Sunday, October 15, 2017



This intriguing new play, inspired by a true story, seems to suggest a racial conflict but author-producer George W, Corbin has larger issues to explore. In a black, tightly-knit sorority on an Iowa campus tragedy has struck. When a young woman dies, leading members of Kappa Lambda Nu (The Kush) are questioned by a detective: was it an accident, suicide or murder? 

The play takes us back in time and we must decide if their actions and decisions, motivated by a need to protect the sorority, are morally defensible.
The superb cast deliver amazingly delineated performances. Vanoy Burnough is dynamic as the embittered Clara; Alisa Murray is a poignant Rhonda; Dee Dee Stephens is magisterial as attorney-to-be Brenda; Hannah Mae Sturges is endearing as controversial pledge Kathy, and Brandon Raines is charming as an honorable sports coach.

Mack Miles is authoritative as Detective Diggs; Paris Nicole is touching as Ida, and Conor Sheehan amuses as a Frat Boy crashing into their house in his Confederate army uniform.

Director Veronica Thompson creates a vivid picture of life in a proud black sorority in the 1960’s. The set by Mark V, Jones is effective, but one hopes scene changes can be speeded up as they do halt the emotional drive of the play.

Playwright Corbin is a Brother of the Alpha Phi Alpha Fraternity at Cornell University and his meaningful play was developed in the Robey Theatre Company’s Advance Playwrights Lab. 

At The Stella Adler Theatre, 6773 Hollywood Blvd, (Highland Ave) through Oct 29. Tickets: (213) 908-5032 or
Photos by Alberto Santillan.

Friday, October 6, 2017

BR’ER COTTON …in West Hollywood

This forceful new play takes place in Lynchburg, Virginia, ‘Right-right now’ and shocking daily news stories seem to be incorporated into the dialogue. Angered by omnipresent headlines, where unarmed black men are killed by cops, a 14 year old black youth (Omete Anassi) determines to go into battle. 

His hard working mother (Yvonne Huff Lee) fights to keep her son out of danger, while his grandfather (Christopher Carrington), who in his youth lived through times of terror, gently mocks this growing passion even as he tries to assuage it.

With great insight, playwright Tearrance Arvelle Chisholm shows us that we live in a complicated world and only chaos and sorrow ensue when racial lines are drawn. A friendly police officer (Shawn Law), whose kind heart is covered by his intimidating uniform, brings perspective to an easy stereotype. 

In violent video games, played with a distant stranger/friend (Emmaline Jacott), the enemies are obvious - a terrifying armed big guy (Dane Oliver), and half-clad gal (Jasmine Wright) - but in life it’s not so simple.
Chisholm suggests that as long as each character recognizes their shared humanity all will be well. Then he shows that when we objectify people our human bond is broken. Twice, in this haunting play, I wept.

The superb cast are directed with brilliant intensity by Lower Depth Theatre Ensemble’s Gregg T. Daniel. Plaudits to David Mauer (set), Wendell C. Carmichael (Costumes) and Doug Oliphant for awesome choreography. Produced by Racquel Lehrman of Theatre Planners.

The Zephyr Theatre, 7456 Melrose Ave., Los Angeles, through Oct 29. Reservations: 323-960-7787 or Street parking.

Photos by Ed Krieger.

Tuesday, October 3, 2017

RUNAWAY HOME …in Hollywood


Three years after the wreckage of Katrina, a 14-year old girl, who feels unloved, runs away from her embittered and angry mother. Set in New Orleans' Lower 9th Ward, where adults are fighting to keep their damaged homes, the play focuses on this teenager’s angst. However, when we meet her she is stealing from a local shop owner who inexplicably offers her a job. Later, when we understand why she is alone, our sympathies shift to her mother’s fight to survive as we become aware of the social issues behind abandonment.
Written by Jeremy J. Kamps, and directed with passion by Shirley Jo Finney, the fine cast bring these people to life. Camille Spirlin is an impish brat as Kali, Maya Lynne Robinson a beleaguered soul as her mother, and Armando Rey kindness itself as the shop owner. 

Strong support by Jeris Poindexter, Karen Malina White, Leith Burke and Brian Tichnell.

Fountain co-artistic director Stephen Sachs states, “Our mission is to use theater as a vehicle to raise awareness and empathy for the human condition.” A portion of all ticket sales will be donated to the Houston Food Bank in Texas!

I am reluctant to complain but, due to the southern accents, and the speed and pitch of Kali’s monologues, much of the dialogue was unintelligible. Also, the play runs 1 hour 40 minutes with no intermission, which for audience members needing a break meant disturbing the entire show by walking conspicuously through the action.

At The Fountain Theatre, 5060 Fountain Ave. LA (at Normandie) through Nov. 5. Tickets: 323- 663-1525 or
Photos by Ed Krieger.

Friday, September 29, 2017

THE DANCE OF DEATH …West Los Angeles

 August Strindberg wrote scathing plays, exposing the hypocrisies within class conflict and modern marriage in his Swedish society. When, as a young actress, I played Miss Julie I was hooked on his understanding of female sexuality and the rage concealed within a rigid class system. In this tragical comedy, The Dance of Death, he tackles the game-playing in marriage and it’s a no-holds-barred Battle of the Sexes

According to director Ron Sossi, “This play is often considered a precursor to Albee’s Who’s Afraid of Virginia Woolf and Sartre’s No Exit. Three people trapped together in hell. It’s claustrophobic and eerie and delightfully venomous.”
Living on an isolated island military base, gruff quixotic artillery captain Edgar holds his bitter former-actress wife Alice in vicious thrall. On the eve of their 25th wedding anniversary, as the two face off in a fierce battle of wills, into this dungeon of poisonous invective comes Alice’s ingenuous cousin, Kurt. 

Soon, all unknowingly, he is ensnared in the couple’s wicked game and we witness his transformation from decent fellow to raging bull.
Adapted by Irish playwright Conor McPherson, and directed with brilliant pacing and energy by Sossi, the three superb actors, Darrell Larson, Lizzy Kimball, Jeff LeBeau, are a well-matched trio. Apt dungeon set by Christopher Scott Murillo, lighting by Chu-Hsuan Chang, sound by Christopher Moscatiello, costumes by Halei Parker and props Misty Carlisle. Do not miss this Broadway-level production.

Presented by the Odyssey Theatre Ensemble, produced by artistic director Ron Sossi in association with Isabel and Harvey Kibel

At Odyssey Theatre, 2055 S. Sepulveda Blvd, West Los Angeles, through November 19. 

Reservations: (310) 477-2055 x2 or

Photos by Enci Box.
Also reviewed in the November issue of Not Born Yesterday.

Friday, September 22, 2017

DAYTONA …in Hollywood

This intriguing play, by British author Oliver Cotton, is about two Jewish brothers who, in their youth survived the Holocaust, then reconnect after a 30 year rift. The younger one has a secret that he believes can bring satisfaction and closure to their past trials. Without giving away the surprises in the plot, let’s just say their brotherhood bond is being tested to the limit. The play vehemently touches on the question of justifiable revenge, but in the end focuses on loyalty and leaves the moral dilemma unresolved.

The parallel story of a past love affair distracts from the glaring question: Is seeking revenge for evil actions in the past, justice or murder? Although the author makes good points about the danger of denying one's past, I wish what could have been a serious ethical debate had not turned out to be a family drama about lost love. In fact, I would have enjoyed an after-show discussion on the theme.

Richard Fancy is an emotional tyrant as the long-lost brother Billy, while George Wyner’s Joe displays outward calm as he desperately tries to hold on to his once calm life. Sharron Shayne, as the practical Elli, shows the pain and wonder of being torn between two strong men.

This Rogue Machine presentation is produced by John Perrin Flynn, and expertly directed by Elina de Santos, with a naturalism that, unfortunately, often left us unable to hear the dialogue.

At the MET Theatre, 1089 N. Oxford Ave, Hollywood, through October 30. Tickets: 855-585-5185 or at
Parking is $6 at Medical Center, 5300 Santa Monica Blvd.

Photos by John Perrin Flynn