Death and Other Girly Things

Reviewed by Julia Stier
Loft Ensemble
Through April 12 [NOTE: Remaining performances suspended due to COVID-19]

Death. There’s no escaping it. It comes for us all. Some deal with this inevitability by hiding from it, others embrace it, and a few people even find comfort in it. When Pam (Katy Laughlin) “adopts” a fetal skeleton from the 1870s and decides to treat it like a real baby, she sparks some interesting debates about the end of life. Shortly after her story hits the headlines, Pam teams up with Paul (Sean James), a professor who studies death culture, and the two embark on a road trip to interview women and their connections with the topic.

Death and Other Girly Things by RJ Fontaine — and co-directed by Madylin Sweeten Durrie and Mitch Rossander — is brimming with colorful characters. Laughlin as Pam starts the show off strong by bringing the quirky “Mother of Death” to life in an opening monologue that is equal parts hilarious and haunting. She brings depth and humor to a woman whose emotional turmoil threatens to swallow her whole.

What stands out about this play are the people Pam and Paul meet on their journey. Through a series of monologues, women from all walks of life speak passionately about love, loss and femininity.

Dani Power as party girl Iris is especially engaging to watch. Her diatribe about the biology of the female body and the patriarchy is amusing and surprisingly profound. Bree Pavey’s Diamond, the beauty pageant coach, is clearly a force to be reckoned with. Her brash, bold personality is abrasive at first, but Pavey wins the audience over when the façade falls, revealing Diamond’s true fears and insecurities. Among a large cast of 17, with many actors playing multiple roles, Sarah Nilsen is notable for making each character she plays distinct and memorable, with accents and quirks tailored to each one.

Each monologue is wonderfully written, with a specific voice and a unique point of view. Every one of them is strong enough to stand on its own, making the narrative — of who Pam is and why she and Paul are going on this road trip — contextual but unnecessary. Trimming the play down to focus on the monologues would also cut right to the heart of the piece, which is the many ways people view and deal with death.

With its positive perspective on death, this play is sure to spark conversation. Exploring the very humanness of mortality, Fontaine has approached what is commonly regarded as a morbid topic in a surprising and innovative way.

Loft Ensemble, 11031 Camarillo St., North Hollywood; Sat., 8 p.m.; Sun., 7 p.m.; through Apr. 12 [NOTE: Remaining performances suspended due to COVID-19]. (818) 452-3153 or www.loftensemble.org. Running time: two hours with a 10-minute intermission.

The $5 Shakespeare Company

Reviewed by Julia Stier
The 6th Act
Through March 8

In a city preoccupied with film and TV, why bother doing theatre? In The $5 Shakespeare Company — written by Matthew Leavitt and directed by Joel Zwick — members of a theatre troupe, The $5 Shakespeare Company, grapple with that very question. What keeps them returning to small black box theatres, low wages and cramped dressing rooms? Is the struggle even worth it? As the actors deal with their personal jealousies and disappointments, they slowly rediscover the magic and hope that first brought them to the stage.

It’s clear from his writing that Leavitt has been around the block when it comes to L.A. theatre. The script beautifully captures the frustrations of actors who have been on the grind for years, while the backstage drama he’s created is both comical and painful. The humor and angst are everywhere, from the fake enthusiasm for the newbie starlet who booked a pilot a mere six months after landing in L.A., to the players’ ubiquitous thoughts of quitting, to their overall declarations of love for Shakespeare.

The company’s band of quasi-misfits is made up of 10 personalities. They have their leader, the fallen-from-grace sitcom star Jacob (Adam J. Smith); suave Randall (Kenajuan Bentley) and his showmance lover Elena (Carolina Espiro); and besties Camille (Cindy Nguyen) and Everett (Emerson Collins). There is also high-strung Louis (Luke McClure); Chester the King Lear aficionado (Andy Robinson); the aforementioned newbie starlet Spencer (Natalie Lander); the exuberant but clueless Noel (Jamie Zwick); and Lillian (Liza Seneca), a woman who has given everything — almost ruining her marriage — to pursue the craft she loves.

While the show is a delightfully relatable comedy, there are also many somber moments where the characters confess their fears and failed dreams. These instances add a gravity and depth to the script.

The play is a love letter to L.A. theatre, Shakespeare, and all the artists who put up with less-than-desirable circumstances out of their yearning to perform. The $5 Shakespeare Company shares that feeling of magic that comes with performing stories that have been around long before our time, and which will remain long after we are gone.

Theatre 68, 5112 Lankershim Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Mar. 8. fivedollarshakespeare.eventbrite.com. Running time: one hour and 35 minutes with no intermission.

Gianni Schicchi/L’enfant et les sortilèges

Reviewed by Julia Stier
Pacific Opera Project
Through February 2

Two one-act operas have found their way from Italy and France to Los Angeles in the Pacific Opera Project’s double-bill presentation of Giacomo Puccini’s Gianni Schicchi and Maurice Ravel’s L’enfant et les sortilèges. This program marks the start of Pacific Opera Project’s 10th anniversary season.

Gianni Schicchi and L’enfant — directed by Josh Shaw and Josh Horsch respectively — prove that less is more. While both are playful in nature, they contrast nicely: The former delivers a fun poke at the upper class, while the latter is a cautionary tale with a touch of the whimsical. What’s the best part about each one? They’re both under an hour.

Puccini’s piece is simply delightful. When the wealthy Buoso Donati finally passes on, his family is devastated to find that he has willed all his money to the local friars. Among them, the young Rinuccio (Jonathan Matthews), is the most desperate for a piece of the inheritance so that he may marry Lauretta (Tiffany Ho). He advises his family to call upon Lauretta’s father, the tricky and sly Gianni Schicchi (E. Scott Levin) for help. With Gianni Schicchi’s aid, a plan is hatched to create a new will that benefits all — including Schicchi.

As Lauretta, Ho stands out, bringing cheekiness to a character that might otherwise be portrayed as beautiful but bland. Instead, Ho uses wit and charm to cleverly toy with Schicchi’s heartstrings. Top all that off with a soaring soprano voice, and Ho proves an absolute scene-stealer in her few moments on stage.

Ravel’s piece, L’enfant et les sortilèges, catches one by surprise. While the synopsis promises a magical turn of events — the furniture comes alive, à la Beauty and the Beast — there is a dark edge to the show. Kimberley Sogioka is pouty and mischievous as the bratty Enfant who wrecks havoc on the furniture and terrorizes the household pets, which later bring their wrath down upon him.

The technical aspects of this show are particularly enchanting. Maggie Green’s costume designs transform the singers into grandfather clocks and armchairs, dragonflies and squirrels. The costumes cast a dreamlike quality over everything, and transport the audience to a world where animals and inanimate objects express their pain and personalities.

These fun, accessible works are the perfect introduction to anyone new to the art form, and are sure to live up to the expectations of any veteran opera-goer.

Thorne Hall, Occidental College, Thorne Rd., Eagle Rock; Sat., 7 p.m.; Sun., 3 p.m.; through Feb. 2. www.pacificoperaproject.com. Running time: about two hours with a 15-minute intermission.

The Legend of Georgia McBride

Reviewed by Julia Stier
Crown City Theatre Company
Through December 29

“Here we are, a straight man in drag, and a drag queen in hell.”

Casey (Neil Unger) is a struggling Elvis impersonator whose rent checks keep bouncing and whose wife (Shelley Francisco) has a baby on the way. When his Elvis act at Cleo’s — a small town bar in Florida — gets discontinued and replaced by a drag show, Casey is desperate and disheartened. So, when one of the queens is unable to perform, he suddenly finds himself slipping into heels and a wig — and Georgia McBride is born.

Written by Matthew Lopez and directed and choreographed by Michael J. Marchak, The Legend of Georgia McBride is a comedy with a lot of heart.

As the countrified drag queen Georgia McBride, Unger delivers lively renditions of “I Cain’t Say No,” and “Before He Cheats.” Michael Mullen as Miss Tracy Mills, Casey’s teacher in all things drag, is a showstopper. The character’s confident, carefree attitude is infectious, and her performances are as glitzy as the dresses she wears.

While much of the show is a collection of upbeat drag performances, there are other moments that address the history of drag and its importance. As Rezy, another drag queen, Donzell Lewis gives an especially poignant speech about drag being as much a “protest” as an art form. She shares her story of having been on the receiving end of hate crimes, and how being in drag was the one place she felt safe. It’s a sobering reminder that while there have been changes for the better, homophobia is not yet a thing of the past.

While the play has fun with drag, it never feels exploitative. Yes, there are humorous scenes in which Casey confusedly dons a bra and tights, but scenes like this are refreshingly non-judgmental. Casey may be afraid to tell his wife about his new gig, but it’s not because he disrespects the art form. Both as Casey and later as Georgia McBride, Unger has fun — and so does the audience. The show is a wonderful, upbeat way to end 2019.

Secret Rose Theatre, 11246 W. Magnolia Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through Dec. 29. crowncitytheatre.com. Running time: one hour and 45 minutes with no intermission.

The Curious Incident of the Dog in the Night-Time

Reviewed by Julia Stier 
Greenway Court Theatre 
Through December 29

RECOMMENDED

When 15-year-old Christopher Boone discovers the lifeless body of his neighbor’s dog speared with a garden fork, he sets out to discover who the murderer is. However, his investigative questions uncover more than he bargained for, and the answers he receives set him on a journey to London.

Directed by Kate Jopson, the reputation of The Curious Incident of the Dog in the Night-Time precedes its arrival at Greenway Court Theatre. The play won the 2015 Tony Award for Best Play, along with a handful of other accolades, including the 2013 Olivier for Best New Play. Written by Simon Stephens based on Mark Haddon’s novel of the same name, it’s a work of many reveals, making it difficult to discuss without giving away something big.

While original productions of Curious Incident were technological spectacles, Greenway Court’s set is much simpler — proving that the story is strong enough to stand on its own, and does not need neon lights and shifting stages to bring forth a compelling tale.

The success of any production will always rest on the shoulders of the actor playing Christopher — this time around played with brilliant attention to physical details by Iain Kohn. A young teen on the spectrum, Christopher has a brain that goes a mile a minute. He is a genius with numbers, but finds people confusing. His sensitivity to the world of the senses is expressed through several elements of the staging. An active ensemble stomps and bustles and yells, confronting the audience with the world as Christopher experiences it — a little too loud, a little too bright, a little too crowded.

The most endearing character is Christopher’s father, Ed (Michael Yurchak), a patient, single dad trying to do what’s best for his son while dealing with his own disappointments.

The Curious Incident of the Dog in the Night-Time is a captivating story. You will laugh, you may cry, and you will not forget it anytime soon.

Greenway Court Theatre, 544 North Fairfax Ave., West Hollywood; Fri.-Sat., 8 p.m.; Sun., 4 p.m.; through Dec. 29. https://greenwaycourttheatre.org. Running time: two hours and 20 minutes with a 15-minute intermission.

The Wrong Kind of People

Reviewed by Julia Stier
The Robey Theatre Company
Through December 8

The Robey Theatre Company presents the world premiere of George W. Corbin’s comedy The Wrong Kind of People under the direction of C. Julian White. Set in 1942 in Los Angeles, the play introduces audiences to a young man named Theo on the wildest night of his life. <

A graduate of the USC law school, Theo (Ken Ivy) — who had been the only African American in his class — checks into The Guardian Hotel in order to study in solitude for the bar exam. However, that plan is quickly derailed by Fixit (Damon Rutledge), the cheery bellman who offers Theo an opportunity to make some easy money. When Theo agrees to let certain of Fixit’s “co-workers” in through his bedroom window in exchange for $2 (a nice sum at that time), he accidentally finds himself involved in a series of schemes in which anything that can go wrong, does. Over the course of the night, Theo meets Judge Purdy (Darrell Philip), an abrasive drunk; Mrs. Purdy (Stephanie Shulz), the judge’s promiscuous wife; Mex (Chauntice Green), a beautiful call girl; and Spider (Stephen Tyler Howell), a slick poker dealer.

Ivy plays a young, bright Theo, who quickly finds a sense of camaraderie with Rutledge’s jovial and earnest Fixit. As Judge Purdy, Philip has to work a little harder to win the audience over, as his character lays the racism on thick upon his first entrance; later, however, he devolves into a somewhat childlike drunk, making him an easy and acceptable target of laughter. Shulz is delightful as Mrs. Purdy, an unapologetic wife with a slightly sordid past. Green as Mex is the perfect blend of sweet and street smart, and Howell has a commanding presence as Spider.

The play is a fun night, full of film noir–esque twists and turns. As the heightened circumstances get more and more ridiculous, the risk that Theo’s bright future could fade increases.

What the show basically tells us is to never write someone off as being the “wrong kind of people” based on his or her occupation, income level, or skin color. We all have dreams, and everyone has the ability to figure out how to achieve them.

The Los Angeles Theatre Center, 514 S. Spring St., Downtown L.A.; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; through Dec. 8 (no show Nov. 28). www.thelatc.org. Running time: one hour and 20 minutes with no intermission.

Self-Injurious Behavior

Reviewed by Julia Stier
Theatre 68
Through September 28

RECOMMENDED

After committing her son who has autism to a full-time care facility to prevent him from injuring himself, Summer (Jessica Cavanagh) is struggling to cope. Even after her sisters, Sage and Harmony, whisk her away to a renaissance faire for the weekend, she remains undistracted, still plagued with feelings of guilt and fear. In a series of meltdowns and memories, her life as a parent emerges.

Written by Cavanagh and directed by Marianne Galloway, Self-Injurious Behavior is a difficult yet beautiful, semi-autobiographical account of the playwright’s experience. The play chronicles her joy and pain, love and heartache, and shares with audiences the challenges and hard decisions that she has had to make.

This show spans the full spectrum of emotions. Moments of intensity are juxtaposed with scenes filled with effortless comedy, which helps ease the tension. Each character has a specific point of view, and their strong and clear relationships bring forth performances that emanate from a place of truth.

Cavanagh delivers a truly moving performance as Summer. She is open with her story and doesn’t hold back the more heart-wrenching details. As Summer’s son, Benjamin, Jude Segrest sensitively portrays some of the physical manifestations of autism with meticulous specificity. Summer’s two sisters, Sage (Janie Haddad Tompkins) and Harmony (Cavanagh’s real-life sister, Jillian Cavanagh), serve as calm voices of reason in Summer’s moments of panic. The sisters’ campmates at the renaissance faire include the narcissistic yet kind Sebastian (Mitch Lerner), the belly dancer, Ashley (Madison Calhoun) and Gina (Gisla Stringer), a mother of three boys who is happy for the temporary escape the faire provides. And finally, there’s Jake (Johnathan Brooks Freeman), Summer’s ex-husband. Their relationship is the most poignant, as it serves to illustrate how the stress of parenting a child with special needs can sometimes take a toll on a marriage.

Not only are the performances on point, the technical elements also greatly enhance the storytelling. Scenic designer Brad Bentz transforms the space into a colorful camp in the woods that provides a vibrant backdrop for the action. Jake Nice’s sound design and lighting by Matthew Richter help distinguish between past and present, dream and reality.

The production is presented in special partnership with Autism Works Now (AWN), an organization that provides expressive movement therapy and workplace readiness skills to those with autism and related disorders.

Theatre 68, 5112 Lankershim Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Sep. 28. www.sibonstage.com. Running time: one hour and 45 minutes with a 15-minute intermission.

For The Record: The Brat Pack

Reviewed by Julia Stier
For The Record
Extended through November 9

RECOMMENDED

“The Brats are back!”

The experience begins even before the show as you traverse a secret entrance that takes you to the 80s-themed speakeasy, Break Room 86. There, the inhabitants of Shermer High School are waiting to lead you on a journey through your favorite 80s teen flicks in For The Record: The Brat Pack.

Thrilling, touching, and just down right fun, this production — adapted and directed by Anderson Davis, choreographed by Sumie Maeda, with music supervision and arrangements by Jesse Vargas — is an immersive dive into the world of the 80s teen movie.

The aim of the show’s producing entity, For The Record, is to celebrate the soundtracks of movies. The company usually selects a famous director’s work, then crafts a story that is loosely tied together by songs from those films. The result is a concert/musical hybrid that is entertaining and engaging.

During the show, ensemble members assume archetypal roles common to as they portray different characters from various films, including The Breakfast Club, Sixteen Candles, Ferris Bueller’s Day Off, and Say Anything. The archetypes include The Princess (Parissa Koo), The Rebel (James Byous), The Basketcase (Emily Lopez), The Jock (Patrick Ortiz), The Brain (Kenton Chen), and the Authority Figure (Doug Kreeger).

What stands out in this production is the sheer talent of the vocalists. Chen smoothly and skillfully riffs his way through “Try a Little Tenderness.” Lopez brings down the house with a snare drum-enhanced, unrequited-love and/or teen-angst fueled rendition of “In Your Eyes.” As The Rebel, Byous appropriately and delightfully sings “Rebel Yell.” Koo and Ortiz, both truly talented singers, have voices worthy of headlining their own concerts. And as the stern figure of authority, Kreeger keeps the audience laughing at his antics.

There is probably no better venue for this kind of musical than Break Room 86. Its décor of old school posters, high school lockers, wall of cassette tapes, and slew of old arcade games comes together to create a ready-made set.

This is a must-see for any 80s teen movie aficionado — or really, anyone looking for a good time.

Break Room 86 — LINE Hotel, 3515 Wilshire Blvd., Koreatown; Fri.-Sat., 7:30 p.m.; extended through Nov. 9. https://www.fortherecordlive.com/. Running time: 90 minutes with no intermission.