Hot Tragic Dead Thing

Reviewed by Nikki Munoz
The Blank’s 2nd Stage Theatre
Through April 4

Ashley Rose Wellman’s Hot Tragic Dead Thing presents the inner world of two teenagers — one that is intense, ruthless, and very nearly deadly.

The play follows 16-year-old Bekah (Nikki DeParis) who, recovering from a failed suicide attempt, returns home to find that her mother (Marguerite Moreau) has moved in with her boyfriend Greg (Wes McGee). Suddenly Bekah, a social outcast, is sharing a home with the most popular boy at her school, Greg’s son Miles (Reed Michael Campbell). The two teens have more in common than they initially think — namely, a shared fascination with violence and the desire to be remembered for something — which ultimately results in their plotting a mass shooting at their school. Directed by Christopher James Raymond, this production at The Blank Theatre showcases the talent of the cast and crew, who fashion a captivating telling of a complicated story.

Right off the bat, the bi-level stage design (Aaron Francis) offers a jarring, intriguing look into the story that is about to unfold. The upper level is the first-story living room of the house, while the lower level (that which is eye level for the viewer) is the basement. From the opening scene, in which Bekah and her mother face off in the living room, there is an off-balance, strained feeling that correlates perfectly to the overall tone of the play.

Each cast member is stellar and convincing throughout. The two leads, DeParis and Campbell, are especially notable in their vibrant performances. The pair emit a palpable tension in their scenes together, one that is both complex and compelling. Bekah’s visceral pain is arrestingly expressed by DeParis with care and precision. Miles’s trajectory feels natural and is wholly believable throughout Campbell’s meticulous performance.

Raymond’s direction is adept and organic. The buildup of Bekah’s and Miles’s relationship, one that develops from awkward to fiercely intimate, is manifest in the staging. A moment in which Miles examines the scars on Bekah’s neck (from the belt she tried to hang herself with) is especially poignant — foreboding and deeply personal at the same time, much like their budding relationship. This same moment also highlights how the lighting design (Julien Elstob) amplifies the story. Here, the two characters’ shadows appear on the wall behind them, creating an ominous tone that further underscores their closeness by projecting a kind of double image of the pair together.

The production’s sole weakness is the script. For example, it takes a bit too long to get to where Bekah and Miles plot a mass shooting. Some dialogue, especially in Bekah’s monologues, sounds noticeably unnatural. And, finally, the very sensitive topic of mass shootings could be handled with more care. There is a bit too much sympathy for Bekah and her plan to kill her fellow classmates. While the aim, to present a holistic view of how such awful incidents are birthed, is clear, their real-life calamitous results are too downplayed.

Yet, the playwright also manages to pull off a truly startling twist ending, one which is satisfying and fitting. And, given the remarkable talent of the cast and the precision, Hot Tragic Dead Thing is undeniably worth checking out.

The Blank’s 2nd Stage Theatre, 6500 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Thurs., Apr. 2 & 9, 8 p.m.; through Apr. 4 [NOTE: Mar. 20 & 21 performances suspended due to COVID-19]. https://www.theblank.com/. Running time: approximately one hour and 45 minutes with no intermission.

Show Me A Hero

Reviewed by Nikki Munoz
Write Act Repertory Company
Through March 29 [NOTE: Remaining performances postponed due to COVID-19]

Based on the relationship between Italian journalist Oriana Fallaci and the Greek freedom-fighter Alexander Panagoulis, Show Me A Hero presents a love story set in 1974 Greece in the midst of turmoil and political upheaval.

The characters, Luisa (Lisa Robins) and Petros (Ilia Volok), meet when Luisa interviews Petros for a feature, and the two quickly fall in love. Petros is also working with a third character, Dimitry (Rico Simonini), gathering evidence against the corrupt Greek government. Given the political stakes on the one hand and the fact-based romance on the other, Show Me A Hero boasts a story that brims with possibility. But the BrickHouse Theatre production falls short on all fronts, including a weak script and technical problems.

Playwright Willard Manus has drafted one-dimensional versions of these characters: Luisa’s persona doesn’t extend much beyond her career, while Petros is nothing more than a blueprint for a proud, super-macho former war hero. Their love story is hard to invest in: Whereas Petros is aggressively possessive, Luisa’s passivity runs counter to the one attribute that marks her as special — her strong mind. Robins and Volok, meanwhile, are unable to transcend their poorly written characters and exude little chemistry, so their declarations of love are unconvincing.

Their accents are also a problem. Of the three characters, two are Greek and one is Italian. As Panagoulis, Volok speaks with his native Russian inflection. The other two cast members sound blatantly American — a major distraction from the story’s setting and context.

Daniel E. Keough’s direction is, for the most part, messy and convoluted. Many of the characters’ movements are too broad and melodramatic in a way that doesn’t correspond to the tone of the dialogue. Moreover, whenever Luisa and Petros show affection, whether embracing or holding hands while sitting next to each other, it comes across as awkward. There is a strained quality to their physical interactions not in keeping with those of a couple meant to be hopelessly in love.

The disorder on stage is only heightened by poor lighting (design by Mark Baker) which is frequently out of sync, sometimes taking too long to follow a character across the stage. At one moment at the performance I attended, Robins, delivering a monologue, was not even fully lit by the spotlight; whether she was out of place or the lighting was off (or a combination), the end result diverted attention away from what she was saying.

A love story based on real people has the potential to compel an audience’s attention. Unfortunately, Show Me A Hero is attention-getting for all of the wrong reasons — its many missteps.

BrickHouse Theatre, 10950 Peach Grove St., North Hollywood; Sat., 8 p.m.; Sun., 3 p.m.; through Mar. 29 [NOTE: Remaining performances postponed due to COVID-19]. https://www.brownpapertickets.com/event/4510530. Running time: approximately one hour and 45 minutes with no intermission.

Borracho: Spanish for Drunken Bum

Reviewed by Nikki Munoz
The Actors Company
Through February 9

A party can be a prime setting for high drama to play out, as is the case in Borracho: Spanish for Drunken Bum. Written by Abe Zapata Jr. and directed by Maia Vik Villa, the play portrays the chaos that can arise from tangled secrets and conflicting motivations. Unfortunately, The Actors’ Company’s production falls short in tech and direction, notwithstanding the plentiful comedy throughout.

At the top, we meet Miguel (Oscar Emmanuel Fabela), who is throwing a birthday party for his friend, Gerardo (Edwin Alexis Gómez). The other guests include mutual friends, a hired escort, and Miguel’s high school crush, Alan (Daniel Luna). Alan, arriving in drag — and going by his drag queen persona, Hu-nani — is just one of the many unexpected turns that the night takes. It becomes apparent that this group, all queer and mostly Latinx, has many secrets and tensions.

As an ensemble, the cast presents a palpable energy as a believable group of friends. This group dynamic acts as the foundation for many of the comedic moments in a production in which humor is easily the strongest element.

Unfortunately, many of the actors are less credible as individual characters. Instead, they often speak their lines emphatically, giving the impression that they are uncomfortable with the script and their characters. In part, this is due to roles which are not as fleshed out as they need to be, with the exceptions of Miguel and Hu-nani.

The actors’ misalignment is only heightened by Villa’s frequently awkward stage blocking. The movements are clunky, with the nine-actor ensemble crowded onto a small stage that is meant to represent an apartment with multiple rooms. Attempts to distinguish these rooms from each other are unsuccessful and awkward. The impression is less of a chaotic party environment and more the inability of the director to situate so many bodies on one stage smoothly.

The overall discord is not helped by a lighting design (Susan Morgan) that comes across as arbitrary. The transitions seem to come too soon, lighting up sections of the stage that the dialogue and action haven’t caught up to yet. Moreover, some of the lighting changeovers are too blatant, so noticeable as to distract from the dialogue itself.

All in all, Borracho: Spanish for Drunken Bum leaves much to be desired. The characters’ humor may save their friendships, but unfortunately, it does not save the production.

​​Let Live Theatre @ The Actors Company, 916A N. Formosa Ave., West Hollywood; Fri.-Sat., 8 p.m.; Sun., Feb. 9, 6 p.m.; through Feb. 9. www.eventbrite.com/borracho-spanish-for-drunken-bum. Running time: 80 minutes with no intermission.

Sweeney Todd: The Demon Barber of Fleet Street

Reviewed by Nikki Munoz
Young Stars Theatre
Through February 1

RECOMMENDED

A dark, barely lit stage sets the tone for the Young Stars Theatre company’s production of Sweeney Todd: The Demon Barber of Fleet Street. The spare set allows the spotlight to fall on the talented actors and the well-known story. The production, directed by Mirai Booth-Ong, excels and thrills from start to finish.

Sweeney Todd, based on Christopher Bond’s 1973 play of the same name, premiered as a musical in 1979. Featuring music and lyrics by Stephen Sondheim and book by Hugh Wheeler, it has become a musical staple over the years. It follows the titular character (Jack J. Bennet) upon his return to London, where he intends to seek revenge against Judge Turpin (M. Hayward Scott), who had falsely arrested Todd, sent him into exile, raped his wife, and kidnapped his daughter, Johanna (Serenity Robb), to keep as his ward. Sweeney Todd, in turn, becomes a murderous barber whose victims are baked into pies by his partner in crime, Mrs. Lovett (Gloria Bennett).

The entire cast, both major and minor players, is exceptional, both together and individually. The ensemble invokes the chaotic, all-consuming energy of the community Sweeney Todd returns to. Hudson Barone, a promising young actor, is compelling as Tobias Ragg, the curious boy who finds himself too close to Todd’s and Lovett’s secret business. Jack J. Bennett tackles the lead role with rigor and care, invoking empathy even through his cruelest moments.

Yet, it is Gloria Bennett as Mrs. Lovett who steals the show. She is keen in her movements and sharp in her words. She and Jack J. Bennett (real life husband and wife) have palpable chemistry and work off of each other to heighten their own portrayals. But even in their scenes together, it is more often Gloria Bennett whom it is impossible to look away from. On stage she glows larger than life, and her performance is captivating to watch.

The actors work on an essentially bare stage. The lack of set is hardly noticeable, however, as the production’s technical aspects create a liveliness that takes the story to another level. The costumes (Jaclyn Khitikian) are gorgeous and achieve what a set design typically does — communicate the time period and/or the class the characters belong to. The lighting (Sam Phillips) brings a depth of tone to the play, while also providing insight into the complex protagonist. Each time Todd kills or is consumed by dark thoughts, the lighting strikes red — and each time the effect is both rewarding and, somehow, surprising.

These successful elements are all brought together in Booth-Ong’s stunning direction. In her directorial debut, she commands the space with confidence and skill. The stage feels small, given the size of the ensemble, yet also large, given the multiple storylines that converge. Everything is developed with keen intention and pulled off with precision. And in one particularly mesmerizing directorial decision, Booth-Ing combines the art of distraction and spatial perspective to pull off a surprise shift unmatched in creativity and spectacle.

For a production that evolves on a minimalist stage, Young Stars Theatre’s Sweeney Todd is nothing but grand in its result.

Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Feb. 1. https://www.fremontcentretheatre.com/. Running time: two hours and 50 minutes with a 15-minute intermission.

Sunday Dinner

Reviewed by Nikki Munoz
Theatre 40
Through February 16

Family dinners can be intense — especially when the members of said family are keeping major secrets from each other. Such is the case in writer/director Tony Blake’s Sunday Dinner, in which members of a Catholic family grapple with the nuances of morality. Now at Theatre 40, the production stumbles in some aspects of its execution, but manages to captivate through a strong, tension-filled plot.

Married couple Eddie (John Combs) and Rose (Sharron Shayne) have invited Michael (James Tabeek), a priest of the Catholic Church, for a family dinner following the death of Michael’s grandfather. Michael intends to announce that he has left the church, but before he can, he is bombarded with his father’s “confession.” It seems that Eddie has forged a document which will deprive his widowed sister-in-law of a share in the proceeds from her late husband’s house, leaving them to be split two ways instead of three. For this transgression, Eddie hopes to receive absolution from his priest son. The situation forces Michael to wrestle with a choice between loyalty to family and revealing the truth. Each character, including Michael, harbors secrets unbeknownst to the others, and the result is a chaotic exploration of accountability and morality, to one’s family as well as to one’s conscience.

As playwright, Blake, has successfully crafted lively realistic characters and given them heightened stakes to sharpen the conflicts between them. As a director, he succeeds less well, however, undermining much of the play with poor staging. Many conversations — even the most intimate — are spoken between two actors positioned distractingly far apart given the realistic drama they are enacting. The dining scenes are sabotaged by the arrangement of table and chairs which inevitably leaves one character with his/her back to the audience. Key moments are subverted because the audience is unable to witness the reactions of these characters.

The standard of performance is also widely uneven — the less competent actors speak their lines without convincing emotion. But Tabeek is exceptional as Michael, the family member most conflicted by his moral dilemma, and his performance elevates the entire production. His silences are as compelling as his monologues — although his stellar performance is a double-edged sword, as his exceptional work further highlights the unfortunate weakness of the other ensemble members.

Yet, despite its flaws, Sunday Dinner is redeemed by the strength of its story — so tense and vibrant that the audience’s attention remains captivated through its end.

Theatre 40 – Reuben Cordova Theatre at Beverly Hills High School, 241 S. Moreno Dr., Beverly Hills; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; through Feb. 16. (310) 364-0535 or https://theatre40.org/product/sunday-dinner. Running time: approx. one hour and 45 minutes, including one 15-minute intermission.

Every Christmas Story Ever Told (And Then Some!)

Reviewed by Nikki Munoz
Sierra Madre Playhouse
Through December 29

Directed and choreographed by Gary Lamb, Every Christmas Story Ever Told (And Then Some!) begins with the opening lines of Charles Dickens’s A Christmas Carol before the ensemble quickly backtracks to declare that his famous tale has been “done to death.”

Written by Michael Carleton, Jim Fitzgerald and John K. Alvarez, with music by Will Knapp, the show chronicles famous holiday stories in a comedic, lighthearted way. Akin to a sketch comedy, it allows room for the actors (Garrett Botts, Philip Rossi and Dale Sandlin, each playing versions of themselves) to recruit the audience for improvisational interludes. While sometimes over-the-top, the production mostly succeeds in presenting a fun night of family-oriented comedy.

While the humor is mostly on target, it occasionally falters when the jokes rely too heavily on repetitive stereotypes. For example, Philip is depicted as consistently dumb, while Dale is presented as the ensemble’s own Scrooge, who pushes back against the others when they try to make the show more interesting than traditional. These moments feel limp and irrelevant, as the piece clearly is more about the various stories than the actors telling them. For the most part, however, the chemistry between Rossi and Sadlin and the teamwork among the three players proves sufficient for them to make the most out of each scene.

Moreover, under Lamb’s direction, the show maintains a fast pace, one key to holding audience members’ attention and garnering their amusement. Lamb also keeps most of the comedy from becoming too broad so that the few moments which are played larger — such as the sped-up retelling of The Nutcracker (additional choreography by Cate Caplin) — garner some of the night’s biggest laughs.

In general, the songs (musical direction by Sean Paxton) are one of the production’s most compelling aspects. Paxton’s rendering of the familiar tune preceding The Twilight Zone begets an ominous tone that hilariously segues into a discussion of the mystery of fruit cake. It is clever moments like this one that contribute most significantly to making Every Christmas Story Ever Told as charming as it is.

Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre; Fri.-Sat., 8 p.m.; Sat.-Sun., 2:30 p.m.; through Dec. 29. https://www.sierramadreplayhouse.org/. Running time: approximately one hour and 45 minutes, including one 15-minute intermission.

In the Mood

Reviewed by Nikki Munoz
Ark Theatre Company
Through December 14

As implied by its title, In the Mood is about sex.

Sex, the characters learn, is complicated. The play depicts Stuart (Eddie Navarro) and Linda (Soda Persi) during two dinner conversations in which they attempt to navigate their intimate relationship. They are joined by their waiter, Raymond (Akul Dang), who inserts himself into their business. Directed by Arash Ainehsazian, this production finds strength in Stephen Fife’s script, which only falters in its conclusion.

Fife, a Stage Raw critic and current playwright-in-residence at the Ark Theatre Company, writes dialogue that jumps off the page. It’s blatantly funny, layered in meaning and tightly inserted into the 80-minute plot. Further, his characters are distinct and palpably natural. However, the writing becomes convoluted in the resolution, in which Fife works against the characters he has created.

Linda wants her sexual relationship with Stuart to evolve into something more committed, which Stuart strongly resists. Stuart is controlling and overbearing, constantly silencing Linda’s voice. Linda begins as timid and submissive before finally asserting herself in the second act when she begins to advocate for what she wants. Due to Stuart’s poor treatment of Linda, the relationship is not one easy to root for. Yet, that is precisely what the play asks the audience to do, as evidenced in the ending in which Stuart proclaims he loves and respects Linda — yet clearly has done nothing to demonstrate that. It’s an unearned denouement, unworthy of the overall superior quality of the writing.

All three actors bring a radiant life to their characters. Assisted by Ainehsazian’s directorial blocking, their performances are magnetic. Navarro, adept in his physicality, accompanies his often-nonsensical dialogue with gestures that emphasize Stuart’s absurdity. Persi drives her character’s arc through facial expressions, both before and after her voice is silenced. And Dang discloses his character’s idealized nature with a strong posture and smooth speech. In tandem, they create a tension as striking as it is entertaining.

Despite its skewed resolution, In the Mood mostly excels in depicting sex in a relationship in a funny and poignant way. Intimacy is turned inside out, on full display not only for the other diners in the restaurant in which the play is set, but also for a room full of theatergoers.

Ark Theatre, 5708 Lankershim Blvd., North Hollywood; Fri.-Sat., 8:30 p.m.; through Dec. 14. https://www.arknoho.org/. Running time: 80 minutes with no intermission.

Seven

Reviewed by Nikki Munoz
ÉLAN Ensemble
Through December 16

In Seven, women’s voices are front and center. A collaboration of seven playwrights (Paula Cizmar, Catherine Filloux, Gail Kriegel, Carol K. Mack, Ruth Margraff, Anna Deavere Smith and Susan Yankowitz), the play depicts the true stories of seven women who stood up to injustice in their home countries in order to improve the lives of women and girls. Directed by Natsuko Ohama, with movement direction by Stephanie Shroyer, the production at Atwater Village Theatre is staged with precision and thoughtfulness.

Seven is driven by a strong ensemble, with each actress fully embodying the woman she portrays. While some of the scenes are too short — seven complex stories are squeezed into a tight 75 minutes — the performers make the most of the few scenes they have. Claudia Elmore, who plays Anabella De Leon, and Ukamaka Izuchi, who plays Hafsat Abiola, infuse an especially compelling vitality into their performances. Both bring depth and authenticity to their weighty tales of hardship, while managing to get the audience to laugh along as they tell their stories.

Ohama’s handling of onstage movement is problematic, however. The stage is small and cramped, and while there are many smooth flowing moments in which multiple actors interweave, there are other times when the movement or positioning is awkward — the actors’ backs are to the audience or they are blocking each other.

The play is, for the most part, a series of compelling monologues enhanced by outstanding technical elements. The lighting (Derek Christiansen is subtle but powerful, a seamless match to the wavering tones of the women’s words. The sound (Stephen George) adds texture to these stories, as when Marina Pisklakova-Parker (Yelena Podkolzina) receives a threatening email from a man unhappy with her life’s work. These technical elements add depth to an otherwise simple set up where each actor performs alone on stage.

Seven’s real accomplishment is in spotlighting people who, while not well-known, have done exemplary work in the service of gender equality. Their stories deserve to be heard and celebrated — and that is what Seven is all about.

Atwater Village Theatre, 3269 Casitas Ave., Atwater Village; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through Dec. 16. (310) 990-2023 or https://www.performingartslive.com/Events/Seven-Atwater-Village-Theatre. Running time: 75 minutes with no intermission.

Uncle Vanya

Reviewed by Nikki Munoz
The New American Theatre
Extended through February 29

RECOMMENDED

“Something is wrong in this house,” says the visiting Yelena (Jade Sealey) — not once but twice in an intense conversation with the title character (Don Harvey) of Anton Chekhov’s Uncle Vanya.

She and others who inhabit Chekhov’s 1898 play find many things to be wrong, from the idleness of country life to the human degradation of nature to unrequited love. In this New American Theatre’s production, directed by Jack Stehlin, the stakes are high and the action engaging. The play comes to life via a talented cast and crew, resulting in an effectively executed drama.

At the top, an elderly professor, Alexander (David Purdham), and his much younger wife, Yelena, arrive at the rural estate that belonged to Alexander’s late first wife. Here we meet Alexander’s daughter, Sonya (Eve Danzeisen), the local doctor, Mikhael Astov (Brian Henderson) whom Sonya is in love with, and Sonya’s uncle, Vanya, who is in love with Yelena.

Despite the title, the play is very much an ensemble piece. Each cast member has a strong grasp of his or her role, and they all work together to depict the intricacies of the plot. Many relationships overlap: There are several love triangles happening at once, and how family members feel about each other are left up to interpretation. For example, although Yelena has multiple men interested in her, she is determined to stay faithful to her husband. Sealey expertly conveys this in a subtle yet telling way for much of the production.

The actors’ talents are heightened by Stehlin’s excellent direction. Stage blocking is key, and Stehlin nails it on every level, both in the slow scenes, where the characters merely sit around and talk, and in the livelier ones. At one point, Harvey’s Vanya, clearly very drunk, falls to the floor with such visible melancholy that it adds a depth to his ongoing monologue. Even though he is the one speaking, Yelena’s power over him and her lack of romantic feelings towards him are evident.

The production’s technical aspects are just as adeptly handled. Set designer Clare Scarpulla’s four-room interior is especially notable; despite the small confining stage, she manages to still create the illusion of a large estate.

The New American Theatre, 1312 N. Wilton Pl., Hollywood; Fri.-Sat., 8 p.m. (except Feb. 21); Sun., Feb. 23, 3 p.m.; extended through Feb. 29. https://www.artful.ly/store/events/19028. Running time: approximately 105 minutes with one 10-minute intermission.

Good Fishermen Know A Lot About Sex

Reviewed by Nikki Munoz
Hudson Guild Theatre
Through November 3

Good Fishermen Know A Lot About Sex gets its title from one of its musical numbers, performed when two fishermen in a boat sing about the connection between fishing and sex. The title — and the musical number — are misleading, as the play’s ties to sex end with this one song. Instead of sex, the musical has a lot to do with drug addiction and how deeply it affects the family of an addict as well as the addict himself. While the play’s message is one of strength, the production, unfortunately, is weak.

Well directed by Alexa Karas, Good Fishermen Know A Lot About Sex was written by Karas (story and lyrics) and Konner Scott (music and lyrics). Karen (Dorothy Dillingham Blue) and Frank (Peter Miller), along with their two adult children, Ally (Kelley Pierre) and Nate (Ryan Lee Hughes), board a fishing boat for a family bonding trip, accompanied by fishermen Big Tuna (Jimmy Clabots) and Keisho (Scott). The tensions within the family begin to play out, and are revealed to be a consequence of Nate’s drug addiction.

Karas’s staging is exceptional. The entirety of the play takes place on a small boat, which is set up on the small stage of the Hudson Theatre. Karas utilizes the space in such a way that it never feels crowded, despite having all six characters consistently on stage together. Further, all of the characters’ movements feel natural and true to their relationships, whether they are between family members or strangers just meeting. Her skilled blocking is heightened by Brandon Baruch’s effective and striking lighting design, which heightens the impact of the characters’ movements, especially at transitional moments.

Yet, as playwright, Karas is unable to bring the same natural quality to her dialogue as she does to her staging. The characters’ verbal interchange is either stereotypical (Ally asserting that she is not a little girl anymore to a stubborn Frank) or excessively outrageous and without proper foundation (Nate getting angry at Ally unprompted). Moreover, while Nate’s addiction is supposed to be the root of each of these conflicts, the connection is never really made clear.

Poorly enacted musical numbers also contribute to the production’s unnatural, somewhat awkward tone. While Karas’s staging of non-musical sequences is proficient, she struggles to choreograph movement during the songs. In one, “Dear Brother,” Ally sings about not wanting to lose Nate to addiction. While Ally sings, Nate moves around her in a way meant to depict the ups and downs of their sibling relationship, but the choreography is aimless and ineffective.

The emotional root of the play — the family’s pain and desire to push through an extremely difficult time — is clear overall but becomes muddled by poor execution.

Hudson Guild Theatre, 6539 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through Nov. 3. https://www.onstage411.com. Running time: approximately 90 minutes with no intermission.