"The Gospel acocording to Thomas Jefferson, Charles Dickens, and Count Leo Tolstoy: Discord" presented The NoHo Arts Center.

The Gospel according to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: 

DISCORD

We’ve all heard it before… When you meet someone new at a party, never talk about religion, money or politics. Fireworks may start, and the budding relationship might possibly crash and burn before it ever got off the ground. If you’re a notable fellow, though, like, let’s say, Thomas Jefferson or Charles Dickens or Leo Tolstoy, these three topics are engrained in your legacy. One cannot help but talk about God’s motives, the class system, or the proper way for a man to deal with revenge when discussing these great men, because their stories are riddled with each of these topics. Scott Carter’s world premiere play “The Gospel according to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord” explores the idea of putting these three distinguished men into one room, and letting them butt heads due to their ideological differences.

At the start, “Discord” seems like a playful exercise of wits. The plot consists of these three men trapped in a bare room, with only each other and three chairs and a table to accompany them. And if you know anything about these men’s minds, you know that an entertaining linguistic battle inevitably ensues. Although they don’t necessarily get along with each other, they must work together to figure out why they are now in this purgatory of sorts (they’ve all died the moment before entering this room), and why their physical forms are from the height of their lives (rather than the moment before their deaths).

As “Discord” adeptly moves forward through its fifteen scenes, we discover the common thread of these three men’s lives: they each wrote their own version of the gospel, a story of the life and death (and in Dickens’ case the resurrection) of Jesus Christ. And each is wildly different, the three man picking his favorite moments from the first four books of the New Testament. Dickens, for example, enjoys the magical wonder of Jesus, and he has a conviction in his belief of the miracles and teachings of the true Son of God, and His resurrection. Jefferson, rather, uses logic and reason to pick his favorite verses, mostly factual teachings and parables to illustrate such ideas, and he removes anything following the death of Jesus. Tolstoy, fueled by a justifiable paranoia of the Catholic Church’s hold on the Russian government, focuses solely on Jesus’ words regarding actual daily life, fixating his mind on Jesus’ teaching of “Resist not evil.”

Obviously, Jefferson, Dickens and Tolstoy cannot agree on how to tell the story of Jesus’ life, their ideological differences are just too great. And as they begin to argue and resent one another, the truth of their lives come out: no matter how strongly they believed in the positive ways of living that was set forth by Jesus, each made terrible mistakes. They begin to confess, pushed by the two others in the room, to tell the stories of the tale end of their lives. Each man goes on to tell a very sad and disturbing story whilst sitting in a chair facing the “mirror” of a fourth wall, looking into their selves. And as the play draws to a close, they begin to journal their ignominious acts, using this form of written therapy to grow, confess, repent and be ready to move onto the afterlife.

It’s easy to say that this show is tremendous due to its lofty subjects and perfectly executed characters. Larry Cedar’s Jefferson and Armin Shimerman’s Tolstoy, were amazing, well-rounded characters that engaged me throughout the story. And Devid Melville’s Dickens was extraordinary, being both ridiculous and endearingly histrionic. His dialogue was smart and his timing so utterly specific, that he kept the audience laughing. The three talented men, expertly guided by Matt August’s clean direction, created a masterpiece of theater. The beautiful, trippy and haunting design elements, especially that of the Lighting Design by Luke Moyer and the Sound Design of Cricket S. Myers, add that extra layer of perfection, making this production one of the best I’ve ever seen.

This is a show that sticks with you… It’s been several days since I sat in the audience, and I am still considering “Discord’s” comments on what Jesus’ life meant, and what his teachings ultimately mean for my day-to-day life. Its message to the audience: strive to be a better person, and the only way to properly do that, is to recognize the previous wrongs you’ve done. It is at that moment that these great men, whose forms were not presented at the moment of their deaths, but in the moment of the height of their personal and professional lives, actually have an option to change, to live the rest of their lives in a better, more positive way.

"The Gospel according to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: DISCORD" written by Scott Carter,

 runs Fridays and Saturdays at 8:00 pm 

and Sundays at 3:00 pm 

through February 23

at The NoHo Arts Center, 11136 Magnolia Blvd., North Hollywood. 

For more information and to buy tickets online, check out http://www.thenohoartscenter.com.

"Can You Hear Me Now?" presented by The Sherry Theater

Can You Hear Me Now?

 

Remember that Verizon ad where the forlorn everyman wandered the earth searching for cellular service? He repeated the same mantra, “Can you hear me now?” Thanks to the service of Verizon, however, he eventually connected with his friend or loved one and all was right with the world. These ads were everywhere for several years, and the actor who starred in them became somewhat of a celebrity. He probably still can’t go more than a few days without someone saying “Can you hear me now?” to his face with a mischievous grin. Consumers connected to the ads because they had themselves felt the dismay of dropped calls and missing out on important conversations.  Humanity wants to connect to one another, and although cell phones made that a lot easier, they also made a society that is less patient and is not willing to wait to long just to hear back.

The show I saw on Friday was just a one-weekend event, a program of three short one-acts that discuss the trials and social consequences of persistent connectivity. Aptly titled “Can You Hear Me Now?”, the three plays were all written by members of the Los Angeles Female Playwrights Initiative. Each play discussed an aspect of society in regards to cellular phones, and although the play had lofty ambitions to create a social dialogue on cellular phone use, it fell a little short.

Overall, the three plays were well acted and well directed, each containing humor and entertaining characters. The first one entitled “Can You Hear Me Now?” dealt with two young people discussing the merits of both electronic and face-to-face communication. Although the interaction starts as a man trying to get the girl, it turns into a philosophical discussion about what exactly constitutes human connection. Many of the points brought up in this play (written and directed by Lynne Moses) were interesting: the fact that texting bad news is easier because you don’t have to see the face of the other person, the idea that subtext and context get lost through electronic interaction. I really liked the fact that there were pros and cons to both sides of the argument, which allows more of a realistic dialogue for a world that relies heavily on its cell phones. Unfortunately, the scientific nature of the language left me feeling disconnected from the characters and action.

The second one, entitled “Failure to Communicate,” was the quirkiest and funniest play of the evening. Written and directed by Allie Costa, the plot centers around a young woman, who looks younger than her age, attempting to get her phone case replaced on her old, antiquated device. I use antiquated in the loosest sense of the word, because it’s a cell phone with the entirety of the internet available, but it’s just not a recent phone model. So of course, after some discussion between the salesman and the woman about her looking too young to even have a cellular plan, and her phone being too old, she just gives up and leaves. This store has nothing for her, and in fact, the salesman will not grant her good service until she is will to move into the current model of phones. I loved the palpable humor of this piece, and the repartee between the young woman (Allie Costa) and the Salesman (Gabriel Grier). We’ve all had frustrating interactions of this type when shopping, but the context of a phone store made it even more aggravating. Technology moves so quickly, that the purchase we’ve made that day is entirely out of date by the time we walk out the store. It feels oddly futile, yet we all accept this, and buy into it.

The third one, the most ambitious of the three, alluded to some interesting ideas about identity in the digital age. Some studies have said that using social media can cause depressing feelings in users. “Aspiration/Dream” was about a young woman, lost in the middle of nowhere in the dead of winter, saved by a mysterious old woman, and attempting to piece together her past. But why can’t she remember anything about her childhood, or her family, or how she got lost in the snow? The only thing she thinks to do is scroll through her contacts on her cell phone, hoping a name will jog a memory, and ultimately define her humanity. These ideas are so grand in scope, that a 20 min play (written by Vanessa David, directed by Nathan Swain) will never do them justice. But I will say that it does create a journey in the mind, as audiences must consider their own identity as it relates to themselves digitally and tangibly.

The concerns of the shows were valid, but some of the lessons being taught felt somewhat outdated… Like technology itself, some of the provocative questions being asked during this production were perhaps more relevant 5 years ago. Texting at all hours of the day, and using that to substitute face to face conversation is something that has slowly become passé. Oh no, I don’t mean to imply that face to face interaction is back, just that people use different forms of technology to communicate. I would say Facebook is king, but I’ve even heard that the “kids these days” have moved on from that, to instagram, snap chat, or what ever new app is available for extremely quick electronic interactions. This show was a reminder that I a) don’t know what’s hip anymore and b) I should put my phone away every once in awhile and talk to someone face to face.

Although the short run is already over, I really wanted to write about this evening of theater because of the ideas presented. Theater isn’t just about the moment, the night, that particular performance. It is a living, breathing thing that when done well or with interesting subject matter, continues to permeate the mind. 

“Can You Hear Me Now?” 

produced by Pauline Schantzer and 

The Sherry Theater, 11052 Magnolia Blvd. 

North Hollywood, CA 91601. 

For more about The Sherry Theater, 

go to www.sherrytheater.com. 

And for more info on the Los Angeles Female Playwrights Initiative, please go to www.lafpi.com.

"The New Situation" at the Promenade Playhouse

"The New Situation"

 

Hello there Theater Pulse fans! I know I’ve been lacking in my blog posts over the summer, but I had good reason. As you know, I produced a Shakespearean play, which essentially left me with very little free time for over a month. Then I headed out of town, to see San Francisco, New Orleans and Las Vegas, for some much needed R & R. Now it’s the end of summer and the beginning of fall, the perfect time to get back on the wagon and see some more Los Angeles theater!

Last Friday I went to the opening night of a new play, titled “The New Situation.”  What a show it was to get me back into the Theater mindset of interesting characters, vivid storytelling, and live entertainment. Every new work has its quirks, but “The New Situation” excels above its kinks to tell a very sweet and cute story. More, an especially great performance by the leading lady brings this show to its potential.

Written by Carlo Allen (who also directs and stars), “The New Situation” centers on a brother (Francisco) and sister (Antonia) who are struggling to make ends meat during the Great Recession. Even though they have many bills to pay, Francisco, played by Joshua M. Bott, is the only one with a job, a low paying teaching position at a LAUSD school. Antonia, played by Susan M. Flynn, is unemployed. She would love to work, but due to her anxiety problems, she is unable to leave the house. In fact, she hasn’t left the house for over two years as a result of nervousness she developed after a mastectomy.

The pair decides that the only solution to their problems is to rent out to the two vacant bedrooms of their home, and after a craiglist ad, Rudy, a lothario, and Constantine, a fabulous art docent, show up, ready to rent. Both have had some recent financial and personal problems, and they must accept the idea of living with others as a way to survive. So Francisco and Antonia agree to let them live with them.

Much of the show focuses on the shenanigans and goings on of the house. There are some hilarious moments as they discuss life and tease each other’s daily plans. It’s like an eccentric, Latino “Three’s Company.” Very funny, very creative and highly entertaining. But the crux of the story hinges on the three men of the household, encouraging and building up Antonia, hoping that she will one day step out the front door and live life outside the house again.

Although I won’t give away the ending of the show, I will say that Susan M. Flynn as Antonia was delightful, truly the best part of the production. The character is tough. She must be equally charming and anxious. The audience must be able to root for her, hoping that she will one day face the challenges the world has to offer, and the anxiety has to be great but not distracting. The other character’s lives and struggles cannot be overshadowed by her problems, because they have their own character arcs as well. Flynn is immensely likeable and sweet; from the moment lights were up, I was on her side. And the anxiety attacks, when they do occur, seem to rush over her, a surprising tidal wave that appropriately reminds the audience that this character is flawed and needs help. Flynn was simple, honest and specific with her choices for Antonia, and the audience loved laughing at her character’s struggles and successes.

I applaud “The New Situation” and Carlo Allen for exploring the struggles of the recent economic turmoil in the US (and Los Angeles especially), and I enjoyed seeing this story through a Latino point of view. Not much theater (at least that I’ve seen) is exploring some of the middle class Latino struggles and triumphs, nor is it exploring the dynamics between different races and personalities (as seen through these characters being forced into a “new situation” where they must all live in close quarters). “The New Situation” is a great, enjoyable show that is worth a viewing.  

Nora Plesent's and Maria Richwine's production of "The New Situation," written and directed by Carlo Allen, runs Fridays and Saturdays at 8:00 pm and Sundays at 5 pm through September 28 at the Promenade Playhouse, 1404 3rd St Promenade, Santa Monica CA 90401. For more information and to buy tickets online, check out thenewsituation.brownpapertickets.com. 

"Hurricane Season" presented by The Eclectic Company Theatre

Hurricane Season

So much of theater produced is old works:  classics that are repurposed or modern pieces that were originally produced or written within the last ten years. But then there are showcases like fringe or playwriting festivals that pop up and encourage playwrights and theater makers to try new things on stage. This last weekend, I saw Hurricane Season, a show produced by The Eclectic Company Theatre. Their annual festival features new short plays, a total of nine shows (three per night) over a six-week period. At the end of each night, the audience votes on their favorite performances and plays, so it’s also a playwriting competition.  It was their tenth year doing the festival, and I will say I really enjoyed the final play of the evening.

The best show of the night was “Improvisation,” a short play that played with theatrical conventions to create a tense and interesting scenario. Written by Andrew Osborne, the show starts out with a simple set, three chairs on stage right, and a table with a chair off center left. I had guessed that the plot would actually revolve around an improv show, or at least the conventions of improv specifically, so I was pleasantly surprised to see Jenny (played by Beth Ricketson) walk in asking about an audition. No one is there to check her in, so she just sits in a chair and waits. Soon, a man, Jack (played by Mark Bate) walks in from back stage, and she assumes he’s there to audition her, the contact she’d been given. But no, he is just running the audition for the other man, her original contact. And then he hands her a script to cold read with him, and the lines of the scripts are exactly the conversation we’d watched since the beginning of the show. Naturally, the actress, (and the audience) is confused and a little put off, things are not going as expected. After threatening to go, Jenny finally decides to stay and read more of the script. As she does so, there is a part that is blank, and Jack says it’s her duty to improvise what the character would say based on her own life experiences.

Directed by Wendy Radford, “Improvisation” was a show that kept me guessing until the very end. I won’t give away the slight twist at the end of the play, because it was something I really enjoyed discovering throughout the show. Just know that this play is compelling, because as it continues, its layers fall away and we see what’s really going on at the center of this story.

As an actress living in Los Angeles, I feel as though I have experienced many of the motions of this play before in my own personal life. I am given an audition, with a location and a name and a time, and I most likely know no one at the location, and I am probably walking into a room blind with my guard up. And when I watched this happening on stage, I of course thought that this man was some sort of pervert (which happens way more than people like to admit to actors in LA). I don’t know if I would’ve stayed through the audition like she did, even though I do know that I’ve stayed and waited for auditions that did end up being a waste of my time.

What I really appreciate about this show was how it knew its audience. I don’t know if this is a play that would succeed in other parts of the United States, because it is about the conventions of an audition, and an audience needs to have that context in order to fully understand some of the behavior that happens. But this is Los Angeles (note that it would work in other “acting” towns as well like New York) a town that is filled with actors, casting directors, and every other person trying to break into the entertainment industry. We are the appropriate demographic for this piece, something that needs to be considered when producing theater or any type of art.

Hurricane Season, like any other play festival, will include pieces that are rough and need more work. But there will also be a few gems throughout that are exciting works of theater. By no means was “Improvisation” a perfect play, but its premise and character development was strong and compelling, and I believe it has the potential to be fleshed out a little more. And that’s what these festivals are all about…giving playwrights an opportunity to see different audiences reactions to their new works.

The Eclectic Company Theatre’s production of Hurricane Season runs Fridays and Saturdays at 8:00pm and Sundays at 2:00pm through August 18 at 5312 Laurel Canyon Blvd., North Hollywood, California 91607. Call (818) 508 – 3003 for more information, or visit The Eclectic Company Theatre online at http://www.eclecticcompanytheatre.org.

Producing a Shakespearean Play: The Auditions

 Producing a Shakespearean Play:

The Auditions

 

 

As an actor and director, I spend a lot of time producing and being in theater productions, which gives me a unique perspective on plays and shows because I always consider both the performer and production team. I am never able to just go and enjoy a production anymore, because I look beyond just the elements of what I see in front of me and wonder about each of the production steps that led to what I’m seeing. Usually I don’t spend too much time on these thoughts, because good theater is able to take me away from my mind and into the world of the play. But I can’t help but wonder, how did all the pieces fit together, how did they find their actors, what was their rehearsal process like, etc? And at times I wonder, how did their audition process go?

I am currently producing a Shakespearean show through my theater company, and although I had about 1/2 of the cast locked down, I needed to find 5 more people to play some of the most iconic roles in theater history. The overall audition process was very interesting, similar to processes I’ve dealt with in the past (as both a director and an actor), but I thought it would make a good blog post for you all to see just what worked and what didn’t.

To find actors, I posted a breakdown onto ActorsAccess and LACasting, two of the most prominent breakdown services available in LA (that allow actors to submit to projects themselves). My theater company is very small and very poor, so I wasn’t going to be able to pay my actors, so I wanted to find people that were willing to work for free simply because they LOVE Shakespeare and acting. You’d think in a town with 200,000 actors this would be easy, but it was actually quite difficult to do.

The characters that were broader in description (either male or female, age 25 – 55) were the ones that received the most submissions, because there are more actors in LA in this category than say a female in her mid forties. But thankfully I did receive at least 5 people per character, (and some 20 or more) so I was able to look at everyone’s resume and background and see if they would be a good fit and could be called in to audition for the show. Since I was doing a Shakespearean play, I wanted to bring in people with a good classical background OR a good theater background. Someone who has worked a lot on stage or has a lot of stage training, which usually means they would be easy to direct and have a good handle on the poetic language. So out of the 100 actors who submitted, I found 50 good candidates to call in and audition.

This leads to one of the saddest aspects of casting and acting, especially with regards to actors in LA. Actors can be flakes. That’s a fact. Many people fly out to LA, call themselves actors, submit to breakdowns online, actually have some great training or a great look, but never actually go out on the auditions they are called in for. You might think “wow, 50 actors in a 4 hour time period, that’s a lot and how could you possibly know if they’re a good fit or not?” Well, the truth is, I knew that ½ of them wouldn’t even come out to the audition. So I called more than I could possible handle during my schedule audition time, and in actuality, only 25 came.

Of the 25, only ½ of those people were really prepared and ready to handle Shakespearan language. I don’t say this to be mean, but to merely say that, though an actor might be good with contemporary language, the ability to handle Shakespeare is a different skill altogether. I really enjoyed their work, and now I have their headshots and resumes available in my files for my future projects.

And as far as those who were ready with a monologue and who knew what they were saying when given Shakespeare to cold read…Some of the actors were just different. Different than my co-director and I had pictured. Different than the vision we’d built up in our heads for those roles. For some actors, their differences actually made them shine, because I wanted to change my vision to fit their energy or presence. For some, their differences were too great, and I just couldn’t see them on stage with the actor’s I’d already cast. It was nothing personal; in fact at times, it could be entirely arbitrary, the result of choices we’ve already made that the actor can’t affect one way or the other.

A really enlightening aspect of the audition was watching the men we’d called in for a very strong, brotherly role, read the sides we’d selected from the show. It was a scene about a son, who comes back home because he’d heard his father was dead. And his first scene back involves a high emotion scene attempting to find the truth about this father, and who’d killed him. I had 6 actors read this scene, and 4 of them read it the exact same way, same type of pacing movement to indicate their emotion (as if this was the first way each of them pictured the scene in their head as they practiced outside). And they did this without ever seeing the other’s do it. The other 2 chose something else (maybe 2^nd or 3^rd way they saw it in their heads), to stand and not pace, and focus their high emotion and their anger directly at the reader. This reminded me that the choices I make when I audition for a scene should be so strong and should be unexpected or else I will just look like the majority of girls that come into the room, which subsequently makes my scene boring. Rather than looking like the one girl who chose something different.

So to all you actors out there that are just starting out or need a little encouragement. If you find a breakdown, and you fit the character, and you’re available for the performance or shoot dates, and you get an audition, and you go to the audition… You’ve already beaten out ½ of those who were called in. Arrive prepared, ready to work and take direction, and you will be better than ½ of those who showed up. And finally, if you don’t get cast, it’s not due to your ability or your work, it’s just because you didn’t fit the vision of the production team. And who knows, you might be called into something they produce in the future.

Upcoming Shows

Upcoming Shows

Well apparently the theater gods of Brecht and Shakespeare decided that Ionescopade was enough theater for me for two weeks, cause I got sick with a gnarly head cold, and thus didn't go out to see a show last weekend. But I didn't want to totally lag on my TheaterPulseLA duties, so I decided to compile a short list of upcoming shows that look interesting to me. I probably won't be able to see everything on this list, but I wanted to get the word out there, and encourage you all to see these shows.

• The Miss Julie Dream Project - I must admit that I have a good friend in the cast of this production, so I am a little biased in my excitement for it. I will say that I find the concept of the play very interesting, as it explores ideas from two of August Strindberg's most notable plays, "Miss Julie" and "Dream Play." "The Miss Julie Dream Project" is a collaboration of playwrights from Fell Swoop Playwrights, a group that strives to provide its members with support and opportunity from other playwrights. The reviews of the play are quite good so far, and I hope to be there this coming Wednesday.                                            For more info, check out http://fellswoopplaywrights.org. 

• The Complete Works of William Shakespeare (abridged) - Since I've started seeing so much theater, I've had friends, even ones who don't know much about plays or theater, start coming with me. They are now looking for new shows to see, and suggesting plays that I might enjoy and blog about. One of my friends was really excited about this show, "The Complete Works of William Shakespeare (abridged)," a show that condenses Shakespeare's entire canon into just over 97 minutes. It's been around since the late 80's, and I've heard that it's some of the most creative and hilarious theater out there. The reviews on this are positive as well, but it closes this weekend and I don't think I will be able to make it to the show.                                                                                                                                         For more info, check out http://www.santamonicarep.org.

• A Midsummer Saturday Night's Fever Dream - I live in the Valley area of the good ole LA, and I drive through Toluca Lake a lot. I love the small town feel of the area, and the warm community that lives there. There's also a couple theaters there, along the main drag of Riverside Dr, one of them being the large and slightly intimidating Falcon Theater. Founded by the ever charming Gary Marshall, the Falcon Theater produces some really interesting works, especially the mash ups of classical theater plays with current pop-culture genres and movies. And as you can see by their current production, they're mashing up the classical comedy by the Bard, with the excess of the disco era. Something like this really fascinates me, and I wouldn't mind taking a stroll down Riverside to catch this show before it closes July 7.                                                                                                                   For more info, check out  http://www.falcontheatre.com.

• Perennial - If you walk a little further east down Riverside Dr, you will see an adorable theater on the right, the Sidewalk Studio Theater, ready for your patronage, and currently showing "Perennial." I heard about this show through several actor friends of mine, each raving about the performances of the actors. The show is an exploration of love and finding oneself through the stories of two couples. One couple, who's relationship is fresh, new and exciting, is compared to the other who's relationship is established and sometime monotonously routine. This show runs through July 6.                                                                                               For more info, check out http://perennial.brownpapertickets.com.

And note that we are in the midst of the Hollywood Fringe Festival, so there is an abundance of interesting, different and modern pieces to be seen. While not all of it is high quality per se, it's going to be different than what's produced at other times of the year here in LA. Check out more info about HFF here, and read this really interesting article about the festival from a professional reviewers point of view here. 

"Ionescopade" at the Odyssey Theatre Ensemble

Ionescopade

  

After World War 2, European citizens grappled with how to rebuild their lives and regain a sense of normalcy and also still understand the terrible atrocities of the Holocaust and the Great Purge. How could people do such terrible things to other people? Modern Literature and Art began to question human morality and the purpose of existence. Theater, also, sought to represent this new shift in sensibilities. In particular, the Theater of the Absurd used the stage to address human futility and meaninglessness.

Eugene Ionesco was a notable playwright of Theater of the Absurd, and he only wrote about a dozen plays in the latter part of his life. Much of his work focused not on traditional storytelling (i.e. character development and a plot) but on metaphors and cyclical conversations between one-dimensional characters. I had the privilege of being in one of his pieces, “The Lesson,” and I enjoyed the challenge of bringing a one-dimensional character to life. His work left an impression on me, and thus I was excited to see The Odyssey Theatre Ensemble’s presentation of “Ionescopade.”

Robert Allan Ackerman’s concept of “Ionesocopade” takes bits of Ionesco’s best-known plays and poems and couples them with vaudevillian style dance, music, and comic bits, revolving around the ideas of existence, fulfillment, and absurdity. There isn’t a story or main character, but simply a group of actors playing different roles from different iconic plays, outlining ideas and exploring philosophical thoughts, all while being entirely farcical and absurd.

Directed and choreographed by William Castellino, “Ionescopade” is a group of sketches and songs, beautifully performed by a talented group of seven. Castellino does a great job of utilizing the colorful set (designed by David Potts) and creating different play spaces all around the stage, even using the wings and the aisles as entrances. The talented band, which consisted of just a piano, drums, and reeds, was upstage center, and was as much of a part of the show as the actors were.

Alan Abelew, as The Writer, wanders throughout the scenes, writing his characters and watching them act out their parts for him. The Writer is silent throughout the show, merely observing and sometimes encouraging his characters to follow his storylines. Abelew does a tremendous job, keeping the audience’s attention without his voice, and even adeptly using magic to transition us from scene to scene. I really enjoyed his simplicity of movement, and the fact that he trusted his body to tell the story. In a space like that of the Odyssey, where the house is small, and relatively close to the actors, huge movements and exaggerated facial features are not necessary. It was delightful to watch Abelew's efficient and effective work.

Tom Lowe, who played several characters throughout the show, equally blew me away. From his wonderful singing voice, to his effortless dancing, Lowe is a wonderful performer. He was equally believable as the handsome lounge singer, the little boy Bobby Watson, and the vaudeville-style comic. His passion for performing just poured out of him. He reminded me a lot of Patrick Swayze, a strong yet vulnerable actor. Every time he was on stage, he just grabbed my attention, and I was excited to watch his sketches and short pieces.

The numerous sketches and play-lettes that make up “Ionescopade” vary in theme and style, so I bet many audience members connected with some and not with others. Personally, I really enjoyed the short play Voyage, a story of two lovers as they discuss the happenings to the body as we turn into ash after our deaths. Regardless of what we do on this earth, we all die. And after our bodies are lowered into the earth, we will eventually turn into dirt.

Wipe out Games was another notable play-lette for me, as it hinged on the idea of a group of people chatting, and they die, over the top, one by one. After the first person’s death, everyone is shocked and scared, and then angry, turning on one another, accusing the other of killing. By the end of the sketch, one of the characters notices that there are only two of them left, and that death is no longer shocking to them. They’ve become used to the concept of death. And after another one dies, the final character embraces the idea that death is inevitable and unavoidable, and of course, she dies.

My favorite of the little plays was called The Leader, a piece with an announcer, who spots the leader off in the distance during a rally in the city. Through the minutes long piece, the actors run throughout the stage, out the back aisles, through the front door, off the stage at the back, all running and searching to get a glimpse of, and hopefully interact with, the leader. the announcer guides the group of citizens, and stops them every once in awhile, and describes the scene he sees in the distance: The leader hugging children, shaking hands, eating a bite of soup etc. And finally, it happens, the leader appears on stage, and the citizens and the announcer stand agog as the leader (a puppet strung from the ceiling and manipulated by a puppeteer all in black) stands at attention on stage left. But the leader has no head, and one of the citizens notices that, and tells the others. The announcer scoffs, and responds that it shouldn’t matter because “[The Leader’s] got genius!” I loved the underlying message of the piece, and think it still has political resonance today.

Again, I’m reminded that writings from many years ago, like those seen throughout “Ionescopade,” still resonate in our current society. Ionesco wrote during a post World War II era, and now we live in a post 9-11 world. The Odyssey Theatre Ensemble recognizes our current world’s issue with paranoia and identity, along with a divided, overly partisan political landscape.  They used the works of a 20^th century artist to find 21^st century significance.  And in this, they created a timely, thoughtful, but most importantly, entertaining production. 

The Odyssey Theatre Ensemble’s production of Ionescopade 

 runs Fridays at Saturdays at 8:00 pm and Sundays at 2:00 pm through August 11 with some Wednesday performances 

at the Odyssey Theatre at 2055 S. Sepulveda Blvd., 

West Los Angeles, CA 90025. 

Call (310) 477 – 2055 for more information, 

and visit The Odyssey Theatre Ensemble at www.odysseytheatre.com.