"Our Class" presented by the Son of Semele Ensemble at the Atwater Village Theatre

Our Class

Theater, like every form of entertainment, exists for multiple reasons. Some shows are produced by the artist to express aspects of themselves and their life, while some are produced to make money and sell memorabilia (like many of the big shows on Broadway). And then some are produced to potentially affect change or encourage thought on the audience by telling a story from a new perspective. This is the type of theater I saw this last weekend, a show that was not only entertaining, but also gave me a new point of view on Polish-Jewish and Polish-Catholic relationship during World War II.

The subject matter of “Our Class” is heavy. It is a story of 10 Polish students, half Jewish and half Catholic, growing up together in a little town in Poland. It begins when the students are young, perhaps 5, and they get along well. They describe what they want to be when they’re older, and they play together and laugh. At each scene change, years pass, and we watch the children grow up. The history of the Poland occupation, first by the Russians then the Nazis (and the terrible persecutions faced by the Jewish students during this time) is played out before us. And the classmates that had once been beautiful friends, were now turning on one another, fueling a hatred passed onto them by the country’s leaders It explores the choices the students make to survive the war, and then their choices after the war to deal with all of the trauma and betrayal endured by their countrymen and their classmates.

I must tell you that this show was truly amazing. One of the best pieces of theater I have ever seen in my life, and I see a lot of theater. I think it was so successful because its writing is very fluid and simple, similar to diary entries by the students. And the director trusts the actors of “Our Class” to be simple, honest, genuine players.  It was done in a minimalist style: monochromatic type costumes and sets to let the actors tell their story through movement and sound. The production team behind Son of Semele Ensemble obviously worked well together, as every creative choice was nice and cohesive.

The Atwater Village Playhouse is very flexible theater, a black box space that allows productions to create different stage and seating set ups. “Our Class” scenic designer, Sarah Krainin, created a square playing space: wooden floors on the stage, clean wooden and metal desks and chairs (used for more than just desks and chairs), and crates at the edges of the space to house props. The audience sits around the stage (so it’s theater in the round), but it’s just one row of seats along each edge of the square stage. I felt as though I was practically on stage, since I was only inches away from the actors. I couldn’t help but get involved with the action before me; intently following the story of these children’s lives as they grow into adults and eventually die. The lighting design, by Anna Cecilia Martin, worked well with the set effectively pinpointing my focus without being distracting or noticeable. It created different spaces within the one square stage, allowing for more intimate scenes at the most appropriate times.

The director, Matthew McCray, is obviously in his element with this material. He uses techniques from the Anne Bogart school of theater to tell his story. The set is only desks and chairs, but when rearranged by the cast, it can become the loft of a barn or a pile of burning carcasses. This is where McCray must use precision with his direction, because much of the story is left on the audience’s imagination, to change that pile of chairs into the loft or the carcasses. And his eye for detail pays off, as his actors employ his direction, and create an intriguing show.

Every actor in the show is exceptional, with some especially show-stopping performances from Sharyn Gabriel, Michael Nehring, Gavin Peretti, and Sarah Rosenberg. The ensemble works well together, trusting the direction and each other along a very difficult and emotional journey. This is not a story filled with easy scenes, and the actors must present rape, murder, hatred, betrayal and extreme persecution. They do so in a way that respects the history of these people, without being gratuitous or offensive. And they use their voices and their movements to take us on a journey through time, even without us going anywhere. It was the perfect showcase for these actors, and I found myself interested in the show through its entire 150 min performance.

I especially appreciate the humanity given to the villains of the play (although I hesitate to use the term “villain” because these men are not just evil, they are given a life and a perspective outside of their terrible actions). While there is a “right and wrong” in this show, it is hardly told through a “black and white” perspective. The actors rightfully show humanity’s guilt with their choices, especially as they age and their mortality impending. Matthew McCray (who had to step into the role of the villainous Zigmunt for the extension of the show) was particularly great at giving his character depth. He layered in the right amount of vulnerability, allowing the character to be both likeable and hated, a difficult task.

Theater has evolved over time, from a proscenium style stage with raked seating, to something like “Our Class” with audience members all around the stage. This show feels very current, its style more intimate and accessible, which is necessary to keep a TV generation engaged. It transcends itself in a way, and becomes more than a performance. “Our Class” allowed me to fall back in my chair and just watch. I was lost in the story, following the characters plight, not aware of the outside Los Angeles traffic or my existence beyond the theater walls. I could let go, give in and listen. And when I did I learned a lot about humanity’s faults and failures. But I was also reminded of the hopes of new generations, of people born outside of a land of persecution, and hopefully transcending their own pasts to find fulfillment. Even when atrocities like that in World War 2 occur, there will always be a new baby born after that time, ignorant to hatred, and eager to learn about the simple things in life, like talking or smiling or laughing. These are the joys of humanity that will hopefully overcome man’s shortcomings, and create a more loving, better world for the next generation of babies. I think theater can and will be a part of this change, and “Our Class” is a great example of this. I highly recommend this show, and please consider going before it closes soon.

The Son of Semele Ensemble’s “Our Class” 

by Tadeusz Stobodzianek, 

in a version by Ryan Craig, 

was EXTENDED AGAIN 

and runs through June 2 

at the Atwater Village Theatre 

3269 Casitas Ave., Los Angeles, CA 90039. 

Call (213) 351 – 3507 for more info, or visit 

The Son of Semele Ensemble online at www.sonofsemele.org.

"Timon of Athens" presented by The Porters of Hellsgate at The Actors Forum Theatre

Timon of Athens

 

 

Whenever I see Shakespeare performed live, I am wary. It is difficult to produce effectively, and finding classically trained talent is hard to do in a town filled with Film/TV based actors. Even more, Shakespeare is a hard sell to a modern audience, since the language takes time and focus from both the listeners’ and speakers’ end to really understand it. In the past couple years, I have seen multiple Shakespeare productions, and I would say only one was truly compelling or good. Even still, the allure of the poetry and melody of Shakespeare’s writing, and the well-known, beloved stories, draws theater companies to his plays. (I must admit here that my own theater company is in pre-production of one of the Bard’s more familiar works, “Hamlet.”)

One of Shakespeare’s most under-produced plays is “Timon of Athens,” the show I recently saw produced by The Porters of Hellsgate, a classical theater company based in Los Angeles. It is their goal to do Shakespeare’s entire canon, and I was happy to see that this troupe of artists are doing the Bard’s work justice by understanding his writing and conveying his story effectively. These actors seemed trained in the classics, and they told the story of Timon very effectively.

The main plot goes like this: A very generous, wealthy man dotes on his friends with baubles and good food, and does so to the point of excess: he is unable to pay his creditors. When he asks his friends for money to help him pay off his debts, they all turn a blind eye to him, admonishing him for his spending habits. Timon realizes he doesn’t have any friends. He moves to the woods, to escape the cruelty of mankind and prays to the Gods, searches for meaning in his existence. Ironically, he finds a cache of gold and word of his small fortune reverberates through the community. Soon various people visit him, asking for gold. When Senators from Athens visit Timon in his cave in the woods, hoping he will return to Athens and save them from a forthcoming siege on the city (by a recently banished military general) Timon refuses, saying they should all be massacred due to their selfish ways. Timon then dies in the woods, and the play ends as the banished general and his army attack the city.

The weaknesses of the show come from the play itself. There are 38 plays in Shakespeare’s canon, and there is much deliberation that this one was partially written by another author of the time, Thomas Middleton. “Timon of Athens” could’ve benefited with some editing and retooling, since much of the show feels undone and the subplot of the military general seems very underwritten. Not much happens plot wise (which subsequently means its less interesting than other plays), and it is very heavy handed and moralistic.

Some speculate that Shakespeare wrote this as a reaction to the money mismanagement by the King at the time, James I. The King was known for his great debt, brought about by lavish spending on friends and aristocrats. The Royal Bank suffered from huge deficits due to James I spending habits. And the wealthy, aristocratic class at the time was also accruing much debt, each trying to “keep up with the Jones.” Shakespeare was very critical of this behavior, and made it known with “Timon of Athens.” Many believe this is why the show was rarely, if at all produced, during Shakespeare’s time.

Overall, the cast is good, especially the title character, Timon (played by Thomas Bigley). His downfall from a wealthy gentleman to a sorrowful misanthrope was compelling to watch, and he had a deft handling of the text. Bigley’s charisma and likeability propelled the story forward, especially during moments where Shakespeare’s writing is weakest (which happened to be the majority of the second half).

The best moments of the show are between Timon and the philosopher Apemantus (played by the wonderful Cynthis Beckert). The two argue aspects of life, giving money to friends, trust, etc, at various stages during Timon’s downfall. Near the end of the show, Apemantus finds Timon in the woods, and the two cynics discuss their opinions on mankind. This scene was the best of the night: simple and honest scene work between two very great actors. The melody and poetry of the writing is strong, and I was reminded many times at the beautiful imagery built into Shakespeare’s words. His wit is built into these scenes, as Timon and Apemantus attempt to outsmart each other with clever criticisms of the other’s life. Bigley and Beckert play well together, both obviously well trained in this classical language.

I am struck by some of the themes of the show, especially the sadness around a man who essentially loses all hope in mankind. Nothing will change his mind, and he has given himself over to the negativity of life. After he dies, the epitaph on his tomb (which Timon himself wrote) reads “Here lies a / wretched corse, of wretched soul bereft: / Seek not my name: a plague consume you wicked / caitiffs left! / Here lie I, Timon; who, alive, all living men did hate: / Pass by and curse thy fill, but pass and stay / not here thy gait.” He is a man who died because he had nothing to live for.

Despite the issues with some with the story, Director Charles Pasternak creates a wonderful world for the actors to play in. He adheres to some of the traditional forms of Shakespearean story telling: minimal costume changes and minimal set pieces. The set, designed by Taylor Fisher, effectively creates the idea of various locales, without the use of flats or cumbersome amounts of furniture. I won’t give too many details about the scene change effect from Timon’s mansion to the forest, but I will say the theatricality and beauty of the moment was fascinating. It will be exciting to follow The Poters of Hellsgate through the rest of the canon.

 

 The Porters of Hellsgate's  

Timon of Athens by William Shakespeare 

runs Fridays and Saturdays at 8:00 pm 

and Sundays at 2:00 pm through June 2nd at  

The Actors Forum Theatre

10655 Magnolia Blvd., North Hollywood, CA 91601.

Call (818) 325 - 2055 for more info or visit 

The Porters of Hellsgate online at

www.portersofhellsgate.com.     

"Smoke and Mirrors" at The Road Theatre Company

Smoke and Mirrors

What are you afraid of? This simple question is asked multiple times throughout “Smoke and Mirrors,” the long running magic-play currently in production at the Road Theater Company in North Hollywood. Audience members are even asked to divulge their greatest fears at the start of the show, writing them down on a piece of paper (which is used later in a great mind trick). Fear is the villain of this story, discouraging our protagonist Albie (the writer and star of the show) from achieving true freedom. Our hero Albie must conquer his fear of failure to achieve wonderful success as a master illusionist.

I heard so many good things about “Smoke and Mirrors” from Los Angeles critics, and a show that has been running since September of last year is a “must-see” in my book. It is truly commendable that they continue to sell out houses eight months later. In fact, this is the first sold out show I’d seen since I’d started my little “theater going quest”.  Interesting, since it’s not a traditional theatrical production at all due to the presence of magic.

Written by and starring Albie Selznick, “Smoke and Mirrors” tells Albie’s biography, starting at the age of nine with his father’s death. To deal with his grief, he turns to magic, thinking that one day he would be able to contact his father in the afterlife. As he grows, he deals with his fears of failure and missing his father with new and harder tricks, hoping to one day be distinguished as a Master Illusionist at the Magic Castle, a premier magical organization in Los Angeles. Through Paul Millet’s clear direction, the show takes us on this journey, showing us some astounding magic along the way, while also employing the use of film and sound to show the parallels between Houdini’s life and Albie’s own. Much like Albie, Houdini tried for many years to contact his dead mother through mediums, and his wife even attempted to contact Houdini for ten years after his own death.

Dealing with the death of a parent at a young age was obviously traumatic for Albie, and he dealt with his pain through magic and by creating an imaginary friend, a bunny that helps tell his story. Watching the show made me consider my own parents. Thankfully, they are both still alive, but if they did pass anytime soon, how would I work through my grief? I imagine that I would have several days of paralysis, unsure of what to do. But eventually my mourning period would pass, and I would be able to live my life again. Albie’s story is one of triumph: He is able to move past his father’s death and find purpose and passion in his life through magic. It’s an encouraging story, reminding us that we can conquer our past, and live a fulfilling future. Grief can and will be overcome.

Selznick is a charismatic storyteller, juxtaposing presentational and traditional magic show elements next to simplistic and self-explorative monologues of his own fears and thoughts. His charm is palpable, and I was intrigued by his journey from childhood dreams to successful adulthood. A lot of the show involves audience interaction, the way any traditional magic show would, and Albie did a great job making everyone feel at ease when they interacted with him and the rest of the cast. He even spoke to a couple of little boys in the audience, and let them participate in some of the tricks.

One of the best parts of the show was the “Oracle on the Hill,” a huge face projected above the audience using various special effects. The Oracle performs an impressive mind reading trick, and the audience member who’d been picked seemed genuinely awed by the Oracle’s knowledge. The actor playing the Oracle (whose name is not revealed in the program) had a hilarious affectation to his voice, and incredible timing with his quips and witticisms. Some of this part of the show is improvised, and the quick mind of the Oracle was very funny. I really enjoyed watching him, Albie, and the audience member Mike interact, discussing fears and childhood memories.

Overall the show is great, and, despite a few swear words, perfect for families. There were several kids in the audience, and they seemed to love the show, really responding to questions, and trying to figure out how the tricks worked and why certain jokes were funny. Afterwards, Selznick and the other actors greeted the audience members, and kids and adults alike could talk about the magic they’d seen, and the themes of the production.

The Road Theatre Company’s Smoke and Mirrors 
written and performed by Albie Selznick 
runs Fridays and Saturdays at 8:00 pm, Sundays at 3:00 pm 
at 5108 Lankershim Blvd., North Hollywood, CA 91601. 
As of this writing, there is no end date for the run. 
Call (310) 450-2849 for more information, or visit www.SmokeandMirrors.me.

"Rank" at The Odyssey Theatre Ensemble

Rank

 

 

“Rank” at The Odyssey Theatre Ensemble is a play with many stories to tell. It’s a comic thriller with a lot of intrigue and excitement, and also a somewhat dark look at humanity and the many choices we face in life. It’s a play about friendship, loyalty and position. Robert Massey layers all of this into his relatively new work, and although it could be edited down a bit, The Odyssey Theatre Ensemble’s American premiere of the play is an engaging production that handles the text well.

Its exciting to see new works like this so adeptly produced and staged, and The Odyssey Theatre Ensemble does a stellar job at making this new work, set in another country, starring men with very foreign accents so accessible and familiar to the American audience. Scenic Designer Stephanie Kerley Schwartz created flexible playing spaces that are easily capable to evoke multiple locations. Their simplicity is perfect for the actors to roam fluidly between scenes. Director Wilson Milam uses the set well, encouraging his actors to inhabit every inch of the stage. Milam’s direction creates effortless storytelling. His staging is natural and easily creates drama and engaging scene work.

Massey’s dark drama-dy explores the lives of working class men in Ireland. The plot centers on Carl (Kevin Kearns), a cabbie that must pay off a gambling debt to the local casino owner, Jackie (Ron Bottitta), or face dire consequences. When he realizes he cannot pay off the money in time, Carl seeks help from his father in law, George (Anthony B. Cohen), who is also Jackie’s former best friend. The pair is given an option to work off the debt by going on a run to find a black bag for Jackie.

When Carl and George find the bag they discuss the idea of opening it up, seeing what they were actually dealing with. Was it the money from a heist that had been recently reported in the news? Was it a bag full of weapons? George begins to question even finishing the job, discussing the idea that at this moment, Carl has a choice. He can become an accessory to crime and the dirty money lifestyle or run, start a new clean life, free of his debts and his past. Carl contends that he must finish the job, but maybe he will look inside the bag and truly know his potential consequences. George is adamant that if they do open it, Jackie will know. Carl insists that Jackie will never know.

This scene is one that has stuck with me now for several days. It is a beautifully lit scene, thanks to Lighting Designer Derrick McDaniel, one that’s in the shadows and feels very intimate. George and Carl stand in a darkened, moonlit place, staring at the bag filled with what’s most likely dirty money. They debate their options, whether to open the bag, whether to even continue with the job, etc. It is during this scene that George attempts to encourage Carl to do the right thing.

George tells Carl his own story. How he was once thousands of dollars in debt due to his own gambling. How his actions had placed him at the lowest point of his life. How he finally decided to change his life, to stop gambling, and start making money the honest way. Anthony B. Cohen, as George, delivers a monologue of heartbreak and woe. His work throughout the show is touching, but it is in this scene, and his monologue, that this man’s vulnerability is palpable. Massey’s writing is at it’s best in a scene like this, one of simple, human emotion. And the natural rhythm of the Irish accents really do show off the almost poetry-like writing of the play.

I really feel that this theme, one of choice and taking ownership over one’s actions and subsequent consequences, is an important message.  I want to believe that our protagonist, Carl, did the right thing in the end, since we are led on a journey to be rooting for him and against the crime boss Jackie. But I started to wonder about the true outcome of his actions… Without giving too much away, he seemed meaner and cockier by the end of the play. He seemed to have lost respect towards his Father-in-Law, George. It made me wonder if anything really changed for him or maybe it simply manifested itself differently. Is it even possible for humanity’s dark side to ever change or evolve? Or are we all doomed to follow in the footsteps we have laid before us? Does the choice exist, and if so, will we ever be strong enough to choose the right thing? Perhaps the most exciting thing about the life is the option to choose.

“Rank” is titled as such to remind the audience of one’s position in life. Even though all of these men are categorized as part of the working class of Ireland, they rank and compare themselves to each other to establish order and power. For the majority of the show, Jackie has the power. His threats are terrifying, and cause the other characters in the play to do his bidding. But a shift of power happens at the climax, and we see men standing up to Jackie, slowing chipping away at the power and hold he had once had over these men.

Many have said that power corrupts, and even though I won’t give away the ending and tell you who ends up with the power, I will say that this play adeptly explores this concept. We watch our protagonists and antagonists struggle against each other, and like many fairy tales from my childhood, I hope that the hero will win. But life is not easily ranked into a win or loss column. The hero will not always act heroic, and the villain can earn the audience’s. I appreciate Massey’s desire to analyze this dilemma, and although the ultimate ending comes across somewhat formulaic, it works well as a way for me to reconsider my thoughts on all the characters in the play.

Odyssey Theatre Ensemble’s

 Rank by Robert Massey 

runs Wednesday through Saturday at 8pm 

and Sunday at 2 pm through May 12 at 

2055 South Sepulveda Blvd., Los Angeles, CA 90025. 

Call (310) 477 2055 for tickets or visit 

The Odyssey Theatre Ensemble online at www.OdysseyTheatre.com.