Our Top Ten

Piping Hot

Piping Hot

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Madeline Hamilton
Madeline Hamilton

Piping Hot

Reviewed by Steven Leigh Morris
The Yard Theatre
Closed 

RECOMMENDED

Comedian Madeline Hamilton’s 60-minute lecture-confessional on how to play the bagpipes, told in conjunction with her stories from her desperate, desolate love life, is an idiosyncratic, racy homage to Scotland’s national musical instrument.

Hamilton is tailoring the piece for its premiere at the Edinburgh Fringe Festival, and this LA preview was a warm-up for that, and — for the record — not part of the Hollywood Fringe Festival, which is being performed concurrently.

Short story shorter, Hamilton presents herself as doggedly hetero and persistently disappointed by men (in the US and Scotland) who either pretended to be caring and then walked out or didn’t even pretend. (One Scottish lover literally couldn’t face her during sex, and used her as a kind of emotional punching bag to take out his anger at being dumped by his ex, a similarly shaped blonde, similarly named Madeleine. (They met on the Internet, so he knew her name and her look.)

A svelte, athletic woman on a stage adorned with just a music stand, Hamilton arrives dressed in a black halter top, a tartan skirt and goth boots. She’s wielding a set of bagpipes. Hamilton is as American as Texas, where she’s from, and where, she says, she grew up in a conservative, religious community that preached the evils of masturbation, a restraint that postponed at least one level of satisfaction. In terms of self-esteem, her beauty was described in her high school yearbook as “understated.” This was probably intended as a compliment, she opines, but didn’t come out that way. While attending USC, she hooked up, in all meanings of that phrase, including the latch, with a fellow who introduced her to USC’s comedy club and TV station. Yes, that conjugal relationship went belly up, perhaps because of a culturally imbibed need for loyalty and monogamy.

During a semester abroad in Edinburgh, she decided, as a joke, to learn how to play the bagpipes, a joke that turned into her obsession.

After years of rejection by men, she now considers the bagpipes her lover — five penises connected to a scrotum. There’s a chanter, three drones and, yes, a blow pipe. It doesn’t take much of a stretch to know where this is going.

Unable to let go of this obsession, she plays her bagpipes on the beach, on the streets, gets screamed at by passers-by for being “ugly” and “out of tune.” She gets insulted online for being an American out of her depth with a foreign cultural relic. Hamilton makes no claim to being a bagpipe prodigy. It’s a very difficult instrument, and she’s learning. Still, her onstage demonstration is perfectly competent, and very loud.

Her delightful performance, amiable, funny and self-deprecating, invites the question of why men keep abandoning her. Is this a quality of hetero men in the 2020s? If it’s something about her, I couldn’t see it. Is there something she’s not telling us? Not showing us?

She describes herself growing up as obsessively competitive, racing to her goals like a Quarter-Horse. Among those goals is partnership with a male, a goal as yet, unfulfilled.

The beauty of this performance, under Michelle Askew’s spirited direction, is the epiphany that learning to play the bagpipes takes patience and skill. But it starts with patience. Calm. And it’s a long, fulfilling process. A metaphor, anybody?

The Lark Theatre, 4319 Melrose Ave., East Hollywood. Closed.

 

Shagadelic

Shagadelic

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Michael Blaha as Professor Fondler
Michael Blaha as Professor Fondler

Shagadelic: The Origins of Slang Words for Doing It

Reviewed by G. Bruce Smith
The Broadwater Studio
HDFF ’23 – Through June 24

RECOMMENDED

Dear Professor Richard Fondler (aka Michael Blaha),

Well, that was . . . interesting.

I’m referring, of course, to your one-hour lecture/performance with the catchy title Shagadelic: The Origins of Slang Words for Doing It.  When I say “interesting” – which of course in the theater world is an often cringe-worthy word, depending on the tone by which it is delivered — I actually, really, truly mean Shagadelec wasinteresting. I learned so much about the etymology (the study of the true meaning of words) of the many, many, many slang euphemisms for sexual acts. And I like that you delivered your presentation with clever puns, witty asides, and occasional bad jokes.

Through your deep dive lecture, I learned that this unique slang family has roots in many countries and languages, sometimes dating back many centuries. Germany seems to rank high in countries of origin (given the hard “f”s in the language, this comes as no surprise). But you also pointed out the French bon mots —what other culture, but the Gallic, could come up with “la petite mort” (“little death”) for orgasm?

I wish I could go into detail on all your clever asides, your wry jokes, but because this is a public letter, I am restrained by vague notions of “decency,” whatever that means. However, I will share with you two of my favorite moments in your lecture.

For example, you say, to “nail” actually came from sailors’ payments to Tahitian sex workers with, for those in the South Pacific the much-prized Western piece of hardware. But, as you noted, that practice eventually stopped because the ships were falling apart. (Ba-da-boom.)

And the poetic, so-very-British phrase “amorous congress,” used primarily by the Georgian era upper crust when in public, reminded you of what could have been a love letter between Kevin McCarthy and Marjorie Taylor Greene. (Ba-da-boom again.)

I must say, Dr. Fondler, that you looked professorial indeed with your bow tie and jacket, which lent you an air of gravitas on a subject that lends itself to anything but. And you appropriately reminded us of the origin of “Shagadelic” – as in, Austin Powers’ “Shagadelic, Baby!” (Whether it was a party, a fun situation, or meeting beautiful women, the Mike Myers character loved to say this phrase.)

But Dr. Fondler, I’m sorry to say that after about the first half hour, I found myself fidgeting. While interesting (yes, genuinely interesting), your lecture began to feel like a conceit that wore out its welcome to some extent. And it didn’t help that you planted yourself firmly behind the podium for the full hour. I understand that professors do tend to clutch podiums, but there are those who move around on stage — animated, excited about their subjects. Many add audio-visual elements to their presentations. Many ask questions of their students/audience members that result in improvised – and sometimes fun, even hilarious – discussions. Something to consider, perhaps, in the future?

However, I concede that I might very well be in the minority. The Broadwater Studio audience – small but packed – laughed loudly and appreciatively throughout your lecture/performance. I could have sworn I heard some of them exclaim, at the end of your lecture/monologue, “Shagadelic, Baby!”

The Broadwater Studio, 1078 Lillian Way, Los Angeles. One performance remaining, 9 p.m. Saturday, June 24. (323) 455-4585 or https://www.hollywoodfringe.org/projects/9829. Running time, one hour with no intermission.

 

Accommodation

Accommodation

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Laura Niemi and Sufe Bradshaw (Photo by Matthew Brian Denman)
Laura Niemi and Sufe Bradshaw (Photo by Matthew Brian Denman)

Accommodation

Reviewed by Iris Mann
3Gems Productions at The Odyssey Theatre
Through July 9

RECOMMENDED

To what extent should public school teachers be required to make adjustments in their classrooms to accommodate students who don’t learn in the normal way? And to what extent should such students be required to follow at least some of the routine that the rest of the class is following? Those are a couple of the issues raised in this gripping play by writer Greg Burdick, who has been a theater arts educator for some 30 years. The play is particularly timely, given the modern approach to public education that mandates “no child left behind,” and operates under the philosophy that every child should be regarded as a winner, every day; whether or not the system delivers on all its promises is open to question.

In the play, Arlene Newsome (Sufe Bradshaw) is a parent who is worried that her son, Michael (Massi Pregoni), a high school freshman suffering from ADHD, will fail his science course because he got an F for the class. She has set up a conference with her son’s teacher, Celeste Dawkins (Sandy Bainum, also the show’s executive producer), an award-winning instructor who points out all the ways in which Michael doesn’t even attempt to learn, such as being addicted to his cell phone. Each woman is frustrated by the viewpoint of the other woman, and the acrimony builds to a crescendo.

When Newsome accuses Dawkins of violating the state and federal laws governing adjustments that must be made for special needs students like Michael, the teacher, who has her own personal issues with disability, loses it and makes threatening moves with a fake axe.

Her diatribe leads the parent to sue the school district and to contact the media, which descends on the school. Meanwhile, guidance counselor, Anne Roteman (Laura Niemi) finds herself caught in the middle between the two opponents, and principal Ruth Lopez (Sol Marina Crespo) faces a painful decision.

While the characters have their particular stances and their individual flaws, the playwright wisely gives each an equal voice and doesn’t attempt to favor one position over the others, rendering the play even more provocative. He raises interesting questions about disability, personal responsibility, and the state of education today, but he provides no easy answers.

The dialogue is literate and intelligent, and also becomes highly emotional, even raw, at times. Burdick moves between hard-edged reality and surreal sections that symbolize the angst overtaking Dawkins. He also manages to inject humor into the proceedings.

The play is co-directed by brothers Brandon Baer and Garrett Baer, and they do a splendid job of staging the action. They also extract first class performances from their cast. Bainum is a veritable force of nature as the volatile, disillusioned and burned-out teacher. Her quicksilver emotions roll out effortlessly, smoothly and fully. Bradshaw is sympathetic and utterly believable as a desperate parent advocating for her son.

Niemi does deft work as the counselor and is amusing in the position of being torn between the two adversaries. She also projects a sense of professionalism, as does Crespo, whose discomfort over the stand her character must take in relation to the teacher and her anger over the teacher’s response are genuine and palpable.

Pregoni has an appealing presence on stage and, while he displays Michael’s immaturity, we see there is still more to the young man than one would have expected.

Since the play doesn’t come to any conclusions regarding the issues raised, this work is certain to provoke lively post-show discussions.

3Gems Productions at The Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles; Wed., Thurs. Fri. 8:00 p.m.; Sat. 3:00 p.m. and 8:00 pm; Sun. 2 pm; through July 9. No performance Wed., July 5; (310) 477-2055 x2 or https://tinyurl.com/AccommodationplayLA.  Running time: 95 mins. with no intermission.

It’s Your Fault

It’s Your Fault

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Erika Mugglin, Rose Hough, A.T. Branch (Photo by Ryan Storey)
Erika Mugglin, Rose Hough, A.T. Branch (Photo by Ryan Storey)

It’s Your Fault

Reviewed by Joseph Klink
The Madnani Theater
Through June 23, 2023

RECOMMENDED

Creators Lindsay Gitter and Griffith Frank are making audiences burst with laughter in their new musical about self-help at The Madnani Theater.

Staged as a workshop, the house lights stay on as Pete (Frank) and Robin (Gitter) prepare their final seminar before the release of their new book, It’s Your Fault. Audience members join the seminar and are encouraged to engage as they address the house directly, establishing a semi-immersive experience that hilariously falls apart alongside their relationship. Whereas Pete and Robin are warm and welcoming at the start, they become vulnerable thereafter. Accompanied by a wonderful pianist (Dwight Rivera), the music seamlessly adds to the seminar and to their personal asides.

Gitter and Frank have great potential with this production. Not only did they write the book, music and lyrics, they are strong vocalists. From their first song it is clear these two will deliver high energy for their audience. They are supported by a small ensemble (Emerson Boatwright, Erika Mugglin, AT Branch, and Rose Hough) who are cleverly woven into the experience. As a cast, they exhibit comedic instinct and powerful singing that heighten this not-so-far-off reality. Even though audiences know this is a performance, director Rodney Vaccaro sets up a believable and relaxed environment. The writing is smart and laced with the deeply personal stories of its characters; technical elements are kept simple and are well executed. In a world where we are constantly force-fed opportunities to better ourselves, most often at great financial expense, this is excellent satire.

L&G Music Lab, at The Madnani Theatre, 6760 Lexington Ave., Hlywd.; Tues. & Sat., 7 pm.; thru June 23.  Running time 45 minutes with no intermission. https://www.hollywoodfringe.org/projects/9937

 

 

 

 

Masks

Masks

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Mann Alfonzo and Terryl Daluz (photo by Ron T. Young)
Mann Alfonzo and Terryl Daluz (photo by Ron T. Young)

Masks

Reviewed by Julyza Commodore
Whitefire Theatre
Thru July 29 

RECOMMENDED

Mass incarceration has and still affects many people in 2023. According to prisonpolicy.org, state prisons in the United States hold an approximate 1 million people, local jails hold 514,000 and federal prisons and jails hold 209,000.

Starring, written, produced and directed by Terryl Daluz and Mann Alfonso, Masks deals with the harsh reality of two men growing up in the system together. 

The play itself is broken down with a timeline dating back to 1978 and running until 2006. But it’s not until 1988 when both Jason (Daluz) and T.G. (Alfonso) befriend one another as young boys in a facility. By this point, both have had their fair share of experiences that have led them to not trust many, nor feel protected by them. They only have one another to depend on as they grow into young men as the show progresses. Each has a flashback (Jason’s in 1978 and T.G. in 1995) which puts much into perspective as far as their back-stories go and what has affected them so deeply as children up until present day.

What is done so well in this show is the display of raw emotion – everything is felt to the core. For anyone watching, it would be difficult to even try to ignore the deep subject matter that the show covers. There are indeed light and funny moments scattered throughout; however, the main goal here is to show why these men have felt the need to wear “masks” throughout various periods of their lives in order to just make it through to see another day. That alone is not only a very sensitive matter attached to these characters’ specific situation, but a universal one that all can relate to in one way or another.  

The effective lighting and sound design is done by Mitch Rosander, with wardrobe assisting by Paz Neri. The lighting, staging and costumes are simple as the story is the main focus.

Sometimes both actors portray other characters in order to convey the story that they are telling. 

Masks is an exceptional example of storytelling; the story is important and it is evident that the actors know that, demonstrated by the way it’s so clearly and deeply embedded in both of their hearts.

Whitefire Theatre, 13500 Ventura Blvd, Sherman Oaks; Sat., 6 pm; thru July 29.  masksstageplay.eventbrite.com

 

Death of a Salesman

Death of a Salesman

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Christina Avila, Edie Diaz and Adam Hollick (Photo by Rudy Torres)
Christina Avila, Edie Diaz and Adam Hollick (Photo by Rudy Torres)

Death of a Salesman

Reviewed by Martίn Hernández
CASA 0101
Through July 16

RECOMMENDED

Arthur Miller’s 1949 classic challenged the USA’s post-World War II optimism, serving as a pungent indictment of the country’s drive for economic success and the toll it took on working class people in their scramble for The American Dream. Almost seventy-five years since its Broadway debut, Miller’s seminal work is still relevant in its skewering of capitalist delusions and the filial havoc they can wreak on financially stressed families. Director Corky Dominguez’s textbook production is a must-see, not only for its historical significance but for Dominguez’ thoughtful staging and Vance Valencia’s stirring turn as the tragic Willy Loman.

President Calvin Coolidge once said, “the chief business of the American people is business,” and what better dramatic symbol for America than the traveling salesman? Willy Loman is a loyal and long-term foot soldier for free enterprise, storming the mercantile beachheads of the Eastern Seaboard armed only with a sample case and a smile. Living in Brooklyn with his loving but long-suffering wife Linda (Christine Avila), Willy loves the freedom of road life. But he is now in sixties and exhausted —not only are his sales slipping but so is his mind into possible dementia. He is also having disturbing visions from his past, such as visits from his older, wealthy, and dead brother Ben (an exceptional Jack Bernaz) from whom Willy desperately seeks the secret of his success.

We never learn what Willy sells because it does not matter — nor does Willy, especially to those he loves, like his son Biff (Eddie Diaz). In flashbacks, we see that teenaged Biff idolized Willy, but he is now a thirty-four-year-old drifter with an enigmatic contempt for his “pop” that is aggravated whenever he returns home, a perennial habit when Biff is broke and unemployed. Biff reconnects with his younger brother Happy (Adam Hollick), a good-looking but mendacious rake who spends his money on women and booze rather than helping his broke parents. When the siblings hit on a plan to raise money for a joint business, Willy is overjoyed that his wastrel offspring have matured and his dreams for their success and his own may finally be fulfilled.  

Valencia’s hang-dog expression and body language ably telegraph Willy’s deflation as long-held self-deceptions are revealed as pipedreams. Valencia can turn on a dime from the melancholy to the irate and even the humorous. Despite some opening night jitters, Avila is a sympathetic Linda, loving Willy, flaws and all, and fiercely defending him from her ungrateful progeny. While Hollick is spot-on as the shallow Happy, Diaz is a tentative Biff who eventually holds his own in pivotal scenes with Valencia. Other standouts are Daniel E. Mora as Charley, Willy’s teasing yet sympathetic neighbor and Jared Treviño as Charley’s son and Biff’s nerdy childhood devotee Bernard who, as an assured adult, schools a befuddled Willy on the true meaning of success.

Marco de Leon’s set, with the walls of the Loman home jaggedly askew and suitcases hanging above the stage, delivers an expressionist dynamic appropriate for Miller’s dive into Willy’s skewed memory. The intimate space offers director Gonzalez opportunities for inventive moments, such as a scene where key characters circle around Willy like a slow whirlwind and confound his already fractured psyche.

CASA 0101, Gloria Molina Auditorium, 2012 East First Street, Los Angeles. Fri. – Sat., 8 p.m.; Sun., 3 p.m.; through July 16. tickets@casa0101.org or 323-263-7684. Running time: two hours and thirty-five minutes, not including a ten-minute intermission.

Oleanna

Oleanna

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Jean-Michel Richaud and Claire Wagner (Photo by Ahash Francis)
Jean-Michel Richaud and Claire Wagner (Photo by Ahash Francis)

Oleanna

Reviewed by Joseph Klink
The Zephyr Theatre
HDFF ‘23 – Through June 25

RECOMMENDED

The Hollywood Fringe Festival has arrived. While most audiences are anticipating new works, longtime theatergoers may immediately recognize Oleanna, David Mamet’s polarizing play, now being presented at the Zephyr Theatre on Melrose

A two-character drama depicting a power struggle between a university professor and his female student, this one is perhaps more relevant today than when it premiered. Oleanna first opened in May 1992, premiering at Mamet’s new Back Bay Theater Company where it starred William H. Macy and Rebecca Pidgeon. At the time, this play was understood to be a direct response to the Anita Hill–Clarence Thomas controversy, which divided the nation and sparked conversations over workplace behavior that were long overdue.

Act I begins with Carol (Claire Wagner) waiting in her professor’s office while he finishes a phone call. She is there to seek help and express her concerns about not understanding the course material, despite her greatest efforts. John (Jean-Michel Richaud) is tied up on the phone. He is about to be granted tenure, and as a result has taken on buying a new house with his wife. John attempts to understand Carol’s confusion but is often distracted by phone calls regarding the acquisition. We get the impression that he was on his way out and that his wife expects him, but he ultimately chooses to stay in the office with Carol.

From this point, the conversation begins to derail and takes different forms. The two fail to understand each other, for whereas Carol tries to make sense of John’s statements and philosophy, he begins to take liberties with his language, status and power. In the interest of helping her (he says), he expresses a willingness to make exceptions because “he likes her” — in addition to requesting that she visit him a few more times in his office.

Come Act II and through Act III, Carol has filed a complaint with the university over John’s inappropriate behavior. His position, and his house, are now at risk. He requests to meet with her a second and third time, each time more surprising after the events that precede it. He cannot understand. Their conversations become increasingly heated and they both respond in ways that we may not have anticipated. This energy gets out of control and results in extreme emotion and violence, sealing John’s fate.

This play is contentious. Gender and sex-related injustices, discrimination, abuse and manipulation were all rampant in the 90s, and well before. (The way we discuss and address these issues now are very different.) Audiences coming to see this production may question John being alone in his office with a young female student from the very start. In Act 1  John undoubtedly wants to help — he is intrigued, motivated, and probably enjoys the challenge.  But it is difficult to understand his intentions because we do not actually know him — we do not know whether or not we should trust him nor to what end. Later, it is his actions in the second and third acts that supersede any assumptions of good will made in the first. Whatever our judgment, Richaud plays this character in a deeply compelling manner. I wanted to trust John. So did Carol.

Claire Wagner’s performance is mesmerizing. We watch her develop a stronger sense of self, emboldened by support and being heard, and seen (far from the male gaze) in a way she had not been previously. Miguel Perez’s direction is careful and grounded and welcomingly open to interpretation.

Yet, questions about Mamet’s storytelling remain. Why is it that both characters are written so that neither has total credibility? It is as if once Carol takes her stance and gains independence, Mamet turns on her: He does not want to write her as a hero and makes a point of saying “there’s always two sides.” So, while this is a well-executed production, the intent of the work itself should be challenged by modern audiences. The conversation has only just begun when the curtain falls.

The Zephyr Theatre), 7456 Melrose Avenue, Hollywood. Wed., June 14, 8:30 pm, Sun., June 18, 5:45 pm, Sat., June 24, 12 pm, Sun. June 25, 3:15 pm. https://www.hollywoodfringe.org/projects/9520 Running time: 80 minutes with no intermission

 

 

 

 

Into the Breeches

Into the Breeches

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Sydney A. Mason and Lee James (Photo by Kayte Deioma)
Sydney A. Mason and Lee James (Photo by Kayte Deioma)

Into the Breeches

Reviewed by Taylor Kass
International City Theatre
Through June 25

RECOMMENDED

When the men are away, the women will have to play them — Henry V, Falstaff and Hotspur, that is, and every other man in the Henriad. It’s 1942, and Oberon Theatre’s core company of male actors are away fighting the Axis powers. But at home, Maggie Dalton (Meghan Andrews) is battling sexism in her quest to direct the Henriad (a trilogy of William Shakespeare’s Henry IV Parts I and II plus Henry V) with an all-female cast. George Brant’s Into the Breeches, directed by Brian Shnipper for International City Theatre, is an enjoyable heroine’s journey that transforms a rag-tag group of housewives into a legit Shakespearean company.

Although Into the Breeches is set in 1942 and was commissioned in 2014, it’s eerily timely to watch the theater board president Ellsworth Snow’s (Nicholas Hormann) puritanical pushback against a gender-bending performance (despite all of Shakespeare’s plays originally being performed in drag). And while the script primarily grapples with gender equality issues, it does touch on the marginalization of Black and gay Americans during World War II. Despite these external societal forces, the bumbling and easily-swayed Mr. Snow is the only real source of opposition to the all-female production. The most engaging sources of conflict are interpersonal, like when patriotic young wife June (Brooke Olivia Gatto) calls out stage manager Stuart (Lee James) for being absent from the front lines, or when director Maggie bruises the ego of seasoned diva Celeste (Leslie Stevens).

While Brant’s script occasionally leans into sentimentality, it does provide an exciting meta-theatrical opportunity for the female actors playing the female actors to sink their teeth into some of the best Shakespeare in the canon. (This reviewer is itching to see a full length version of Emilie Doering as Prince Hal and Sydney A. Mason as Hotspur.) It’s a treat to see these few, these happy few, this band of sisters blossom into bona-fide actors.

International City Theatre: Beverly O’Neill Theater, 330 E. Seaside Way, Long Beach; Thurs. – Sat. 8 p.m., Sun. 2 p.m.; through June 25. www.InternationalCityTheatre.org or (562) 436-4610. Running time: 2 hours 10 minutes including one 15-minute intermission.

Missionary Positions

Missionary Positions

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Dan Prevette (Photo by Kenneth Johnson)
Dan Prevette (Photo by Kenneth Johnson)

Missionary Positions

Reviewed by Deborah Klugman
The Zephyr Theatre
HFF, June 16 and June 24

RECOMMENDED

“Religion isn’t really that bad on its own,” observes Dan Prevette in Missionary Positions, his poignant yet entertaining account of growing up first within — and then away from — the strictures of a worldwide evangelical church.

A large man in his 30s, wearing jeans and a “What would Jesus Do?” emblazoned T-shirt, Prevette stands at the center of the small proscenium at the Zephyr Theatre before an audience of responsive theatergoers. Behind him a scrim displays a series of video images (videography by Kenneth Johnson): those at the top are a collage of celebrity preachers and other figures representative of the fervent Christian nationalism whose precepts have currently seized hold of so many Americans. There’s a small table on the stage, with a glass and a bottle of whiskey, props that serve as metaphors for one of the play’s central themes: the addictive and (for some stricken individuals) destructive, alienating effect of religion on their lives.

The message is born of experience. The son of evangelical missionaries, Prevette spent much of his childhood abroad in places like Romania, Thailand and Cambodia, where he ate breakfast to the sounds of gunfire. Eventually, in Cambodia, there came a violent coup d’etat, and he and his mom were hurriedly evacuated, while his dedicated dad stayed behind to pursue his mission.

Subtitled “A Recovering Christian’s Guide to Getting Lost,” the play is the story of Prevette’s evolution from an impressionable youngster, who absorbed his parents’ instruction, to a young adult who begins to question his fundamentalist background — and to grapple with the guilt and shame that an unswerving religious ideology can demand.

As he tells his story, Prevette sometimes takes on the voice of the tormenting inner demon who, during his childhood, would visit him in the dark. Other times he speaks as the adult Dan to point up the discrepancy between wealthy White Americans who call themselves “Christian” — the sort of folks he met when his family relocated to Colorado Springs — and the historical roots the Christian faith has in the messaging of Jesus, a poor man who came from (and was mostly addressing) his persecuted people. 

Before writing Missionary Positions (which is directed and was developed with the input of Jessica Lynn Johnson, an instructor on solo performance), Prevette worked as a standup and improviser. That experience comes across clearly in his delivery, which blends the timing and punch of an adept comic, able to stir his audience, with the breadth and significance of his material, which comments on a way of thinking that, within our nation now, breeds precarious unrest.

The Zephyr Theatre, 7456 Melrose Ave., Hollywood. Fri., June 16, 7:15 pm & Sat., June 24, 3:45 pm. https://www.hollywoodfringe.org/projects/9837?tab=tickets. Running time: 80 minutes with no intermission.

 

A Transparent Musical

A Transparent Musical

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Daya Curley, Adina Verson, and the ensemble. (Photo by Craig Schwartz Photography)
Daya Curley, Adina Verson, and the ensemble. (Photo by Craig Schwartz Photography)

A Transparent Musical

Reviewed by Socks Whitmore
Center Theatre Group at the Mark Taper Forum
Through June 25

RECOMMENDED

Pride Month is upon us, and this year Center Theatre Group is kicking off the celebration with a colorful production from their season of works by gender-marginalized playwrights: A Transparent Musical, written by MJ Kaufman and Joey Soloway with music and lyrics by Faith Soloway, will be lighting up the Mark Taper Forum for the rest of June with an original story described as “delightfully queer, unapologetically Jewish, and radically joyful.” The show is based on the hit Amazon series Transparent (created and produced by co-writer Joey Soloway), which follows the drama of a messy Jewish family after the person they’ve called Dad their whole lives claims the name Maura (Daya Curley) and comes out to the family as a transgender woman.

Though inspired by the characters and themes of the original, the new musical is a standalone reimagining — from merging characters and plot lines to overhauling the Pfefferman’s family dynamics, it’s tonally and narratively a completely different product.

The story begins at the Jewish Community Center, or JCC. In this universe, the narrative centers heavily on the youngest of Maura’s children: Ali Pfefferman (Adina Verson). Ali is a book-loving slacker working at the JCC under the guidance of Davina (Peppermint), another transfeminine character, and alongside her annoyingly smart new coworker Ezra (Kasper), a trans man. Her sister Sarah (Sarah Stiles) is an overwhelmed mother with a disinterested husband, and their brother Josh (Zachary Prince) is a self-proclaimed sex addict wrestling to make any relationship work. As Maura socially transitions into life as her authentic self, she repeatedly clashes with her egotistical ex-wife Shelley (Liz Larsen) and struggles to connect with their kids. The musical also gives a nod to Transparent’s second season by weaving in a visit to 1933 Berlin and the Institute for Sexual Research, featuring a rainbow cast of Queerdos and a mysterious Pfefferman family secret.

From the get-go, the musical goes for an immersive feel. School banners decorate the venue’s “auditorium” walls, the opening announcement is delivered by the cast in character, and the actors traverse the aisles throughout the show. It’s also refreshingly intersectional, featuring Jewish music, dance, and giant Purim food costumes alongside honest portrayals of mental health and euphoric queer anthems. The TV show thoughtfully approached the ugly side of the Pfeffermans, but in this version, there’s a much stronger emphasis on laughter — from a hilarious pantyhose fight between Maura and Shelley to an absurd number delivered by Sarah while on psychedelics, the physical comedy and stand-out performances make for a delightful watch (particularly Sarah Stiles’s frazzled portrayal of motherhood and Liz Larsen’s domineering diva flair). The costumes by Toni-Leslie James are eye-catching and dazzlingly diverse, and there are some instances of pure queer magic that are truly resplendent and breathtaking.

One of the most magical things about the show is the opportunity to see the numerous trans actors in the cast spill across a professional stage. In addition to the lead roles of Maura and Ali, TGNC actors appear as rabbis, models, and Queerdos of all kinds. Witnessing Kasper’s Ezra and Peppermint’s Davina sing in duet is a moment of glorious Black trans kinship perhaps never-before-seen in a mainstage musical. Other numbers illustrate themes of trans isolation and loneliness, the confusion and love that come with trans family, and a deeply moving look at pivotal moments in a transgender person’s journey of self-discovery and identity. Some themes are more difficult than others—viewers should be prepared for a few frightfully visceral sounds and images, and a timely comment on the current reception of queer, trans, and gender non-conforming individuals in youth spaces and in public life.

Those who have not seen Transparent on streaming will not be remiss for watching the stage show first; in fact, they might be better off. If compared directly to its predecessor, A Transparent Musical is overly ambitious and lacks gravity —trying to cram four seasons worth of character development and complex dynamics into one two-and-a-half-hour musical is a nigh impossible task that may leave long-time fans a little disappointed. The roles of Maura and Sarah are especially snubbed, their nuance stiffed by Ali’s predominating narrative. Maura’s role in the show is scaled down from lead to supporting, her pre-transition flashbacks scrubbed and her social transition reduced to an unbelievable quick change. Sarah, who in the series presents as bisexual leaning sapphic, is completely unrecognizable and notably no longer queer. Though the overall production is a blast, the lyrics and dramatical structuring of the songs are severely underdeveloped, undermining important numbers like Maura’s rushed coming out song and Ali’s oddly placed “Who Am I.” To compete against the cishet-dominated fare of the greater theater industry, the musical should consider significant future revisions to tighten the packaging of a beautiful, one-of-a-kind story.

Though the writing may need another pass or two, A Transparent Musical offers a reminder of why queer and trans theater is so important, especially in an era of political unrest that threatens to erase it from the map. During opening weekend, members of the alphabet mafia were invited to a special Pride Night celebration where an all-LGBTQIA+ audience had the chance to scream and cheer for their community. The queer joy was palpable, as was the gratitude for this story’s very existence. May this June and ever after, have our theaters fill their stages with “a loud, proud celebration of deviance.”

Mark Taper Forum, 135 N. Grand Ave., downtown LA. Tues.-Sat., 8 pm, Sat., 2:30 pm, Sun., 1 pm & 6:30 pm; thru June 25. www.centertheatregroup.org/theatres/mtf/ Running time: two hours and 30 minutes including one intermission

 

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