The Ark Theatre Company has sought out and produced the Los Angeles debut of Oscar Wilde’s original intended work Lady Lancing “A Serious Comedy for Trivial People” Or, The Importance of Being Earnest, “A Trivial Comedy for Serious People”. For over one hundred years, this widely recognized classic has been performed in three acts until scholars uncovered the full length version now being played at the Attic Theatre.

The Importance of Being Earnest is Mr. Wilde’s witty depiction of the aristocratic views of social behavior. It is a commentary on how those who take themselves too seriously wind up looking utterly ridiculous. All in all, and more simply, it is a comedy of manners.

John Worthing is known as Earnest to Algy and the other people in town, but in the country he is known as John or Uncle Jack. Algy having invented his own ill-ridden friend, Bunbury, from the country, uses the falsified sudden illnesses to get out of social events, especially those with people he wishes not to see. Eventually, Algy ends up in the country and tells John’s family that his name is Earnest. They both fall in love with two separate girls and the men do all they can to avoid having to tell them their real identities because the girls only wish to marry men who are named Earnest.

Walking in to the performance space, I got a hint of the production’s simplicity. Brittney Melton’s sound design combined with Christina Silvoso’s scenic painting, made me feel like ordering a cup of tea and scones. As the classical music gently rang out, I scanned the set only to imagine the color palette chosen was anything but unintentional. Classic impressionistic black drawings on a cream background set the mood for this not-so-black and white storyline. Costumes by actor Osa Danam (Miss Prism) were collectively lovely and true to the time period Wilde intended for the play. Although the characters remained in the same clothes throughout the show, the subtlety in change for Mr. Worthing was quite clever. A change in top or bottom would have assisted in exploring the passage of time. The lighting by Michael Gonzales enhanced the tableaux which opened the beginning of each scenes.

Directed by Derek Charles Livingston and Douglas Leal (who also played Algernon) …Earnest begins and ends lively. The overall pacing however needed a little nudge. Most of the direction felt in sync with the timing of the dialogue, but I was unclear if stumbled lines or added material interfered with the overall pacing of the show. Wilde’s sharp wit fell a little flat as the momentum stalled moving into intermission.

Moments of the production also felt a little over played rather than straight and allowing for the comedy to shine through the absurdity of the text. Relying heavily on the art of storytelling, however, Mr. Livingston and Mr. Leal creatively removed the use of any real handheld props. The actors pantomimed all of the actions, never once being a distraction within the scene. They moved seamlessly from one cup of tea to cucumber sandwich without every breaking my focus on the characters. The use of staging was well crafted and opened up the small performance space for this bigger than life reality.

One scene in particular, however, caught the essence of Wilde’s intention of stereotyping aristocratic behavior as judgmental on a person’s character based on their appearance. The quick banter and unspoken body language by Anna Quirino as Gwendolen and Caroline Sharp as Cecily had all the elements of debutante cattiness down to a tee. Often the laughter from the audience came when no words were spoken. Miss Sharp in particular was exceptionally joyful to watch. She had complete command of the language in both cadence and delivery.

Despite my minor quibbles, I would recommend seeing the Ark’s production for posterity reasons. Most of my observations may be ironed out as the shows run continues. Fans of Oscar Wilde or this play in particular will be entertained and future production can see for themselves if the deleted scene should remain deleted for another hundred years.

Lady Lancing or The Importance of Being Earnest plays Fridays and Saturdays at 8 pm and Sundays at 2pm through August 15th, 2010 (note: Sun. Aug. 7th the show is at 7pm).

The Attic Theatre is located at 5429 W. Washington Blvd., Los Angeles, CA 90016. Street parking only, so arrive early.

Ticket prices are $20 general admission and $15 for students and seniors.

For reservations, call 323-969-1707 or info@artheatre.org, with more detailed information at www.arktheatre.org.

In the overture to Opus, now making an extended run at the Fountain Theatre, one of the characters compares making beautiful music together to lovemaking (and bad music to drinking Drano). If so, then the Lazara Quartet at the heart of the play is an absolute orgy, four men whose legatos, crescendos and pizzicatos regularly embrace, cavort and procreate, striving for ever-higher levels of musical rapture. Unfortunately, the passion of the music proves no match for the clashing of the egos.

As the play opens, the remaining three members of the quartet are in the midst of auditioning for a replacement for Dorian, the brilliant but mercurial violist whose mood swings have finally gotten too much for the group. Although cognizant that his vision and passion would be missed, they are content to concede some genius for a little less drama. In steps Grace, an enormously talented recent music graduate in the midst of weighing her career options. The three woo her shamelessly, hoping that her musical gifts could somehow fill the void left by the departure of Dorian, while also helping to stabilize the group dynamic. Adding to the pressure is an impending date to play the White House, as well as an unfinished Beethoven suite the group had started recording but never completed.

As Grace regulates to the group and they to her, flashbacks shed light on how things have come to be as they are. Snippets of interviews serve as intermezzos, as the musicians provide staccato answers to unheard questions from an unseen interviewer.

It’s always a delight to witness artists and craftsmen interact with others in their field, seemingly speaking in a different language, and the script by Michael Hollinger – who got his bachelor’s degree in music and his masters in theatre – has much of that same insight and passion which endeared Amadeus to millions of classical music aficionados and neophytes alike. All are able to appreciate the beauty of the music by hearing it through the ears of those who understand it, embrace it and cherish it so much more than most of us ever could.

The acting is excellent all-around. Daniel Blinkoff is superb as Dorian, treading the amorphous line between genius and insanity. Jia Doughman is wonderful as Grace, quite, demur and with no idea what she is getting into. Christian Lebano truly embodies the problematic Elliot, who, in some ways, serves as the antithesis to Dorian but soon is shown to have more in common with his ex-lover than he would care to admit. Gregory G. Giles and Cooper Thornton fill out the quintet nicely with equally solid portrayals.

During the musical numbers of the play, I could never be sure whether the actors were actually playing their instruments or “bow-synching” to pre-recorded music, nor could I decide which would be more impressive. The fact that it wasn’t clear speaks to the incredible preparation of the actors and the fastidious direction of Simon Levy and his duet of musical advisors, Larry Sonderling and Roy Tanabe.

Frederica Nascimento’s set design is artistic and visually appealing and Ken Booth’s lighting is inventive and well-conceived.

Opus is an all-around professional production, with artistry, craft and attention to detail that is not lost on the audience and has become the hallmark of Fountain Theatre productions. I can sum up my reaction in one word: “Bravissimo.”

Opus is performed Thursdays, Fridays and Saturdays at 8 pm and Sundays at 2 pm through August 29, 2010

The Fountain Theatre is located at 5060 Fountain Ave., 1 block east of Normandie Ave. in Hollywood, 90027.

Ticket prices: Thurs/Fri $25 (Students: $18/Seniors: $23), Sat/Sun $28

Reservations online at www.fountaintheatre.com or by phone at 323-663-1525.

A few minutes earlier, in the cozy little lobby of The Space just off Melrose, I chatted with Coeurage Theatre’s a artistic director Mr. Jeremy Lelliot about the company’s recent move from the valley to Hollywood and their experience at the Hollywood Fringe Festival - year one, which seems to have sparked something that is still taking shape in Hollywood in a surprising way - a grinding new desire to do something personal, effective and lasting in live theatre, outside of the Taper and their big bucks (I added that last part). Now, before the curtain is opened on night two of their newly designed, modest black box stage, young Jeremy is addressing the audience with care and a solid kind of affection for us being there on a pay-what-you- want night. Pay-what-you-want, aside from meaning exactly that, implies that maybe these folks like what they do and are going to keep on doing it regardless of the dollars. It makes me a little more hopeful that I might like it too.

But I’m looking at the program and thinking about 5 acts of Shakespeare with characters popping out of every floor board crack in immensely convoluted interaction, wondering if this story, about a power hungry deputy ( Angelo) entrusted by the Duke of Vienna (Vincentio) who, feeling ineffectual, goes undercover in his city to see if the people, like crows sitting on a scarecrow, have grown so accustomed to his laws that they no longer fear them, and if the themes of corrupt authority and sexual morality brought out by the events of Claudio, a man sentenced to die for having illegal sex out of wedlock and his chaste sister Isabelle, who goes to Angelo to plead her bothers case, can be encapsulated in a few sentences and if five actors can pull it off on stage. In particular, I’m wondering what’s going to happen at the end when all the characters (21, plus lords, officers and attendants) are supposed to be on stage, together, at the same time.

When the lights come up and the five actors stand staring defiantly at the audience, it occurs to me that they might be wondering the same thing. But what the heck – they’re gonna give it a shot. The company graciously eased us into the language and setting by highlighting details and speaking with great clarity until our ears adjusted – whether by accident or on purpose. A lot of confusion can ensue even when the respective characters are represented by individual actors but in this troupe, with each member taking on many, signified with distinct commedia- like manners, behavior or simple accessory, their transitions became part of the entertainment.

A funny, unflappable, sad sack Master Frothe, played by Ms. Sammi Smith or the friar’s and constable’s turnarounds with a flip of suspenders or scarf, had characters appearing or disappearing under a hat or with a gesture, moving the play along with inspired care that let us get caught up in the action. Though there were a few fumbles and it was by no means miraculous, in a Robin Williams ADD kind of way, these are smart actors who are fun to watch. A jingling chains sound effect employed by a member off stage, while the actor, in his imaginary shackles, scuffles across the stage in counsel, is the kind of troupe detail that must have excited the inn yards of England and reminded me of clever RSC productions I have seen.

In Shakespeare’s tragedies, the good end unhappily the bad die, in comedies the good are delivered, the bad punished and all in their place -measure for measure. The audience certainly laughed and enjoyed Coeurage Theatre’s production like a comedy– even the guy, perhaps made of paper, who laughed a little too loudly but at least at the right times. But by its discordant shifts in tone from comic to tragic and the sensitive dynamics of love and marriage, this play is arguably in that grey area between tragedy and comedy - what is called a “problem play” - because it presents a social problem. In the case of Measure for Measure, one of sexual responsibility and moral corruption. Not much has changed given our current climate. How to find folly and depth at the same time is a noble aim and no doubt one Shakespeare himself (if he existed) struggled with in the writing. Strong scenes, between Isabelle (Ms. Smith), the sister of the sentenced man and Angelo (Peter Weidman) the entrusted authority, hold up the moral questions while many other performances, in particular John Klopping in perhaps the widest range of characters as Escalus, Lucio, and Provost, provide healthy doses of humor - that final schizophrenic scene at the pinnacle.

A rotating door, a French entrance and a secret curtain, The Space is freshly designed for the smart fun they seemed to already be having – indeed for their folly. Mr. Gedaly Gubereks staging was simple and thoughtful, props creatively applied. I was thankful for the streamlined approach which they played at neatly. But even considering the complexity of the ensemble and the 2^nd night legs, there did seem a lack of fervor or commitment– the kind of intensity that might have encouraged inn yard audiences to the verge of riot. Short of that, seasoned troupes often had one themselves. Coeurage is definitely on the right track, grabbing the newly fraught orbs of their artistic manhood and Shakespearing them into a budding first season. Shakespeare never grows old. There is sense in truth and truth in virtue…haste still pays haste… and measure still for measure. I’m going back at the end of the run.

Measure for Measure plays at 8 pm, Friday and Saturday, Sunday at 7pm until August 8th, 2010

The Space theatre is at 665 North Heliotrope Dr., Los Angeles, 90029, south of Melrose and east of the 101 Fwy.

Tickets are Pay-What-You-Want admission.

Reservations and more information atwww.CoeurageTheatre.com

Procreation takes a long, hard look at a dysfunctional family and the issues with, you guessed it, procreation. Directed by David Schweizer from a play written by Justin Tanner, Procreation is a troubled, crowded piece of theater.

The production was troubled from the get go. Originally set to open in New York City (where producers Linda Toliver and Gary Guidinger had previously run a theatre for 22 years) the venue fell through and instead of canceling the show, Procreation moved to The Odyssey in Los Angeles.

Procreation tells the story of Hope, as she throws a party for her recently sober mother, Ruby. With Hope’s equally alcoholic family in town, the stage is set for disaster. The premise is interesting, essentially staging an intervention in which an alcoholic family confronts their sober mother. The premise, however, is all but abandoned for the sake of “dysfunction.” Between gay affairs, hoarding, drugs and pregnancy among the elderly, Procreation leaves no family dysfunction out. The result is a convoluted and cluttered melodramatic comedy without focus. Each of Hope’s family members is given his or her own problems, which, instead of fueling the central story line, take away from it. The focus shifts from character to character so much that it leaves the entire play feeling empty and disjointed. Instead of fully realizing the family’s issues, Tanner throws in new characters to distract from actually resolving conflict.

Hope and Ruby, who don’t get along, each lament the troubles of parenting, agreeing that no matter how hard you try as a parent, your result will ultimately fall short of expectations. This theme related to Procreation more than they knew. For no matter how hard they tried, the play fell short. Their child disappoints.

The direction by Schweizer is simple, which is justified giving how much is going on in the plot. While he excels in the physical jokes and stage movement, Schweizer direction falls short when it comes to character work.

Much of the comedy comes from Kody Matchelor who plays Hope’s son, Gavin, who, at the age of 15, is grappling with his sexuality, still wetting the bed, and horribly overweight. The character, while young, is written like an adult and Matchelor seamlessly delivers the wry and sarcastic lines of dialogue. Melissa Denton’s Hope is the most grounded and relatable character. Denton is also the strongest actress of the piece, creating a character that feels like a mom you might have grown up with. The others in the cast, however, perform flat characters; often overacting to make up for the lack of emotional depth.

Procreation walks a fine line between being relevant and being timeless, missing the mark on both. References to things in current pop culture (like “OctoMom”) are just frequent enough to make Procreation contemporary, but so fleeting that they provide little, if any commentary about modern society.

Also fleeting are the sparse mentions of location. While this could be Middle America, Procreation takes place in Los Angeles. You’d never know it though, had they not thrown out quick shout-outs to Ventura and Silverlake. Ultimately, what’s left is a desire to either leave the location completely up in the air, or make a commitment to the fact that it takes place in LA.

Set and lighting design by Gary Guidinger was strong. He naturally captured the image of a disaster of a house, creating a mess that didn’t at all feel staged. Aside from a slight technical glitch, sound design by Kristian Hoffman was also on point.

Procreation plays Fridays at 8 pm, Saturdays at 7 pm & 9:30 pm and Sundays at 7 pm. The show opened on Friday, July 16 and will run through Sunday, August 15, 2010.

The Odyssey Theatre Ensemble is located at 2055 South Sepulveda Boulevard (between Santa Monica Blvd. and Olympic Blvd.) in Los Angeles, 90025.

Ticket prices: $25.00 for Friday nights, and $30.00 Saturdays and Sundays.

Reservations online at www.odysseytheatre.com or by phone at 310-477-2055.

What started as a competitive entrée in the New York Musical Theatre Festival and ended with successful runs both on and off-Broadway and a Tony nomination for Best Book in 2009, [title of show] has finally arrived at the Celebration Theatre for its Los Angeles premiere.

And the Celebration Theatre, with its commitment to presenting innovative gay theatre, is the perfect home for this enjoyable ride through the creative process.

Jeffrey Landman and Micah McCain shine as Jeff and Hunter, a composer and writer living in the heart of New York City. They’re talented, ambitious, funny, gay. The last of which is the source of most of the jokes in the piece. Celebration Theatre is a great venue for this show, which provides a glimpse at the lives of two gay men writing a musical in New York City.

The show is less about these men being gay, though, and more about the creative journey these two artists take. From genesis to passion, to the inevitable break down, [title of show] has it all. This musical is for anyone who has ever set out to create, and under the direction of Michael A. Shepperd, the themes of perseverance, drive and not letting any “vampires” stand between the artist and their craft are brilliantly preserved.

The musical works so well because of how much the entire cast and crew attaches to the source material. Their passion for the project shows through in every element. It has to be because  they are these characters. This show is relevant to everyone involved, but it doesn’t stop there. It is relevant to the audience because no matter who you are, you can look at these four actors and see yourself.

[title of show] starts three weeks before the deadline of the New York Musical Theatre Festival, where Jeff (Landman) and Hunter (McCain) decide to write a musical. Hard pressed for time- and a plot- the two decide to document their writing of a musical into the musical itself. The final product is [title of show], making the entire thing a ridiculously fun, self-aware cycle.

Jeffrey Landman is the straight man to McCain’s flamboyant Hunter, but that’s not saying that Landman is without his own comedy chops. The chemistry between the two is wonderfully natural, allowing them both to show off while bouncing off one another. They’re both vocally gifted, making everyone (no matter how ridiculous) enjoyable. Two more fitting men couldn’t have been found to carry on Jeff and Hunter’s charisma and charm.

Needing friends to help pull off their musical, Jeff and Hunter bring in Heidi and Susan. Carey Peters and Jennifer R. Blake as Heidi and Susan, respectively, match the men’s skill ounce for ounce. Blake’s comedic ability is rivaled only by Peter’s powerhouse voice – making their duets enjoyable highlights of the musical.

Despite Susan’s claims that she can’t sing, Blake doesn’t seem to have that problem. Blake’s voice and those of her co-stars blend beautifully and –aside from those they’re written to miss- the cast sounds fantastic under the musical direction of Gregory Nabours (who resides on stage as the pianist, Larry, and is given the opportunity to showcase his own comedic charm).

The stage is set simply 4 chairs and keyboard – just as the book specifies. It is with the lighting that this musical becomes a show. Lighting designer Matthew Denman flourishes, and helps the audience to understand when we’re in the play and when we’re in the play within the play and so on and so forth. The pace is brisk, with scenes connected by voicemails Hunter and Jeff leave each other.

The cast is talented, the music is catchy, the show is relevant. [title of show] isn’t to be missed.

[title of show] is performed at Celebration Theatre on Thursdays, Fridays and Saturdays at 8 pm and Sunday matinees at 3 pm. The show opened on Friday, July 16 and will run through Sunday, September 5, 2010.

Celebration Theatre is located at 7051 B Santa Monica Blvd. (1/2 block east of La Brea Blvd.) in Hollywood, 90038.

Ticket prices: $35.00 for opening night, and $30.00 for all other performances.

Reservations online at www.celebrationtheatre.com or by phone at (323) 957-1884.

Three Sisters After Chekhov by Mustapha Matura is a superb, post-colonial adaptation of Anton Chekhov’s classic masterpiece. An ambitious undertaking, the play tells the stories of a privileged family living in Colonial era Trinidad and explores the delicate relationship we all have to ourselves, to family, to community and to the government.

Set in 1941, the play involves the three sisters and their brother who are trying to pick up the pieces and move on after their father has passed away. They all dream of returning to Cambridge, England where they spent a good portion of their youth, among other aspirations. However, these dreams are shattered when World War II escalates and the Trinidadian army is called to battle, causing each of the characters’ truth to come spewing out.

The play’s opening and ending tableau is simple yet striking: Alma, Helen and and Audrey Rivers are all standing at a window looking off into the distance. This image is an excellent representation of the sisters, each of whom are searching for meaning in this new world that they live in. They are looking for hope for a better future and security now that their father is dead. Returning to Cambridge is that for them. And while their dreams rise and fall they end up at the same place, waiting and looking for what’s already past.

One interesting element of the play was the view toward civic duty. Lt. Edward Scott chooses to leave the military to pursue starting a family and to seek Trinidad’s independence from the crown’s rule. This decision angers his good friend, Lt. Lucas, who considers this not only a professional betrayal but a personal one as well. Lt. Scott’s lofty ambitions also upsets Francis, Helen’s husband, who had made a decent living from the colonization and the war. He is no longer fooled into defending a country that has colonized his people and usurped their power, and he doesn’t want to become assimilated into the profit machine that drives the colonial endeavor. But for what? Ultimately, he loses everything for taking a stand and trying to take responsibility for his life.

Three Sisters After Chekov also investigates the power dynamics in colonized countries and the aftermath of that influence. Although married, Helen seeks a romantic relationship with Captain Richard Rivers, who is also married. The relationship is a fantasy where the two can run away from the dreadful realities of their marriages. However, one can’t help to wonder about Captain Rivers’ intentions. He refers to her in exotic ways, thereby othering her. Is she just another savage that he can play make believe with? On the other hand, does Helen just see him as a ticket to Cambridge and to a more secure life? Not surprising, Captain Rivers has to leave Helen behind. Helen has to deal with what’s left over. Similarly, once Trinidad finally achieves self-governance in 1956, the country has to deal with what’s left over.

The acting was stellar. Most notable were the performances by Diarra Oni Kilpatrick and Terrence Colby Clemons. Ms. Kilpatrick was the emotional through-line of the play. She obviously enjoyed playing the range of emotions of her character, which included light and fun to furious and devastated. It was her crushing emotional breakdown at the end of play when Ms. Kilpatrick shined the most. Mr. Clemons, who played Peter Rivers, shined bright as well. He carefully calculated each of his choices as his character descended from a bright future with a good job at the university to being manipulated in a controlling marriage to a debilitating addiction to gambling and booze.

The mission of the Lower Depth Theatre Ensemble is also one that is worth mentioning. The program says that they “seek to present the finest in classical, contemporary, and emerging American theater through the lens of the artist of color.” In the book, “Wide Sargossa Sea,” Jean Rhys writes a postcolonial novel based on Charlotte Bronte’s, “Jane Eyre.” “Wide Saragosa Sea” tells the story of Rochester’s first wife, one that gets excluded from “Jane Eyre.” While extremely ambitious, it’s exciting that LDTE is pulling classics from the literary canon, like Three Sisters, and putting them in a fresh setting and context. Their mission is pushing the theater tradition forward and building on the classics of the past to create a more rich, more diverse and more complete theater experience.

Regardless of whether it’s Moscow or Cambridge or wherever, Three Sisters After Chekov successfully reminds us of the power of theater to tell our stories, ask important questions and to share in our collective experience.

Three Sisters After Chekhov is performed on Fridays and Saturdays at 8 p.m., and Sundays at 4 p.m. through August 8, 2010.

The Lost Studio at 130 South La Brea, in Los Angeles, 90036. Street parking is available. Parking meters are free after 8 p.m. Monday - Saturday and on Sundays. Neighborhood parking is available after 6pm.

Tickets are $15 - $25.

Reservations online at http://lowerdepththeatreensemble.org/ or by phone (800) 838-3066

1995. Toy Story is number one at the box office, the Dow hits a record 5000 and in the little town of El Monte, 20 miles southeast of the Hollywood sign, on August 2, a multi-agency task force raided a seven-unit apartment complex and freed 72 undocumented Thai immigrant workers, most of them women, who had been held in virtual slavery. Trapped behind razor wire fences and padlocked doors and forced to sew garments 17 hours a day, they were paid less than 10% of minimum wage and had to buy essentials with the rest – spending up to $6 for a bar of soap. 72 slaves held hostage, some for up to seven years, right in our backyard, right on the way to Vegas.

A complicated web of cultural, psychological and industrial forces, Henry Ong’s Fabric weaves an accurate historical account while telling the story of the sweatshop victims.

Riding the elevator up with us to the 3^rd floor Black Box where the Company of Angels has been for about two years, the custodian tells us that the Alexandria Hotel was built in 1910. It really has that old Los Angeles feel that transports you back in time– so much is going on downtown these days and it’s great to feel a part of it. The lobby is peppered with memorabilia from 1995 – fabric samples and some pictures from the raid and at the outset of the play different characters appear and tell us, from their own legal, ethical and moral perspectives, what’s in store.

Aside from a parallel narration of the Lawyer addressing the audience as the jury, interjecting the crucial facts along the way, the first half lays down the journey, from Thailand to El Monte, of the sweatshop victims. How they are deceived into coming to America , the details of the “factory” and the psychological manipulation that lead the girls to be indentured behind their sewing machines. The leader of the Thai-Chinese gang family who operated the converted apartment space and enlisted recruiters, Auntie Suni (played with strength by Dian Kobayashi) - who “only picks the best ones” - withholds their mail, controls their diet and sleep and threatens their families back home with the Thai Mafia – intimidation and scare tactics that take a toll on the workers to blur the fine line between fulfilling a contract and being her slave.

The second half of the play, more clearly structured (in that familiar police procedural way), depicts the circumstances that lead to the raid. One of the girls who has escaped out the window by removing the air-conditioner, and is presumably dead or raped, comes back to blow the whistle. Ironically, it’s because of her escape that the razor wire went up and the girls weren’t allowed outside of the complex. On the day of the raid, law enforcement officers led by the California Department of Industrial Relations and the INS arrested eight operators including Auntie Suni. The inter-agency politics and sensitive handling of information on a rescue that almost never happened unfolds into a full on door battering, interpreter attended assault and the ensuing courtroom drama. In the light of court, a familiar and established atmosphere, we see more clearly the distorted sense of reality in which the victims lived.

A strong ensemble effort, with some stellar performances in the way of multiple roles. Feodor Chin’s military clad Thai politician with distinct and despicable mannerisms and a depth of emotion from Jolene Sarah Kwang-Ai Kim (Jaidee), Jully Lee(Lampha) and Jennifer Chang (Rotchana). Within Mr. Ong’s story are moral issues of how we treat people - each other, the psychological forces of greed across cultural boundaries, the influx of illegal immigrants - a battle in our own political arena and how their personal stories may be overlooked for the sake of policy. All things we should perhaps reconsider in an emerging global market. Plays that deliver an accurate history while allowing the full depth of the human experience can also uniquely transport ideas by encouraging us not to forget (see Shakespeare and his monarchs). Fabric has all those elements but whether in Mr. Ong’s script or director Marlene Forte’s staging, the pace at times relied on weighty exposition that was delivered at the expense of the narrative thread, cooling the dramatic tension. The sometimes obscure lighting/set changes and a rather muted sound design – in conflict with the backbeat of the hip hop dance club going on 3 floors below – didn’t help.

However, at the curtain call, the cast gave special notice and a heartfelt thanks to the actual Rotchana (one of the victims) who had attended the show and was in the audience with her family. It was touching to see her in real life, so grateful and moved by the play. Members of the audience shook her hand and seemed warmed to know that her life had come to some good. I felt generous thanks for the collaborative efforts that brought her story to the stage. My friend cried. Ms. Forte’s ideas and the script itself lead the cast- only in their second week - in that direction.

Fabric plays at 8 p.m. Fridays and Saturdays, 4:30 p.m. Sundays through Aug. 8^th, 2010.

The Company of Angels is located inside the Black Box at the Alexandria Hotel, 501 S. Spring St., Los Angeles. At Spring and Fifth, downtown.

Tickets are $20, $12 senior and student.

Available online at www.CompanyofAngels.org or at OvationTix (866)-811-4111.

There are those who actually set out to offend their audience. I can certainly understand the impulse, and even possibly respect it as a way of getting a point across, but it isn’t my style. I never set out intentionally to offend. I will often even soften things, put them in the most diplomatic terms, in order not to offend.

There are those, however, who are committed to being offended and I can’t be bothered to try to take care of them.

LATR covered the first Hollywood Fringe Festival last month as best we could. We were proud of our coverage, and proud of the entire Los Angeles theatre community. We printed a daily review sheet that was left each morning at many of the venues hosting shows for the Fringe. We called that sheet “The Daily Rag.” I was told recently that someone, perhaps several someones, took exception to that name. At first, I couldn’t for the life of me figure out why. Then I realized they thought we were referring to, if you’ll pardon the phrase, sanitary napkins.

A rag is a slightly derogatory term for a newspaper, and we thought it was kind of a fun name, in keeping with the vibe of the Fringe. It is also a derogatory term for a feminine necessary. However, in what world would anyone want to name a daily newspaper after that, and in what world would someone assume someone had?

If you like taking offense at any and all possible stray utterances or occurrences, no mater how obscure, bless you and I hope you derive some sort of pleasure from the experience. I will even go so far as to apologize for any unintended injury we may have caused.

To the rest of you, I hope you enjoyed our daily tampon.

Company: Theatre Asylum / Combined Artform

Neighborhood: Hollywood

Address: 6320 Santa Monica Blvd. Los Angeles, CA 90038

Website: www.theatreasylum-la.com

Seat capacity: Theatre – 82; Lab - 40

When founded: Theatre Asylum – 2007; Lab – 2010.

Parking: Free street.

Handicap accessible: Yes

Restrooms: Yes

Amenities: Wi-Fi, Full Video in both theatres, surround sound, heating, a/c.

Lobby: Yes

Concessions: Yes; and you’re allowed to bring it in the theatre.

What’s nearby:

• Philly Steak Depot: 6254 Santa Monica Blvd - About 2 blocks east of the theatre. The cheesesteaks are amazing.

• Café Muse: 6547 Santa Monica Blvd. - Less then half a mile west of the theatre. A cafe with delicious food and drinks. They also have vegetarian/vegan options.

• Grub: 911 Seward St - About a half mile SW. They have the best tuna melt in LA and the “crack” bacon is legendary.

What’s on: Theatre Asylum’s Best of the Fringe.

I think the biggest lesson learned during the inaugural Hollywood Fringe Festival is that we, in the theatre community, not only need to support one another, but that we also need to combine forces. One thing that was mentioned in the Critics Panel hosted by LATR is that we need more producers. Thus, Producing Artistic Director and Founder of Theatre Asylum, Matthew Quinn, is just what this town needs.

Hailing from San Francisco, in 1998 he started Combined Artform, which is “on a mission to develop and combine all art forms to pioneer the ‘arts of the future,’ as well as be an active and supporting member of the San Francisco – and now Los Angeles – performance production scene,” says Quinn. The name “combined art” is a concept inspired by Richard Wagner’s idea of Gesamtkunstwerk, in which music, text, costume, and more combine into a seamless experience for the audience.

“I wanted to create a company to do works I was interested in as well as explore multimedia use in production. This has grown to building and running venues and working with other productions as a co-producer.”

Starting out as a 501c3, they eventually became a for-profit company when they built Off Market Theatres in 2003. “There were types of things we wanted to do that didn’t fit in a non-profit model.” Becoming a for-profit “broadened our ability to do a variety of different shows and do co-productions. We’ve been able to help other companies grow and develop in our space.”

Being a for-profit and having theatres in both LA and SF really makes Theatre Asylum unique. “We act as an independent producer to allow shows to develop and extend. We have worked with several companies in assisting them to grow and develop. Our own productions involve multimedia and looking to bring media into performance in new and unique ways. And we are always involved with developing community.”

When he first came to LA in 2007 and took over the Elephant’s Theatre Asylum, the original vision was to have more shows go back and forth from LA and SF. “The recession hasn’t helped people wanting to take that risk,” admits Quinn. But now with the Theatre Asylum’s The Best of the Fringe, he’s met people who are interested in traveling to San Francisco to present their work. “It’s been a long time coming,” reveals Quinn, “I have been growing these connections and I’m interested in working in both cities.”

Adding his thoughts on the theatre community, “We should be working together as much as possible. We should share our PR, marketing and talent.” He asks an important question: “Where is theatre going? We need to be looking at internet, TV, film, etc. and working with other media. I’m looking towards the future to a more unique use of multimedia and the cross-over between theatre and television, film and the internet.”

Multimedia plays a huge role in Quinn’s mission. He hosts Tilted Frame where he teaches an experimental approach to using multimedia. He asks questions like, “How can we use the camera? How can we use an image that’s not just a background?” He explains, “I wanted to create the language and technique for playwrights and show them how to incorporate video.” There is need for multimedia and video not only for use within production, but also in recording live theatre – especially for the internet. He asks, “How can we capture live theatre and get that up on the net? I try to support groups by coming in with video equipment or serving as a technical supervisor and helping them with that.”

Combined Arts has was nominated for the Bay Area Critics Circle- Best Solo Piece for Santaland Diaries, which they do every year. In LA they co-produced the Ovation Award winning Common Air; and with Open Fist they were a ROAR winner for PAPA.

Theatre Asylum is always in production. Impro Theatre and Improvatorium are two companies they continually work with. The space is also open to a myriad of workshops and classes. To see what’s classes there are, please visit their website.

Because of the wide variety of shows Theatre Asylum produces, they don’t really have a target audience. However, Quinn hopes to get the non-traditional theatre going people; and hopefully turn them into regular theatre goers.

“One thing that’s been told to me by people is that we’re not a typical LA theatre house. Now, I don’t know if that’s due to us coming from San Francisco or that we also do a lot of co-productions.” Maybe it’s because Quinn is primarily a producer. He considers it, saying, “I try to help from a producers stand point. I’m a big fan of trying to help them help themselves. Up in San Francisco I was one of the few independent commercial producers. It’s important to have support and business savvy. Perhaps it’s because of my artistic background, you know, I understand how things work. A lot [growing as a producer] came from building my own space. All that is business stuff and you need that.”

]]> http://www.latheatrereview.com/2010/07/15/theatre-asylum/feed/ http://www.latheatrereview.com/2010/07/15/theatre-asylum/?utm_source=rss&utm_medium=rss&utm_campaign=theatre-asylum http://feedproxy.google.com/~r/LaTheatreReview/~3/pRuegqkT52w/ http://www.latheatrereview.com/2010/07/15/play-dates-at-elephant-theatre/#comments Fri, 16 Jul 2010 03:27:29 +0000 Joel Elkins http://www.latheatrereview.com/?p=1471 by Joel Elkins~

Of director Jennifer Chambers’ previous production, The Muscles in Our Toes, I commented: “I don’t know whether any part is meant to be taken seriously. . . . All I know is it was funny. And that’s saying something.” Her latest endeavor, Play Dates currently playing at the Elephant Theatre, is twice as funny, despite being twice as serious.

Armed with a clever script by Sam Wolfson (co-creator of the smash hit Jewtopia) and an extremely talented cast, Chambers puts together ninety minutes of virtually non-stop laughs. Essentially two one-acts with an interceding skit thrown in to loosely connect the two, Play Dates explores the overarching theme of love: falling in, falling out, losing out on, and losing touch with.

Act I takes place at the site of many a first love, kindergarten, where Sam, still recovering from the recent breakup with his girlfriend of almost two hours, finds Stacey eating lunch in the playground. One thing leads to another and before long notes of “Will you be my girlfriend? Check Yes or No” are being passed and the two find themselves napping together. It’s always amusing when kids speak as adults (”So what do you do?” “Eat paste, how about you?” “Sales, girl scout cookies, mostly.”), and Play Dates plays every line for its comedic most, logic and internal consistency be damned. After a while, I stopped asking questions and just went along for the ride. Rob Nagle and Elizabeth Bond are delightful as the pre-pubescent couple.

Act II takes place a few years later and shows the lasting effect this brief romance and breakup had on Sam’s life. (Spoiler alert: he didn’t take it well.)

The play then shifts to the question of what happens assuming (a) one manages to find the right person, (b) that person actually feels the same way, and (c) the two manage to overcome their respective neuroses and enter into a long-term relationship. Even after overcoming all the above hurdles, the relationship all too often grows stale. Act III shows another couple (played by Brian Monahan and Kristen Lee Kelly) who find themselves in that familiar situation and attempt to freshen things up a bit. The scene in the bedroom (with another appearance by Bond) is absolutely hilarious. Even as I write these words, I can’t help chuckling to myself.

The set design by Kurt Boetcher is marvelous, managing to get two separate sets into one small stage. The set for Act III is particularly impressive.

Theater is like a relationship: if you get nothing else out of it other than a good laugh, you’re doing better than most. And if it also speaks to you on some deeper level, you’re way ahead of the game. As long as you’re not looking for too much clever insight in your theater-going experience, for a good time, call Play Dates.

The play dates for Play Dates are Thursdays through Sundays at 8 pm through August 1, 2010.

The Elephant Theatre is located at 6322 Santa Monica Blvd. in Hollywood (one block west of Vine).

Ticket prices: $20.00

Reservations online at www.plays411.net/newsite/show/play_info.asp?show_id=2387 or by phone at (323) 960-7776