Family Secrets Tend to Come Out During Funerals

Oceanside Theatre Company's California Premiere of Chicken & Biscuits Proves to be Universal 

A Blog View by Alejandra Enciso-Dardashti

Durwood Murray, Kiara Hudlin, Kimberly King. Photo Esteban Marin

Oceanside Theatre Co's production and California premiere of Douglas Lyons's "Chicken & Biscuits," directed by Kevin “Blax” Burroughs in his debut as Artistic Director and his first foray into straight plays, is a refreshing and entertaining theatrical experience. 

The story starts with a family gathering in the church due to the sudden passing of the patriarch. The service will be hosted by Baneatta's (Kimberly King) husband Reginald (Durwood Murray), and as she is getting ready she is also dreading having to see her younger sister Beverly (Taylor Renee Henderson) who has a flare for attention and drama. Also expected to attend are Baneatta and Reginald's kids, Simone (Kiara Hudlin) who just went through a heartbreak, and Kenny (Jacob James), a working actor in a relationship with Logan (Marley Bauer). This relationship is one that Baneatta is not a big fan of and vocal about. Beverly is joined by her 15 soon-to-be 16-year-old daughter and aspiring rapper La'Trice (Allyce Calloway). Once the service takes off and practically everybody has said their "peace", Brianna (Michael Amira Temple), an unexpected guest arrives claiming space. Revelations unfold with a mix of conflicts, and humor, delving into themes of love, forgiveness, and the intricate dynamics of family relationships.

Allyce Calloway, Taylor Renee Henderson. Photo Esteban Marin
“Blax” Burroughs shared in the press release that “Chicken & Biscuits is unapologetically black,”. Agree with the context, the style, and the celebration of the service but it also proved to be universal as commonly, those family skeletons really come out during funerals.  
His favorite quote in the show: "Family is a loaded word"... is it ever! Absolutely. All these elements make the play even more celebratory, adding to the communal theatre experience.

The cast delivers performances that breathe life into their characters and establish a nice on-stage chemistry. Durwood Murray's eclectic sermon is the star of the show flaunting mean moves and that deep velvet voice he is known for. Taylor Renee Henderson is a hoot as the younger sister which balanced out well with Kimberly King's steady rhythm. Allyce Calloway performs a fun rap number that pumps the audience while Kiara Hudlin, Jacob James, and Marley Bauer land the plot back to how family matters and the meaning of its support. Michael Amira Temple is the icing on this family cake rounding out the service and the dynamics! While the ensemble works well together, a touch of tightening could further enhance the cohesiveness of their interactions, elevating the overall impact of the production.

The Creative Team, featuring Andre Buck, Jr. (sound), Emily Carter (costumes), Reiko Huffman (scenic design), Tori Jones (props, set dressing, stage management), and Mashun Tucker (lights), contributed to the atmosphere of the production, illustrating the storytelling that created a fun experience for the audience.

Oceanside Theatre Co's rendition of "Chicken & Biscuits" is heartfelt and engaging.

Currently playing until March 24th. For more information on performance days and times, please click here. 

The Roustabouts Theatre Co. Brings the Stirring and Thought-Provoking

 Hand to God to the Diversionary Theatre Stage


Adam Daniel, Dave Rivas, Rebecca Crigler, Samantha Ginn & Devin Wade - photo by Daren Scott

"Hand to God," written by Robert Askins and skillfully produced by The Roustabouts Theatre Co. under the direction of Artistic Director Phil Johnson, is a darkly comedic exploration of inner turmoil and the battle between good and evil within us. 
The plot set in a small Texan town, revolves around Margery (Rebecca Crigler) who is recently widowed, and her son Jason, portrayed by Adam Daniel. Margery's pastor (Dave Rivas) assigns Margery to run the puppet club at the church as a distraction and to put on a show for the following Sunday. Jessica (Samatha Ginn) one of the neighbors, joins the club along with the town troublemaker Tommy (Devin Wade). Jason starts to grapple with his inner demons manifested in the form of his irreverent, foul-mouthed, and provocative hand puppet, Tyrone who takes over and brings out everything in everybody.

The cast delivered catching performances with great chemistry on stage, creating a cohesive ensemble that effectively captured the essence of the play. Adam Daniel displayed good puppetry skills that not only differentiated Jason from Tyrone but also added complexity to the characters, highlighting the internal conflict at the narrative's core. I had already seen "Hand to God" when SD Rep did it some years back but this time, I appreciated Margery's role more through Rebecca Crigler's portrayal which also delivered a truthful monologue regarding women. Devin Wade as the town baddie, is the typical class bully that needs obvious attention due to all the hurt happening inside. Samantha Ginn's portrayal of Jessica along with her puppet Jolene, is a standout, delivering a hilarious and also compelling performance that keeps the dynamics of the production in an upbeat rhythm. Dave Rivas is sweet as Pastor Greg, yet...appearances can be deceiving.

Adam Daniel. Photo by Daren Scott

Yi-Chien Lee's meticulous set design included a half that folded to reveal another room along with Annelise Salazar's atmospheric lighting, Justin Magallanes's detailed prop work, and Paul Durso's immersive soundscapes, created a rich and engaging theatrical environment that complimented the narrative and immersed the audience.

Pam Stompoly-Ericson's fun costumes added to the mix, truly bringing out each character's personality. I cannot conceive in this day a type of show like this, with sensitive topics and sexual scenes without the work of an Intimacy Coordinator. Bravo to D. Candis Paule, who also plays a crucial role in this production.

"Hand to God" is a stirring and thought-provoking exploration of faith, grief, and the complexities of the human psyche, greatly brought to life by a talented cast and dedicated creative team. With Phil Johnson's direction at the helm, this production offers a compelling blend of humor and drama, captivating audiences with its raw authenticity and emotional depth. 

Currently playing at Diversionary Theatre until March 31. For performance times and days please click here. 


Theresa Chavez and Nina Diaz on Adobe Punk: The Concert

Interviews From Another Zero-YouTube Edition

Artistic Director at About...Productions Theresa Chavez and Performer Nina Diaz, are hosted by the Zero to discuss Adobe Punk, THE CONCERT a six-day feast spread out between Los Angeles and Pasadena. In this lovely interview, we discuss the creative process for Adobe' as well as their Other Zeros.

Diaz and band members will weave in stories from the original Adobe Punk 2022 theaterwork which was co-created by Gabriel Garza and Theresa Chavez. The setting is early 1980s working-class Bell Gardens where punk music finds life in one of L.A.’s oldest adobe homes. Inspired by the bands X, the Minutemen, and the Bags, a young punk trio builds its songbook as they define their artistic identity and find their place in the musical, and historic early California landscape of Los Angeles.

Punkast interviews will enlighten new and seasoned audiences in the punk movement’s historic and current impact on the cultural zeitgeist. Also excited to share this work with Young Theaterworks public high school students from Los Angeles and Pasadena Unified School District. They’ll get to see the show and share their own writing on the topic in special weekday morning matinees at each of the venues.



Adobe Punk: the concert
Punkast Interviews With Host Jessica Schwartz


March 15-16, 2024 Friday - Saturday at 8 pm
March 17, 2024 Sunday at 6:30 pm
at Frida Kahlo Theater (MacArthur Park/Westlake)

March 22-23, 2024 Friday - Saturday at 8 pm
March 24, 2024 Sunday at 6:30 pm
at Lineage Performing Arts Center (Pasadena)

TICKETS:
$20 general admission, $5 discount with coupon code for Seniors 60+, Students, and Vets.
or use code NINA5 for five dollars off.
Available at aboutpd.org.

North Coast Repertory Theatre Brings "Tartuffe" to the Stage

The French Classic Shines Bright with Rhymes that Will Enchant Audiences on Site

A Blog View by Alejandra Enciso-Dardashti

The Cast of Tartuffe. Photo by Aaron Rumley
It is fascinating how works pass the test of time and live on through different generations that give a new breath to each iteration. North Coast Repertory Theatre rose to the challenge of producing this 1664 classic that keeps on giving 360 years later. 

Tartuffe was one of the first plays I read in junior high, and I loved it. The translation in Spanish is playful and holds more to free verses. I had never read or seen Tartuffe in English and it was joyous as Richard Wilbur's translation to English verse holds hilarious rhymes. Contrasting the play in the two language versions added to my experience. Richard Baird -who won the 2023 Craig Noel Award for Outstanding Lead Performance in a Play- directing this piece, I would like to reference fellow reviewer and podcast co-host David Coddon who mentioned on our latest podcast episode "Whenever Richard is involved in these classical theatre pieces you can expect realism, style, and commitment". All three were met with a beautiful set design by Marty Burnett using beige and gold patterns that exuded "monarchic times" brightly lit by Matthew Novotny where the scene can be appreciated more clearly as the light in the audience is dimmed instead of fully dark giving the stage a brighter frame complimented by Ian Scot's vivid sound design.

TARTUFFE.Bruce Turk & Melanie Lora & Bo Foxworth - photo by Aaron Rumley
Tartuffe is a charlatan with family authority Orgon and his mom Mme. Pernelle who are absolutely smitten by his stories and his supposed direct line with God. Orgon has given Tartuffe a creative license and he is taking advantage. The rest of the family see right through Tartuffe but how can they get the other two to see it as well? Baird did a solid job directing this multitalented cast through the French classic and having it be active as the play is over two hours including intermission. 

Bruce Turk rocks a full set of long locks thanks to Peter Herman's realistic hair and wig design to incarnate the snide Tartuffe giving audiences a cackle and making a great team with Bo Foxworth in the role of the smitten Orgon. Kandis Chappell as Mme. Pernelle starts the theatrical adventure with a mean semi-monologue that finishes almost every family member with an impressive headpiece by Elisa Benzoni that truly added to the piece with touches of lace, organza, and taffeta. All the wardrobe design is beautiful and colorful; I noticed that Melanie Lora as Orgon's wife Elmire, has almost three beautiful wardrobe changes throughout the play whereas stepdaughter Mariane, played by Shanté DeLoach, has only one. I would have wanted to see Mariane in another dress and color for the end of the play. Katie Karel as the mouthy housemaid Dorine, is funny and interprets the wordy dialogue masterfully. Kate Rose Reynolds has a brief but meaningful participation that rounds out the piece. Jared Van Heel contrasts the roles of Valere and M. Loyal creatively and corky. Rogelio Douglas III is playful as Orgon's son. Christopher M. Williams as Orgon's brother-in-law Cleante, brings the voice of reason to the plot and lands the audience's reaction. 

The opportunity to see a classic like this fully staged should not be passed up. It is a fun outing at the theatre with a beautiful design and solid cast.

Currently playing and recently extended until April 7th. For performance days and showtimes please click here


Backyard Renaissance presents Paula Vogel's "How I learned to Drive"

 A Raw and Suspenseful Story Delivered with Care and Pace

A Blog View by Alejandra Enciso-Dardashti

Megan Carmitchel, Francis Gercke, and Emilee Zuniga. Photo by Daren Scott.
Agh, the theatre world -as it should- has a little bit of everything out there, and within that variety are those works like this one, How I Learned to Drive that presented to me this big dichotomy: a smart, strong, well-written play that is hard to watch. But life is not all oats and honey and playwright Paula Vogel's work, is precisely about that.

Backyard Renaissance presented this raw and suspenseful story with care and pace. Set in rural Maryland in a family "full of crackers" as one of the main characters "Li'l Bit" (Megan Carmitchel) describes it. An only child raised by a single mom within a small family made up of the maternal side: grandparents, a submissive grandmother and "Big Papa" the grandfather, her mom's sister Aunty Lily, and her husband "Uncle Peck" (Francis Gercke). The family members are nicknamed after their genitalia and the dynamic of the story's flow is Li'l Bit narrating/explaining to the audience starting in 1969 and then going back through the years to the beginning of the decade. Uncle Peck taught Little Bit how to drive with a stick shift. The shifts are used as a metaphor interlacing the years with each speed change sprinkled with comedic bytes. 

Trigger warning: The scenes reveal that Uncle Peck is a pedophile and a groomer displaying states of seduction, control, shock, and realization.

Yi-Chien Lee made the Tenth Avenue Theatre stage look huge by having the design on the ground level using a wooden road with wooden signs to illustrate the DMV, the actual road, and the road of life going with Vogel's metaphors in the play.

I am appreciative of Anthony Methvin's directorial style in handling a whopper of a plot with care. There are five actors, Carmitchel and Gercke who play one role while William Huffaker, Karson St. John, and Emilee Zuniga play various roles and do not leave the stage, standing or sitting on the sides watching what is unfolding a la Greek chorus. The shifting gears also with the different roles briefly alleviate the tension having each actor display their chops. Karson St. John does a stellar job parallelling both Li'l Bit's mom and aunt, contrasting personalities dashed with alcoholism, denial, and being a bystander all while looking fabulous in Jessica John Gercke's costume design that involves slight and functional changes onstage. William Huffaker and Emilee Zuniga also presented contrasting tones while portraying young kids, teenagers, and seniors, again alleviating the heaviness in the room.

Megan Carmitchel evokes a myriad of emotions in her portrayal of Li'l Bit, never letting go of this character's humanity and confusion from childhood to adulthood, giving truly moving work. Francis Gercke's role in this plays with the audience's psyche doing great work as well that there has to be a separation from the character to just dislike/hate only one of him. Confusing as it is, it is good theatre. 

This piece is solid with no cracks and also displays the fantastic work of the associate director and intimacy coach, Hannah Meade, the accentuating of the scenes by Curtis Mueller's lighting design as well as George Ye's sound, even had me feeling the temperature changes in the play.

How I Learned to Drive deals with a plot that sadly, is common in this world. The theatre will go beyond entertaining and put a conversation on the table prompting inner dialogues that will spark conversations and maybe land some conclusions. The important thing here is, that through this art form, we are talking about it.

Currently playing until March 16. For performance times and ticket prices please click here.