39 Steps vibrates with energy and laughter on the Ahmanson stage. Keep an eye of for a special appearance of Hitchcock himself!

The 39 Steps at the Ahmanson Theatre: 135 N. Grand Ave., Los Angeles. Tuesday-Friday at 8 pm; Saturday at 2 & 8 pm; Sunday at 1 & 6:30 p. Plays through May 16th, 2010. Tickets start at $20-$80.

2010 Tony Awards Nominations

The Tony Award nominations have been announced! The New York Times has published very informative and interactive articles at Arts Beat. The full list of nominations, with explanations, reviews, and production photos can be found HERE! I am most interested this year to see if Jude Law will pull in a win for best performance by a leading actor in a play. His Hamlet graced the London and Broadway stage, with rave reviews. I was moments away from stepping on a plane this year to partake in the hype surrounding his performance. Probably the best Hamlet I have ever seen is Ben Whishaw, directed by Trevor Nunn at the Old Vic in London’s West End (2004). He was a young Hamlet at only 23 years old, but his portrayal was haunting and raw. His frail frame and pale complexion shook me to the bone. Next in line is Hamish Linklater, as the title character in South Coast Repertory’s production (2007). I mean, he learned from the best being the son of Kristin Linklater. Mr. Linklater connected to the role internally through his voice and body. There is nothing like sitting in the front row of a production of Hamlet, listening to the perfect articulation of every syllable and watching the spit fly. Yet, here is Jude Law, best known for his film career, vying to legitimize his portrayal of Hamlet on the New York stage. While his performance has been hailed by the New York Times as “a gold medal Hamlet,” the rest of the cast was not fortunate enough to receive approval from critics. Law seemingly carried the show, among a cast who could not reach to his level. Alfred Molina (Red), Liev Schreiber (A View From the Bridge), Christopher Walken (A Behanding in Spokane) and Denzel Washington (Fences), round out the category. It should be an exciting race.

Remembering Lynn Redgrave

Yesterday, May 2nd 2010, Lynn Redgrave passed away from cancer in her home in Connecticut, surrounded by her three children. Redgrave made her professional debut as Helena in a production of Shakespeare's A Midsummer Night’s Dream in 1962 at the Royal Court Theatre, and soon thereafter became a founding member of the Royal Nation Theatre. In addition to being a talented actress, Redgrave also wrote 4 plays, including Shakespeare for My Father, which explored her relationship with her father Sir Michal Redgrave and earned her a Tony Award nomination for best actress. I met Lynn Redgrave at a performance of The Importance of Being Earnest presented at the Ahmanson Theatre in Los Angeles, in the spring of 2006. Redgrave shined as Lady Bracknell, commanding the stage with her imperious behavior and resonating vocal quality. After the show I waited patiently in the downstairs hallway of the backstage area. Redgrave was all smiles and elegance as she gently took my hand and introduced herself as “Lynn”. She was graceful, tall, humble, beautiful and demure in the dimly lit hallway – her makeup perfect and her hair slightly disheveled from being buried under a wig for two hours. I could barely speak, letting others congratulate and compliment her performance. I just wanted to watch her, and listen to her – taking everything in. I will never forget her, or the lasting legacy she made for herself on the stage.

Mumford & Sons

My lovely roommate, Courtney, possesses an ear and fantastical knowledge for music, which she continued to strengthen in my mind by introducing me to the band Mumford & Sons. Marcus Mumford, Country Winston, Ben Lovett, and Ted Dwane complete this West London band developed in the winter of 2007. Mixing the musical qualities of country, bluegrass and folk, their strong rhythms pounded at my heart.

I listened to the title track from their debut album, “Sigh No More”, inspired by Shakespeare's language in Much Ado About Nothing: "Love it will not betray you, dismay or enslave you / It will set you free / Be more like the man you were made to be."

Much of the album seems conceptualized from several of Shakespeare's plays: "White Blank Page"-Othello, "I Gave You All"-King Lear, "Little Lion Man"-Coriolanus. I cannot wait to purchase the entire album and bathe in their acoustic melodies.

When the child was a child....

The greatest mistake and actor can make on the stage, is forgetting the audience. Such was the case in last night’s opening performance of California Repertory’s Out of Thin Air. The audience sat through 90 minutes of actor exercises, personal experiences and un-cohesive material. As an actor I connected to parts of the piece: the need for theatre in one’s life, the confusion of having an inartistic parent, the behind the scenes antics, and the deciding moments in an artist’s career. This show marks the final curtain of Cal Rep’s graduating class of 2010. The Cal Rep Ensemble was given a remarkable experience working the Steppenwolf’s founding member Jeff Perry and veteran actor and master teacher Alexandra Billings to bring a world premiere to the stage. But when the show was conceived they forgot to ask themselves one important question: Who is our audience? If their audience is actors, theatre professionals and CSULB staff and students, than perhaps this show was a success. The second question they should have asked themselves is, What are we trying to communicate? If they were trying to communicate the notion that actors are judgmental, selfish, eccentric, horny and arrogant pricks, than they succeeded in that as well. The only authentic moments came when the actors were talking about being children: “When the child was a child…” There was a beautiful moment when a little girl was told her grandfather had passed away. She sat on her father’s lap, and he took her hand and traced little circles on the kitchen table with her fingers. She said, “That was the most grown-up moment I have ever had,” in the most startlingly beautiful and sincere way. Moments like these made the show watchable. Yet, other moments made me feel like the whole show was some big inside joke I didn’t understand, or a poorly done high school production. Strange “music video” parodies, random nudity and choppy transitions made the show seem amateur. The only truly interesting or inspiring segments took place when the actors were offstage and a thought-worthy quote, photograph or taped confession projected onto the white curtains of the stage. I rather enjoyed the video of the actors speaking candidly about their craft. Even though the performers sounded contrived, in the sense that they probably rehearsed their message over and over in their head, at least it was truthful. I ask myself: Is this show relevant? Is this show important? Or is it just “out of thin air,” like the title so appropriately suggests. I think this show will either be forgotten, or remembered for the all wrong reasons - which is a shame. After three years of study, 10 talented actors will complete their MFA program this summer. Where will they go from here?

"I don't want to live. I want to love first, and live incidentally" - Zelda Fitzgerald

Last night I read The Violet Hour and instantly became of fan of Richard Greenberg. I relished in the language of the play. It is not often that I stumble onto a modern piece of theatre with such thoughtful, eloquent and sophisticated language. Surreal and magical in every way, The Violet Hour explodes off the page, manipulating time and toying with the concept of fate. When a strange machine arrives in John Seavering’s publishing office, spewing out premonitions, reality is questioned and John must choose between publishing the memoirs of his mistress, or his best friend’s book. Either choice may prove disastrous for the unpublished writer, but both will lead to Seavering’s ultimate success. I immediately connected with this piece, especially the characters of Denny and Rosamund – who seem to be portraits of the young Scott and Zelda Fitzgerald. When I reached their final, intimate scene together, I began to read out loud; as such an emotional journey could not be left on the page. There is something very sincere and real about how the words are spaced on the page and how they sound when spoken aloud. From an actor’s perspective, there is a special emotional journey for each character clearly reflected in the dialog, which somehow manages to be heightened yet conversational at the same time. The Long Beach Playhouse has included The Violet Hour as part of their season this year, and I sincerely hope that the production will do justice to this wonderful play. I can't wait to see it on the stage!

Happy Birthday Uncle Eddie!

Today is Edward II 726th birthday! Happy birthday Sire! (Or as I tenderly like to refer to him - Happy birthday Uncle Eddie!) Since I am currently working on Marlowe's crowning achievement, his play The Troublesome Reign and Lamentable Death of Edward the Second, King of England, with the Tragical Fall of Proud Mortimer, I thought it appropriate to celebrate this important day in history. I will be returning to rehearsal on Monday, after a much needed rest, to revisit my role as Margaret (Edward's niece) and the Messenger. I am also excited to say that the Marlowe Society has taken notice of our production, and publicized it in their Theatre Events Blog. I spent some time researching Edward today and discovered a fun and informative blog dedicated to him: Edward II. Enjoy!

A+ to CSULB Theatrefest

The 10th Annual CSULB Theatrefest proved to be quite an experience. I listened to about 20 comedic monologues over the course of 3 hours. Thank goodness the students brought some energy and light into the dimly lit, dreary classroom setting. There were probably as many successes as there were failures yesterday. However, the valuable learning experience provided to these high school students is immeasurable. There is nothing more relevant to an actor then to see their peers perform, and to get feedback early on in their craft. My only experience of this type in high school was competing at the Chapman Shakespeare Festival, which inspired me to attend the university for my undergraduate work. My favorite performance of the day was a young man who performed Cyrano De Bergerac (and no I didn't favor him just because I love the play). It was amazing to me that he would take on such a challenging piece of theatre and hit the nail on the head, especially at the tender age of sixteen. Most importantly I admire the bravery of the students I saw this weekend. It is one thing to perform safely in your classroom, and another to perform in front of strangers in unfamiliar territory. I think there is great hope in the upcoming generation of actors.