HOLLYWOOD FRINGE FESTIVAL 2013… 9 SHOWS

I was part of the Off Off Broadway movement in New York in the 1960’s when, in defiance of the entrenched Uptown Theater Establishment, young people put on audacious and original shows. It meant you might see the worst example of personal egotism, or be present when a brilliant new talent exploded into life. I saw plays by then unknowns Sam Shepard, Lanford Wilson and John Guare. I saw future stars performing in dingy halls because this work freed their spirits. Today, this is what you will find in the Fabulous Hollywood Fringe Festival.

Participation in the Festival was completely open and uncensored. These productions were by independent performers as well as local, national, and international arts companies. By opening the gates to anyone with a vision, the festival was able to exhibit diverse and cutting-edge points-of-view. There were 200 shows presented in all and, although I only got to see nine, I was delighted by the quality of each one.

            1. ORWELLIAN is a dramatic enactment by Larry Cedar from the works of George Orwell. Here is a fantastic example of an actor on top of his game who has made brilliant choices to dramatize. There is not a single false note from the moment he enters the stage. The physical exhaustion and sly humor in the amusing opening sequence “Down & Out in Paris and London” was viscerally real; as was the rage and indignation in “Animal Farm,” and the blending of love with the passion for freedom in “1984” - all there and vibrant. Orwell is one of my favorite authors and Cedar does him proud and, with our recent Big Brother-type scandals, shows great prescience in his choices. Note: If he plans to develop this into a full evening, “Shooting an Elephant,” an example of the madness inherent in Imperialism, will fit smartly into act one.   

2. THE GOD OF CARNAGE. Ironically, I missed seeing the hit Broadway production because of the car bomber who parked a few yards away and I nonchalantly strolled to the box office while the loaded SUV was sputtering and sparking. Still, this was a dynamite production, with a brilliant cast, who never faltered in their depiction of seemingly sane people going Boom! Here's a play showing how under the veneer of Civilization lurks the threat of Chaos. The God of Carnage is waiting and when He strikes, watch out! This War is Hilarious. Here we are witness to loyalties shifting, man against man, woman against woman, men against women, wives against husbands, rages flaring, old wounds opened, resentments exploding and emotions ravaged. All great fun! Bravo to director Melody Rahbari and the Umwelt Theatre Collective.

3. BLUE KISS. In this intriguing encounter between a high school English teacher and a 17 year old girl student, all is not what it seems. Beneath the surface of an apparently straightforward drama, playwright Stephen Fife delivers a sly and brilliant conundrum. On the surface the teacher, excellent Jeremy Mascia, is trying to be kind and helpful to his devious visitor, an intense Julia Eringer. However, this young girl knows about a dark secret that lurks in his soul and, when she confronts him, he crumbles – or does he? She wants him to admit the truth, but how can we ever know the whole truth?  Even though I saw and heard it all, in the end I’m still not sure whether the truth was suicide or murder!   Words are only words and if, like in “Doubt,” the audience was polled, what would the verdict be?
   
  4. THE SPOLIN PLAYERS. I was amazed, dazzled and definitely amused by the brilliant improvisations dealt by this fascinating company. Just think, every show you see will be new and different since suggestions come from the audience and scenes are created on the spot. Favorite sketches, done effortlessly yet with keen precision, included: a man drowning in a leaky submarine, with sound effects “drip drip drip” to curdle your blood; O.J. Simpson in jail deciding whether to have water or juice; a roundelay of gibberish conversations being translated by a cheerful moderator, and a couple searching in a haunted house for the remains of a (maybe) dead relative. All the sketches have sound effects added by members, moody piano music by accompanist Jake Anthony, and mind-boggling challenges of time, place and people. Viola Spolin started this genre in the 1930’s and her Spolin Players demonstrate her genius. Go!

5. KING PHYCUS. Move over Monty Python and make room for The Flynnsmen, a troupe who take on Shakespeare’s favorite plays with audacity and boundless energy. Here is Phycus, the King that Will forgot - or perhaps blended into about a dozen of his master works. The cast were all excellent and clearly right for performing (or goofing around with) Shakespeare's works. Having directed and/or performed in the plays they spoofed, I really got a kick out of the mix-ups and zany way of blending the plays without causing too much confusion. Especially loved “Hamlet & Juliet,” “Richard III & McBetty,” poor old “King Lear,” and the scheming Romans. The “Thriller” finale was a bonus! Congrats to All. 

6. LISTEN CAN YOU HEAR ME NOW? This fascinating one-woman memoir by actress Gloria Rosen is about growing up with two deaf parents. Being a hearing child created an oppressive atmosphere for a young girl and the story of how she managed to survive her harsh mother is both shocking and amusing. It is a glimpse into a silent world that imprisons all who inhabit it in one way or another. Her mother forbade signing – she was a brilliant lip reader – but that cut young Gloria off from her father and created other problems. Still, I was saddened that Rosen did not let us appreciate her mother’s dilemma, i.e. how, in order not to feel handicapped her mother, born deaf, needed to make the whole people, the hearing ones, seem stupid. I’d like to have seen more compassion for her mother’s dilemma and perhaps an ending with understanding and forgiveness.

7. FRANK AND AVA. I just finished reading an excerpt from Gardner’s memoir (in Vanity Fair) about her years with Sinatra. Well, playwright Willard Manus certainly gets all the facts right in this intriguing if melodramatic short play. It’s never boring, but somehow they still didn’t ring true to me as human beings. Ava says they drank and fought and made love, and that’s pretty much what they do here. It’s a series of snapshot scenes: Frank’s depression over his failing career; Ava’s wild success in films; Frank’s decision to try for the role of Maggio in “From Here to Eternity;” their tempestuous marriage, their infidelities, etc. Still. Rico Simonini gets the Hoboken-kid gruff manner right on and Stefany Northcutt is able to suggest the seductive manner of a screen goddess. Bridging the scenes are Sinatra love ballads that underscore the emotions in the play.

8. THE RUBY BESSLER CABARET. This is evidently a fictional reenactment of a 1940’s nightclub act by talented singer/writer Anastasia Barnes. Instead of a set there are four zoftic chorus girls, with white feather fans, who pose seductively while keeping in the background. They were quite a bevy of pulchritude but I felt this show could have succeeded just as well with a bare stage and the excellent piano accompaniment. The memoir stories gave Barnes a chance to show off her acting skills but, in spite of some racy dialogue, it’s all a little tame. Still, Barnes has a sweet voice and a pleasing way with her original songs that did capture the now seen-as-innocent days of early cabaret.

9. ÆSOPERA. Though I must confess Grand Opera is not my thing, yet I could see - and certainly hear - the talent in this company. Drawing loosely from a number of lesser-known Aesop’s Fables, this bravura ensemble engages us in a series of life-lessons. My favorite was the man who wants to create a flying machine and goes to the Oracle who asks him three questions about life. When he answers them correctly, she gives him the secret of flight. However, by pondering these enigmatic questions he realizes his invention can be used in war and, when his own son marches off seeking glory, the man wisely destroys his invention. Other parables were often difficult to follow as much of the words are lost in the soaring vibrations of full-throated singing. Still, opera lovers should appreciate this unique and daring show.

For more information or to contact any of these shows go to www.hollywoodfringe.org.

JUST IMAGINE: JOHN LENNON... Los Angeles

Reviewed in NOT BORN YESTERDAY, July issue.

 

If you were ever a Beatles fan you must not miss this glorious tribute to their most enigmatic member. If you did not know them, here’s a worthy introduction by musician and actor, Tim Piper. He channels John Lennon, another of the heroes who stood up for love and brotherhood in the 1960’s and were shot down.  The show intertwines Lennon’s songs (many with Paul McCartney) with the stories behind them to create a unique and electrifying multimedia concert experience.

It’s about Lennon’s life and how the losses of his life shaped him and inspired his songs. About the unbelievable success and how he ran with it – devoured it – loved it – then hated it. Here is a glimpse into the heart of a man who had a gift that he lost, then found again, moments before the end. 

In my favorite segment he comes into the audience, guitar in hand and draws us in to sing with him. No backup – just a man we know so well, sharing, chatting, teasing us face to face. And we almost believe!

 Sensitively written by Piper and Steve Altman, who directs with respect and honesty; and powerfully backed by rock band Working Class Hero - musical director Greg Piper on bass; Don Butler on guitar, Morley Bartnoff on keyboards and Don Poncher on drums. Sound by Casey Piper and lighting and Paul Gentry are dynamite.

“Just Imagine” is at the historic Hayworth Theatre, 2511 Wilshire Blvd., Los Angeles, through August 25. For tickets: (323) 960-4442 or www.plays411.com/justimagine.

IONESCOPADE... West Los Angeles

Reviewed in NOT BORN YESTERDAY, July issue 

This is a zany musical Vaudeville Show, hilariously teetering on the edge of madness, based on the works of “Theatre of the Absurd” playwright Eugène Ionesco. While creating this work in the 1970’s, composer/lyricist Mildred Kayden, now 90, was Ionesco’s guest in his Paris apartment. They remained friends until his death in 1994 and, as Kayden tells us, he lived in Nazi-occupied Paris during WW II and believed that “we need to look at life and find the humor in it, or we can’t take it.”  Only laughter could help to survive oppression.

Outstanding in multiple roles are Alan Abelew as Gallic Writer/Magician; Tom Lowe as robust Searcher for The Leader; Andrew Ableson as Balladeer and Killer, Joey D’Auria as Chef and Politician, and Jennifer Malenke provocatively singing “Fire.” Memorable support from Kelly Lester and Cristina Gerla, who constantly change from mad to sad before our eyes.

A lot was funny but much was dark in this cockeyed way of seeing life. My favorite sketches were “The Peace Conference” - nobody listens while everyone speaks; “The Leader” where people chase after a phantom Hero, and “Bobby Watson and Family” a ditzy Music Hall sketch that happily makes no sense at all. 

Kayden’s musical numbers are haunting and beautiful. Quick-witted direction and choreography by Bill Castellino and musical direction by Gerald Sternbach. Produced by Ron Sossi from original concept by Robert Allan Ackerman. 

At the Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles, through August 11. Tickets: (310) 477-2055 or www.odysseytheatre.com.

Photos by Enci Box.

THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED)… Santa Monica

Guest Reviewer, Mr. William Shakespeare!


Note from Morna: 
I loved the show and thought the performers and director did a marvelous job making light of what too often is fed to us as a tonic not a joy. However, I've been hearing from people that as Will wrote such a caustic review it must be a bad show. So, sadly, with apologies to Mr. Shakespeare, I am cancelling his review from this blog. However, if you want to read it go to my personal blog: mornamurphymartell.blogspot.com and enjoy! 
MMM

 

The Murder of Julius Caesar!

The actors seen here, Lucas Kwan Peterson, Eric Bloom and Mike Niedzwicki, are a total delight and the director, Sarah Gurfield, keeps the action moving along deliriously.

Produced By Bart Petty for Santa Monica Repertory Theater, At The Promenade Playhouse, 1404 Third Street Promenade, Santa Monica, through June 30.

Tickets: (213) 268-1454 or www.santamonicarep.org

WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA, FROM THE GERMAN SUDWESTAFRIKA BETWEEN THE YEARS 1884-1915… in Hollywood

A group of actors are attempting to dramatize the first genocide of the 20th century, where German troops systematically wiped out the agricultural Herero people and took possession of their land. As the performers, three black, three white, gather to give their presentation, we see them struggling, stumbling, arguing. I’m black – I’m white – only I know the truth. A young black woman sees her grandmother’s face in a photo of a Herero woman. There are sad letters home from a lonely soldier, relentless killer of a despised people. An actor says, “I can’t do this. It isn’t me. I’m not capable of committing an atrocity.” But the revelation is when they each discover the potential for brutality they contain. 

 

            Author Jackie Sibblies Drury says, “I was inspired by my own inability to write something meaningful about the Herero Genocide, so I tried to write a play where the characters fail to do the same thing.” She has succeeded admirably and, with this cast, the improvisational style is so believable one wonders how firmly the staging is set. 

Plaudits to the energetic and believable cast: Julanne Chidi Hill (dynamite), Phil LaMarr (brilliant), John Sloan (moving); Joe Holt (splendid), Daniel Bess (impressive) and Rebecca Mozo (charming).

Under Jillian Armenante dynamic direction, the ensemble of actors playing actors playing diverse roles creates a totally believable scenario with an emotional punch not soon forgotten. 

The set by John Iacovelli and costumes by Michele Dunn are appropriately modern/shabby, but the lighting by Michael Gend and sound by John Zalewski contribute immeasurably to the mood and enhance the serious undercurrents of the play.

Produced by Joseph Stern at The Matrix Theatre, 7657 Melrose Avenue, Los Angeles, through August 11. For reservations call 323-852-1445 or go to www.matrixtheatre.com.

THE SCOTTSBORO BOYS… at the Ahmanson Theatre

“The Scottsboro Boys” had its world premiere at the Vineyard Theatre in New York in February 2010 then moved to Broadway in October where it received 12 Tony Award nominations including Best Musical. The moving score is by John Kander (composer) and Fred Ebb (lyricist), both known for “Cabaret” and the NYC anthem “New York, New York.” Sadly, Ebb died in 2004 and never got to see this magnificent show, their last collaboration.

Told as a Minstrel Show, with black actors playing white sheriffs, judges, etc. and two young black men audaciously playing the white girls, it’s funny as well as poignant. This is not only a dynamic musical, it’s also an important history lesson told with imagination and daring.   

We have heard about the nine young black men in Alabama in 1931, sent to prison when two transient white girls said they raped them, and how they were railroaded by Southern bigotry, and the terrible injustice done to them. Now we know even more because, in this brilliant show, each of them stands out as a separate individual. To tell this story in a musical took courage, and to tell it as a mock Minstrel Show is probably the only way we could look on and not weep.


Dominating the cast is Joshua Henry as a man whose dignity sentences him to the harshest treatment. The only white is Hal Linden, looking like the KFC Colonel and spouting homilies about justice under the shadow of the electric chair.

Effective in multiple roles, and hilarious in many, are Trent Armand Kendall and JC Montgomery (see above). Plaudits to Gilbert L. Bailey II and Christian Dante White as boys and girls, and to Justin Prescott, Clinton Roane and Deandre Sevon as bewildered teens. Cedric Sanders, David Bazemore and Christopher James Culberson are all noteworthy, as is C. Kelly Wright as a mystery woman whose identity is a final revelation.

Susan Stroman reprises her original direction and choreography with dazzlingly imaginative flair. Book writer David Thompson tells the story in a light-hearted manner that makes the terrible tale even more tragic. Clever set design by Beowulf Boritt, costumes by Toni-Leslie James, lighting by Ken Billington and sound by Jon Weston illuminate the decades spent in fear and hope.

At the Ahmanson Theatre,
Los Angeles Music Center,
135 N Grand Ave,
through June 30.  
Tickets at the CTG box office or www.CenterTheatreGroup.org
or call (213) 972-4400.

SEXY WIDOWS… Los Angeles

This is an inspirational show with a life lesson for adults of a certain age, or stage in their lives, created by Sonny Fox and June August, two women who met in grief therapy and helped each other through the emotional whirlpool of dealing with the loss of a spouse. They saw that widowhood is a looming specter for many and decided to share their personal stories to show that loss doesn’t have to mean the end of your life. And they decided to write it as a musical revue!

In the show, two women and two men are faced with a flood of emotions as they ask: How do we cope with regrets?  How do we go on alone?  Will we ever smile or laugh again? Is there love after loss? All questions asked, or answered, in songs: Where Did the Time Go? There Was a Time! Are You Ready? The Shoulda, Woulda, Coulda Blues! and the advice, Keep on Goin’.  

Derrel Maury is charming as the Voice inside their heads; Kit Smythe is moving as once-dependent wife Della; Robert Towers is touching as the vulnerable Charley; Karen Culliver is impressive as the courageous Brenda; Hank Adams is totally right as the former ladies man John; Bobbi Stamm is delightful as any number of women friends, and Larry Lederman persuades as a therapist, a ghost and assorted other men.

Meaningful book, music and lyrics are by August, with additional lyrics based on poems by Fox. The title is not meant to be misleading because, as the authors explain, sexy means "vibrant and alive." Director and choreographer Cate Caplin’s simple staging allows emotional truth to come through. Fine musical direction by Sean Paxton (piano); with assistance from Kevin Tiernan (guitar) and Tripp Beam (drums). 

A Two Widows Production at The 24th Street Theatre, 1117 W 24th St, Los Angeles, through June 9. Reservations: (818) 203-1984 or BrownPaperTickets.com. For information: www.twowidowsproductions.com.