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Richardson conceived Gallows Humor, as director Gregory Von Dare notes, so that audiences may "laugh at the darkness and live to the fullest." Despite this very timely message, the play does not fully measure up, for only the condemned man is allowed to cutloose, as his time runs out; his executioner must forge on indefinitely in a state of misery. Walter (John Berg), a reputable lawyer, saw his whole world suddenly turn chaotic, as he was forced to listen to syncopated hiccups in the courtroom.
His life lost its boundaries, he snapped and murdered his wife by bludgeoning her to death with a golf club. It's a scene right out of a John Guare play. The warden (Travis Michael Holder) brings a hooker named Lucy (Vinessa Shaw) to Walter's cell to make his final two hours of life happy before his execution. Walter, a Felix Unger type, objects, wanting only a world with form, one that makes sense to him. Of course, Lucy allays his anxieties and has her way. Both Berg and Shaw play their roles to the max.
In the second part, the executioner Phillip (Paul Carr) wants to wear a black hood common to hangmen in the Middle Ages. A henpecked middle-aged man with little else than a pension in his future, he yearns to break away from the expected. But Martha's (Mary Cobb) hold on him is too strong and her "one world - one way to live in it" philosophy unfortunately dominates. Here playwright Richardson needs to rethink his intent and let Phillip's fantasy take him right through that locked door to ecstasy. Both Carr and Cobb are terrific. Holder as the warden initiates a hilariously messy seduction of the man's wife. Alex Wells as Death does his comical best to poke fun at being out of place, at the top of the show.
Currently at the acclaimed Laurelgrove Theatre, the play is weak, not up to the genius of The Dead Boy, but its infectiously dark humor and truly fine cast make it enjoyable fare. See Guide for listing.

Canteen at the Santa Monica Playhouse looks back at the USO in World War 11. When I first received word of the Canteen musical at the Santa Monica Playhouse I thought it would be a nostalgic revue of the songs of the second world war as heard in movies, records and radio. Was I surprised to find that it was the American premiere of a new musical completely created by the talents at the playhouse currently celebrating its 40th year.
Canteen salutes the gals behind the guys behind the lines at a USO in an American small town. The book, words and music are by Matt Wrather, Evelyn Rudie and Chris DeCarlo. DeCarlo is the director, the musical direction is by Wrather, the choreography is by Cydne Moore, the costumes are by Ashley Hayes, the set and lighting design is by James Cooper. the sound is designed by The Attic Room, and the performers are Juliet Berman, Serena Dolinsky, Perrin Iacopino, Jacquey Rosati, Evelyn Rudie and Gray Silbert. They portray the fresh and feisty females whose singing, dancing and personalities kept the home and heart fires burning. Gray Silbert rounds out the cadre as Buddy, the lone male.The musical numbers, all original and written just for this production, evoke the spirit of the time when the USO Canteen takes place, Wednesday, November 12, 1942. They are “Behind the Lines,” “A Woman’s Place,” “The Night He Went Away,” “Scout’s Honor,” “The Things That Never Happened,” “The War,” and “A Well-a-Welcome Home, Boys.” Heralding the Playhouse’s 40th Anniversary, this is a total theatre celebration, and comes complete with a complimentary buffet supper included in the ticket price, served 45 minutes before curtain. See Guide for listing.\

Ballet Folklorico Nacional de Bolivia, performed at the El Portal Center for the Arts, was amazing!
This marvelous show gave us a glimpse into the "rich cultural heritage of Bolivia" through dance and song. The "dances represented the beliefs, myths, rituals, history, ancestral costumes and traditional celebrations originating from the five regions of Bolivia."
All the dancers were remarkable, highly energetic, wore some beautiful costumes and did a fabulous job portraying their country to the audience. The last dance, Tobas - Tropico Primitivo was a show stopper! The theme dealt with "tribes of savages and barbarians emerging from the depths of the jungle, frightening villagers with their warrior dance. The Tobas, agile in their leaps and skillful with their swords, dance with a savage rhythm in their costumes made of beautiful feathers." It was spectacular! All the dances were brilliantly choreographed by Manuel Acosta-Bustillos.
And making the dances come more alive was the beautiful and lively music wonderfully performed by the highly talented Chaymanta. Their lead singer Adriana Castanon has an lovely voice.
Alfie Martin, founder and artistic director of Teatro de las Artes said, "We want to provide an opportunity for people of all ages and backgrounds to learn about and experience the diverse cultures of the world in a theatrical setting." And it is a great way to be aware of and respect other cultures. So many thanks go to Alfie Martin and The Club Cultural y Deportivo Bolivia for bringing this enlightening show for us to experience.

Gene Franklin Smiths’ adaptation of the novel Bleak House by Charles Dickens, deserves all of your attention. Go see it!! I said, “GO SEE IT!” It’s at the Write Act Repertory Company. Although a little more than two and a half-hours long, you will be hypnotized by the fast paced acting and excellent direction by Larry McCallister. You will emerge entertained by a diligent ensemble cast. By the way, no fancy elaborate sets, you’re so caught up in the characters and the story it just doesn’t matter.
Bleak House sets in London in 1851. It is the story of Esther Summerson, played by Wendy Gough. (I fell in love with her just like her suitors) Esther is a compassionate young woman questing for the truth of her parents while protecting her companions from the British legal eagles, entrapping all levels of society in its network of corruption and intrigue. Esther’s physical and emotional well being profoundly changed her as well as her loved ones. She emerges to unite them in an ever-changing society.
Where do I begin to compliment all the characters? I would be like Dickens writing tons of pages trying to describe my thoughts of all the wonderfully acted parts. So, I’ll do my best. Ada Clare, played by Amy Dolenz. Playing with just the right naiveté and soundly convincing. Adam Menkin, playing duo roles as Jarndyce/
Bucket, solid and you deserve a slot in heaven. Whew!! Cameron Mitchell, Jr. Kenge/
Krook/Sir Dedlock. How do you keep it straight? But you’re brilliant! Pamela Salem as Lady Dedlock. A class act performance as the character in which you portray.
I left a few out and I’m sorry but I reserve the last few words for the Producers, Victoria Sterling and Karen Marie Siegel. High Risk, High Rewards! When you take on Dickens you risk the alienating the work of art. Not in this case. I congratulate you both and Mr. McCallister in the adaptation. It captured the essence of Dickens just right!! See Guide for listing.

Ever wonder what "the bear" was in Anton Chekhov's one-act, "The Bear?" A horrible insult actually, only this "bear," as portrayed by actor Ed Cunningham, steals the evening of Chekhov's Shorts, the first production by the
American Russian
Theatrical Alliance (ARTA), the first ever English-Russian Theater Company in California.
Cunningham is the sympathetic hothead creditor Smirnov. All the poor guy ("there is no dress code for creditors," he laments) wants is to get paid. He could be any of us dealing with a disinterested boss, or in this case a self-interested estate owner Popova (Anastasia Drake alternating with Tatiana Chekhova), who is just "not in the mood."
His response? "Vodka! I need vodka!" Cunningham/Smirnov's outpourings are everyman worries: "I'm too nice. I'm a softy. Put a skirt on me!" Overwhelmed by his frustration- he'd "rather sit smoking on a barrel of gunpowder" than deal with women- and his passion- he "fought three duels over women, walked out on twelve women, and had nine walk out" on him- Smirnov has the makings of the good doctor's later deep-hearted human, Astrov in "Uncle Vanya."
"I'm so mad I could blow up the world!" shouts Smirnov, but after a pause adds, "Oooh-pickles!" When he challenges Popova to a duel and she agrees, Chekhov's stand-in consigns our world to come: "There's emancipation! Equality of the sexes!"
Indeed, this entire ARTA cast gives us the bright heat and white-draped couch conflicts we love in our Chekhov. But we also get absolute accents and enough raucous Russian energy to send the master's turn-of-the-last-century message overflowing its top: the bourgeois absurdities in "The Proposal" and "The Bear" will soon enough be run over 20th-century style when all their metaphorical horses break down the stalls.
Elmar Mamedov's translations offer classic, hip timing (perhaps only a Russo-LA company can provide such?). Karina Abramyan's costumes are superb. Director Dmitri Boudrine's vaudeville pitch is intense. At times, the hilarious insults elevating "The Bear" into "Taming of a Shrew" territory, just squawk in "The Proposal."
This new company is loaded for promise, and even promise bilingual productions. "Bojimoy!" screams Joey D- Auria as "land-snatcher" Stepan Stepanovitch. This means "Oh my God!" in English. We can almost hear George W. and best pal Vladimir using them as interchangeably as Chekhov estate owners terrified by a new century. See Guide for Lisitng.

Three Original Comedies Performed by The Vagabond Players - What better time than now for dark comedy, especially when it pertains to the taboos of marriage, a priest's life, and infidelity? The Vagabond Players are back this season with their unique multi-play format to explore these life issues in true off-the-cuff fashion directed by the talented Lewis Hauser. The first in the set is "The Box," starring Michael James Thompson as the priest who would like someone to listen to him for a change and Traci Mitchell as a female penitent who can barely get a word in edgewise.
"Banter and Vows" is an abstract comedy featuring Caryn Randall as Cecilia and Trevor Wilde (as Elvis in Elvis Orders a Mai Tai), as a highly jumpy, physically comic pair that are trying to get to know each other, after they get married! "Three Plays and a Bed" begins with Stephanie Carr as "the speaker" in Blue Movie where she finds a porno running in her bedroom. Instead of chastising her conspicuously hidden husband, she gives a hilarious running commentary on the film.
Traci and Michael return in "Say You Love Me" as a troubled married couple. Traci's character "Her" takes the advice of a therapist and tries to insert control in their marriage as a chatty dominatrix, only to freak out her highly expressive husband. The last of the short plays is “Two Women, One Man, and a Bed” with Traci as Melissa, the bride-to-be, Charlotte Ashton Proctor (Elvis Orders a Mai Tai), as Sarah her sister and Jon Riendeau (Elvis Orders a Mai Tai) as Brian, the two-timing future groom. In a moment alone together, Brian and Sarah reignite their passion, unsuspected by Melissa.
See Guide for listing.

Giving Up My Ghost, a new musical now playing at the Bitter Truth Playhouse, revolves around the life of Al Powell who sings and plays piano in a cocktail lounge. Several decades ago, he was a hot songwriter and recording artist. He was in love and engaged. He was also an alcoholic and one night got violent with his fiancé, driving her away forever. Remorseful, he gave up the sauce and has lived a sober life, winding up living an obscure but harmless life playing at the Lava Lagoon.
Enter Marilyn Spencer, a young woman who loves Al's old records and has fallen for the man. She inspires him to write a new album of tunes and makes him believe he has a second chance at true love.
All would seem well but for the presence of The Ghost, a sort of shadow personality that follows Al around, reminding him of his past misdeeds and failures and infusing him with guilt. The Ghost also has Al buffaloed into believing that it is in his dark side that his talent resides. The Ghost also facilitates Al's current shortcomings, enabling him to avoid taking full responsibility for his life in the present.
Marilyn has a dark secret in her past, also. Will she and Al be able to overcome their respective ghosts and build a life. See Guide for lising. -LR