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“Now live theater is back, and with professional level set design, choreography, and a concert hall boasting 927 seats for its enthusiastic audience, this workshop production of Caligari (directed and designed by LA design veteran Joel Daavid) is far from the typical workshop or high school theater experience.”
“The pandemic has affected everyone,” says Grossman without hesitation. “I don’t think any company or business is the same. And we gotta find a whole new model in order to work in our industry… The idea of small companies, small 99-seat theater companies surviving in this climate, it’s going to be very difficult.”
Domenico says the idea for the company came after learning that one of the guys in his unit had committed suicide. He was sitting in his acting class at Marymount Manhattan College when he received a text with the devastating news.
“Shortly afterwards, pictures started circulating online of one of our bases being overrun,” Domenico shares, “and the guys were texting one another, Do people back home even know what we did over there or even care?”
With that question in mind, Domenico says it hit him: “I know what would fix this: a theater company.”
Starting to see the light of the end of the Covid Tunnel begs the question: Is there a future for these pandemic innovations?
“Through the TeenTix Pass Program, teenagers, ages 13-19, can sign up for a free TeenTix Pass, which will allow them to purchase day-of-show tickets for just $5 from participating arts organizations, including concert venues, galleries, museums, and theaters. To help teens make the most of this program, and to make navigating LA’s abundant arts scene easier, the local chapter has created the LA.TeenTix.Org Calendar, which posts all listings available on a specific day.”
“When is a play about race in this tragically divisive nation of ours ever not timely?”
“We used to listen to politicians and laugh at comedians; now we laugh at politicians and listen to comedians.”
“Even through the big recession of 2008 and 9/11 we were all wondering if life would go on, and it did change, and still went on. We are resilient as a tribe. . . Old theater couples are stubborn.”
“We closed before we opened.” Ormeny says. “It’s the first time in 50 years for me that I haven’t opened the show. The set was up, we were going into dress rehearsals, we were ready to go. All of the sudden the rug was pulled out from under us.”
“Maybe it sounds a little Pollyannish,” Sandee says, “but our approach is that in these challenges – and sometimes they’re kind of overwhelming – we are always looking for where the gift in it is.”
