BY VANESSA CATE

BURIED CHILD at Whitefire Theatre in 2014 (Photo by Nico Sabenorio)

Most people in the theater community have some connection to the works of Sam Shepard. How could they not? – he wrote 44 plays in his lifetime. He won the Pulitzer Prize for Buried Child. The Broadway production of the drama was nominated for five Tony Awards in 1996. In the Los Angeles area, he worked briefly with the Padua Hills Playwrights’ Workshop, which was founded in 1978 by Murray Mednick. The Padua Playwrights and other offshoots of the group today continue to share Shepard’s (and Mednick’s) focus on the very structures of lyricism in language.

On Thursday July 27^th, 2017, Shepard died in his Kentucky home. He was 73. His death was the result of complications of ALS (amyotrophic lateral sclerosis), also known as Lou Gehrig’s disease.

The very first play I ever reviewed for Stage Raw was a version of Buried Child at the Whitefire Theatre. I was no stranger to the work, in fact I had met my most long-term relationship when he auditioned for one role with a monologue from the same show. The material was a look into playwright Sam Shepard’s inner turmoil; the writing, haunted and raw and vital and beautiful. He brought a new language to the American stage, infusing a kind of masculine trauma with poeticism.

Not only a renowned playwright, Shepard was an actor as well. He even received an Oscar nomination for Best Supporting Actor for his role in the film The Right Stuff. Other on-screen works include performances in Steel Magnolias, Day’s of Heaven, Mud, Black Hawk Down, August: Osage County, and most recently Netflix’s Bloodline. He was nominated for both an Emmy and a Golden Globe for his role in TV movie Dash and Lilly. As he grew older he took on acting gigs more frequently, as he said doing one movie could pay for 16 plays.

Shepard and Brooke Adams in DAYS OF HEAVEN, 1978 (Photo: courtesy Everett Collection)

Shepard was born in Fort Sheridan, Illinois in 1943. Samuel Shepard Rovers VII lived throughout the Southwest as a child, planting seeds in his psyche for future work. His tumultuous family life, including his alcoholic ex-Army pilot father, played a tangible role in his writing. “They’re a real bizarre bunch,” he said of his family in an interview in The Paris Review in 1997. “Going back to the original colonies. [My father’s side of the family]’s got a real tough strain of alcoholism. It goes back generations and generations, so that you can’t remember when there was a sober grandfather.” Shepard himself struggled with alcoholism throughout his life.

Shepard moved to New York in 1963. There he became part of the off-off-Broadway movement. “As far as I’m concerned, Broadway just does not exist,” he said in a 1970 interview with Playboy magazine. Much like his peer, Edward Albee, Shepard’s distaste for Broadway didn’t stop many of his later plays from being produced there.

Shepard is best remembered for the rawness in his wrenching plays. True West and Fool for Love, were nominated for Pulitzers. All are commonly revived, and you’ll likely find some iteration of Shepard classics in any given season.

“I always felt like playwriting was the thread through all of it,” Shepard said in 2011. “Theater really when you think about it contains everything. It can contain film. Film can’t contain theater. Music. Dance. Painting. Acting. It’s the whole deal. And it’s the most ancient. It goes back to the Druids. It was way pre-Christ. It’s the form that I feel most at home in, because of that, because of its ability to usurp everything.”

Apart from his stage work, Shepard wrote poems and short stories. His novel, The One Inside, came out February of this year and offered a highly personal narrative about a man losing control of his body and looking back on his life, channeling the symptoms of ALS.

“Something in the body refuses to get up. Something in the lower back. He stares at the walls,” Shepard wrote. “The appendages don’t seem connected to the motor — whatever that is — driving this thing. They won’t take direction — won’t be dictated to — the arms, legs, feet, hands. Nothing moves. Nothing even wants to.”

He is survived by two sisters, Sandy and Roxanne Rogers, as well as three children: two children (Hannah Jane and Samuel Walker) were from his nearly 30 year relationship with Jessica Lange. His son Jesse Mojo Shepard was from his marriage with actress O-Lan Jones.

He is also survived by a body of work that will endure in the bloodstream of American theater.

The Mad Russian and the Dane, Tales of Rudolf Nureyev and Erik Bruhn

Part 4 – Erik

By Neal Weaver

Please read here for Part 1, Part 2, and Part 3

Part 4: Erik

Erik Bruhn and Rudolf Nureyev in the rehearsal studio

I was scheduled to review the Franco Zeffirelli film of Romeo and Juliet, at the old Paramount Screening Room. I was looking forward to it because I’d seen Zeffirelli’s Old Vic production of the play in NYC. It had originally starred John Stride and Judy Dench, though she had not made the tour, and I can’t remember who her replacement was, but she was very good, as was Stride. And for three quarters of its length, it was the best Shakespeare I ever saw. Three scenes, the first and second balcony scenes and the nurse’s discovery of Juliet’s seeming corpse, were the most fully realized scenes ever.

In the balcony scene, which was very funny and very sweet, the balcony was too high to climb, but low enough that he had to try. He played Romeo as a shirt-tail boy who was always trying to keep his shirt tucked in and his hair slicked down. He put his back to an adjacent tree and his feet on the wall, and shinnied up the wall till he was beside her. But then in his eagerness and ardor, he leaned toward her, lost contact with the tree and fell kerplunk to the ground. It was lovely. And in the Nurse’s scene on the supposed wedding morning, she sailed into the room, addressing Juliet, not really trying to wake her, but talking her into wakefulness. She poured Juliet’s bath, laid out her wedding dress, and lovingly prepared everything for the wedding. But gradually she realized she was getting no response, and went to the bed only to discover that the girl was seemingly dead and cold. She became mad with grief. It was an emotionally devastating scene. If it had continued in that vein it would have been the best Shakespeare production ever, but, alas, Zeffirelli went conventional in the last half hour with a funeral procession and all the trimmings. But none of the really great stuff made it into the movie.

Anyway, my editor, Bill Como, was with me. And he discovered that his friend Chris Allen, who was the manager for Nureyev and Bruhn, was also handling press for the movie. Chris wanted to know if I’d like to do an interview with Bruhn. Of course I said yes. Later I went to Chris’s office to get stills from the Romeo and Juliet movie. Chris informed me that he wasn’t allowed to release the photos of Leonard Whiting’s nude scene, but he was leaving it in a folder on his desk, and if I happened to grab it while he was out of the room, he couldn’t be blamed. He left the room, and I grabbed it, and we ran it as part of our “review with pictures”. He then set up an appointment with me to meet Erik at his apartment.

This is the still photo I “stole” from Chris Allen’s office, showing Leonard Whiting’s nude scene in Franco Zeffirelli’s film version of ROMEO and this is the still photo I took from Chris Allen’s office, showing Leonard Whiting’s nude scene in Franco Zeffirelli’s film version of ROMEO AND JULIET

Chris’s apartment was amazing. When you entered the front door, a sweeping staircase led down to the living room, and on the bottom step was sitting one of Degas’ sculptures of a little ballet girl. It was clearly an original, with a real fabric tutu coated with bronze. And on the walls were glorious paintings, by Degas and others. Alongside the framed originals, there were several reproductions I recognized as the same ones I’d sold at Marboro Books for $4.95, including Matisse’s Jazz. Clearly Chris was not an art snob. He just loved the pictures, whether originals or cheap copies.

Erik Bruhn was a gravely handsome gentleman, a blond Dane, and a man of great courtliness and dignity. But there was always an undertone of melancholy. His English was impeccable, though occasionally garnished with American slang he’d picked up from the kids in the corps de ballet.

Erik Bruhn Offstage.

I was intimidated, knowing that many balletomanes regarded him as the greatest living male dancer. They thought Rudi was a johnny-come-lately by comparison. I began by telling Erik I didn’t pretend to know anything about the technicalities of ballet. He said, “Good. Most interviewers do pretend to know.” Still a bit defensive, I said, “I just try to take the performances in and see what meaning I can find in them.” He said, “How do you think I watch ballet?”He was totally down to earth, and wonderfully easy to talk to.

I got a wonderful interview, though I don’t know how I managed to get it all down in those days before I began to use a tape-recorder.

He was eloquently bitter about dance schools that spent years grinding the individuality out of their dancers, and then wondered why they were so colorless. He told me his life story, and how he’d first accompanied his sister to ballet class.

He called me after the interview appeared, seemingly approving of it, though he said it had emerged as awfully sad. But as he’d told it, it was sad, a life full of dance but not a great deal else. He said, “Next time we must try to do something more cheerful.”

He then invited me to accompany him to a screening of his Swan Lake for the National Ballet of Canada, with Carla Fracci as the swan queen Odette/Odile. It turned out to be held just in a small room with a television set on which we could view a cassette of Swan Lake. Fracci was there also, and it was the first time either of them had seen the finished film. She was very quiet, totally focused on the film and her own performance. It was odd to be watching a film with its two stars, and I found myself trying to watch it from their point of view. But sadly, much as I liked and admired Erik, I couldn’t get excited about his dancing. It was simply too perfect, but without much fire. And the first act choreography was lame: they’d eliminated the prince’s hunting, and without it there wasn’t much else, and certainly no virility. He was reduced to a purely decorative presence, a pretty mama’s boy to the rather sinister queen.

The delicately beautiful ballerina Carla Fracci who danced with both Rudi and The delicately beautiful ballerina Carla Fracci who danced with both Rudi and Erik

Later he invited me to his book signing. A complete issue of the magazine Dance News had been devoted to his book on characterization in dance. He autographed a copy to me (alas, I lent it to someone and never got it back) and pulled me off in a corner “away from all those people” to talk. Lydia Joel said, “He’s famous for buttering up the press like that.” But I felt it was genuine. And there was considerable jealousy from the Dance Magazine staff because we’d stolen a march on them, getting interviews with both Rudi and Erik. Lydia always minimized my relations with the two of them.

And then he invited me to a taping of Giselle, purely to record the choreography. It was done without sets or costumes, on the stage of an old disused vaudeville house called the Oriental Garden. It was a musty, dusty old theatre, and in the stage boxes there were enormous, dusty, disintegrating red silk Chinese lanterns. I’d been there once before, while doing a piece on The Magic Garden of Stanley Sweetheart and its stars, Don Johnson and Michael Greer. They were filming some sequences in a sort of maze they’d built inside the old theatre.

I’d never been so aware of the toll that ballet takes on dancers’ bodies. They all seemed like walking wounded, nursing bad ankles, bad knees, Charlie horses, sprains, pulled muscles, etc. Even Carla Fracci was nursing some sore limbs. And Erik had to be especially careful. He had famously weak ankles, and had to keep warmed up to avoid doing himself serious damage. When the others took breaks, he was still doing warm-up exercises. He asked me if I’d go out and get him a milkshake, so of course I did. The taping wasn’t much fun to watch because though they were meticulously executing the choreography, they weren’t in performance mode. When I got back, I was wandering around looking for him when I inadvertently walked in front of the camera, to the loud annoyance of the camera crew. Realizing my error I dropped to my knees and crawled out of camera range, and they calmed down. I found Erik, and we went out on the fire escape where I photographed him. On the roof below were the remains of an old outdoor movie dating from the days before air conditioning. There was nothing left of it but rows of seats and a metal frame of what had been the screen. It seemed as much a historical artifact as the Oriental Garden itself.

This is the photograph I took of Erik Bruhn on the fire escape of the old vaudeville The Oriental Gardens.

It was at that time that my play War Games was running Off-Broadway. It had been a disastrous experience for more reasons than I can give here. Maybe I’ll write about it if I live long enough. Erik said he’d like to come and see my play. He was supposed to come on a Thursday night. At curtain time, he still had not arrived. I was making them hold the curtain for him when a messenger arrived with a hand-delivered message, which was from Erik. The only time in my life I received a hand-delivered message. He apologized for not being able to make it, but Mr. B. (Balanchine) had invited him to a cocktail party. And if you were in the ballet world you couldn’t turn down an invitation from Mr. B. He asked if he could come on Saturday instead. I called him and told him of course.

On Saturday, he arrived in good time. But he was not destined to see my play. There’d been a week of heavy rain, and the roof of the theatre (The Fourth Street Theatre) leaked. A ton of water had collected on the top floor. And that afternoon it broke through and flooded the theatre. Water was ankle deep in the front rows, and shoes were floating in the dressing rooms. It seemed there was nothing to do but cancel the performance.

 This is the sixth in a series of memoirs by Neal Weaver. Here’s the fifth,  fourth, the third, the second and the first.

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

Chimpskin

Inspired by the true story of Lucy, Chimpskin is about a chimpanzee that was raised as a human by psychoanalyst Maurice and his wife Jane Temerlin. They raised her for 11 years, and when she became too difficult to take care of, abandoned her in an African chimpanzee colony. This devised piece by the Puckwit Gang beautifuly depicts her life story through evocative movement, haunting music, and strong performances from the ensemble. Special mention is necessary for Damla Coskun as Lucy: her movements are specific and chimp-like while bringing a humanity to this creature who is eventually abandoned by her “parents.”

Director Ben Landmesser allows inventive movement to tell the story when words aren’t enough. Most effective is the use of white masks representing the wild animal (within and in the jungle). Pablo Castelblanco (who plays the son Steve and others) as the wild animal moves with such jagged precision and commitment that is both terrifying and hypnotizing. Likewise, the choreography depicting Lucy being taken away from her chimp mother at the beginning and its repetition when she’s taken from her human mother towards the end brings this emotional journey full circle. Although the middle portion could use some tightening, Landmesser and his superb ensemble have put together a powerful show that draws you in and breaks your heart. 

Los Angeles LGBT Center 1125 North McCadden Place. Running time 60 minutes. Final performance June 23. Visit https://www.hollywoodfringe.org/projects/4642

Andy: The Red-nosed Warhola

When Andy Warhol died in 1987, Ezra Buzzington (director, and godfather of the Hollywood Fringe) was inspired to create a piece based on Warhol’s writings and diaries. What he’s created is a wild exploration of a fascinating and baffling person who was rife with anxiety.

Warhol’s mother once told him, “Don’t be pushy, but let everyone know you’re around.” This mantra is evident throughout the piece.

Performed in the store window of the LA-LA Land Gallery (and surrounded by pop art), this is a perfect setting for Warhol’s words about beauty, art, sex, and consumerism. With grey hair, clad in black with dark sunglasses, Kara Emry delivers his words without emotion, leading to many humorous discoveries within the text. Buzzington cleverly incorporates two “beauties” (Krista Conti and Will McMichael), turning Warhol’s musings into trialogue. This not only highlights Warhol’s own personal contradictions and internal conflicts, but also provides a unique theatrical experience.

You may not leave the gallery with greater insight into who Andy Warhol was, but it’s a clever piece that breezes by in just 35 minutes.

La-La Land Gallery, 6450 Santa Monica Blvd. Running time 35 minutes. Two final performances June 24. Visit:  https://www.hollywoodfringe.org/projects/4782

Talking Blues: Two One-Acts by Cecilia Fairchild

The first of playwright and actor Cecilia Fairchild’s two one-act plays is Family Tradition. The piece centers on Joan (Claudia Elmore) – an Oklahoma native living in LA – and her relationship with her dead father whose spirit keeps haunting her. It’s a darkly poetic tale of alcohol and abuse, and how blood binds us – sometimes against our will. Darrett Sanders deftly portrays the alcoholic father Leon with such pain and anguish that it’s difficult not to sympathize with this irredeemable man. Likewise, Elmore gives a nuanced performance as Joan, the daughter who hates her father for what he’s done to her, and yet cannot cast out his spirit.

Overall the piece could be tightened, and could use to incorporate comic relief as it’s a bit too heavy to withstand for too long. Director Sam Bianchini brings a dynamic theatricality to the staging, emphasizing the play’s theme of how we can’t escape our pasts, no matter how hard we may try.

The second piece, Best of my Love, is similar in theme but different in style and tone. Childhood sweethearts who’ve been divorced for 10 years meet again at a funeral. Tyler (James Bane) was a star athlete turned alcoholic. Florence (Fairchild) realized their relationship wasn’t going anywhere and left him. A gulf of pain opens between them, and things that have gone unsaid now burst forth.

This piece lacks the theatricality and poetry of Family Tradition, and the staging is somewhat static. Numerous times the former lovers go to leave, but never fully commit to leaving. I wondered why they kept staying.

Fairchild does well to portray Florence’s frustration and headstrong personality. Bane is less believable as he’s somewhat wooden and doesn’t bring the layers of their past to life.

Los Angeles LGBT Center, 1125 North McCadden Place. Running time 90 minutes. Playing through June 25. Visit https://www.hollywoodfringe.org/projects/4524

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

Do You: Migration of The Monarchs

Originally from South Korea, LA-based performance artist and costume designer Yozmit has created a stunning theatrical cornucopia that continually surprises and amazes throughout its 55-minute run time. As a transgender artist, she’s created a multifaceted piece depicting her migration from South Korea to the US, migration between genders, and even through cultures, styles, and influences. It’s clear that her transgender identity is at the core of this piece as the male and female are often depicted as fluid or amorphous. She uses various “Pop Star” iconography, channeling glam rock, David Bowie, Cher, Lady Gaga, and Madonna (when she was still fun and raunchy and making sex books). This motif helps to unite the pieces and thread together the themes of gender, identity, and the sacred/profane. 

Yozmit doesn’t depict her multiple migrations as hardships, but as opportunities for unique expression. This compilation of eight pieces showcases a weird and wonderfully vibrant world where we can all embrace the absurdities within ourselves. Oftentimes performance art can take itself too seriously, but here there is no sense of pretentiousness, and bits of humor throughout make the play accessible. The costumes (designed by Yozmit) alone are well worth the experience: the costume pieces combine a Victorian and burlesque aesthetic mixed in with an alien-like futurism.

There are so many images, ideas and, iconography that crosses the stage in the 55 minutes, that I’m still processing it all. Yozmit is definitely an artists whose career I will be following.

Complex Theatres, 6476 Santa Monica Blvd. Running time 55 minutes. Final performance June 24. Visit:  https://www.hollywoodfringe.org/projects/4704

Fallen Stars at the Charity Sale

We may think of LARP (live action role playing) as something more akin to Ren Faire costumes, tabletop games, and fake sword play. But Nordic-style LARP tends to investigate psychology and cares more about examining feelings and the inner life of characters. Veteran LARPer Aaron Vanek has adapted a Norwegian live action role play piece to fit more within the realm of theatre.

Five actors each represent a different object for sale at a charity shop, and relate stories for their object. At any time an audience member can go up to “purchase” an object (audience members are given fake money as we enter). If you buy an actor-object, then that actor leaves the stage. This could go wrong — actor-objects could be bought before they even get to tell their stories or interact. Thankfully our group seemed to understand this, so people waited to go up until after stories were performed. As soon as I realized I had enough to buy the pogo stick (Shelby Monaghan), I eagerly waited for her to tell her story. Her owner, a young boy, had fallen and scraped his knee. She felt so bad that she never wanted to be used again and hopes to just live in a garage. Hence, when I went up to purchase her (it?), I commented that I had a nice garage to put her in.

Overall this is a charming idea which highlights themes of materialism without being dogmatic. Kudos to the ensemble who must make up new stories for each show. There were some delightful improvisations: one object, a toy monkey, was in the middle of explaining heaven when he was bought which created a fun panic scene afterwards of never knowing what heaven is. That being said, more work is needed in structuring the piece as it drags in-between monologues, and it was clear this audience wanted to hear all of their stories.

Complex Theatres, 6472 Santa Monica Blvd. Running time 60 minutes. Final performance June 24. Visit:  https://www.hollywoodfringe.org/projects/4187

Pagliaccis

The 1892 Italian opera Pagliacci (the Clowns) showcases how underneath all the makeup, clowns are real people too. The clown might appear to be happy, but underneath holds deep sorrow. This iconic clown is used as a template for Zane, a party clown and part-time stand-up, who has recently committed suicide. His best friend Tarik comes to Zane’s apartment to help clean up and get things in order, but Zane’s spirit lingers (still hanging in the noose). Together, Tarik and Suzanne (Zane’s sister) try to uncover why he committed suicide.

There’s great potential here for a darkly comic story, but Harim Sanchez’s script needs more refinement. Tarik’s workaholic excuse for being an absent friend falls flat, and the relationships are under-developed. Eric Barnard shines as the troubled Zane, who’s understated comedic timing works well both in his interactions with Tarik and his stand-up routines.

Actors Company 916 N.Formosa Ave. Running time 60 minutes. Final performance June 24. Visit:  https://www.hollywoodfringe.org/projects/4465

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

Name This Magic Show

Name This Magic Show is a competition between close-up magicians. The audience votes for their favorite act, and the winner gets to keep the money from that show.

Before the show begins, the four magicians draw straws. The performer who draws the shortest one must act as the MC for the night, and therefore doesn’t compete. Jon Armstrong was our bitter host for the evening and the three acts were performed by Nick Paul, Joe Skilton (replacing Australian magician Simon Coronel), and Handsome Jack (who was the reigning champ).

Silent magician Nick Paul began his 12-minute set with a classic red scarf into an egg routine. His sleight of hand is dexterous, but he struggled to “wow” the audience in the short amount of time. Next up was Joe Skilton, whose rope routine was some of the best sleight of hand I’ve seen up close. Skilton’s patter with the audience was naturally charming as he explained his tricks (while simultaneously manipulating us). The third and final act was Handsome Jack, whose pervy lady-chaser persona became a bit grating over time. He explained that the magicians pull a straw to see who has to do a “classic” routine for the evening. Thus, he performed the chinese rings. It’s clear this wasn’t exciting for him, though he performed the routine well enough. His final gag, however, fell flat. Our winner for the show was Joe Skilton.

If you’re new to magic, this is a great opportunity to see a variety of styles and acts in a fun and interactive event. That being said, I personally prefer more cohesive shows which allow the magician(s) to take their time and build a rapport with the audience and offer more nuanced illusions.

Main Space at Asylum @ McCadden Theatre, 1157 N. McCadden Place. There are no more performances, visit https://www.hollywoodfringe.org/projects/4583

Jon Armstrong: Comic Amazement

Award-winning magician Jon Armstrong is best known for his close-up magic and card tricks. Having taken the past year to study and develop new illusions, he performs a number of classic routines with a twist, such as using a tie in lieu of rope in a rope trick, or using rubber bands for a smaller version of the Chinese rings. Though some of his routines are stronger than others, here he proves why he’s considered by some to be one of the best close-up magicians today. His strongest routine blends his amazing ability of card manipulation and use of mathematics (which I won’t give away). With his wry sense of humour, he commands the audience in this thoroughly magical performance.

Asylum @ McCadden Theatre, 1157 N. McCadden Place. Running time 50 minutes. Playing through July 25 https://www.hollywoodfringe.org/projects/4349

The Motherfucker With The Hat

Recently released from prison, Jackie (Jorge-Luis Pallo) comes home to his longtime girlfriend, Veronica (Fayna Sanchez), with some gifts to celebrate a new job. Things are going to be different for them. But then, when he spots an unfamiliar hat on the table, he goes into a rage — just who is the motherfucker with the hat?

Playwright Stephen Adly Guirgis’s richly profane (and profound) 2011 Tony-nominated play is given an excellent run with a sharp ensemble. Pallo brings both the machismo and desperation as Jackie. Sanchez is fierce as Jackie’s addict girlfriend Veronica. Nelson Delrosario as Ralph D — Jackie’s AA sponsor and best friend — depicts a man narrowly focused on his own worldview, and who is eager to help Jackie (though not necessarily for the right reasons). Libby Ewing oozes “desperate housewife” as Victoria, Ralph’s wife. Felipe Figueroa steals every scene he’s in as Jackie’s cousin Julio, who puts familial loyalty above Jackie’s mistreatment of him.

The script is biting and relentless as it examines trust, loyalty, and love through the lives of current and former addicts. Although the core of the play utilizes larger than life characters whose dysfunctions serve for comedic fodder, there’s also a powerful emotional punch.

Unfortunately there are no more performances. Here’s hoping they extend.  

Visit https://www.hollywoodfringe.org/projects/4626

Secret Honor – The Last Testament of Richard M. Nixon

When Trump fired FBI Director James Comey in May, there were immediate comparisons to Nixon and the Sunday Night Massacre. So it’s fitting that UK based company Bootcamp Productions have revived Donald Freed and Arnold M. Stone’s 1983 play. We meet Nixon (Steve Scott) in his study, already drunk on scotch and dictating his memoir into a recorder (the irony of which does not go unnoticed). Acting as his own lawyer, Nixon defends himself to us, The American Jury. The play spirals into the mind of a madman who is a victim of his own desire for power. This is a complex and almost schizophrenic portrayal of a troubled (and guilty) man. The script is peppered with blips of his devotion to his mother, his severe Quaker upbringing, and his recruitment into the Committee of One Hundred Men — which leads to his rise, and ultimately his downfall.

As the character defends himself from his inexcusable actions, Scott renders a bumbling and desperate Nixon, making him both sympathetic and pathetic. For those who may not be familiar with historic details of the Watergate scandal, this may be somewhat hard to follow as the play jumps around. However, the play gives an intriguing insight to one of our most controversial political figures (even by contemporary standards).

Asylum’s (Inter)national House, 6500 Santa Monica Blvd. Running time 60 minutes. Final performance June 24. Visit https://www.hollywoodfringe.org/projects/4354

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

The Kansas Collection

Immersive theatre is best when you go in blind, so if you’ve already experienced chapters 1 (The Key) and 2 (The Axe) of The Kansas Collection by LA-based immersive company The Speakeasy Society, or if you’re on the fence, then read on.

I’m sure I looked like a fish out of water — I couldn’t stop grinning. Which isn’t exactly the typical face someone makes when being recruited into a militia. I entered a colourful tent on the edge of a town in Kansas, where I learned that Dorothy left Oz long ago and that the Scarecrow is the new king. But there’s mutiny afoot with the rise of a group called the Patchwork Rebellion. Everyone is searching for the Patchwork Girl (aka Dorothy) and it’s up to you to decide who you believe and where your allegiance lies.

Lead writer Chris Porter and Director Julianne Just have taken the beloved characters from L. Frank Baum’s children’s novels and created a rich, dark world for adults. Throughout, the actors are superb, making you feel fully immersed in the world.

There are different experiences based on how you respond. As for myself, I made a pledge to the Scarecrow King. Or did I? On my journey I met the Wizard of Oz (who sat self-medicating with a flask) and was given a secret message. I was then rounded up with three others by General Jinjur where we were informed of the Revolt, led by former good witch Glinda (who is a BAMF). They, too, want Dorothy.

If immersive theatre makes you nervous, Speakeasy Society has created an alternative reality experience that is digestible for the uninitiated. Yes, you do need to actively participate, but the world they’ve created is easily accessible as long as you’re game.

Chapters 1 and 2 are already sold out. However, you can get up to speed with leaflets at Chapter 3 (The Door) which is on later this month and early July. For more information visit: https://speakeasysociety.com/upcoming-the-key-

SPACE or The Number of Nothing

A rescue ship has been dispatched to the edges of the solar system in search of the missing ship Cressida. After going through an emergency simulation, the rescue ship Troilus’ AI AUTi begins to go awry, and communication to Earth goes down. Writers Lucas Dean Peterson and Ethan Leaverton have created a unique sci-fi story which delves into isolation and paranoia. That being said, more work is needed on the script. There are multiple underdeveloped characters and a superfluous love story. The most interesting part of the story is the ship’s technician Colby (played by Leaverton, who carries the play) and his interaction with the AI (voiced by Ashley Gong). The surprise ending is superb, but the play has plenty of missed opportunities leading up to it.

This is a play (and group of young artists) that have great potential. Darrin Bush’s video design is a highlight. Although Nicklaus von Nolde’s direction is efficient, I longed for more nuanced and thematic transitions as the play’s pace suffered from excessive blackouts. I hope Peterson and Leaverton continue to develop the script. They might also consider a production with a more mature cast (as it’s hard to suspend belief that these young people would be sent on a rescue mission).

Asylum @ McCadden Theatre, 1157 N. McCadden Place. Runtime 60 minutes. Plays till June 25, https://www.hollywoodfringe.org/projects/4457

There’s No Place Like

Having moved from London back to LA on the day my UK visa expired, I couldn’t help but empathize with Hannah (Lilac Yosiphon, who also wrote the play), an Israeli woman who once taught music but now works as a barmaid in London while “in-between visas.” In walks Jordan (Sam Elwin, who wrote the music), a 21-year-old British man who, after losing his job, wonders if he should move back home. “Home is where the pub is,” says Hannah. She wants to make London her home, even if governmental red tape makes it difficult for her. Their connection is immediate and sincere as they both open up about their lives and hopes. The play then jumps forward ten years. Jordan has moved on and built a life, while Hannah seems to be in stasis. Her once giggly charm has been worn down with life’s disappointments.

This is a simple and charming story that’s all too relevant in Brexit Britain and, here, in “Build a Wall”/“Travel Ban” America. Because of its simplicity and pub setting, this would have been perfect if staged at a pub or bar (Three Clubs for example). Yosiphon is captivating as the younger Hannah and impressively transforms into an older Hannah whose optimism has dwindled. Likewise, Elwin delights as the young and curious Jordan, and although he’s not quite as believable ten years older he does bring an endearing naivete.

There’s only one performance left here in Los Angeles, then the company is traveling down to the San Diego Fringe.  Asylum @ Underground Theatre, 1312 N. Wilton Place. Final performance June 22, visit https://www.hollywoodfringe.org/projects/4758

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

Red Flags

I haven’t been on a date in a really long time. So needless to say, I was a bit nervous. Now, I know that this isn’t a real first date, but I believe it’s far more enjoyable to fully give in to the conceit: I’m meeting Emma (Lauren Flans), a woman I met online, and after brief email correspondence (filling out a “profile”) we’re meeting in Hollywood for a date.

I don’t want to give too much away, but there are clues in the email dating profile as to what will be discussed, and with this being a one-on-one performance it is sure to be unique for each participant. For me, I went in wanting to make a good impression and to be a “good date.” I tried to be kind and inquisitive. In other words, I played along. As the title suggests, there are “red flags” almost immediately (with the first text) and those red flags slowly build throughout, revealing a deeply troubled woman.

There’s a structure to the piece, but Flans makes that structure invisible through genuinely connecting with you – asking questions, allowing awkward silences, answering questions, and moving the conversation/piece forward. I talked about falling in love with my husband (he was absolutely fine with the date), and my dead mother (which is excellent first date material). I asked her about her parents and she asked me about my fears. One-on-one performance isn’t for everyone, but if you’re intrigued definitely give this one a try. Flans (along with writer/director Lauren Ludwig) has developed a dynamic character and an unforgettable experience. I definitely won’t be going on a second date with Emma, but I hope a made a positive impression.

Red Flags for Hollywood Fringe is sold out, but they will be extending it this summer. For more information visit https://www.capitalwperformance.com/redflags/

A(partment 8)

A couple hours before my scheduled one-on-one performance for Annie Lesser’s A(partment 8) I was emailed a waiver. Having spent the evening chatting with friends I didn’t see the email until I was walking over to the check in point, so I signed the waiver without reading it. And I’m glad I didn’t read it (although I don’t condone signing documents without reading them) because it made everything that happened a complete surprise — which is the best way to experience immersive theatre. Not wanting to give away the surprise to those who haven’t experienced it yet, I’m going to be vague.

Performer Keight Leighn is intense, captivating, and haunting in this brief 10-minute experience. The writing is poetic and evocative, and although there are opportunities to verbally respond, I was in such a state of wonderment that I could barely muster gestures and whispers to her questions. This is in part due to the precision of the setup of how they have you “enter” someone else’s flesh. It reminds me of video games where it starts off with your character waking up somewhere and not knowing how they got there or what’s happened prior. The same happens here – I “woke up” wondering how I got there and what led to this point. Perhaps that’s why I was speechless, disoriented.

If you are comfortable with dark subjects, intense one-on-one performances, being touched, and getting dirty, then you must be on the lookout for another remounting of A(partment 8) (as it’s sold out for the Fringe), which is part of Lesser’s ABC Project. For more information visit https://annielesser.com/abc

Girl, Bound

Singer and harpist Lexi Lowell, who performed on Broadway on Deaf West’s Spring Awakening, has put together a workshop solo performance interspersed with original music based on her battle with depression and bulimia. Although more work and detail is needed in crafting a cohesive performance piece, Lowell’s candor and charisma keeps the piece engaging and touching. She recounts her Catholic upbringing and the accompanying feelings of guilt and shame which eventually led to severe depression and eating disorder. “No one talks about these things” she says to the audience in an intimate loft space in Hollywood.

Using bullet points on a screen to help keep her on track, Lowell’s piece relies on a conversational style which makes it that much more intimate and genuine. Between stories and observations she sings her songs while playing the harp — all of which showcase a hauntingly melancholic, yet hopeful, voice. Her songs relay the troubles this young woman faced needing self love and acceptance. It’s clear that she’s on the right path, and I hope she continues to refine and sharpen this piece.

The Loft 1617 Cosmo St. Suite 403; https://www.hollywoodfringe.org/projects/4324; Playing through June 17; Running time 50 minutes

[ssba]

After seeing dozens of shows each week of the Hollywood Fringe Festival, Ashley Steed shares her top picks in a series called “Fringe Raw”.

by Ashley Steed

The Amitycode

Considering I just read a headline about sex robots becoming common aspects of life in less than 10 years, this play seems especially on-topic. Pete (Devin Crittenden, who writes and stars) purchases the latest sex robot from Japan and reprograms her (the robot identifies as a she) to love him. Crittenden is convincing as Pete: heartbroken, nerdy, and very impressed by his own invention. We see his hubris begin to take hold as he continues tweaking Exa, his robotic girlfriend whose sole purpose is to love him unconditionally. Morgan Matthews as the robot Exa is a marvel in this show — her voice and mannerisms never give way to human emotions, and her eyes stay mechanical as she blinks and processes the information around her all while staying focused on Pete and fulfilling his every need.

Overall this is a tightly written script that allows for dynamic development of Pete’s character in just 70 minutes. Director Nick Cimiluca keeps the pace up by using projections and loud electronic dance music to help give the transitions life. Not only is this a funny and charming play, it’s one that touches on deeper issues of love and morality. As robots and AI become more ubiquitous, this story may become even more relevant. Can The Amitycode serve as a cautionary tale? Perhaps. But knowing the human condition, we’ll probably just wipe clean and reboot our systems over and over again.

Asylum @ Stephanie Feury Studio Theatre 5636 Melrose Ave; https://www.hollywoodfringe.org/projects/4548; through June 25; running time: 70 minutes

In the Valley of the Shadow

Inspired by the tragic shooting at the Pulse night club in Orlando, Katherine Cortez crafts a delicate and heart-wrenching story about identity, love and, yes, hate. The characters move seamlessly between flashbacks and the present under Elina de Santos’s sharp and fluid direction. We follow Rafi (Dylan Arnold), a young man coming to terms with his sexuality. Having been raised by ultra-conservative Christian parents, he was taught to believe homosexuality is a sin. Now, he’s fallen in love with Enrique (Ethan Rains) who has brought him to the nightclub he works at to meet his “family”. As the horrifying shooting took place, Rafi and Enrique are in opposite parts of the club.

We sit with Rafi at the police station as he nervously checks his phone and waits to hear if Enrique survived. The entire ensemble bring this tightly woven play into fully-lived depth. Perhaps the play’s greatest strength is its humour and humanity, which allows you to process the play from a place of compassion rather than from fear and anger. Which is indicative of the title — from Psalms 23:4 “Yea, though I walk through the valley of the shadow of death, I will fear no evil.” May we all fear no evil.

Met Theatre 1089 N. Oxford Ave, https://www.hollywoodfringe.org/projects/4749; through June 24. Running time:  75 minutes.

Fire and Light

This immersive piece (with Fire at the Stephanie Feury Studio and Light at The Underground) pulls us into poetic worlds that explore love, memory, loss, and connection. I participated in the VIP experience, which offers a party bus to transport you between theaters.

Fire begins joyously. Lovers twirl and buzz around each other, seducing each other when, suddenly, they’re torn apart. Pain and despair fill the tiny room.

Light is particularly more successful in creating a unique and captivating environment. We’re brought into a tiny fort made of sheets, and huddle around a large chest. A man and woman make us tea. It’s clear that she longs for him. We sip. It is deeply touching in the simplest of ways.

Because immersive theatre is dependent upon your own experience, that’s all I’ll say. My only advice is to let it wash over you. I’m still thinking about the poetic words, the glances, the silences, the movements. The performers all deserve recognition for their unflinching commitment to their roles. Although the text is poetic, so much was said in their silences. And for intimate theatre like this, there’s no hiding.

As a side note: I believe it’s important to discuss immersive performance etiquette. We had one audience member throughout Fire making loud comments to the point of distraction. Remember when participating in a piece like this that it is a shared experience. Thus, please refrain from making unnecessary comments. You’re not being witty, or clever, or entertaining. You’re being selfish and negatively impacting others experience of the piece.

Asylum @ Underground Theatre and Stephanie Feury Studio; https://www.hollywoodfringe.org/projects/4724; Running time: 20 minutes for each piece