Category Archives: Reviews

Stupid Is As Stupid Gets at the Rockwell Table & Stage


SATURDAY NIGHT: Gabriel Oliva/Selyna Warren/Marissa Shields/Keri Safran/Sarah Wolter/Yael Berkovich/Brant Cox

YES. They actually DID do it again!

Stupid Songs LA decided to give several encore performances at the Rockwell Table & Stage this month including STUPID GOLD, a compilation of their most favorite chart toppers.

If I had to be honest, (and well I kind of do), their earlier 2015 Hollywood Fringe hits list was a categorically flawlessly weaved execution of musical revue sketch comedy. However, this ‘a la Forbidden Broadway’ style troupe never ceases to regale audiences and regular fans (like — A LOT OF THEM!) with their particular euphonious, outlandish, bon mot — STUPID GOLD prevailed exceptionally.

Aided by very special guests Missi Pyle (Gone Girl, The Artist, Galaxy Quest) & Brooke Dillman (Wrecked, The Middle), who performed original material on guitar as the amazing duo, The Tumbleweeds with exuberant and completely inappropriate renditions of Holiday Medley & Armageddon Excited!!  [Can someone give me a “Dear Lord!”?], STUPID GOLD brought down the house with some of my own personal favorites including Bobby D sung by powerhouse Selyna Warren and Pleasure Town sung by the incomparable Carla Delaney who returned with a truly hysterical “chaser” of Nervous Compensation and Yael Berkovich in a practically X-rated Pregnancy Song.  The complete song list is below.


BOBBY D – “I got a little crush on…Robert Durst!” – Music, Lyrics & Performed by Selyna Warren

Under the direction of über talent Keri Safran at the helm again with Emily Cohn (Alien Vs. Musical) joining as Music Director, 100% entertainment is to be found every single time.  The company is unstoppable.

Carlo Capolupo returns on bass, with Jon Gray on drums and Special Guest Andrew Samples on Guitar.

Stupid Cast: Yael Berkovich, Tad Coughenour, Brant Cox, Sara Cravens, Jason Currie(In-House Music Director), Carla Delaney, Laura Hughes, Aaron Matijasic, Gabriel Oliva, Keri Safran, Marissa Shields, Selyna Warren & Sarah Wolter.

Here’s one they didn’t repeat.  But Keri Safran singing ‘Goo’ is way too good to leave out! ;)

STUPID GOLD SONG LIST! 8/18/15 – Rockwell

STUPID GOLD: “Now that you’re here, order a beer. You have no choice!”
Xanadu written by Jeff Lynne; Lyrics by Keri Safran; Performed by Troupe

MY NEIGHBOR: “I think my neighbor murders girls!”
Music & Lyrics by Sarah Wolter; Performed by Sarah Wolter, Gabriel Oliva & Troupe

FARMER’S MARKET: “I come to check out Hot Dads, Hot Moms!”
Music, Lyrics and Performance by Sara Cravens & Andrew Samples

WITCHES WITH A “B”: “We’re witches…who are twats”
Music by Selyna Warren & Jason Currie, Lyrics by Selyna Warren; Performed by Selyna, Laura Hughes & Marissa Shields

WAY AHEAD OF MY TIME: “I’m…not like the other cavemen!”
Music & Lyrics by Peter Mills; Performed by Tad Coughenour

NERVOUS COMPENSATION: “When I get nervous, I overcompensate.”
Music, Lyrics & Impressions by Carla Delaney; Arrangements by Bryan Blaskie

SCREW LOOSE: “But I just don’t see the harm, in carving your name in my arm.”
Music & Lyrics by David Javerbaum & Adam Schlesinger; Performed by Marissa Shields

L.S.B.F.: “You’re my Lover, my Spouse and-uh my Best Friend.”
Music by Jason Currie; Lyrics & Performance by Jason Currie & Keri Safran

BOBBY D: “I got a little crush on…Robert Durst!”
Music, Lyrics & Performed by Selyna Warren

EYE TO EYE: “You’ll never see your own Butt-Ho-o-o-o-ole! It’s impo-o-o-o-ssible!”
Music, Lyrics & Performed by Laura Hughes

I USED TO BE (Dad Bod): “My dad bod says I’m confident! And CrossFit SUCKS!”
Music & Lyrics by Jason Currie; Performed by Jason w/ Carla, Yael, Sara & Sarah

MISSI PYLE & BROOKE DILLMAN: Holiday Medley & Armageddon Excited!!

JUST A COUPLE A GUYS: “Do ya wanna go to the Eiffel Tower & spend some time with us?”
Music & Lyrics by Aaron Matijasic & Gabriel Oliva; Performed by Aaron, Gabriel & Troupe

TOO PRETTY: “I’m too pretty for cleaning floors while serving you whores.”
Music & Lyrics by Katie Thompson; Performed by Brant Cox

PLEASURE TOWN: “Yes I go to Funky Town…when my neighbors groooove!”
Music & Lyrics by Carla Delaney; Arr. by Bryan Blaskie; Performed by Carla Delaney w/ Troupe

PREGNANCY SONG: “It all starts…with fucking!”
Music & Lyrics by Kristin Anderson-Lopez; Performed by Yael Berkovich

NETFLIX: “I got that HBO Go, SHO-any-Time, Amazon Prime, I got that Neflix…”
Music, Lyrics & Performance by Sara Cravens & Andrew Samples

SATURDAY NIGHT (aka Cat Lady): “You think that’s disgusting? Well, FUCK YOU, I’m a…CAT LADY!”
Lyrics by Keri Safran & Jason Currie; Performed by Keri Safran & Troupe of CATS

Sex, Love, & Yoga at the MACHA Theatre

Reviewed by Marc Wheeler

Cast: Kim Reed and Casey Hayden

Lovers, Lotus poses and labias are explored in this lofty new musical whose premise might be considered far-fetched if it weren’t based on a true story (and even then…)

A 52-year-old widowed sexologist walks into a yoga studio (stop me if you’ve heard this one) and is immediately overwhelmed and intrigued with the unfamiliarity of it all — people dressed in white, chanting faces beaming light. A Kundalini virgin, Beverly (Kim Reed) soon finds herself in Venus Kriyas with a handsome, 20-years-her-junior yogi named Cody (Casey Hayden) with whom she shares a rapturous, cosmic encounter (”Sat Nam”) that begs her wondering if these two have some sort of past life history. (Wouldn’t be my first thought, but hey, not bad for a beginner!) They agree to meet again, but this meeting is held suspect when Beverly’s longtime friend Cynthia (Stephanie Andersen) doubts his heterosexuality after scrolling through the Facebook photos of him Beverly so enthusiastically displays. Not one to back down to speculated orientation, Beverly soon meets Cody in his apartment, questions his possible fondness for the fellas, and hears the sad-but-true confirmation — he’s gay. She goes in for a kiss (”labels” be damned!) to which he recoils (lady kisses are gross!), then offers to “honor” him with a Tantric blowjob instead (naturally!), and soon more than his Kundalini is rising (Go with it, it’s a true story!) Beverly spends the night, Cody is wonderstruck, and weeks later our heroine is singing about the joys of doing his laundry (”Laundry”), because, hey, it’s a musical!

As this below-the-lips cosmic affair takes flight, best friend Cynthia is dealing with her own sexless marriage to always-distant Noah (Tod Macofsky) by feeding her three a.m. emotional aches with rich and delicious chocolate cakes (”Ambrosia”). Meanwhile, Beverly’s roommate Jenny (Katherine Washington) is feeling sexually-blocked with her transgender boyfriend Riley (Shen Heckel), this being the lesbian’s first relationship with a male-identifying partner. On the horizon a lovelorn Gabriel (Espiridion Magana) is puppy-love deep with the now MILF-diving Cody.

Unfortunately, this isn’t a comedy.

“Sex, Love, & Yoga” is based on the true life tale of creative sexologist and co-producer Dr. Stephanie Torres, with book, music and lyrics by director Kate Sullivan Gibbens. While billed as “A Provocative New Musical” with sex-positive and body-loving themes, there is interestingly no nudity (except for a shirtless Cody) and all sexual situations are simulated under covers — an understandable choice for a musical, of course, but a noticeable one for a show that so vocally advocates eradicating shame of our bodies and what we do with them.

While sexuality and gender are increasingly being viewed as fluid concepts, the explanations of why a self-described gay man would embark on a sexual relationship with an older woman are frustratingly lacking — “past life lovers” and his admiration for the “divine feminine” probably won’t satisfy most audiences. At the same time, “Sex, Love, & Yoga” plays less like a musical and more like endless therapy sessions between Beverly and the remaining characters. We never really get to the heart of anyone’s problems, but circle around them ad nauseam until the expected happy ending attempts to finger it all out and tie up loose ends with “sacred spot massages,” suspect smiles and self-love.

Performances are quite solid across the board — actors doing their best to bring an improbable story with hard-to-swallow dialogue to life.

Kate Sullivan Gibbens’ music, however, offers more than one gem, thanks in part to many soulful vocalists under the guidance of musical director Kate Marley. The melodies are often quite beautiful, as in the case of ballads “Sat Nam” and “The Rest of Me.” Lyrics, however, fall flat under the weight of clunky self-help realizations and silly subject matters (”Safe” and “Laundry” respectively), but shine when tackling issues like gender roles in the bold and sassy ”Good Girls Don’t.” Additional song credits go to Snatam Kaur. Anthony Starble gets props for arrangements.

Set design is uncredited, but features great use of space for the various households, yoga studio and nightclub. Michelle Stann’s lighting design is effective. And costumes, also uncredited, are relevant and appropriate. Bren Coombs is co-producer. Julie Ouellette is stage manager. Katherine Washington is Casting Director, with additional casting by Michael Donovan and casting associate Richie Ferris.

Sexual fluidity, body issues, relationships, trauma, healing, gender roles and identity are certainly important if challenging subject matters. Theater can tackle them (even in musicals), but “Sex, Love, & Yoga” takes on too many and forgoes entertainment and story for clinical, esoteric introspection. While based on a true story, its credibility is lost with two-dimensional characters and unlikely scenarios that need more outside perspectives and fleshed-out narratives to ring true.

There’s certainly a story in here, it just needs found — like an elusive G-spot.


Now playing through August 30, 2015

Sex Love & Yoga - imageMACHA Theatre
1107 N Kings Road
West Hollywood, CA 90069

Fridays and Saturdays – 8pm
Sundays – 2pm and 7pm


General Admission:

For Mature Audiences Only.

Down The Road with Chaz Bono at the Lounge Theatre Hollywood

by Tracey Paleo, Gia On The Move

Chaz Bono - Down The RoadLeave it to Chaz Bono to play a creepy, fame hungry, serial killer on stage and get away with it – beautifully!

Luckily I had some distance with this production.  Sitting in the front row might be hard to take if you are not completely in love with the classic sociopath a la Silence of the Lambs storytelling genre.

It gets gnarly pretty quick in Lee Blessing’s “Down The Road”, skillfully directed by Jordan Shappell, where Bono plays, William Reach, a serial killer serving a life sentence in a maximum security prison for the murders of 19 women. 

Experienced husband and wife crime-writing team, Iris (Barbara Howling) and Dan Henniman (Kyle David Pierce) are on assignment to get Reach’s story for a soon to be published autobiography.

It’s an intense psychological drama, the skin crawling “ick” factor amped as tensions mount with each interview separately conducted at the prison, by either Dan or Barbara. Reach begins to penetrate both people’s emotions and thoughts until the closeness with the subject, the living space, the isolation and Reach’s manipulation of them both bring out the worst qualities in the couple, and they find themselves fiercely divided, on what parts of Reach’s story is real or fabricated for fame. Iris obsessively battles against Reach’s ever inflated claims as Dan sides with him and both have to combat Reach’s tirades for control as well as with each other on the issues of journalistic truth.

Originally commissioned and produced at the La Jolla Playhouse and then produced in the 1991 Humana Festival of New American Plays at Actors Theatre of Louisville, the beauty of this current rendition is that it lives perfectly in the small intimate Lounge Theatre space, yet far elevated above mere “black box” expectation.

Chaz Bono has inextricably immersed himself in Reach becoming a true centerpiece of this production such that it is impossible to separate the actor from the character. (Even Reach would gleefully approve.) Barbara Howling and Dan Henniman dance steadily around Bono and put in interesting performances although never really take the deep dive into the material in quite the same way as Bono who really caps it.  Nevertheless, it’s a stellar production of Blessing’s provocative play, very much illuminating the frightening mind of a serial killer.

Down The Road PosterWhere:
Lounge Theatres
6201 Santa Monica Blvd
Los Angeles, CA
Now Playing Until:
August 16
8:00pm – Friday and Saturday

Antaeus X Inge: A “Picnic” of Desire

by Tracey Paleo, Gia On The Move


For over a week I’ve been passing around  Antaeus Theatre Company’s “shirtless actor” Picnic promo to the delight of most of my social media followers & fans except for a single male Twitter troll who attacked me in the middle of the night, angry and offended by my promoting guys in shape amongst other things.

Needless to say, I was inspired to immediately and unapologetically ramp up my no holds barred shirtless campaign.  Certainly, if Helen Potts doesn’t mind (at all) sneaking a glance at a seeming physically perfect Hal Carter traipse around her backyard half-naked while doing odd  jobs, why should I.   It really is best to have a sense of humor when humor is presented and tastefully so.

Now, that I’ve had time to take in my first-hand experience of sitting in the theatre watching the Antaeus “Stuffed Peppers” cast bring to life this most wonderful work by playwright William Inge, it is thoroughly exciting to be able to say, that past the “pretty” of the players, it’s a darn good show!

If ever you’ve been to Antaeus’ current home in North Hollywood, what is immediately striking is the physical transformation that has taken place within the space itself.  Noticeably the set nearly mimics the original 1953 Broadway production and is so beautifully designed, front row benches included.

Director Cameron Watson has  meticulously illuminated Inge’s play set in 1952 small town Kansas, including casting a wiry and sexually potent Daniel Bess as Hal Carter and a mostly femme fatal Jordan Monaghan as Madge Owens.  There is no shortage of chemistry between the pair and although Ms. Monaghan plays a slightly reserved Madge, once the two dance, the match is lit and the show gets hot to the touch.

It is Gigi Birmingham as the almost old maid school teacher, Rosemary Sydney, however, who really brings the fire and flame to this production. From the moment she steps on to the porch it is an aggressive, near sexual wilding of Hal as she eventually unleashes her pointed envy of his youth, his looseness, his attraction to Madge and most of all her fears about growing older year after year, unmarried, and being desired less and less as a women.

Connor Kelly-Eiding also shines up as smart, tomboy younger sister Millie Owens with a spot on performance.

The Stuffed Peppers cast which also includes a flawless Kitty Swink as the downtrodden, yet wiser than apparent Helen Potts looking for small happinesses, Eve Gordon in an almost contemporary Flo Owens, Ross Philips perfectly period cast as jealous boyfriend Alan Seymour, John DeMita also perfectly cast as the reluctant beau to Miss Sydney, and Tamara Krinsky (Irma Cronkite), Maureen Lee Lenker (Christine Schoenwalder) and Ben Horowitz (Bomber), pull together a free-flowing, fast-moving Picnic that results in an arousing presentation of volcanic frustration and smoldering desire.


It’s a balmy Labor Day in the American Heartland, and a group of women are preparing for a picnic… but they’ll have to lay a lot on the line before they can lay out the checkered cloths. When a handsome young drifter named Hal arrives, his combination of uncouth manners and titillating charm sends the women reeling, especially the beautiful Madge. When Hal is forced out of town, Madge must decide whether their fleeting encounter is worth changing the course of her life. Winner of the 1953 Pulitzer Prize for Drama and New York Drama Critics’ Circle Award.

Written by William Inge
Directed by Cameron Watson
Starring (in alphabetical order including both alternate casts) Rhonda Aldrich, Gigi Bermingham, Daniel Bess, Jake Borelli, Josh Clark, Jason Dechert, John DeMita, Matthew Gallenstein, Eve Gordon, Sarah Halford, Shannon Holt, Ben HorwitzDylan Jones, Connor Kelly-Eiding, Tamara Krinsky, Maureen Lee Lenker, Jill Maglione, Jordan Monaghan, Ross Philips, Jackie Preciado, Janellen Steininger, Kitty Swink

Presented by Antaeus Theatre Company

Thursdays at 8 p.m.: Aug. 13, 20, 27
Fridays at 8 p.m.: Aug. 14, 21, 28
Saturdays at 2 p.m.: Aug. 15, 22, 29
Saturdays at 8 p.m.: Aug. 15, 22, 29
Sundays at 2 p.m.: Aug. 16, 23, 30

5112 Lankershim Blvd.
North Hollywood CA, 91601
(1½ bocks south of Magnolia)

$8 in the lot at 5125 Lankershim Blvd. (west side of the street), just south of Magnolia.

(818) 506-1983 or
Like them on Facebook at
Follow them on Twitter @AntaeusTheater

Thursdays and Fridays: $30
Saturdays and Sundays: $34

Inconcievable Hilarity at El Grande Circus de Coca Cola

by Tracey Paleo, Gia On The Move



Pepe Hernandez’ traveling circus may just be a posse of cast off children from his prior 5 marriages, he may have lost a few 3-ring trained animals while crossing the Mohave Desert, to heat stroke and lack of rations, yes the chupacabra is voraciously hungry, messy and running wild around town shredding costumes, tents and car paint in its wake, the choreography awkward, the acts inconsistent and the talent decidedly second-rate.

Then there’s the problem with 15-year-old “mui fuerte” Maria begging, flirting and falling in love with male guests for a green card in exchange for cooking, cleaning and a little something extra. Kittenish half-Swedish blonde bombshell Consuelo is suggestively (but oh so politely in front of the wives in attendance) inviting potential male agents back stage to talk about representation.  Never mind the half-wit drums, piano and accordion playing boys who can’t get anything right — although they try, they really, really try.

El Grande Circus de Coca Cola is the most inconceivable Spanish language only, spectacular “spectacular”, everything but the kitchen sink carnival motif revival, to play Hollywood Boulevard in as far back as probably anyone can remember.

Film aficionado Pepe Hernandez has finally arrived on a world tour, in Hollywood at the Skylight Theatre, bringing with him an almost razzle-dazzle mashup of variety show acts including knife throwing, magic tricks, fortune-telling, opera, ballet, a fearsome parody of Latino telenovela and a coup de gras performance of Las Flamenco Fleas from Barcelona.

flea circus


And, in case anyone is interested he is also giving acting classes while in town. You can find a discount coupon in your

FootLights program.

FootLights program

(Yes really! Go check it out for yourself. It’s there on page 3!)

This show, with all its holes and dragging lulls in between all the “jazz” is so incredibly creative, so high-caliber designed, so astounding in performance there’s no way you won’t want to stay till the end!  The absolute highlights are the team-choreographed commercials made for their sponsor, American soda company, Coca Cola.  The final histrionic stunner however is the photographic replay of Pepe’s girls’ Quinceañera, a bona fide study in perfect physical comedy.

El Grande Circus de Coca Cola is a beautiful, colorful, glitterized, 80 minutes mess!


Performances run Fridays and Saturdays at 8:30pm, Sundays at 3pm.

The Skylight Theatre
1816 1/2 N. Vermont Ave, LA, 90027.

Tickets are $34.

Reservations: 213-761-7061 or online at

Find Them on Facebook:
Twitter: @SkylightThtr

Cast: Paul Baird, Olivia Christina Delgado, Lila Dupree, Aaron Miller, and Marcelo Tubert
Production Credits:
Written by Ron House
Directed by Alan Shearman
John Iacovelli (Set Designer), Jeff McLaughlin (Light Designer), Tor Campbell (Choreographer), Sarah Figoten (Costume Designer), and Jeff Faeth (Props Designer)

Astro Boy Soars at Sacred Fools

by Tracey Paleo, Gia On The Move

Weighing in on the current hyperbolic flight of Astro Boy and the God of Comics, in its final week at Sacred Fools Theatre, Los Angeles, is like pointing to the sky and saying “blue”.  There’s simply no denying that this early Japanese manga sci-fi cartoon character, now rendered for stage is pure fanciful entertainment: sweet, empathetic and visually captivating. Or that the innocent mind of a child flying robot is no less potent than that of a human child mind or the childlike imagination of cartoonist, animator, film producer, Osamu Tezuka, “the father of manga”, who created it.  Astro Boy indeed reels in audiences with a heartstring-pulling nostalgia that is sad for his inevitable demise yet hopeful of humanity for the future.

Using the elements of projections on scrim, minimal puppetry, interactive effects and the simply phenomenal act of precision drawing in the moment on stage uniquely captures this early anime narrative told backwards, heightening the experience of cartoon and its very intimate relationship with the man whose imagination and career literally soared in the genre through Astro’s story.

Actress Heather Schmidt could not be more perfectly cast, exquisite in physical and vocal choreography, as well as West Liang as Tezuka. The cast is flawless in every aspect of this production including all of its moving components.


Astro Boy and the God of Comics

Written by Natsu Onoda Power
Directed by Jaime Robledo
Produced by Brian Wallis

Sacred Fools Theater
660 N. Heliotrope Dr., Los Angeles, CA  90004

Friday and Saturday at 8pm

ADMISSION:     Tickets $20, at  or   310-281-8337

Please note that ASTRO BOY explores themes of war, illness and death, and may not be suitable for children under 10.

Heather Schmidt  as Astro Boy
West Liang as Osamu Tezuka

Zach Brown, Megumi Kabe, Anthony Li, Mandi Moss , Jaime Puckett  & Marz Richards

Erin Sanzo as Astro Boy
Scot Shamblin  as Osamu Tezuka

Gregory Guy Gorden , Lisa Anne Nicolai  & Aviva Pressman

Lead Producer – Brian Wallis
Assistant Director – Rebecca Larsen
Associate Producer (Design/Tech) – Shaunessy Quinn
Associate Producer (Casting/Outreach) – Seamus Sullivan
Marketing Coordinator – Carrie Keranen
Stage Manager – Heatherlynn Gonzalez
Assistant Stage Manager – Suze Campagna
Scenic Design – DeAnne Millais
Lighting Design – Matt Richter
Costume Design – Linda Muggeridge
Prop Design – Brandon Clark
Sound Design – Jaime Robledo
Original Music – Ryan Johnson
Stunt/Fight Choreography – Mike Mahaffey
Live Art Design – Aviva Pressman
Projection Video Design – Anthony Backman
Projection Animation Design – Jim Pierce
Stage Crew – Alyson Schultz  & Bo Powell
Key Art – Christopher Komuro


Zulu Time at the Hudson Backstage Theatre

Reviewed by Marc Wheeler

zulu time


With #BlackLivesMatter trending alongside a US Supreme Court #LoveWins ruling, the time is ripe for explorations of injustice and dignity in America. Former Navy pilot-turned-playwright Charles N. Faerber’s “Zulu Time,” directed by Richard Kuhlman, tackles issues of race and otherness through the lens of a naval unit in the 1960s, when the Watts Riots (now nearing its 50th anniversary) and the death of Martin Luther King, Jr. sent smoke signals of distress and rocked the nation. Unfortunately, too little of substance is offered on these timely topics as this jargon-heavy script creates a barrier to non-military audiences (slightly lessened by a Navy-themed glossary in the program) and story lines on race and sexuality are given scattered, unsatisfying surface dives when a richer examination is needed.

Aboard an American Essex Class aircraft carrier three weeks before heading out to Vietnam, a white Navy pilot Page Boy (David Ghilardi) remarks to fellow white flier Lone Star (Trevor Larson) that he’d like to bomb the welfare-abusing “animals” in Watts, a remark overheard by Ronnie (Christopher T. Wood), a black crewman who reacts none-too-enthusiastically to these threats of racial violence, the safety of his family in jeopardy. An apology is requested and refused, and we soon find the slighted Ronnie being threatened with a discharge by the ship’s bigoted Potter (John Marzilli) as the racially sensitive Asian Yamato (Scott Keiji Takeda) pleas for his understanding.

It is from this episode “Zulu Time” explores the ship’s colorful characters — each bringing their own histories of education, privilege, plights and secrets — from Southern California to Vietnam, a journey a bit too daunting to adequately explore the arcs of this lively bunch. While performances from the ensemble are mostly solid and authentic, dialogue sometimes borders on caricature, as in the case of Potter, whose let’s-kill-everyone-who-doesn’t-look-like-us diatribes ring far-fetched, despite a fantastic performance by gravel-voiced Marzilli.

A simple set by Gary Lee Reed employs the use of rolling walls to create multiple rooms aboard the carrier, as well as the jungle and a bar in Vietnam. Lighting design by Donny Jackson makes good use of strobe during battle. Costume design by Gina Davidson appears authentic. Sound design by David B. Marling works just fine during musical interludes, but is unnecessarily distracting in a couple of scenes when actors speak over or lip sync their own dialog.

Producer is Racquel Lehrman, Theatre Planners. Associate producer is Victoria Watson, Theatre Planners. Stage manager is Marissa Drammissi.

Racism, homophobia and the various, volatile ingredients for mutiny could have made for a testosterone-fueled night of theater. And while those with military experience may be more engaged, I fear “Zulu Time” is a bold and brave attempt, but mostly missed opportunity to bring understanding and catharsis to that which divides us.

Now playing until August 09, 2015

Hudson Backstage Theatre
6539 Santa Monica Blvd
Los Angeles, CA  90038

Fridays and Saturdays @8pm
Sundays @3pm

$15 previews
$25 General Admission

Running time: 120 mins