The Canadian troupe Cavalia wowed critic Lovell Estell III this week with its equestrian spectacle Cavalia's Odysseo. Good notices also for Diane Glancy's The Bird House at the Autry National Center, and for a revival of Carlos Murillo's Dark Play (or Story for Boys) at the Whitmore-Lindley Theatre. For all the latest New Theater Reviews, and theater listings, see below.

This week's two Theater Features look at a new one-man play by Richard Creese and performed by David Melville for the Independent Shakespeare Company. It's called Solemn Mockeries and studies 18th century forger William-Henry Ireland, who grew to be expert at manufacturing Shakespearean artifacts — letters, documents and even the complete manuscript of a “lost” play — all to please his dad. We also reviewed the jukebox musical Divorce Party: The Musical, about a hausfrau whose gay husband walked out on her, and how her friends attended to her recovery.

NEW THEATER REVIEWS: scheduled for Publication March 7, 2013:


Cherokee playwright Diane Glancy offers a sad slice of contemporary

country life in a small, dusty town in West Texas. Struggling with a

dwindling congregation in his (almost) ghost town, evangelical preacher

Jonathan (aka Reverend Hawk, played by Choctaw actor Randy Reinholz) and

his dependent sisters face eviction from their church home. Glancy

crams several related themes into her play, from the bleak fate of the

impoverished elderly to the cold-hearted business decisions of the

church to the destruction of the environment when government sells out

to developers. Glancy compares Reverend Hawk's imminent eviction with

the plight of the Native Americans whose lands were taken over forcibly

by white settlers. Ellen Dostal is good as Jon's older sister, Clovis,

who, following a debilitating stroke, speaks to the audience directly,

vividly describing her frustration. Portraying Native American cowboy

Rope, Lakota actor Robert Owens-Greygrass gives a passionate and

disturbingly vivid speech that illustrates the rape and poisoning of the

land and its water by the fracking process. While Glancy offers few

solutions for her beleaguered characters, her play stands as a heartfelt

indictment of the deplorable predicament many are facing in today's

tough economic climate. The play is beautifully staged and directed by

Robert Caisley. Native Voices at the Autry National Center, 4700 Western

Heritage Way, Griffith Park; Thurs.-Fri., 8 p.m.; Sat., 2 & 8 p.m.;

Sun., 2 p.m.; through March 17. (323) 667-2000, (Pauline



This vast equestrian spectacle (the stage, the size of a hockey field, encompasses 15,000 square feet) created by Normand Latourelle and

directed by Wayne Fowkes, features 67 horses of 11 breeds as well as 45

international human performers, including riders, trainers, acrobats,

aerialists, dancers, stilt walkers and musicians. The horses are

beautiful, spirited and disciplined, jumping, dancing and performing

elaborate feats of equine choreography. The trick riders display

courage, reckless physical prowess and panache, and the scenery,

projected on a huge screen, take us from the American Southwest to the

steppes of Central Asia. The show consists of several episodes,

featuring Cossacks, drummers, an equestrian carousel and an African

village festival featuring drummers and acrobats. In a startling finale,

the stage is flooded with 80,000 gallons of water so horses, riders and

acrobats can splash away like mad.The production has a natural appeal

for horse lovers, but you don't have to be an aficionado to appreciate

the beauty of magnificent galloping horses, working in precision

ensembles.The athletic human choreography is by Darren Charles and Alain

Gauthier, and the equestrian direction and choreography is by Benjamin

Aillaud. The show's compound is large, so walking shoes are recommended.

White Big Top, 777 N. Front Street, Burbank; call or check website for

schedule; through March 27. (866) 999-8111, (Neal Weaver)

Credit: Young Actors Ensemble

Credit: Young Actors Ensemble

I'll Be Back Before Midnight:

The tone of Peter Colley's thriller hews closer to the telegraphed

setups of a slasher film than to the psychological terror of Hitchcock.

Though widely produced and even adapted into a 1992 made-for-TV movie,

the script has had persistent issues throughout its history: a thin

premise, vaguely sketched characters and hackneyed gags, leaving a few

chilling thrills to hold the piece together. Those thrills hit the mark

when they do arrive, enhanced by both the foreboding upstage space in

Stephen Gifford's set and Drew Dalzell's hair-raising sound design.

Playing out those thrills are Greg (Tyler Pierce, whose chiseled

physique hardly suggests “bookish scientist”) and his wife, Jan (Joanna

Strapp, who delivers quite a blood-curdling scream), who have come to

the country to repair their marriage. Their whiskey-loving neighbor,

George (Ron Orbach), and Greg's incestually creepy sister, Laura (Kate

Maher), drop in, and mayhem ensues. The actors are strong and have done

good work around town, but their talents and Colley and David Rose's

direction aren't enough to disguise the holes in the writing. (Mayank

Keshaviah). Sundays, 2 p.m.; Thursdays, Fridays, 8 p.m.; Saturdays, 3

& 8 p.m. Continues through March 17. Colony Theatre, 555 N. Third

St., Burbank, 818-558-7000,

Mike Tyson: Undisputed Truth:

The legendary boxer's one-man show. Fri., March 8, 8 p.m.; Sat., March

9, 8 p.m.; Sun., March 10, 7 p.m., $32-$514. Pantages Theater, 6233

Hollywood Blvd., Los Angeles, 800-982-2787,

One Night With Janis Joplin:

Musical tribute to the rock legend, created, written and directed by

Randy Johnson. Sundays, 2 & 7 p.m.; Tuesdays-Fridays, 8 p.m.;

Saturdays, 4 & 8 p.m. Continues through April 11. Pasadena

Playhouse, 39 S. El Molino Ave., Pasadena, 626-356-PLAY,

Panama Hattie:

Four performances of Cole Porter's 1940 musical, benefiting the Betty

Garrett Musical Comedy Workshop. Sat., March 9, 8 p.m.; Sun., March 10, 2

p.m. Theatre West, 3333 Cahuenga Blvd. W., Los Angeles, 323-851-7977,


Staged reading of John Logan's play, presented by L.A. Theatre Works.

Thu., March 14, 8 p.m.; Fri., March 15, 8 p.m.; Sat., March 16, 3 & 8

p.m.; Sun., March 17, 4 & 7:30 p.m., James Bridges Theater, 1409 Melnitz Hall, Westwood, 310-206-8365.

Sunday Night Solo Series: February 10: Lee Meriwether in The Women of Spoon River; February 17: Jim Beaver in Sidekick; Kres Mersky in Isadora Duncan: A Unique Recital; Abbott Alexander in The Nameless One; Dina Morrone in The Italian in Me; Anthony Gruppuso in The Face Behind the Face, Behind the Face; April 7: Steve Nevil in As Always, Jimmy Stewart.

Sun., March 10, 7:30 p.m.; Sun., March 17, 7:30 p.m.; Sun., March 24,

7:30 p.m.; Sun., April 7, 7:30 p.m. Theatre West, 3333 Cahuenga Blvd.

W., Los Angeles, 323-851-7977,


Nina Raine's story of a deaf boy. Starting March 10, Sun., March 10, 7

p.m.; Tuesdays-Fridays, 8 p.m.; Sat., March 16, 2:30 & 8 p.m.; Sun.,

March 17, 1 & 6:30 p.m. Continues through April 14. Mark Taper

Forum, 135 N. Grand Ave., Los Angeles, 213-628-2772.


GO: Absolutely Filthy:

Just 'cause I have a ton of dirt on me doesn't make me a monster,” says

The Mess (playwright Brendan Hunt), the adult incarnation of Pig Pen

from the Peanuts comics, who is now a homeless man, in Absolutely Filthy.

His desire to be more than an “accumulation of [his] sins” drives the

story of a reunion of the old gang after the demise of Charlie Brown

(played by Scott Golden, credited as The Deceased — the characters are

given abstract names for legal reasons). Hunt's exploration of the

dysfunction of these familiar characters all grown up is darkly

hilarious. Through a series of flashbacks, prompted by their arrivals at

the church to pay their respects, The Mess' journey to his present

state is revealed. While the cast is solid across the board, Hunt truly

steals the show, and not just because he keeps his “cloud of dust,” a

Hula Hoop, in constant motion the entire time he's onstage (a feat in

itself!). His clever writing, comic timing and use of understatement to

tremendous effect allow Hunt to weave sociopolitical commentary,

gross-out humor and insightful observations into engaging and

entertaining rants. Director Jeremy Aldridge deftly manages a massive

cast, making great use of Stephanie Kerley Schwartz's set, itself an

inventive homage to homelessness with its junk-themed design. Standouts

in the cast include an out-of-the-closet Schroeder (Curt Bonnem as The

Pop Star), hard-ass sports agent Lucy (Anna Douglas as The Big Sister)

and recovering alcoholic judge Franklin (KJ Middlebrooks as His Honor).

It seems that the Fools' late-night series Serial Killers, where

this show originated, has once again yielded comedy gold. (Mayank

Keshaviah). Fri., March 8, 8 p.m.; Sat., March 9, 8 p.m.; Sun., March

10, 7 p.m., $20. Sacred Fools Theater, 660 N. Heliotrope Drive, Los

Angeles, 310-281-8337,

The Agony and the Ecstasy of Steve Jobs:

There are several moments late in Alex Lyras' fascinating performance

of Mike Daisey's controversial monologue when Lyras drops the mask of

his nameless, first-person investigative narrator and directly pleads

for the evening's truth claims as Alex Lyras, actor. The asides are as

tantalizing as they are telling. Because experiencing Lyras and director

Robert McCaskill's staging of Daisey's Michael Moore-esque mix of

polemics and sardonic reportage is to feel weirdly double-distanced from

the actuality of its subject — the harshly impoverished working

conditions of Apple's Chinese iPhone and iPad plants. Despite Lyras'

persuasive delivery, the show never quite shakes the penumbra of

question marks raised by Daisey's own admitted fabrications of his

reporting trip to China (said material since excised). The force of each

incendiary revelation and Tim Arnold's accompanying photojournalistic

video projections somehow feels diminished unaccompanied by a

fact-checking footnote that goes beyond the piece's now bitterly ironic

emotive linchpin, Lyras as Daisey declaring, “Trust me! I was there.”

(Bill Raden). Wednesdays, 8 p.m. Continues through April 10,

800-838-3006, Theatre Asylum, 6320

Santa Monica Blvd., Los Angeles,

Alabama Baggage:

World premiere of Buddy Farmer's drama. Starting March 9, Fridays,

Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through April 14,

323-960-7711, Theatre Asylum, 6320 Santa Monica

Blvd., Los Angeles,

Bitch Trouble: Stories About Friendship:

Written and performed by Alice Johnson Boher. Wed., March 13, 8 p.m.;

Wed., April 10, 8 p.m.; Wed., May 8, 8 p.m.; Wed., June 12, 8 p.m.;

Wed., July 10, 8 p.m., Cavern Club

Theater, 1920 Hyperion Ave., Los Angeles, 323-969-2530,


Playwright Andrea Kuchlewska combines unlikely ingredients in her

comedy: an est-like training program for self-realization, the

art/science of linguistics and a stormy love affair involving a pair of

obsessive linguists. Eve (Meredith Bishop) and Micah (Scott Kruse) may

be experts in the arts of language, but that doesn't mean they can

communicate. He has been trying for ages to tell her that he loves her,

but she refuses to acknowledge that anything but love of language unites

them — and she never stops talking. In desperation, he signs up for a

course with “take control of your life” guru Jack (Scott Victor Nelson)

in the hopes that it will enable him to confess his love. But Eve has an

intense love-hate relationship with the program, so it becomes one more

obstacle. Also present is a little girl named Evie (Tess Oswalt), who

may or may not be a childhood incarnation of Eve. The play is always

interesting and fun to watch, and director Jennifer Chambers keeps the

comedy in the forefront, but the insistently nonlinear structure

sometimes proves distracting. Credibility also is an issue. Eve is such a

fanatic, intellectual bully and egocentric blabbermouth that one

wonders why Micah bothers. (Neal Weaver). Fridays, Saturdays, 8 p.m.;

Sundays, 2 & 7 p.m. Continues through March 23, Matrix Theatre, 7657 Melrose Ave., Los Angeles,



Dayna Dooley's solo show. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m.

Continues through March 10, 323-960-5772, Stella

Adler Theatre, 6773 Hollywood Blvd., Los Angeles,

Dirty Filthy Love Story: There are two stars in Rob Mersola's new comedy, Dirty Filthy Love Story.

The first is David Mauer and Hazel Kuang's set. In a coup de theatre,

the entire back wall of what looks like a cardboard-cutout living room

drops forward and slams to the ground, revealing the home to be the

garbage-bag, stacked-boxes and strewn-clothes rat's nest of the play's

hoarder-protagonist, Ashley (Jennifer Pollono). The other star is Joshua

Bitton's understated performance as the mentally challenged garbage man

Hal, hired by Ashley's next-door neighbor Benny (Burl Moseley) to clean

the trash from her side yard so he can sell his home. The sexually

charged romance between Hal and Ashley grows increasingly macabre,

homicidal and strained, and the play's main joke really turns on the

passionate, nihilistic attraction between them. Pollono and Moseley were

too screechy at the performance reviewed, under Elina de Santos'

absorbing, sitcom-style direction. And I couldn't understand why, in one

scene, Benny would fail to defend himself against the lovers, who have

targeted him for death. After all, they've already struck him with a

frying pan that's now sitting in front of him on the couch. But when he

regains consciousness, rather than pick up the weapon, he merely rants

about his plight. Such details can be worked out. This is a world

premiere, after all. Mainly, though, the play is about its premise and

nothing more. With transitional songs referring to a world under siege

by garbage, this is a work that could actually be about something.

Either it needs to be as thin as farce, or reconsidered more deeply.

(Steven Leigh Morris). Fridays, 8 p.m.; Saturdays, 8 & 10 p.m.;

Sundays, 7 p.m. Continues through March 24. Skylight Theater, 1816 1/2

N. Vermont Ave., Los Angeles, 323-666-2202.

Don Juan:

Dustin Lovell; Credit: Steven Sabel

Dustin Lovell; Credit: Steven Sabel

Steven Sabel
Dustin Lovell

It's difficult to imagine the infamous seducer of women as a

swashbuckling Southern gentleman, but director Steven Sabel has pulled

it off somewhat, in an adaptation that's not without problems. With a

nod to Molière's untidy rendition of the story, Sabel sets the action of

the play in the antebellum South (the erratic regional accents and a

prominently displayed Confederate flag are the only indicators of this),

with Dustin Lovell doing the honors as Don Juan. Upon returning to the

town where his beloved Donna Elvire (a fine performance by Michelle

Farivar) lives, the honey-tongued scoundrel is targeted for revenge by

Donna's brothers (Doug Mattingly, Neil Miller) and woos the lovely

Mathurine (Lila Bassior) and Charlotte (Mamie Wilhelm), both of whom he

plans to marry. It gets laughs intermittently, but the physical comedy

is overworked, the performances are glaringly uneven and Sabel's script

is sluggish and overwritten. Archway Theatre, 305 S. Hewitt St.,

dwntwn.; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through March 16. (Lovell Estell III)


Presented by Doma Theatre Company. Fridays, Saturdays, 8 p.m.; Sundays,

3 p.m. Continues through April 14, The Met Theatre,

1089 N. Oxford Ave., Los Angeles, 323-957-1152,

GO:A Family Thing:

The screwed-up clan on display in Gary Lennon's densely bleak comedy

gives new resonance to Tolstoy's renowned adage about how every unhappy

family is unhappy in its own way. Turmoil and pain are woven into the

DNA of the three Burns brothers of Hell's Kitchen. The oldest, Frank

(Saverio Guerra), is a coke addict with a volcanic temper, no job and a

wife (Andrea Grano) he despises. Baby brother Sean (Sean Wing) is a gay

TV writer, who is first seen preparing to commit suicide off the

Brooklyn Bridge; he's stopped by a passerby (Darryl Stephens), who later

becomes his lover. Just out of prison, Jim (Johnny Messner), a hulky,

tattooed mass of bully-boy attitude and wrath, has vowed to kill Sean

because he's gay and Frank because he thinks he snitched him out to the

cops. Working it out is what this bunch is ultimately forced to do and,

notwithstanding the unpleasant circumstances, it's a load of laughs to

watch. Lennon can write funny; he is also a virtuoso of gritty,

in-your-face dialogue, and his well-crafted script gives PC niceties the

heave-ho. These are engaging, splendidly flawed characters, and the

cast turn in vigorous, entertaining performances under Chris Fields'

savvy direction. (Lovell Estell III). Fridays, Saturdays, 8 p.m.;

Sundays, 7 p.m. Continues through March 17, 877-369-9112, Stage 52 Theatre, 5299 W. Washington Blvd., Los


GO: Hattie … What I Need You to Know:

Before there was a Sidney Poitier, a Denzel Washington, a Morgan

Freeman or a Halle Berry, there was Hattie McDaniel. In the engaging

bio-musical Hattie … What I Need to Know, Vickilyn Reynolds

honors the life of this extraordinary entertainer, who in 1940 became

the first African-American to win an Oscar with her performance as Mammy

in Gone With the Wind. Fittingly, the show opens with a video of

that historic evening, after which Reynolds (who bears a noticeable

resemblance to McDaniel) appears onstage and, for two hours, does a

beguiling job of bringing McDaniel to life. Reynolds' script covers a

lot of ground and could use some tightening, and at times her loose,

conversational style distracts and meanders. Still, she and director

Byron Nora succeed in making McDaniel's story an entertaining

experience, recounting her early days singing in a gospel choir;

difficulties with her overprotective parents; a string of unhappy

marriages; struggles with racism in and outside of Hollywood; and her

slow, determined rise to success, which ultimately placed her in the

friendly company of stars like Clark Gable, Mae West, Bing Crosby and

Marlene Dietrich. As interesting as this all is, the real payoff is

hearing Reynolds sing the selection of jazz, blues and gospel songs with

commanding artistry and passion. Fridays, Saturdays, 8 p.m.; Sundays, 3

p.m. Continues through April 14, 323-960-5774. Hudson Backstage

Theatre, 6539 Santa Monica Blvd., Los Angeles, 323-856-4252,

How to Survive a Zombie Apocalypse:

It would take a cultural philosopher to adequately explain why zombies

have so profoundly resonated with audiences at this historical moment.

One does not, however, need to be a Gilles Deleuze to understand its

baroque potential for satire. Which is to say that anyone with even a

passing acquaintance with the genre rules laid down by George Romero

will find a lot to like in director Patrick Bristow's amiable,

Americanized version of this improv-derived British fringe import by Ben

Muir, Jess Napthine, David Ash and Lee Cooper. Bristow is zombiologist

Dr. Bobert Dougash. Jayne Entwistle, Mario Vernazza and Chris Sheets are

his seminar's panel of conspicuously underqualified experts, who take

very seriously the ludicrous prospect of surviving a fictional,

species-exterminating epidemic. Bristow expertly leads the crew through

some clever wordplay routines worthy of Abbott & Costello, padded

out with some genial barbs directed at audience targets of opportunity.

(Bill Raden). Fridays, 8 p.m.; Saturdays, 7 p.m. Continues through April

27, Theatre Asylum, 6320 Santa Monica Blvd., Los

Angeles, 323-962-1632,

I Don't Have to Show You No Stinking Badges:

It comes as something of a surprise that this Casa 0101 production is

L.A.'s first revival of Luis Valdez's wryly transgressive interrogation

of Hollywood's jaundiced representation of Mexican-Americans. After all,

the play had its 1986 premiere in a lavish production at LATC, and the

industry's history of pandering to prejudice has hardly improved. That

said, though director Hector Rodriguez adds some original sardonic

touches, his staging never quite rises to the level of formal

sophistication demanded by the text. Act 1, which introduces Monterey

Park power couple Connie (Carmelita Maldonado) and Buddy Villa (Daniel

E. Mora), isn't supposed to play with the banality of an insipid TV

sitcom, it's meant to burlesque it. Things improve in Act 2 when the

play's angry energy — nicely articulated by Alex Valdivia as the

Villas' Harvard-dropout son — is finally unleashed in Valdez's

hallucinatory, feverishly funny pastiche of movie genre tropes. (Bill

Raden). Fridays, Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through

March 10. Casa 0101, 2009 E. First St., Los Angeles, 323-263-7684,

I Wanna Be Loved: Stories of Dinah Washington, Queen of the Blues: Barbara Morrison is

Dinah Washington! Fridays, Saturdays, 8 p.m.; Sundays, 4 p.m. Continues

through March 31. Barbara Morrison Performing Arts Center, 4305 Degnan

Blvd. Ste. 101, Los Angeles, 323-296-2272,

Keena Unbranded: The Solo Experience:

Keena Ferguson's one-woman show. Thu., March 14, 8 p.m.; Fri., March

15, 8 p.m.; Thu., March 21, 8 p.m.; Fri., March 22, 8 p.m., Elephant Stages, Lillian Theatre, 1076 Lillian Way,

Los Angeles.


Written and directed by Larissa Wise. Saturdays, 8 p.m.; Sundays, 7

p.m. Continues through March 10. Loft Ensemble, 929 E. Second St. No.

105, Los Angeles, 213-680-0392,


Written by The Latino Theater Lab. Starting March 14,

Thursdays-Saturdays, 8 p.m. Continues through April 6. Los Angeles

Theatre Center, 514 S. Spring St., Los Angeles,

Oh, Yes She Did! From Slave-Ship to Space-Ship: Black Women Pioneers of America:

Writer-performer Sandy Brown pays passionate homage to eight famous

African-American women in an energetic solo performance that would

benefit from the input of an experienced director. Carefully researched,

and aptly costumed for each period, her dramatic renditions inform us

about 18th-century poet Phillis Wheatley, Underground Railroad conductor

Harriet Tubman, civil rights activist Rosa Parks and acclaimed cabaret

entertainer Josephine Baker, among others. Brown sings and dances well

and delivers her lines with presence. But the end result can be

characterized as detailed impersonations of historical figures rather

than emotionally in-depth portrayals with the feel of authenticity. The

most successful segment is her depiction of soul singer Billie Holiday, a

hard-luck individual who criticized the status quo and was incarcerated

for drug use. Brown's focused monologue, and her singing, nab the

essence of this woman's torment. With its song-and-dance numbers, her

take on Baker also entertains. (Deborah Klugman). Saturdays, 2 &

7:30 p.m.; Sundays, 2 & 6:30 p.m.; Thursdays, Fridays, 7:30 p.m.

Continues through March 24. Theatre/Theater, 5041 W. Pico Blvd., Los

Angeles, 323-422-6361,

: Sexsting:

Playwright Doris Baizley consulted with defense attorney Anne Raffanti

before writing this revealing one-act about a law-enforcement officer

who realizes that the man he wants to entrap is not that different from

himself. Estranged from his family, stressed-out FBI agent Richard Roe

(Gregory Itzin) labors on a sting operation, visiting online chat rooms

and posing as a young girl to provoke the interest of possible sex

offenders. His latest assignment targets none-too-bright, middle-aged

John (JD Cullum), who likes fishing and country music and whose marital

sex life has stalled. But while John nurtures baneful fantasies about

young teens, he does exercise self-control, trying hard to stay “just

friends” with (he believes) the young female person he's met online. At

his superior's insistence, however, Richard continues to entice John

with revealing photos and pleas for them to meet — all so the FBI can

score an arrest. Baizley's setup is somewhat simplistic, but Itzin is

riveting as a scrupulous man forced to act against his conscience.

Cullum communicates smarminess and vulnerability, but his demeanor

suggests he's talking to someone directly rather than communicating by

email — a fine point but one that nonetheless diminishes his

credibility. Jim Holmes directs. (Deborah Klugman). Fridays, Saturdays, 8

p.m.; Sundays, 7 p.m. Continues through April 14, 702-582-8587, Skylight Theater, 1816 1/2 N. Vermont Ave., Los


Sixty Miles to Silver Lake:

Dan LeFranc's emotion-tinged drama attempts to explore the thorny

relationship between a father and son struggling for connection after an

ugly divorce. It takes place in Ky's (Wes Whitehead) Volvo as he

travels to Silver Lake for a weekend along with son Denny (Daniel David

Stewart). It's the chemistry between Ky's rough edges but soft heart and

Denny's boyish innocence and vulnerability that provides emotional

heft, not the play's beggarly thin plotline. The father spends much time

plying his son for info about his ex-wife's shopping habits, love life,

motherly peculiarities and shortfalls; there is also a lot of pointless

talk about soccer and a great deal of puerile wisecracking The dearth

of substance in much of the dialogue is telling early on. Some jarring

moments impart the distinct sense that the time frame of this ride is

not what it seems, but this bracketing artifice is mainly clunky and

confusing. Performances under Becca Wolff's direction are satisfactory.

(Lovell Estell III). Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m.

Continues through March 10, 859-893-5376. Lounge Theatre, 6201 Santa

Monica Blvd., Los Angeles, 323-469-9988.

Sketches From the National Lampoon:

L to R: John Milhiser, Henry Dittman, Darrin Revitz, David Haverty, Erin Matthews and Cj Merriman; Credit: Shaela Cook

L to R: John Milhiser, Henry Dittman, Darrin Revitz, David Haverty, Erin Matthews and Cj Merriman; Credit: Shaela Cook

Shaela Cook
L to R: John Milhiser, Henry Dittman, Darrin Revitz, David Haverty, Erin Matthews and Cj Merriman

After a rocky couple of decades — its most recent CEO was sentenced to

50 years for fraud in December, long before the former gold standard of

comedy pimped out its brand with lowbrow gross-outs (see: Van Wilder) —

the company is angling, yet again, for a comeback. Founder Matty Simmons

has returned as producer, with a documentary, Broadway musical and

other projects in development. But this talent-packed revival of stage

and radio sketches directed by Pat Towne only awakens nostalgia for when

NL was still cutting-edge, and not for the stale humor itself.

Painfully patched over with shiny new references to Justin Bieber and

Lady Gaga, the bits take aim at targets that were exposed, if not

thoroughly dismantled, long ago. Grandma fetishes and swinger wives

barely register in our Dan Savage age. The talent onstage probably could

power a weekly show at the Upright Citizens Brigade, but as for the

material, the times, they have a-changed. Hayworth Theatre, 2511

Wilshire Blvd., Westlake; Thurs.-Sat., 8 p.m.; Sun., 3 & 7 p.m.;

through March 17. (323) 337-1546,

(Jenny Lower)

GO: Solemn Mockeries: Richard

Creese's play about Shakespeare forger William-Henry Ireland. Presented

by Independent Shakespeare Company at Atwater Crossing, 3191 Casitas

Ave., Ste. 168, Atwater Village. Sat.-Sun., 4 p.m.; through March 10.

See Stage Feature


Skylight Theatre Company, Rogue Machine, and York Theatre Royal present

Donald Freed's new play. Starting March 9, Fridays, Saturdays, 8 p.m.;

Sundays, 2 p.m. Continues through April 21, 702-582-8587,

Skylight Theater, 1816 1/2 N. Vermont Ave., Los Angeles.

Something to Crow About:

The Bob Baker Marionettes' musical “Day on the Farm.” Saturdays,

Sundays, 2:30 p.m.; Tuesdays-Fridays, 10:30 a.m. Bob Baker Marionette

Theater, 1345 W. First St., Los Angeles, 213-250-9995,

Songs of Bilitis:

Erotic psychological thriller based on the novel by Pierre Louÿs,

adapted for the stage by Katie Polebaum with Rogue Artists Ensemble.

Fridays, Saturdays, 7:30 p.m. Continues through March 30. Bootleg

Theater, 2200 Beverly Blvd., Los Angeles, 213-389-3856,

Southern Gothic Novel: The Aberdeen Mississippi Sex-Slave Incident:

Carson McCullers wrote that the essence of the Southern Gothic is a

“fusion of anguish and farce that acts on the reader with an almost

physical force.” McCullers, of course, meant “high” Southern Gothic.

This 17-character, late-night literary burlesque by solo

performer/writer Frank Blocker aims somewhat lower. Any anguish here

stems from the risibly purpled prose of the apocryphal potboiler he

enacts, a heavy-breathing Dixie whodunit straight off the checkout of a

Piggly Wiggly called The Reigns of Aberdeen. Its farcicality has

less to do with its hackneyed plot or ludicrous caricature of small-town

Mississippi than it does with the sheer physical dexterity of Blocker's

quick-change characterizations. And though the satire tends to err on

the side of the overly broad, whenever Blocker zeroes in on his target

— such as his “June Bug” chapter's incisively funny, extended parody of

Steinbeckian portentousness — the results are priceless. (Bill Raden).

Fridays, Saturdays, 11 p.m. Continues through March 30, Underground Theatre, 1312-1314 N. Wilton Place,

Los Angeles, 323-251-1154,

Tender Napalm:

Written by Philip Ridley, directed by Edward Edwards. Fridays,

Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through March 31, Six 01 Studio, 601 S. Anderson St., Los Angeles.

Terminator Too Judgment Play: Interactive sci-fi spoof, from the folks who brought you Point Break Live!.

Saturdays, 7:30 p.m. Continues through March 30, Dragonfly, 6510 Santa Monica Blvd.,

Los Angeles, 323-466-6111,

To Be Young, Gifted and Black:

Robert Nemiroff has taken some excerpts from diaries, political

speeches and letters written by his former wife, Lorraine Hansberry, and

combined them with scenes from her plays to assemble a sketch of the

life, work and intelligence of this important and idealistic American

playwright. To Be Young, Gifted and Black, however, is not a

play. Rather, it is a series of staged monologues and duologues, with

the cast of eight each taking their turn in a spotlight on simple

risers. The subject matter is worthy and intellectual, and some of the

excerpts are impassioned and impactful. It's largely serious with a few

comedic observations sprinkled throughout, yet the staging and general

tone of the evening are dull and slow. Additionally, ill-timed and

sluggish lighting cues, along with perplexingly random sound effects,

drag the show's length to two and a half hours. The cast all give fine

if restrained performances, with some singing beautifully. Greyson

Chadwick shines in a handful of dramatic and emotional scenes. (Pauline

Adamek). Fridays, Saturdays, 8 p.m.; Sundays, 2:30 p.m.; Sat., March 16,

2:30 p.m. Continues through March 17. Actors Co-op, 1760 N. Gower St.,

Los Angeles, 323-462-8460,


Irvine Welsh's novel, adapted for the stage by Harry Gibson. Starting

March 9, Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through

April 13, 323-960-7785, Elephant Stages,

6322 Santa Monica Blvd., Los Angeles.

The Trouble With Words:

Gregory Nabours' song cycle, with choreography by Janet Roston.

Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through March 31,

323-944-2165. Lost Studio, 130 S. La Brea Ave., Los Angeles.

Unidentified Human Remains and the True Nature of Love:

Brad Fraser's “swinging” story, set in 1989 Edmonton, Alberta.

Presented by Rise Above Theatre Movement. Fridays, 8 p.m.; Saturdays,

2:30 & 8 p.m.; Sundays, 2:30 & 6:30 p.m. Continues through March

10, 800-838-3006, The Attic Theatre and Film

Center, 5429 W. Washington Blvd., Los Angeles,


Four world-premiere short plays by Will Wissler Graham, Corinne

Kingsbury, Daria Polatin, and Mallory Westfall. Mondays, Saturdays,

Sundays, 8 p.m. Continues through March 24, 800-838-3006, Elephant Stages, Lillian Theatre, 1076 Lillian Way,

Los Angeles.

Valentine's Triage:

Frank Strausser's Valentine's Day play set in an emergency room.

Fridays, 8 p.m.; Saturdays, 2 & 8 p.m. Continues through March 31, The Blank Theatre, 6500 Santa Monica Blvd., Los Angeles,


Veronica's Room:

L to R: Luis Selgas, Marcie Lynn Ross.; Credit: Jonah Light

L to R: Luis Selgas, Marcie Lynn Ross.; Credit: Jonah Light

The Visceral Company
Patrick Skelton, Karen Kahler, Amelia Gotham and Mark Souza

This 1973 thriller by Ira Levin is less well known than his play

Deathtrap, and methinks for good reason. An elderly couple (Karen

Kahler, Patrick Skelton) invites a youthful one (Amelia Gotham, Mark

Souza) to an old mansion where the former worked as servants for

decades. Seeming kindly, they have a strange request: for the girl,

Susan, to pose as the much-loved, long-dead sister of their

cancer-ridden employer, so the old woman can die happy. Susan naively

agrees and soon is propelled into a terrifying nightmare and fears for

her life. Camped up, the ludicrous scenario might play well; otherwise,

only masterful performances all around could make its silliness

palatable. Director Dan Spurgeon deftly coordinates the action within

the tiny proscenium, but the ensemble is mired in the melodrama.

Production values are appropriate except for Susan's hairdo, which is

way too modern for the period. Underground Theater, 1312 Wilton Place,

Hlywd.; Fri.-Sat., 8 p.m.; through March 30,

(Deborah Klugman)

Von Bach: Plenty of writers have mined the comedic vault of the Frankenstein tale to great effect. With his comedy Von Bach,

writer Owen Hammer manages to send up both the countless horror

classics the story begat as well as the parodies, in his own reimagining

of Shelley's myth. Modern screenwriter Minna McPheeters (Maia Peters)

is impassioned to script the definitive film based on a mad scientist

but comes up against a venal producer, Hilary (Summer Stevens), and a

litigious heir, Conner (David Wilcox). Worse, she runs into the

reanimated corpse of the guy on whom all these movies are based — Dr.

Von Bach himself (a suitably Lurch-like JR Reed). Hilarious and

well-crafted short film segments nicely mask the numerous scene changes

and flashbacks. Unfortunately, the high caliber of the cinematic bits

soon begins to outshine the complex story that's unfolding somewhat

prosaically onstage. Hammer, however, strikes a poignant note by having

Von Bach reference an Emerson quote: When you commit a crime, “The world

is made of glass.” (Pauline Adamek). Saturdays, 8 p.m.; Sundays, 3 p.m.

Continues through March 10, 866-811-4111. Fremont Centre Theatre, 1000

Fremont Ave., South Pasadena,

GO: Walking the Tightrope:

Given that so many examples of children's theater are simply appalling

— the equivalent of Muffin the Puppet singing “Sharing Is Caring and

Obey your Parents” or some such rubbish — what a pleasure it is to see a

work, aimed at a young audience, that possesses both intellectual heft

and genuinely involving emotion. Playwright Mike Kenny's drama Walking the Tightrope

is about grief, but the handling of the subject is deft and nuanced,

while also being told from a child's point of view. The play takes place

in a British seaside town, circa 1950s, as little girl Esme (a

beautifully gamine but not obnoxious Paige Lindsay White) arrives for

her annual visit to her grandparents. She discovers that her grandmother

is nowhere to be found and her sad grandfather (Mark Bramhall) fibs

that she has gone to join the circus, a lie that Esme quickly realizes

is meant to keep the old man from accepting the truth himself about his

wife's passing. Richly evocative, director Debbie Devine's heartfelt

production is touching and truthful without descending into mawkish

sentimentality. Bramhall's crusty, grieving granddad and White's

thoughtfully perky Esme are great together. Tony Duran also delivers a

standout turn, as the ghostly presence of the grandmother's spirit.

(Paul Birchall). Saturdays, 2 & 7:30 p.m.; Sundays, 2 p.m. Continues

through March 30. 24th Street Theater, 1117 W. 24th St., Los Angeles,


: What May Fall: In Peter Gil-Sheridan's thought-provoking drama What May Fall,

a man plummets to his death from a Minnesota skyscraper. It's a

terrible event (particularly for the poor fellow), but the random

incident becomes the inciting incident for a meditation on how death

affects us all. Death, of course, is everywhere and can happen anytime

— but our reaction to it is often unpredictable. For uptight business

executive Mack (Nicholas S. Williams), the man's death forces him to

confront the desire of his pregnant schoolteacher wife, Jo (Alana

Dietze), to abort their possibly disabled child. For Mack's executive

assistant, Mercy (a delightfully nebbishy Christopher Neiman), the death

provides the impetus to take control over the art he wants to create.

And for Arthur (Brad C. Light), a window washer who was the closest

witness to the accident, the death throws up a mix of survivor's guilt

and terror over the randomness of mortality. Gil-Sheridan's crisp

dialogue-driven characters are interconnected in ways that may seem a

tad coincidental, but director Mary Jo DuPrey's intimate staging

artfully brings to mind the mood of ensemble films by Robert Altman.

Performers subtly craft characters grappling with flaws, who change

following the death — and often not in the way one expects.

Particularly effective turns are offered by Williams as an engagingly

uptight (and somewhat tortured) business executive, by Neiman as a

frustrated and bitter assistant and by Dietze as a brittle wife. (Paul

Birchall). Thursdays-Saturdays, 8 p.m.; Sundays, 7 p.m. Continues

through March 23, $25, Theatre of

NOTE, 1517 N. Cahuenga Blvd., Los Angeles, 323-856-8611,

: When You're in Love, The Whole World Is Jewish:

World premiere of Bob Booker's comedy/musical revue, directed by Jason

Alexander. See Stage feature. Thursdays-Saturdays, 8 p.m.; Sundays, 7

p.m. Continues through March 10, Greenway

Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, See Theater Feature.


Steve Yockey's psychological drama. Thursdays-Saturdays, 8 p.m.;

Sundays, 2 p.m. Continues through May 5. Celebration Theatre, 7051-B

Santa Monica Blvd., Los Angeles, 323-957-1884,


And the World Goes 'Round:

Kander and Ebb musical revue, featuring “Cabaret,” “Maybe this Time,”

“All That Jazz,” “New York, New York” and more Broadway hits. Fridays,

8 p.m.; Sundays, 3 p.m. Continues through March 10. North Hollywood

Performing Arts Center (NoHoPAC), 11020 Magnolia Blvd., North Hollywood,


The Baby Project: Book by Lori Jaroslow, music by Fonda Feingold and Noriko Olling,

lyrics by Fonda Feingold and Lori Jaroslow. Fridays, Saturdays, 8 p.m.;

Sundays, 2 p.m. Continues through March 17, NoHo Senior

Arts Colony, 10747 Magnolia Blvd., Los Angeles.

Belz! The Jewish Vaudeville Musical:

Written and directed by Pavel Cerny, with English lyrics by Charles

Kondek. Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through

April 14, Whitefire Theater, 13500

Ventura Blvd., Sherman Oaks, 818-990-2324,


Richard Broadhurst's play about a depressed elderly man rescued from

the brink of suicide by a solicitous angel of death strives to be wise

and poignant but comes off as sappy and conventional. Planning to poison

himself while sitting on his favorite park bench, Max (Eddie Jones)

gets rattled when he finds it occupied by a laid-back guy named Randall

(John Towey), who refuses to move. The two cross verbal swords, after

which Randall reveals his celestial status and launches a campaign to

persuade Max to live out his natural lifespan. The plot meanders through

a series of capricious coincidences that undercut the story's internal

logic. Meanwhile, details about Max's life and what has driven him to

this desperate point are sparse, so the performers must fill in the

gaps. Jones is disappointingly one-note in displaying anger and

depression, while Towey has yet to develop an interesting persona. Anita

Khanzadian directs. (Deborah Klugman). Fridays, Saturdays, 8 p.m.;

Sundays, 3 p.m. Continues through March 24, Avery

Schreiber Theater, 11050 Magnolia Blvd., North Hollywood, 818-766-9100.


Stephen Sondheim composed the lyrics and score to his innovative

“concept musical” in 1970, with book by George Furth. For a comedy

musical about love, it proves resolutely unromantic and honest.

And,surprisingly, its acerbic wit and laserlike scrutiny of marriage,

dating and relationships does not feel at all dated. Director Albert

Marr's incorporation of cellphones and Facebook effortlessly adds a

contemporary feel. The loose story centers on Robert (a charismatic Ben

Rovner), a handsome, single, mid-30s New Yorker surrounded by

well-meaning but smug married friends. Their cheerful efforts to push

him toward joining their club are undermined by their conjugal lives,

which are fundamentally flawed or dysfunctional. The ensemble's vocal

skills are good but not stellar, though Julie Black sings brilliantly as

funky girlfriend Marta. Also impressive is musical director William A.

Reilly's furious piano and synth live accompaniment. Despite some

appealing performances, this company's average Company barely

matches Sondheim's marvelous material. (Pauline Adamek).

Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through March 30, Crown City Theatre, 11031 Camarillo St., North

Hollywood, 818-605-5685,

GO: Dark Play (Or Story for Boys)

Credit: Young Actors Ensemble

Credit: Young Actors Ensemble

Young Actors Ensemble

Playwright Carlos Murillo's engrossingly disturbing drama gives a

high-tech twist to the theme of innocence corrupted — like a quirky

mashup of Les Liaisons Dangereuses and the MTV online-dating docudrama

Catfish. Nick (Daniel Christopher), a seemingly normal but unbelievably

twisted and cynical teenager, creates the fake online persona of ideal

babe Rachel (Hannah Drake) and uses it to seduce Adam (Josh Saleh), a

sweet innocent who dreams of finding his dream girl. As Adam's love for

the mythical “Rachel” grows, Nick's confusion over whether he's just

tricking the boy or actually falling in love with him drives him to

insinuate himself physically into Adam's life. The chat room and webcam

add a contemporary gloss to what is essentially an epistolary tragic

romance. However, one of the marvels of the piece is that it deftly

shows online romantic obsession from the point of view of the obsessed.

As Adam woos Rachel, our real focus is on Nick's feelings, and

Christopher's performance offers a nuanced combination of rage, desire,

unbridled need and, yes, perversion. Murillo's taut and evocative

dialogue erupts with unexpected spurts of bitterness and melancholy, and

director Tommy Statler's pitch-perfect rendering captures both the

pathology of Nick's mind and the chaos of his immature emotions.

Whitmore-Lindley Theater, 11006 Magnolia Blvd., N. Hlywd.; closed. (Paul


Doctor, Doctor!:

Writer-director Randall Gray recklessly defies all the rules of

dramaturgy — and not in a good way. He sets his play in a combined

medical practice that features a psychiatrist and former Nazi torturer

(Mark Colbenson), his seemingly psychotic secretary (Wendy Rostker), a

surgeon who faints at the sight of blood (Rick Lee), a dementedly

sadistic dentist (manic Jon Christie) and a song-belting secretary who

wins the lottery (Sara Jane Williams). The plot, such as it is, is a

series of tenuously related incidents. Gray has turned the piece into a

pseudo-musical by inserting, seemingly at random, some current hits and

old chestnuts, including “I Will Survive,” “Diamonds Are a Girl's Best

Friend” and “They're Coming to Take Me Away, Ha, Ha!” The mostly young

and dedicated cast give their all to overcome inept script and

direction. But ultimately it's just bad community theater. (Neal

Weaver). Fridays, 8 p.m.; Sundays, 7 p.m.; Saturdays, 1 & 8 p.m.

Continues through March 24. Stages of Gray, 299 N. Altadena Drive,


Giving Up Is Hard to Do:

The best moments in Annie Abbott's one-woman show center on the

intimate and raw details surrounding her mastectomy and subsequent

decision to forgo reconstructive surgery. Her tempered grief, and her

insecurity as she later dives, one-breasted, into the online dating

pool, create sharply funny and poignant scenes, which later include

breaking into acting, the sudden death of her lumberjack-sized husband

and her older daughter's epileptic seizures. Abbott is a likable

storyteller who never lapses into self-pity, but she ventures into a

market glutted with one-person shows. The presentation — combining an

unclear framing device, an oddly artificial present-tense narrative and

overly animated staging, directed by Joel Zwick (My Big Fat Greek Wedding)

— at times feels forced. For a cozy chat over a cup of coffee, I can

think of few better companions than Abbott, but this show may find

limited appeal. (Jenny Lower). Fridays, Saturdays, 8 p.m.; Sundays, 4

p.m. Continues through March 17. Victory Theatre Center, 3326 W. Victory

Blvd., Burbank, 818-841-4404,

Golden Girls Live: An All Male Parody: Performed at a gay bar, this show is ideal for people who are ardent fans of sitcom The Golden Girls

and who also may have had a few drinks. Four male performers in drag

enact a “lost episode” in which Dorothy's husband has died and the three

other Girls fly in from Miami to lend her support. On one recent

evening, a few performers were slow on their lines. While the riffs and

gags didn't seem especially funny, the audience laughed heartily.

(Deborah Klugman). Thursdays, Fridays, 8 p.m.; Sundays, 2 p.m. Continues

through March 17. Oil Can Harry's, 11502 Ventura Blvd., Studio City,


Jane Austen Unscripted:

Presented by Impro Theatre. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m.

Continues through April 14. Pasadena Playhouse, 39 S. El Molino Ave.,

Pasadena, 626-356-PLAY,

Ladyhouse Blues: It's 1919. Times are changing. Workers are striking. Women are

demanding the vote. Then as now, bigoted fundamentalists like Liz Madden

(Kitty Swink), the Ozark-born matriarch in Kevin O'Morrison's flawed

melodrama, are digging in their heels. Liz smirks at newfangled

inventions like electricity and phones, denounces all things foreign,

including the French language, and emphatically favors her son over her

four daughters. A character like this can spark juicy drama, but this

production, under Anne McNaughton's direction, is disappointingly

bloodless, underscoring the contrived aspects of the script. Although

the action takes place during a hot spell that people complain about,

nobody sweats. The women peel potatoes and stir stuff, but nothing is

out of place in the kitchen. The performances are variously off-key: As

Liz's eldest daughter, Liza de Weerd displays remarkable vocalizing

power for someone with TB. Swink, radiating little maternal warmth,

vents Liz's biases in a chilly vacuum. (Deborah Klugman). Sundays, 2

p.m.; Fridays, 8 p.m.; Saturdays, 2 & 8 p.m. Continues through March

24, 866-811-4111, New Place Theatre, 10950 Peach Grove St.,

North Hollywood.

The Last Days of Judas Iscariot:

Stephen Adly Guirgis' controversial play. Fridays, Saturdays, 8 p.m.;

Sundays, 4 p.m. Continues through April 6, Victory Theatre Center, 3326 W.

Victory Blvd., Burbank, 818-841-4404,

Love Me Deadly: Matthew Sklar's ghost play, directed by Sebastian Muñoz. Sundays, 7

p.m. Continues through March 24. Zombie Joe's Underground Theatre, 4850

Lankershim Blvd., North Hollywood, 818-202-4120,


Dorothy Fortenberry's dark comedy “transforms a present-day children's

play space into a maternal re-education facility in the not-too-distant

future.” Saturdays, Sundays, 8 p.m. Continues through April 7, Pint Size Kids, 13323 Ventura Blvd., Sherman Oaks,


Mrs. Warren's Profession:

George Bernard Shaw's 1893 classic. Starting March 14, Thursdays,

Fridays, 8 p.m.; Saturdays, 2 & 8 p.m.; Sundays, 2 p.m. Continues

through April 21. The Antaeus Company and Antaeus Academy, 5112

Lankershim Blvd., North Hollywood.

My Big Gay Italian Wedding:

Italian gay boy Anthony (Nick Losorelli) finally gets up the nerve to

propose to his hunky, Polish boyfriend, Andrew (Josh Saleh), and tell

his conservative parents, Angela (Mary Cavaliere) and Joseph (Robert

Gallo), that he wants a big, traditional Italian wedding. They react

with consternation — “First Obama, now this!” — but eventually come

around. But Angela consents to the wedding only if Andrew's mother flies

in from Florida for the occasion. When she refuses, Anthony's black

friend, Rodney (Ronaldo Cox), agrees to impersonate her, in a blond wig.

The farcical proceedings culminate in a wedding ceremony of (barely)

controlled chaos, with two rival best men, feuding lesbian bridesmaids, a

drunken Rodney and a flamboyant gay wedding planner (Matt Hudacs), all

ending in traditional Italian dances. Both Anthony Wilkinson's script

and Paul Storiale's direction tend toward the broad and obvious, but the

enthusiastic audience didn't seem to mind. (Neal

Weaver). Sat., March 9, 8 p.m.; Sun., March 10, 3 p.m.; Fri., March 15, 8

p.m.; Sat., March 16, 8 p.m. Whitmore-Lindley Theatre Center, 11006

Magnolia Blvd., North Hollywood, 818-761-0704.

Play On!:

Rick Abbot's comedy about a theater group trying to stage a play.

Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through March 24, Actors Workout Studio, 4735 Lankershim Blvd.,

North Hollywood, 818-506-3903,

GO: Smoke and Mirrors:

If you've forgotten the childlike joy and sublime wonderment of seeing

magic performed, Albie Selznick's theatrical show is an enchanting

reminder. The accomplished actor-magician puts on a bewildering tour de

force that has more “how did he do that” flashes than can be counted.

The show also has a personal element, as Selznick recounts his long path

to becoming a master magician, starting when he lost his father at the

age of 9 and used magic to escape reality, and then as a means of

challenging and overcoming his fears. He knows how to work the crowd,

and uses members of the audience in a number of his routines. Toward

show's end, he swallows some razors (kids, don't try this), then

regurgitates them on a long string, and wows with a demonstration of

fire eating and juggling some wicked-looking knives. Other amazing

moments are the eerie conjuring of doves out of nowhere and a

mind-blowing exhibition of midair suspension. Like all good magicians,

Selznick has highly capable assistants — Brandy, Kyle, Tina and Daniel

— who dazzle with their own magic in a stylish preshow. Paul Millet

directs. (Lovell Estell III). Fridays, Saturdays, 8 p.m.; Sundays, 2

p.m. Continues through April 28, 800-595-4849, Arts Center, 5108 Lankershim Blvd.,

North Hollywood,


Patrick Skelton, Karen Kahler, Amelia Gotham and Mark Souza; Credit: The Visceral Company

Patrick Skelton, Karen Kahler, Amelia Gotham and Mark Souza; Credit: The Visceral Company

Jonah Light
L to R: Luis Selgas, Marcie Lynn Ross.

In his day job, playwright-director Jeff Bernhardt earns his bread as a

licensed clinical social worker. So one must grant him the benefit of

the doubt when it comes to the technical accuracy of the therapeutic

issues confronted in this drama about the spillover of the personal into

the professional for a trio of conflicted psychological counselors

(Lynn Ann Leveridge, Marcie Lynn Ross and Jed Sura). But what might be

intriguing on a therapist's couch isn't necessarily so on a stage. There

is very little narrative energy in characters spilling their guts about

offstage domestic and childhood traumas for two hours. The few sparks

that do fly are generated by Luis Selgas, in a nicely restrained

performance as a dryly taciturn and bitterly sardonic patient resisting

treatment. Bernhardt delivers some clever twists, but his script feels

as cluttered with the dramatically irrelevant as is Eloise Ayala's

furniture-crammed set. Secret Rose Theatre, 11246 Magnolia Blvd., NoHo;

Sat., 8 p.m.; Sun., 2 & 7 p.m.; through March 17. (800) 838-3006, (Bill Raden)

Urban Death:

Zombie Joe's Underground's horror stories. Saturdays, 11 p.m. Continues

through April 27. Zombie Joe's Underground Theatre, 4850 Lankershim

Blvd., North Hollywood, 818-202-4120,


GO: Caged:

Not long ago, people regarded as exotic or subhuman were tossed into

cages for the viewing pleasure of the American public. Such was the

dreadful fate of Congo pygmy Ota Benga, who was displayed with monkeys

at the Bronx Zoo in 1906. In Charles Duncombe's world-premiere drama, Caged,Megan

Kim and R.J. Jones are naked, snatched-from-the-jungle “noble savages,”

who, confined in a cage stocked with toys, convincingly channel

primitive angst, lethargically striding about, communicating and

reacting with grunts and violent upsurges and hitting each other

playfully. Extended commentary about the exhibit is provided by a keeper

(Katrina Nelson) and an interviewer (Leah Harf), whose theories and

statements of facts are a bladed mix of the outrageously comical and

idiotic. But it's the cavalcade of spectators and their assorted

hang-ups that provide the wallop of humor and irony here: a boy with his

parents wanting to see tricks; a man meeting another man for a

blowjob;several couples in distress, mirroring the plight of the

captives; a lonely woman seeking affection; an elderly woman with a huge

ax to grind. The contrasts and the heavy-handed subtext are striking —

and unsettling. Though not overly dramatic, Duncombe's smartly written

script is delightfully provocative and insightful. Performances are

sharply calibrated under Frederique Michel's direction.(Lovell Estell

III). Fridays, Saturdays, 8 p.m.; Sundays, 4 p.m. Continues through

March 24. City Garage at Bergamot Station Arts Center, 2525 Michigan

Ave., Santa Monica, 310-453-9939,

Chapter Two:

Neil Simon's romantic comedy. Fridays, Saturdays, 8 p.m.; Wed., March

20, 8 p.m.; Thu., March 21, 8 p.m.; Sun., March 24, 2 p.m.; Thu., April

4, 8 p.m. Continues through April 6. Little Fish Theatre, 777 Centre

St., San Pedro, 310-512-6030,

GO: A Heap of Livin':

In Elliot Schoenman's evocative family drama, Lawrence Pressman plays

iconic folk singer “Ramblin'” Harry Roe, whose impeccable, 1960s

left-wing credentials include marching with Dr. King, singing with Pete

Seeger and protesting at Kent State. Now elderly and frail, sustained

mainly by his memories of the good old days, Harry's a crotchety penance

to his two long-suffering daughters. Older daughter Pearl (a

marvelously brittle Didi Conn) has served daddy like a drudge through

his declining years, while younger daughter Eden (Jayne Brook) has fled

across the country to avoid having anything to do with her neglectful

papa. On the eve of a massive tribute concert set to honor Ramblin'

Harry, the sisters confront their varying degrees of resentment and

rage. Schoenman's play is functionally a drama about children

confronting the role of being caregivers for an increasingly

recalcitrant elder, but the piece also thoughtfully encompasses a debate

on the regrets of children forced to live in a genius parent's shadow.

Although Schoenman's dialogue occasionally veers awkwardly into the

realm of soapy melodrama, director Mark L. Taylor's production crackles

with heartfelt emotion. Brook's prissy Eden and Conn's rumpled,

increasingly bitter Pearl are great turns, but they ultimately orbit

Pressman's powerful portrayal of a steely, idealistic artist. (Paul

Birchall). Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues

through March 17, Odyssey Theatre, 2055 S. Sepulveda

Blvd., Los Angeles, 310-477-2055,

GO: Paradise: A Divine Bluegrass Musical Comedy:

Music and book by Bill Robertson, Tom Sage and Cliff Wagner. Directed

by Dan Bonnell. See Stage feature. Fridays, Saturdays, 8 p.m.; Sundays, 2

p.m. Continues through March 30. Ruskin Group Theater, 3000 Airport,

Santa Monica, 310-397-3244, See Theater Feature

GO: The Rainmaker: A con-man/drifter walks into a small town, usually in the Midwest, and

seduces a vulnerable local female. He not only seduces her, he awakens

her to her true self and potential, which the opinions of others — her

family and society — have been suffocating. Oh, brother. Get the broom

and sweep off the cobwebs. In lesser hands than director Jack Heller's,

watching The Rainmaker would be like trudging through a slightly

dank, primeval marsh without rubber boots — the kind of experience

where you might say, “Well, isn't this historic and curious. Where can I

dry my socks?” The production is saved in part by its linchpin, Tanna

Frederick's droll, rat-smart Lizzie. With subtlety and composure that

often belies the text, she knows who she is and what she wants. Though

the play is over-written, Frederick's performance lies so entrenched

beneath the lines, it's as though she absorbs the play's excesses so

that they don't even show. Her terrific performance is not enough to

turn the play into a classic, but it does provide enough of an emotional

pull to reveal the reasons why it keeps getting staged. (Steven Leigh

Morris). Fridays, Saturdays, 7:30 p.m.; Sundays, 5 p.m. Continues

through May 19. Edgemar Center for the Arts, 2437 Main St., Santa

Monica, 310-399-3666,

See Rock City:

Arlene Hutton's study of young married life in 1940s rural Kentucky.

Wed., March 13, 8 p.m.; Thu., March 14, 8 p.m.; Sun., March 17, 2 p.m.;

Fri., March 22, 8 p.m.; Sat., March 23, 8 p.m.; Wed., March 27, 8 p.m.;

Thu., March 28, 8 p.m. Little Fish Theatre, 777 Centre St., San Pedro,


Advertising disclosure: We may receive compensation for some of the links in our stories. Thank you for supporting LA Weekly and our advertisers.