NO EXIT

Jean-Paul Sartre’s No Exit was never intended to make the audience comfortable or to leave them fully satisfied; rather, it is a brilliant example of quintessential existentialist philosophy and commentary. Sartre’s genius is clearly evident in his 1944 masterpiece, and the language, ideas, and questions he poses are as valid and disturbing today as they were more than half a century ago. Lonesome No More! Theatre’s version of this ambitious work is currently running at the Theatre Asylum Lab in Hollywood.

No Exit opens on a single room with three chairs. One by one, the principle characters Garcin (Stephen L. Sullivan), Inez (Sara Garcia), and the beautiful Estelle (Jill Evyn) are escorted into the room by an enigmatic valet (Leland Montgomery). They quickly find that their failings on earth have condemned them to spending eternity together in the tiny room where the lights are never dimmed. Any illusions of the torturous hell fires of tradition that may await them give way to the painful realization illuminated by Sullivan’s Garcin when he proclaims, in horror, “Hell is other people!” It is perhaps the most enduring mantra of the existentialist movement, and Sartre vividly engrains it in our collective artistic memories with this work. The varying levels of successes accomplished by this production are punctuated by a strong culmination of action and an unresolved final note that would resonate well with Sartre himself.

Lori Petermann directs the four-person cast in a way that shows a strong understanding of the subject matter, bringing about a show that builds momentum with each revelation. Peterman dexterously uses the often-ignored valet character as well as Martin Gimenez’s powerful sound design to further draw out the essential existentialism of the piece. Sullivan, Montgomery, Garcia and Evyn work well together, and the unaccredited economic set design provides a pleasing aesthetic for their performances. Unevenness in the makeup and a general unkemptness in the promising costumes, including sometimes distracting modern labels clearly displayed, will surely be fixed after previews. While considerable liberties have been taken with this translation, perhaps in an attempt to update it, the story is intact and the characters ring true. Presented as an effective 80-minute one act production, No Exit at the Theatre Asylum Lab is a fine entryway to existential theatre and worth a visit.

No Exit runs March 30 April 28 at Theatre Asylum Lab in Hollywood, entrance on Lillian Way.
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OVO - Cirque du Soleil

Visiting the Big Top in Santa Monica is an utterly individual experience that can truly only exist in Southern California. Upon descending the California incline to Pacific Coast Highway on approach to the beautiful Santa Monica Pier, the large blue and yellow tent dominates the landscape. At sunset, silhouetted against the sea, the views of the venue alone will transport you. Step inside to see Cirque du Soleil’s newest offering, OVO, and that transportation will accelerate to warp speed and drop you in a world of color, movement, and vision.

While Cirque du Soleil is far from the new kid on the block, they have maintained their originality and relevancy with each of their touring productions. OVO is filled with the awe-inspiring motion that Cirque has become known for, but the mischievous characters and unique story line are a pleasant stimulant for an already exciting experience. Based around the hidden world of insects, OVO combines the entomological life with the powerful expression of the human body, adding further commentary to an already deep and moving production. The acrobatic and dance feats are, without a doubt, impressive, as are the costumes and the multinational collaboration on display from the diverse styles of performance. The story of the life cycle continues as the music under the Big Top is a surprising and pleasant addition to the tale. The musical touches interlace each movement and give a decidedly contemporary and immediate feel to the show that connects each audience member to the individual performer. Afloat on the buoyancy of color and fantasy, the human mind is stretched further and further with each bend, lift, and gravity-defying pose. There is fluency at play in OVO that effectively communicates both a playful and poignant commentary on the human search for meaning.

To say that audiences will enjoy OVO would do a disservice to the reputation for quality that Cirque du Soleil has established over the years. Rather, this production is notable because of its ability to build on past shows and remain fresh and new without betraying what audiences have come to demand from top shelf live entertainment. Not only will this show not disappoint, but it accomplishes a journey that is as priceless as it is satisfying and as unworldly as it is thought-provoking. OVO under the Big Top is a carnival of gratification and circus of imagination that will not disappoint.

OVO Cirque du Soleil runs through March 18th 2012 at the Santa Monica Pier.

The Adventures of Little Red (Riding Hood, of course)

The Santa Monica Playhouse is a hidden jewel in one of America’s most scenic cities. Located just a block off the historic Third Street Promenade, the Playhouse is celebrating its fiftieth year and boasts a versatile performance schedule centered on overcoming the ever-growing problems faced by local small theatres. Their current production of The Adventures of Little Red (Riding Hood, of course) is an example of the weight the venue has placed on developing artistically viable children’s entertainment. Billed as a show great for ages 2 to 102, this production is, without a doubt, geared toward the younger portion of that age bracket. It also does, however, present elements that can be enjoyed by anyone who values entertainment that delights children and gives family a gateway to the arts through which the next generations may joyfully pass.

Evelyn Rudie and Chris DeCarlo have crafted an endearing show presented at a brisk pace that keeps the audience engaged and involved from beginning to end, successfully avoiding the sometimes vulgar and disjointed theatrical elements that often doom children’s theater. The classic fairytale is partially intact here, but this production is by no means traditional. Upon approaching the box office, audiences are greeted and shown to their seats by the cast of characters, including the plucky and formidable Little Red (Serena Dolinsky). The picturesque set in this intimate space highlights the care taken with all aspects of the undertaking. When the lights go up, the audience is treated to a story that follows Little Red on her final day of childhood as she frolics in the Black Forest with her Mother (Cydne Moore), the Hunter Siegfried (James Cooper), and sisters Gertrude (Betsy Albert), and Pusnelde (Jennifer Saltiel). As Little Red begins her proverbial coming of age venture to Grandma’s House, she finds a stranger among her woodland friends, Baron Wolfgang Von Wolfgang, Junior (Garett Stevens), who is unknowingly betrothed to Little Red and is compelled by duty to find his bride. Together, they journey deeper into the forest and into love as the hours of Little Red’s youth wane and the quick rising moon looms on the horizon.

Moore and Cooper are punny, funny, and spry as the elder members of this forest family, giving the story an added consistency with their strong performances. Stevens lends energy to the tale from beginning to end, and Albert and Saltiel blend melodic voices with playful characterizations to fully bring us into this fairytale world. Dolinsky, as Little Red, offers up a performance that is both intellectual and innocent with an assuredness and ease of character that punctuates the multi-layered themes of the fairytale and the fun of this adaptation.

There should be no hesitation in bringing children to this extremely family-friendly environment. The Santa Monica Playhouse has created a rare atmosphere that effectively shows their dedication to their patrons and to each show. This production of Little Red shows theatrical devotion in a big way.The Adventures of Little Red (Riding Hood, of Course) runs Saturdays at 3:00 and Sundays, 12:30 February 11 through May 20, 2012 at the Santa Monica Playhouse.

THE LOVE LIST

The Little Fish Theatre in the heart of San Pedro is a fifty seat venue just blocks away from the busy port of Los Angeles. The theatre, inside a converted municipal building, is a shining example of the many small theatres that survive on the loyalty of an enthusiastic subscriber base and a dedication to all aspects of a successful performance. The attention to detail at The Little Fish Theater shows both in how the theatre is run and in the performance of their most recent offering, The Love List.

The Love List is a crowd pleasing romantic comedy farce that steers clear of being traditional, while still appealing to a wide range of audiences. Bill (David Graham) has just celebrated his fiftieth birthday. It quickly becomes clear that over the past half a century, he has loved and lost and moved on. More focused on work than pursuing love, his cluttered apartment is a tribute to career-driven bachelorhood. When urged by his friend and formerly successful novelist Leon (Bert Pigg) to fill out a “love list” and apply to a gypsy run dating service, Bill starts the applications almost by accident. However, before either of them can turn it in, Justine (Kimberly Patterson) arrives at the door and billows into their lives as if she had always been there. As expected, the laughs abound and this silly comedy shows that it has heart as well, but above all, it leaves you feeling good about the fun you have had.

Stephanie Coltrin’s sure-handed direction uses every inch of the intimate space as she conducts this whirlwind comedy to its uproarious climax. The script holds up well and set, lighting, and sound designs fit the space and add an air of authenticity to this madcap farce. It is the strength and cohesion of the three-member ensemble cast, however, that lifts this show above other similarly crafted productions. Graham never has a moment’s rest as he delivers a hilarious rendition of a man endeavoring to live with one foot in each of his known worlds. Bert Pigg is droll and persuasive as the catalyst for the play’s action, falling convincingly into the madness of the situation. Patterson proficiently plays every character trait subscribed to her with both humor and believability. In the end, it is the energy created when all three characters are on stage together that propels the show forward and make this Little Fish production a big success.

The Love List runs through April 7th 2012 at the Little Fish Theatre San Pedro. http://www.littlefishtheatre.org/wp/

DIARY OF A MADMAN

The Actors Circle Theatre is an apt name for the small theatre that sits on a corner near the intersection of La Brea Ave. and Santa Monica Blvd. in Hollywood. The venue, with its well-lit exterior and inviting marquee, stands out on a street crowded with competing theatrical neighbors. Inside, the current production of Diary of a Madman is a bold and unique actor’s showcase, and a performance well worth attending for local theatre coinsures.

Diary of a Madman is an enthralling tale taken directly from the text of Nikolai Gogol’s 1835 first person short story of the same name. This compelling one man show centers on the life of Poprishchin, a low level civil servant who yearns for the love of a woman he can never have. His fragile mind is pushed past its breaking point by his unrequited affections and failure to ascend at work and in life. An obvious period piece, the story presents pleasantly timeless and universal themes that seem to tie a thread through time, connecting the audience to the author despite the generations that have passed between.

The lights come up on Poprishchin (Ilia Volok), alone, beaten, battered, and locked away in an asylum with only memories and the crumpled pages of his diary for solace. Over the course of this vigorous 80-minute play, Poprishchin relives the touching, sad, and often humorous events that lead to his eventual confinement. Along the way, his decaying mind revels in an alternate reality that intersects with relationships, both real and imagined, and ultimately pushes him over the edge of sanity.

Despite effective lighting, an eye catching distressed floor, and a stirring musical selection that reoccurs throughout the story, the technical elements of this show are largely fruitless. The multipurpose stage with a functionless second door at times draws you out of the desired setting, and the sound levels and selections leave considerable room for improvement. Likewise, the staging seems at times obtuse and often does not suit the space, making some of the already-past-their-prime theatre seats even less ideal for viewing the considerable action that takes place further downstage. However, all of this is surmounted by the tour de force performance delivered by Volok. With unwavering devotion to character, Volok is gripping, endearing, and steadfast in his role of the pencil-sharpening clerk who yearns to rise above his station in life. The strong script and commonality of the feelings it conveys lay the groundwork for effective storytelling, but Diary of a Madman at the Actors Circle Theatre succeeds primarily due to Volok’s fully-committed performance.

Diary of a Madman runs through March 31st 2012 at the Actors Circle Theatre in Hollywood.http://volok-diaryofamadman.weebly.com/

The Lilies of the Field

The Elite Theatre Company resides in the fully restored basement of a one hundred-year-old farmhouse in downtown Oxnard’s beautiful Heritage Square. Heritage Square is one full block of turn-of-the-century Ventura County buildings that now give a home to shops, restaurants, fountains, churches, and yes, The Elite Theatre Company. The venue, though small, provides a theatrical oasis in a city that has recently given life to numerous artistic ventures such as music festivals, art walks, and the like. The Elite’s current production of The Lilies of the Field is a perfect fit for this charming space in a diverse and growing city.

The Lilies of the Field is a deep and meaningful religious allegory that tells the story of wanderer Homer Smith (Antonio Vezia), who moves across the Southwest in an old station wagon, taking work as he finds it in the mid 1960’s. As he journeys, Smith meets the dour and irrepressible Mother Marthe (Kathleen Silverman), who heads a missionary group of nuns abandoned by their church and ignored by their neighbors in the large Valley. Locals go about their daily lives in the small town, unaware of the change that Smith will inevitably bring them.

The set on this three-sided stage is craftily designed by Bob Decker and gives the unmistakable allure of the small border town in which the play is set. Along the way, a folksinger (Kyle Johnson) provides authentic ambient vibrations, musically moving the audience to each new scene. Director Andrea Tate weaves the story well and draws out strong and cohesive performances from the cast.

Vezia gives an understated, natural, and believable performance as the likeable Homer Smith. Silverman is strikingly genuine and compelling with an obvious command and presence that lends heart to each scene. The supporting roles are also played and sung well by the engaging cast that is unwavering in the story that they wish to tell. Likewise, the local café owner (Tim Viramontes) provides a comedic touch throughout the show. The bulk of the exposition in Lilies of the Field is delivered in the form of narration by the role of Father Gomez (Elixeo Flores). The affable Flores is at home as a southwestern Padre, with a profound sincerity about him that punctuates the touching conclusion of this heartwarming drama. The Lilies of the Field blossoms with heartfelt emotion and honest meaning that makes for a truly touching evening and a show you will enjoy.

The Lilies of the Field runs through April 1st 2012 at the Elite Theatre in Oxnard CA. (805) 483-5118 http://www.elitetheatre.org/

PRIVATE LIVES

Private Lives has been performed to massive success and failure for nearly a century. Therefore, it is a foregone conclusion that the avid theatergoer is familiar with the story and aware of its importance in the Coward cannon. It is by no means a foregone conclusion, however, that each production of this theatrical staple will live up to the lofty hype that this play generates when added to a production calendar. The current production running at GTC Burbank is under the skillful directorial eye of Jules Aaron and plays exactly as Coward should.


The plot, now well known, has delighted audiences since 1930. The now-divorced Elyot (Lenny von Dohlen) and Amanda (Stasha Surdyke) are honeymooning abroad in the carefree and loving arms of their new spouses Sibyl (Annie Abrams) and Victor (Jeff Witzke.) Tossed by the winds of traditional Coward fate, they again come face to face on the balcony that their newlywed suites conveniently share. Almost at once, they are made quickly aware that their new marriages fall well short of their still-smoldering love for one another. In a reluctant fit of passion, they flee together to Paris. Lo and behold, their second chance together is filled with pitfalls as they are soon joined by their abandoned better halves. The insults and sometimes bits of furniture fly as the difficulties of lovemaking in the modern world are brought to bare in hilarious fashion. The cast handles well the fast-paced demands of the show and brings the audience into their world of madcap 1920’s comedy.

Abrams delights with facial expressions and comic timing that gives the distinct impression of a lost and wandering soul of the time. Witzke brings life to this oft-played character with a bold and unique personification that blends wit and desperation. It is, however, the hot and cold romance between Surdyke and Von Dohlen that moves the action of the show. Together, they draw a convincing portrait of lovers who love to love and hate to be trapped by it. Their stylized exchanges breed the right kind of laughter for this show and the obviously antiquated themes in the script are brought out in splendid fashion for this period piece. Private Lives is a very public example of how a great play done well is indeed timeless.

Private Lives runs GTC Burbank,  Through March 25. (323) 960-7738. www.Plays411.com/PrivateLives.

AND THEN THERE WERE NONE

Mere steps away from the home of the former Ojai Shakespeare Festival stands the Ojai Art Center Theatre. The program states that the building was constructed in 1938 and has housed the likes of Loretta Young, Beau Bridges, and June Allyson, leading one to wonder how the current production of And Then There Were None would stack up. It succeeds remarkably well.

Agatha Christie adapted this classic "whodunit" in 1939 from her own novel. The stage play holds far less complexities than the book, but the story, characters, and inherent suspense come shining through. Director James Castle Stevens gently weaves humor, drama, satire, and excitement with crafty misdirection to tell a story that is entertaining from beginning to end.

The tale opens as the dutiful servants of an island mansion await the arrival of eight guests for a house party. Upon their introduction, the guests quickly size each other up and reveal the essential plot points of the quintessential Christie murder mystery. When a haunting voice delivers pointed accusations about each character's past, we find that none of them have ever met the host of this strange party and there is no way to escape the island. Judge Wargrave (Frank James Malle), the elder statesman on the island, takes control of the room and seemingly tries to restore order. Each of the misfit characters quickly begins to unravel. The notable exception is adventurer and devil-may-care English bad boy Captain Lombard (Andrew David James), who seems undaunted by the shocking circumstances and is steadfast in his determination to capture not only the murderer, but also the heart of diligent secretary Vera Claythorne (Jenna Scanlon). One by one, the unknown thrill killer picks off the trapped prey like an unseen deity playing with so many toys. The eye of suspicion bounces from one character to the next as each death adds to the tension and fear on the island. Along the way, little figurines on a mantelpiece mirror the fate of each doomed guest. The drama climaxes in splendid fashion, eliciting an audible gasp from the audience that, on Friday night, quickly turned to satisfied and pleasant laughter of a story well received.

The set and costumes for this production draw you in from the moment the lights go up, and the cast delivers many fine performances. Among the standouts are Malle’s compelling characterization of Wargrave and the energetic Jonathan Weiser as Anthony Marston. James’ Lombard drives the show with command and energy and Scanlon is terrific as the conflicted and vulnerable ingénue. Any doubt of Christie’s relevancy to a modern audience is quickly done away with here, and murder has never been so fun!

And Then There Were None runs through Feb 26th at the Ojai Art Center Theatre. http://www.ojaiact.org/

THE TRIP TO BOUNTIFUL

Horton Foote's masterpiece The Trip to Bountiful may have originally been intended as a commentary on his own time and circumstance, but it plays well to the modern playgoer as well. Audiences attending the Santa Paula Theater Center’s current production are sure to enjoy this celebrated work.

Bountiful, a small Texas town, calls out to one of her long lost daughters, Carrie Watts (Nancy Solomons), who yearns to return to her childhood home. Now, alone in the crowded city of Huston, her husband gone, Carrie finds the walls of the small apartment she shares are closing in on her. Her son, the unremarkable Ludie (Hugh McManigal), and Carrie’s self-absorbed daughter-in-law, Jessie Mae (Kimberly Peters), occupy the majority of the living space, relegating Carrie to sleeping on a small cot in the back kitchen corner. As an urban dose of cabin fever sets in, Carrie softly sings to herself and moves about her daily life, longing for escape. Conflict is inevitable as the unbearable Jessie Mae picks and pokes at Carrie, who dreams of the perfect life she could lead back in her idealized Bountiful.

The sights and sounds of this production of The Trip to Bountiful draw you in and the complex relationship that Foote had with Texas is displayed in every word. The costumes are exceptional and care has been taken to present a pallet of color that does well in helping to tell the tale. The sound design by Leticia Mattson catches your ear for its ability to gently bring you into the scene and move the story forward.

Foote beautifully intertwines imagery and nostalgia to counter the harsh reality and bitterness of the three main characters in this often-produced work. The cast delivers well-rounded performances and justice is done to Foote’s sometimes formidable story demands. Solomons is solid and engaging as Carrie, brimming with strength and desperation held just below the surface. Peters deftly plays the abrasive Jessie Mae, and McManigal gives Ludie a dual nature, playing both his apathy and heart. The attentive direction of Laurie Walters gives this show a strong feeling of continuity. With an ensemble that includes Bill Spellman, Kytriena Payseno, and John F. O'Grady in strong supporting roles, Bountiful is a journey that you will enjoy.

The Trip to Bountiful runs February 10 - March 18, at the Santa Paula Theatre Center. http://www.santapaulatheatercenter.org