Theatre
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Andrew Dice Clay- 4 May at the Ha-Ha Cafe
by Nick Burns
Between opening by lamenting his financial need to work at all and closing by describing his desire to chew his wife's sphincter "like a gummy bear," Clay delivered all the ribaldry and guilty laughs his remaining fans could want.
The changing humor of contemporary culture ironically only provides fodder for a comedian whose persona seems to have frozen after he tasted the sweetest success a decade ago. Even his entrance music remains excerpted from Nirvana's Nevermind. A world that stopped laughing at his insults sources his confusion and nostalgia rather than triggers his evolution.
A touch of bitterness constitutes the single novelty of Clay's act. He explains how relationships all go downhill after they begin; certainly the case between him and his shrinking audience. But what else can he expect? For a man insisting on riffing on static themes of static elements of human nature, the third-party intrigue can only decrease.
"All guys do is pinch their helmet and wait to unload," he demands, leaving no room for complexity. The repetitive simplification of the male intellect seems to release Clay from culpability. He effectively designed his career to assuage the guilt he derives from his own sexuality. Clay's talent has always lied in his eye for character. He instinctively and persuasively links appearance with behavior. For no other reason, the audience members in the first row willingly weather his scathing analyses of their flaws and fetishes as evidenced by what would otherwise seem arbitrary traits. He has an eye for the ways human nature typically manifests outwardly.
For those with enough backbone, Clay offers respite from wimpy comics who would rather point out the idiosyncrasies of modern life's most mundane details. Though most ironic, his role post-infamy is most fitting.
An Almost Perfect Person
by J.L.Curtin
It’s very late at night and attractive Irene Porter (Kathrine Bates) enters what looks to be a campaign headquarters, in fact, her campaign headquarters (isn’t that her large portrait on an easel?) in an elegant and spacious hotel suite strewn with banners, bottles and those ubiquitous boaters with red-white-and-blue hatbands. Turns out it’s her own upper Westside apartment in New York City and Irene, the widowed congressional candidate has just been defeated, according to late-night-early-morning TV election coverage - or has she? We well know how these results can teeter alarmingly, from our last Presidential election - so I will not reveal the outcome; you probably want to take yourself to Theatre Forty’s fourth rep play of the 2001-2002 season An Almost Perfect Person by Judith Ross, and find out for yourself.
The comedy, set in 1977, explores “Sex, Love and Politics in the Age of Aquarius,” according to its publicity flyer, and truly does so in a sprightly, engaging, if somewhat traditional, mounting. Produced by Rhonda Lord and Cliff Berens, and directed by the latter, it runs concurrently with major production Veronica’s Position in the comfortable, newly
refurbished Reuben Cordova Theatre (see guide for listing.)
The other two characters in this fun three-hander are Robert MacKenzie as Irene’s campaign manager, Dan Connally, and Daniel Leslie as Jerry Leeds, her campaign treasurer and longtime friend.
Her children are staying overnight with Grandma, and in the wild emotional terrain of winning and losing, exhaustion and exhilaration, the attractive, and still juicy Irene has turbulent encounters with her trusted support team (one at a time.) Although the trio are generally adept players, I was sorry to see Mr. Leslie’s sometimes shallow pained reactions, as the situations could have well supported a more realistic response and he is funny without trying so hard to be. Ms. Bates occasionally became shrill and one-note in her more intense moments. None of the three really rang true as born and bred New Yorkers or even East Coast denizens as the script seems to require. I fault the director for not fine tuning these moments: He also didn’t solve the problem of the fancy carpet at one moment containing shards of broken glass which cruelly penetrate our leading lady’s foot, and not long afterwards becomes a place where a cast member lies down and rolls about, and gets up unscathed.
The program doesn’t credit sound design, which was excellent throughout. Bruce Gray was credited for set design in the publicity handout, but not in the official program. The set pieces have a size and elegance that did resemble upper middle class life style, so it seemed painful to me to see the actors put down chilled glasses and wet bottles all over the mahogany furniture. But that is just me. The lights by Ellen MonoCroussos seemed just right. My only other cautionary word would be to the house staff, who were perfectly pleasant, but who, as so often happens in small membership theatres, were so involved in conversation with one another, neglected to show patrons to their seats. In this particular instance, a gentleman who had to negotiate crossing the stage and stepping off to get to his seat had a real fall. Luckily, his two companions, one of whom was blind, made it safely, and the man was not injured, except for his pride. The ushers, sitting chatting at the other end of the house, apparently never noticed. A little attention and a flashlight or word of caution would have been very welcome. See guide for listing.
Actorfest 2002
May 11th - I was just one of the many actors drawn to feast at the bountiful buffet of information and contacts that was ActorFest 2002, the 8th edition of the annual trade show/ convention presented by Back Stage West, the durable and necessary weekly publication for actors, also sponsored by AFTRA-SAG Federal Credit Union.
The exhibit floor was a panoply of more than 70 exhibits, booths or tables offering a wide range of acting and related training, photo, phone, online, legal and financial services (including marketing, employment, union and health: both mental and physical.) I sampled casting director “focus sessions” and was reminded in the intimate discussions how open and approachable these people can be, how they are staunchly on the “side” of the actor, wanting us to succeed at our audition. Of course, if we score the job it adds to their credibility.
Michael Testa, who has cast many independent feature films, Movies of the Week, and TV series, most recently Roswell, was very available and listened intently to questions from attendees. Susan Bluestein, who has highlighted her career with an Emmy for casting NYPD Blue, and many other memorable TV series, miniseries, MOWs and currently the hour-long series Providence, fielded extremely complex questions such as how an actor might best handle heavy or violent scenes in the context of an “office audition” without being overwhelming. She spoke thoughtfully and encouragingly to us, and still emphasized the necessity for diligent preparation on the part of the actor, including knowing the “world” of a show, its style, its locale and unique blend of authenticity and humor.
Another dynamic event I caught was the panel of distinctive and talented character actors (Building Character), moderated by BSW features editor Jamie Painter Young. Many of them are currently appearing on cable (Ed O’Ross in Six Feet Under,) and, on stage (Eddie Jones in Interact’s Death of a Salesman, Mindy Sterling in the Groundlings’ Actors’ Showcase, and Patricia Belcher in East West Players’ Monster.) The final member of this illustrious group was the familiar face of Robert Clendenin, known to LA audiences as a founder of Circle X Theatre Co. as well as a frequently seen guest star and commercial actor. The gist of their advice was to keep acting, then act some more, and always consider auditioning as part of your acting job (which you may get paid for much, much later.) We never know if an “unsuccessful” audition will result in more auditions and jobs down the line, so it may not have really been bad at all.
All the time I spent there, I was reminded of the good humor and fellowship of my actor sisters and brothers, and all those who “hang” with us. The fun ranged from someone fingering my PRESS badge with a cheerful “Is this where I press? Then what happens?” (Ha ha!) to a reunion with “old friend” actor-director (and ActorFest panelist) Andrew J. Robinson, and director-coach-teacher Kimberly Jentzen. I had the opportunity to meet the illustrious and talented Mala Powers who is executrix of the Estate of the famous Michael Chekhov.
I was also greeted by Industry friends and acquaintances who seemed fearful that my press badge meant that I had given up acting. I was really happy that so many people knew and loved NoHo>LA, and I was also touched by their concern and assured them that I was with the newspaper part-time and was still acting. (In fact I had to leave ActorFest to go to rehearsal for Christopher Durang’s Death Comes to Us All, Mary Agnes, which will be part of the upcoming Directors’ Festival at the Open Fist Theatre in mid-June.
If I had stayed all day, I still would not have been able to take it all in. I will definitely be back next year and heartily recommend that you join me. - Jacque Lynn Colton
On Saturday, May 11, from 3:00pm-4:30pm, TV’s Amy Brenneman of Judging Amy lent her gracious support to the proceedings by offering intelligent and grounded observations on the acting profession for the benefit of young actors.
Trained in New York, Brenneman wisely stressed the importance of education. When asked if she had passed through many low points in her career, she agreed that most actors experience loneliness, being cut off from what they love to do, namely, acting - and only acting. She suggested keeping busy, and as a means of “empowering” herself, she was a substitute teacher for a while. Nice way to learn how to captivate an audience!
Never into the starlette thing, Brenneman admitted that she must first like a script in order to get involved in any project. Modest person that she is, she stated quite matter-of-factly that she was not pretty enough and emphasized the unimportance of glamour in the work. She also encouraged young actors to be authentic, as mentor Peter Riegert, had prompted her to be. Don’t always do what you are supposed to do! Be yourself! Good advice from a working professional. Amy Brenneman is living proof that to work in this business you do not always have to fit the Hollywood mold. - Don Grigware
Veronica’s Position by Zoe Bennett
An aging but still glamorous screen goddess with weight issues and a scandalous past (Janice Lynde) re-unites with her (twice) ex-husband (Michael Forest), a famous stage actor and even more famous alcoholic, for a Broadway revival. Previews are in Washington, DC to accommodate the actress, who is dating a US Senator with Presidential ambitions (Webster Williams). To her surprise, the director turns out to be a woman – and a high-powered, highly attractive younger woman (Cheryl Carter) at that. Into this already volatile company, the actress’ male secretary (Kris Frost) brings a young photographer (Séamus Dever) whose sexually explicit work is making him the target of “pro-family values” forces, led, it turns out, by the Senator.
Elizabeth Taylor’s political coming-out proves fertile ground for a comedy of late 20th Century manners and morality. And Theatre 40’s production of Rich Orloff’s play, directed by Bruce Gray, is strong and smart, with excellent ensemble performances and tech credits all around. Lynde and Forest, while not physically equipped to impersonate Liz ’n’ Dick (battle of the bulge indeed!), have great fun with their dynamics and ultimately emerge as perfect Wildean archetypes – flawed souls who by embracing life prove themselves, whatever their mistakes, superior to those who never stray.
One longs at times for those wild, sloppy, colorful, tragicomic excesses of the tabloid twosome’s younger days. But they are moving on, leaving the hell-raising to a new generation; and the real sparks here come from the relationship between the quietly observant gay secretary, still mourning a lover who died the year before (AIDS runs as a mostly unspoken subtext throughout the play), and the dashing, romantic, rebel-with-a-camera figure of Ezekiel North/Robert Mapplethorpe. Actor Frost gives an extremely sympathetic performance. And Dever, intense and intensely sexy, lights up the stage whenever he is on it. As for the old chestnut that a kiss is just a kiss, TV’s “Will and Grace” may be doing its best to shock (and desensitize) mainstream America. But the power of outsider love lives on, symbolically and viscerally, and Veronica’s Position’s got the lips to prove it! See guide for listing.
Love Scenes by Michelle Malik
Love Scenes is David Pumo’s thoroughly entertaining and tender one-man discourse about love and the gay man in New York. Moe Bertran gives out with a magical performance of dynamic characters, each in different settings and all sharing a need for love and acceptance.
Sometimes jolted and other times exhaled in their relationships, these men all have a vulnerability that makes them so appealing to their audience, holding us captive with poetic monologues about physical intimacy and spiritual rapture, loss, and rebirth all in the name of love. Bertran’s immense capacity for depth is the bread pudding of this delightful show that first took flight on the New York stage.
The play’s rich personalities vary from a scorned man secretly attending the wedding of his former lover, the successful musical producer who is confident in his love union, the homeboy hustler who learns about culture and love from an older suitor, the P-Flag advocate, the rich husband who condemns his mate’s request for an open relationship, the celibate gay priest who leaves his order to explore his identity, and finally the New York diva drag queen preparing for her wedding. What best sums up the familiar strain in all of these scenes is a line from the last one, “Everybody’s gotta go through some s***. Why go through it alone?”
Love Scenes, produced by David Charles Keeton and directed by Donna Jean Fogel, played in Los Angeles for a week this time around, but they plan to make their way back to Los Angeles in the fall. You mustn’t miss it!
More Theatre
by Archie Rothman
The Greenway Court
Theatre on the Fairfax High School Campus presents Acts of Love & Redemption. Since 1999 the newly renovated Greenway Court Theatre has staged several award-winng hits that included They Shoot Horses, Don’t They? and A Charlie Brown Commercial Christmas. Now until June
9 they are presenting two programs of one act plays: Acts of Redemption Every Thurs & Fri. at 8pm, and Acts of Love every Sat. 8pm and Sun. 7pm. Redemption’s one acts are Judy Blume’s “Are You There God? It’s Me Margaret,” adapted by Gretchen German, directed by Wendy McClellan, set in New Jersey and New York City. A coming of age story about a young girl (Lara Lyon) who questions whether she’s supposed to be Jewish or Christian and other female issues. Phillip Roth’s “The Conversion of the Jews,” adapted and directed by Dean Fortunato, is about a Jewish boy who questions his Rabbi about irregularities he finds between his Rabbi’s teachings and common sense and logic; and “The River,” Flannery O’Connor’s short story about an emotionally neglected boy who is introduced to Jesus and baptisim, adapted and directed for the stage by Pierson Blaetz.
Series B: Acts of Love One Acts are “How Kintu Became A Man” adapted by Nambi E. Kelley and directed by Ayana Caher from an African folktale that centers around the first man and women. “Lapin and Lapinova,” inspired by a short story by Virginia Wolf, adapted by Deborah Swisher and directed by Laurie Woolery, follows the lives of an interracial couple and how they deal with stereotypes in and out of the bedroom; and “The Theban Warriors,” director James Eric’s adaptation of Lonnie Coleman’s short story set in 1954, about 4 sailor buddies and how they deal with an openly gay bunkmate and the turmoil created when one of the “straight” buddies falls in love with the gay man.
Few theatres can tackle such a large and diverse program of plays, featuring over 45 performers, under the artistic directors Whitney Weston and Pierson Blaetz. Some of the one acts are more effective than others, especially the two by Phillip Roth and Lonnie Coleman. 323-655-4402.
Charles Nelson Reilly returns to the Canon Theatre in Beverly Hills in his one-man hit. Since performing Save It For The Stage - The Life Of Reilly at the Falcon Theater in 2000, Reilly has performed the show in San Francisco, Hartford, New York and NoHo’s El Portal. I hesitated to see it at the Canon because I thought it would be a repeat of the shows I saw. But I’m glad I did. This show is completely different. Reilly has added many funny details to his “life” and the result - though long (over three hours) - is hilarious. Under the thoughtful direction of Paul Linke, the audience is hypnotized in hushed silence, except when screaming with laughter, which if often. Reilly’s is truly a life worth sharing - a long and rich career from his first role in the Bronx and Hartford, to his string of Broadway hits and award-winning television appearances and on through his show business re-birth as a teacher, opera director, stage director and writer. Reilly appears at the Canon sixtimes a week for an unlimited run. 310-859-2830.
True West
by Don Grigware
“I need something authentic to keep me in touch”. Sounds like a desperate creature seizing a last vestige of civilization. It could be the common man in 2002 bemoaning society’s loss of innocence and truth. After all is said and done, existence, as we know it, is evaporating as quickly as the moisture on the Mojave. These thoughts from Sam Shepard’s now classic True West loom like giants to haunt and inspire us.
Deaf West Theatre continues to open up old works to new and exciting interpretations, as is evident with its current production of West. Portraying one brother (Lee) as hearing-impaired adds fuel to the fire. Lee (Troy Kotsur, Stanley in DWT’s Streetcar, once again enacts the savage) is wildly persistent in his pursuit of the unpredictable and comes up a winner. The fact that he is deaf presents an obstacle that he ironically overcomes with his brother’s unwitting assistance. Austin (Bill O’Brien) represents the little man who ends up a loser. He signs and interprets for his brother at an uncompromising moment, inviting trouble. Lee wants to be Austin, or at least taste his success. Austin wants to be Lee, to sample his freedom. The two often behave like opposing sides of one personality, fighting each other to the finish. There is no peace. It’s unnerving to watch, yet awesome. The hearing differences put the whole experience on the edge.
Through Deborah LaVine’s insightful vision, the comedy is never lost, as laughter with pain is most crucial in this piece. We root for Austin, yet laugh at his gullibility. We chuckle at Lee’s stupidity, but at the same time, fall for his sordid magnetism.
Both Kotsur and O’Brien are well chosen for these roles. O’Brien has much added responsibility in this production, having to sign and react for Lee with Saul Kimmer (Jonathan Goldstein). Some cues were slow on opening night, as were Goldstein’s, who also provides the voice for Lee. However, with a few performances under their belts, these ironclad pros will smoothen any rough spots. Freda Norman is excellent in her brief appearance as the befuddled mother. See guide for listing.
Behind the Scenes
Theater Chitchat
with Don Grigware
I swore I would always save the best for last, but I just can’t wait to talk about it, so here goes, folks! Sit down in your most comfy chair, relax and stay loose!
When Frank Gorshin slams the door onstage in Dick Van Patten’s face as part of the curtain call of The Sunshine Boys currently at the Falcon Theatre in Burbank, that one piece of slapstick gets more laughs than half of Neil Simon’s moderately funny play. People love to see a pratfall or a slap in the face, especially if they think it’s unscripted. And, of course, if an actor breaks character or loses a part of their attire accidentally onstage, it’s all been worth the hefty price of admission! Well now, my friends, there’s a DVD which you must check out. It’s Carol Burnett in Putting It Together, and it contains one of the most screamingly funny moments in theatre history. I have always considered Burnett the funniest comic actress on the planet, but I almost dropped my drawers -- among other things - when I saw her lose …she…. Oh shoot! I can’t ruin it for you! Run out and rent, or better still, buy that DVD. You’ll want to run and rerun that blooper! Believe me, it’s worth it!
Speaking of hoots, Leslie Jordan is Peanut and Peanut is Leslie Jordan in Southern Baptist Sissies at the Zephyr in Hollywood. It gets difficult separating the two in real life! Del Shores created this character based on Jordan’s experiences in gay bars through the year and what actor wouldn’t have a ball going onstage every night with such high camp! He has an infectious sense of humor that will have you laughing yourself silly! Dale Dickey has replaced Ann Walker as Odette Annette Barnette. Lordy! Try saying that name with a mouth full of fried taters! All I can say is, if you loved Park Overall in TV’s Empty Nest – and who didn’t – you’ll adore Dickey! She’s a Texan, deliciously outspoken and fits Odette like her bra and panties - a born storyteller!
While we’re on the subject of storytellers, who is a better one than cute, adorable Betty Garrett, now directing Spoon River Anthology for Theatre West as a 40th anniversary celebration. She’s 83 years young (May 23) and as feisty and fun as ever! When the clumsy technology was slow to start last November at the Kodak for the Ovation Awards, she grabbed John Gallogly ( TW producer ) and started to dance- to thunderous applause- stealing the show! God love her!
Until next time ( We’ll find out June 2 if Elaine Stritch finally nabs that way overdue Tony Award! ), keep laughing!
Exmagare
by Leah Bachar
Exmagare; It is written in truth. Truth was the issue to confront in this play surrounded by mystery, scandal, abuse, religion, and history. Exmagare was written by Joe Camareno, directed by Paul Millet and performed at the Eclectic Company Theatre in North Hollywood. Behind the black curtain to the entrance of the theatre lies a whole other world, a place that exists back in time. The dark stage resembles a dim lit sanctuary, capturing the heaviness and gloominess of a priest’s living quarters.
Padre Alejo, played by Armando Valdes-Kennedy, is in the middle of deep prayer when suddenly gunshots are heard right outside the church door, exposing two frightened teenagers. The brother and sister, Anita and Diego de la Cruz, played by Tonantzin Carmelo and Peter Pasco, appear to be running for their lives. Anita is very young and very pregnant and she has just been shot in the hand by her employer, Charles Dixon, played by Frank Elmore. Now keep in mind that these are Mexican kids being pursued by their boss, who is an abusive American rancher.
The play takes place in the late 1800’s during the time American settlers drove out the Mexican families from their territory and claimed it for themselves. They have lost their parents, been driven from their home, and are desperately looking for help. Being the priest that he is, Padre Alejo could not deny the two children and takes them in. As he tries to find the truth behind the reason of why they are running, Anita is plagued with visions of her deceased mother who speak to her through Latin phrases. The mystery behind the whole event creates a stir within the small community. Anita is put to rest and left in the care of Mona Byrne, played by Denise Lowe, who helps her through the cramps and dresses her wound.
Diego sees to it that his sister is taken care of, and then, to avoid being found and captured by Mr. Dixon, he goes into hiding. We are introduced to Mr. Dixon and his wife, Caroline Dixon, played by Melanie Hermann, and there is nothing loving about the relationship between them. He is abusive and controlling with her, even with a newborn baby in her arms. We begin to wonder the extent of his cruelty and slowly you realize why the kids had feared for their lives. Padre Alejo still has to convince Father Egon O’Kelley, played by Eugene Boles, that these two kids are worth the church’s time, he tells Father O’Kelley about the visions that Anita has and the messages that she is relaying. For some reason Father O’Kelley seems to be uncomfortable with the whole idea and it is evident after some time that he has a personal tie to the situation that keeps him from telling the whole truth. It is a supernatural drama capturing the power of the afterlife and the effect your present life actions can have in both worlds. The most amazing moment would have been Anita being levitated from her bed into mid air and watching the Vision of her mother healing the bloody wound on her hands. It all seemed so surreal and yet so real at the same time. In the end everything that happens is nothing like what you thought was going to happen, but instead it seems that everyone ends up getting exactly what they deserve. See guide for listing.
by Nick Burns
Between opening by lamenting his financial need to work at all and closing by describing his desire to chew his wife's sphincter "like a gummy bear," Clay delivered all the ribaldry and guilty laughs his remaining fans could want.
The changing humor of contemporary culture ironically only provides fodder for a comedian whose persona seems to have frozen after he tasted the sweetest success a decade ago. Even his entrance music remains excerpted from Nirvana's Nevermind. A world that stopped laughing at his insults sources his confusion and nostalgia rather than triggers his evolution.
A touch of bitterness constitutes the single novelty of Clay's act. He explains how relationships all go downhill after they begin; certainly the case between him and his shrinking audience. But what else can he expect? For a man insisting on riffing on static themes of static elements of human nature, the third-party intrigue can only decrease.
"All guys do is pinch their helmet and wait to unload," he demands, leaving no room for complexity. The repetitive simplification of the male intellect seems to release Clay from culpability. He effectively designed his career to assuage the guilt he derives from his own sexuality. Clay's talent has always lied in his eye for character. He instinctively and persuasively links appearance with behavior. For no other reason, the audience members in the first row willingly weather his scathing analyses of their flaws and fetishes as evidenced by what would otherwise seem arbitrary traits. He has an eye for the ways human nature typically manifests outwardly.
For those with enough backbone, Clay offers respite from wimpy comics who would rather point out the idiosyncrasies of modern life's most mundane details. Though most ironic, his role post-infamy is most fitting.
An Almost Perfect Person
by J.L.Curtin
It’s very late at night and attractive Irene Porter (Kathrine Bates) enters what looks to be a campaign headquarters, in fact, her campaign headquarters (isn’t that her large portrait on an easel?) in an elegant and spacious hotel suite strewn with banners, bottles and those ubiquitous boaters with red-white-and-blue hatbands. Turns out it’s her own upper Westside apartment in New York City and Irene, the widowed congressional candidate has just been defeated, according to late-night-early-morning TV election coverage - or has she? We well know how these results can teeter alarmingly, from our last Presidential election - so I will not reveal the outcome; you probably want to take yourself to Theatre Forty’s fourth rep play of the 2001-2002 season An Almost Perfect Person by Judith Ross, and find out for yourself.
The comedy, set in 1977, explores “Sex, Love and Politics in the Age of Aquarius,” according to its publicity flyer, and truly does so in a sprightly, engaging, if somewhat traditional, mounting. Produced by Rhonda Lord and Cliff Berens, and directed by the latter, it runs concurrently with major production Veronica’s Position in the comfortable, newly
refurbished Reuben Cordova Theatre (see guide for listing.)The other two characters in this fun three-hander are Robert MacKenzie as Irene’s campaign manager, Dan Connally, and Daniel Leslie as Jerry Leeds, her campaign treasurer and longtime friend.
Her children are staying overnight with Grandma, and in the wild emotional terrain of winning and losing, exhaustion and exhilaration, the attractive, and still juicy Irene has turbulent encounters with her trusted support team (one at a time.) Although the trio are generally adept players, I was sorry to see Mr. Leslie’s sometimes shallow pained reactions, as the situations could have well supported a more realistic response and he is funny without trying so hard to be. Ms. Bates occasionally became shrill and one-note in her more intense moments. None of the three really rang true as born and bred New Yorkers or even East Coast denizens as the script seems to require. I fault the director for not fine tuning these moments: He also didn’t solve the problem of the fancy carpet at one moment containing shards of broken glass which cruelly penetrate our leading lady’s foot, and not long afterwards becomes a place where a cast member lies down and rolls about, and gets up unscathed.
The program doesn’t credit sound design, which was excellent throughout. Bruce Gray was credited for set design in the publicity handout, but not in the official program. The set pieces have a size and elegance that did resemble upper middle class life style, so it seemed painful to me to see the actors put down chilled glasses and wet bottles all over the mahogany furniture. But that is just me. The lights by Ellen MonoCroussos seemed just right. My only other cautionary word would be to the house staff, who were perfectly pleasant, but who, as so often happens in small membership theatres, were so involved in conversation with one another, neglected to show patrons to their seats. In this particular instance, a gentleman who had to negotiate crossing the stage and stepping off to get to his seat had a real fall. Luckily, his two companions, one of whom was blind, made it safely, and the man was not injured, except for his pride. The ushers, sitting chatting at the other end of the house, apparently never noticed. A little attention and a flashlight or word of caution would have been very welcome. See guide for listing.
Actorfest 2002
May 11th - I was just one of the many actors drawn to feast at the bountiful buffet of information and contacts that was ActorFest 2002, the 8th edition of the annual trade show/ convention presented by Back Stage West, the durable and necessary weekly publication for actors, also sponsored by AFTRA-SAG Federal Credit Union.
The exhibit floor was a panoply of more than 70 exhibits, booths or tables offering a wide range of acting and related training, photo, phone, online, legal and financial services (including marketing, employment, union and health: both mental and physical.) I sampled casting director “focus sessions” and was reminded in the intimate discussions how open and approachable these people can be, how they are staunchly on the “side” of the actor, wanting us to succeed at our audition. Of course, if we score the job it adds to their credibility.
Michael Testa, who has cast many independent feature films, Movies of the Week, and TV series, most recently Roswell, was very available and listened intently to questions from attendees. Susan Bluestein, who has highlighted her career with an Emmy for casting NYPD Blue, and many other memorable TV series, miniseries, MOWs and currently the hour-long series Providence, fielded extremely complex questions such as how an actor might best handle heavy or violent scenes in the context of an “office audition” without being overwhelming. She spoke thoughtfully and encouragingly to us, and still emphasized the necessity for diligent preparation on the part of the actor, including knowing the “world” of a show, its style, its locale and unique blend of authenticity and humor.
Another dynamic event I caught was the panel of distinctive and talented character actors (Building Character), moderated by BSW features editor Jamie Painter Young. Many of them are currently appearing on cable (Ed O’Ross in Six Feet Under,) and, on stage (Eddie Jones in Interact’s Death of a Salesman, Mindy Sterling in the Groundlings’ Actors’ Showcase, and Patricia Belcher in East West Players’ Monster.) The final member of this illustrious group was the familiar face of Robert Clendenin, known to LA audiences as a founder of Circle X Theatre Co. as well as a frequently seen guest star and commercial actor. The gist of their advice was to keep acting, then act some more, and always consider auditioning as part of your acting job (which you may get paid for much, much later.) We never know if an “unsuccessful” audition will result in more auditions and jobs down the line, so it may not have really been bad at all.
All the time I spent there, I was reminded of the good humor and fellowship of my actor sisters and brothers, and all those who “hang” with us. The fun ranged from someone fingering my PRESS badge with a cheerful “Is this where I press? Then what happens?” (Ha ha!) to a reunion with “old friend” actor-director (and ActorFest panelist) Andrew J. Robinson, and director-coach-teacher Kimberly Jentzen. I had the opportunity to meet the illustrious and talented Mala Powers who is executrix of the Estate of the famous Michael Chekhov.
I was also greeted by Industry friends and acquaintances who seemed fearful that my press badge meant that I had given up acting. I was really happy that so many people knew and loved NoHo>LA, and I was also touched by their concern and assured them that I was with the newspaper part-time and was still acting. (In fact I had to leave ActorFest to go to rehearsal for Christopher Durang’s Death Comes to Us All, Mary Agnes, which will be part of the upcoming Directors’ Festival at the Open Fist Theatre in mid-June.
If I had stayed all day, I still would not have been able to take it all in. I will definitely be back next year and heartily recommend that you join me. - Jacque Lynn Colton
On Saturday, May 11, from 3:00pm-4:30pm, TV’s Amy Brenneman of Judging Amy lent her gracious support to the proceedings by offering intelligent and grounded observations on the acting profession for the benefit of young actors.
Trained in New York, Brenneman wisely stressed the importance of education. When asked if she had passed through many low points in her career, she agreed that most actors experience loneliness, being cut off from what they love to do, namely, acting - and only acting. She suggested keeping busy, and as a means of “empowering” herself, she was a substitute teacher for a while. Nice way to learn how to captivate an audience!
Never into the starlette thing, Brenneman admitted that she must first like a script in order to get involved in any project. Modest person that she is, she stated quite matter-of-factly that she was not pretty enough and emphasized the unimportance of glamour in the work. She also encouraged young actors to be authentic, as mentor Peter Riegert, had prompted her to be. Don’t always do what you are supposed to do! Be yourself! Good advice from a working professional. Amy Brenneman is living proof that to work in this business you do not always have to fit the Hollywood mold. - Don Grigware
Veronica’s Position by Zoe Bennett
An aging but still glamorous screen goddess with weight issues and a scandalous past (Janice Lynde) re-unites with her (twice) ex-husband (Michael Forest), a famous stage actor and even more famous alcoholic, for a Broadway revival. Previews are in Washington, DC to accommodate the actress, who is dating a US Senator with Presidential ambitions (Webster Williams). To her surprise, the director turns out to be a woman – and a high-powered, highly attractive younger woman (Cheryl Carter) at that. Into this already volatile company, the actress’ male secretary (Kris Frost) brings a young photographer (Séamus Dever) whose sexually explicit work is making him the target of “pro-family values” forces, led, it turns out, by the Senator.
Elizabeth Taylor’s political coming-out proves fertile ground for a comedy of late 20th Century manners and morality. And Theatre 40’s production of Rich Orloff’s play, directed by Bruce Gray, is strong and smart, with excellent ensemble performances and tech credits all around. Lynde and Forest, while not physically equipped to impersonate Liz ’n’ Dick (battle of the bulge indeed!), have great fun with their dynamics and ultimately emerge as perfect Wildean archetypes – flawed souls who by embracing life prove themselves, whatever their mistakes, superior to those who never stray.
One longs at times for those wild, sloppy, colorful, tragicomic excesses of the tabloid twosome’s younger days. But they are moving on, leaving the hell-raising to a new generation; and the real sparks here come from the relationship between the quietly observant gay secretary, still mourning a lover who died the year before (AIDS runs as a mostly unspoken subtext throughout the play), and the dashing, romantic, rebel-with-a-camera figure of Ezekiel North/Robert Mapplethorpe. Actor Frost gives an extremely sympathetic performance. And Dever, intense and intensely sexy, lights up the stage whenever he is on it. As for the old chestnut that a kiss is just a kiss, TV’s “Will and Grace” may be doing its best to shock (and desensitize) mainstream America. But the power of outsider love lives on, symbolically and viscerally, and Veronica’s Position’s got the lips to prove it! See guide for listing.
Love Scenes by Michelle Malik
Love Scenes is David Pumo’s thoroughly entertaining and tender one-man discourse about love and the gay man in New York. Moe Bertran gives out with a magical performance of dynamic characters, each in different settings and all sharing a need for love and acceptance.
Sometimes jolted and other times exhaled in their relationships, these men all have a vulnerability that makes them so appealing to their audience, holding us captive with poetic monologues about physical intimacy and spiritual rapture, loss, and rebirth all in the name of love. Bertran’s immense capacity for depth is the bread pudding of this delightful show that first took flight on the New York stage.
The play’s rich personalities vary from a scorned man secretly attending the wedding of his former lover, the successful musical producer who is confident in his love union, the homeboy hustler who learns about culture and love from an older suitor, the P-Flag advocate, the rich husband who condemns his mate’s request for an open relationship, the celibate gay priest who leaves his order to explore his identity, and finally the New York diva drag queen preparing for her wedding. What best sums up the familiar strain in all of these scenes is a line from the last one, “Everybody’s gotta go through some s***. Why go through it alone?”
Love Scenes, produced by David Charles Keeton and directed by Donna Jean Fogel, played in Los Angeles for a week this time around, but they plan to make their way back to Los Angeles in the fall. You mustn’t miss it!
More Theatre
by Archie Rothman
The Greenway Court
Theatre on the Fairfax High School Campus presents Acts of Love & Redemption. Since 1999 the newly renovated Greenway Court Theatre has staged several award-winng hits that included They Shoot Horses, Don’t They? and A Charlie Brown Commercial Christmas. Now until June
9 they are presenting two programs of one act plays: Acts of Redemption Every Thurs & Fri. at 8pm, and Acts of Love every Sat. 8pm and Sun. 7pm. Redemption’s one acts are Judy Blume’s “Are You There God? It’s Me Margaret,” adapted by Gretchen German, directed by Wendy McClellan, set in New Jersey and New York City. A coming of age story about a young girl (Lara Lyon) who questions whether she’s supposed to be Jewish or Christian and other female issues. Phillip Roth’s “The Conversion of the Jews,” adapted and directed by Dean Fortunato, is about a Jewish boy who questions his Rabbi about irregularities he finds between his Rabbi’s teachings and common sense and logic; and “The River,” Flannery O’Connor’s short story about an emotionally neglected boy who is introduced to Jesus and baptisim, adapted and directed for the stage by Pierson Blaetz.Series B: Acts of Love One Acts are “How Kintu Became A Man” adapted by Nambi E. Kelley and directed by Ayana Caher from an African folktale that centers around the first man and women. “Lapin and Lapinova,” inspired by a short story by Virginia Wolf, adapted by Deborah Swisher and directed by Laurie Woolery, follows the lives of an interracial couple and how they deal with stereotypes in and out of the bedroom; and “The Theban Warriors,” director James Eric’s adaptation of Lonnie Coleman’s short story set in 1954, about 4 sailor buddies and how they deal with an openly gay bunkmate and the turmoil created when one of the “straight” buddies falls in love with the gay man.
Few theatres can tackle such a large and diverse program of plays, featuring over 45 performers, under the artistic directors Whitney Weston and Pierson Blaetz. Some of the one acts are more effective than others, especially the two by Phillip Roth and Lonnie Coleman. 323-655-4402.
Charles Nelson Reilly returns to the Canon Theatre in Beverly Hills in his one-man hit. Since performing Save It For The Stage - The Life Of Reilly at the Falcon Theater in 2000, Reilly has performed the show in San Francisco, Hartford, New York and NoHo’s El Portal. I hesitated to see it at the Canon because I thought it would be a repeat of the shows I saw. But I’m glad I did. This show is completely different. Reilly has added many funny details to his “life” and the result - though long (over three hours) - is hilarious. Under the thoughtful direction of Paul Linke, the audience is hypnotized in hushed silence, except when screaming with laughter, which if often. Reilly’s is truly a life worth sharing - a long and rich career from his first role in the Bronx and Hartford, to his string of Broadway hits and award-winning television appearances and on through his show business re-birth as a teacher, opera director, stage director and writer. Reilly appears at the Canon sixtimes a week for an unlimited run. 310-859-2830.
True West
by Don Grigware
“I need something authentic to keep me in touch”. Sounds like a desperate creature seizing a last vestige of civilization. It could be the common man in 2002 bemoaning society’s loss of innocence and truth. After all is said and done, existence, as we know it, is evaporating as quickly as the moisture on the Mojave. These thoughts from Sam Shepard’s now classic True West loom like giants to haunt and inspire us.
Deaf West Theatre continues to open up old works to new and exciting interpretations, as is evident with its current production of West. Portraying one brother (Lee) as hearing-impaired adds fuel to the fire. Lee (Troy Kotsur, Stanley in DWT’s Streetcar, once again enacts the savage) is wildly persistent in his pursuit of the unpredictable and comes up a winner. The fact that he is deaf presents an obstacle that he ironically overcomes with his brother’s unwitting assistance. Austin (Bill O’Brien) represents the little man who ends up a loser. He signs and interprets for his brother at an uncompromising moment, inviting trouble. Lee wants to be Austin, or at least taste his success. Austin wants to be Lee, to sample his freedom. The two often behave like opposing sides of one personality, fighting each other to the finish. There is no peace. It’s unnerving to watch, yet awesome. The hearing differences put the whole experience on the edge.
Through Deborah LaVine’s insightful vision, the comedy is never lost, as laughter with pain is most crucial in this piece. We root for Austin, yet laugh at his gullibility. We chuckle at Lee’s stupidity, but at the same time, fall for his sordid magnetism.
Both Kotsur and O’Brien are well chosen for these roles. O’Brien has much added responsibility in this production, having to sign and react for Lee with Saul Kimmer (Jonathan Goldstein). Some cues were slow on opening night, as were Goldstein’s, who also provides the voice for Lee. However, with a few performances under their belts, these ironclad pros will smoothen any rough spots. Freda Norman is excellent in her brief appearance as the befuddled mother. See guide for listing.
Behind the Scenes
Theater Chitchat
with Don Grigware
I swore I would always save the best for last, but I just can’t wait to talk about it, so here goes, folks! Sit down in your most comfy chair, relax and stay loose!
When Frank Gorshin slams the door onstage in Dick Van Patten’s face as part of the curtain call of The Sunshine Boys currently at the Falcon Theatre in Burbank, that one piece of slapstick gets more laughs than half of Neil Simon’s moderately funny play. People love to see a pratfall or a slap in the face, especially if they think it’s unscripted. And, of course, if an actor breaks character or loses a part of their attire accidentally onstage, it’s all been worth the hefty price of admission! Well now, my friends, there’s a DVD which you must check out. It’s Carol Burnett in Putting It Together, and it contains one of the most screamingly funny moments in theatre history. I have always considered Burnett the funniest comic actress on the planet, but I almost dropped my drawers -- among other things - when I saw her lose …she…. Oh shoot! I can’t ruin it for you! Run out and rent, or better still, buy that DVD. You’ll want to run and rerun that blooper! Believe me, it’s worth it!
Speaking of hoots, Leslie Jordan is Peanut and Peanut is Leslie Jordan in Southern Baptist Sissies at the Zephyr in Hollywood. It gets difficult separating the two in real life! Del Shores created this character based on Jordan’s experiences in gay bars through the year and what actor wouldn’t have a ball going onstage every night with such high camp! He has an infectious sense of humor that will have you laughing yourself silly! Dale Dickey has replaced Ann Walker as Odette Annette Barnette. Lordy! Try saying that name with a mouth full of fried taters! All I can say is, if you loved Park Overall in TV’s Empty Nest – and who didn’t – you’ll adore Dickey! She’s a Texan, deliciously outspoken and fits Odette like her bra and panties - a born storyteller!
While we’re on the subject of storytellers, who is a better one than cute, adorable Betty Garrett, now directing Spoon River Anthology for Theatre West as a 40th anniversary celebration. She’s 83 years young (May 23) and as feisty and fun as ever! When the clumsy technology was slow to start last November at the Kodak for the Ovation Awards, she grabbed John Gallogly ( TW producer ) and started to dance- to thunderous applause- stealing the show! God love her!
Until next time ( We’ll find out June 2 if Elaine Stritch finally nabs that way overdue Tony Award! ), keep laughing!
Exmagare
by Leah Bachar
Exmagare; It is written in truth. Truth was the issue to confront in this play surrounded by mystery, scandal, abuse, religion, and history. Exmagare was written by Joe Camareno, directed by Paul Millet and performed at the Eclectic Company Theatre in North Hollywood. Behind the black curtain to the entrance of the theatre lies a whole other world, a place that exists back in time. The dark stage resembles a dim lit sanctuary, capturing the heaviness and gloominess of a priest’s living quarters.
Padre Alejo, played by Armando Valdes-Kennedy, is in the middle of deep prayer when suddenly gunshots are heard right outside the church door, exposing two frightened teenagers. The brother and sister, Anita and Diego de la Cruz, played by Tonantzin Carmelo and Peter Pasco, appear to be running for their lives. Anita is very young and very pregnant and she has just been shot in the hand by her employer, Charles Dixon, played by Frank Elmore. Now keep in mind that these are Mexican kids being pursued by their boss, who is an abusive American rancher.
The play takes place in the late 1800’s during the time American settlers drove out the Mexican families from their territory and claimed it for themselves. They have lost their parents, been driven from their home, and are desperately looking for help. Being the priest that he is, Padre Alejo could not deny the two children and takes them in. As he tries to find the truth behind the reason of why they are running, Anita is plagued with visions of her deceased mother who speak to her through Latin phrases. The mystery behind the whole event creates a stir within the small community. Anita is put to rest and left in the care of Mona Byrne, played by Denise Lowe, who helps her through the cramps and dresses her wound.
Diego sees to it that his sister is taken care of, and then, to avoid being found and captured by Mr. Dixon, he goes into hiding. We are introduced to Mr. Dixon and his wife, Caroline Dixon, played by Melanie Hermann, and there is nothing loving about the relationship between them. He is abusive and controlling with her, even with a newborn baby in her arms. We begin to wonder the extent of his cruelty and slowly you realize why the kids had feared for their lives. Padre Alejo still has to convince Father Egon O’Kelley, played by Eugene Boles, that these two kids are worth the church’s time, he tells Father O’Kelley about the visions that Anita has and the messages that she is relaying. For some reason Father O’Kelley seems to be uncomfortable with the whole idea and it is evident after some time that he has a personal tie to the situation that keeps him from telling the whole truth. It is a supernatural drama capturing the power of the afterlife and the effect your present life actions can have in both worlds. The most amazing moment would have been Anita being levitated from her bed into mid air and watching the Vision of her mother healing the bloody wound on her hands. It all seemed so surreal and yet so real at the same time. In the end everything that happens is nothing like what you thought was going to happen, but instead it seems that everyone ends up getting exactly what they deserve. See guide for listing.