Category Archives: Reviews

The Zombie Effect: A North Hollywood Invasion

by Tracey Paleo, Gia On The MoveThe Zombie Effect

Well, ok that might be a tiny bit of an exaggeration, but with this random Paul Bunyon-vibing actor guy strolling around Lankershim Blvd on a Friday night with an axe, tryin’ ta tell us somethin’, maybe we should pay attention?

The Zombie Effect opened last Friday at the Acme Comedy Theatre in North Hollywood, CA to a slightly rabid crowd attempting to forcefully push their way into the theatre for tickets and safety but not before being repeatedly warned to grab rations (water and wine at the front of the house for donation) and a bathroom break.  “Cause none of this might be here afterwards!”

Silly, somewhat predictable and a whole lot of outrageous fun, The Zombie Effect takes insanity to a whole other universe (Seriously, dude it’s all in your head — ah– oops!)

After the city erupts in an outbreak of mass murder, a few survivors find shelter in an isolated, dilapidated church. The government is claiming biological terrorism. Some believe it’s stem cell research gone mad. Maybe it’s the wrath of God. Or, are we suddenly at war with North Korea? Whatever it is afflicting all the funny-walking attackers, the only thing that matters is survival.

I made it through the show without a splatter of blood or brains but don’t be too cTheZombieEffectFlyerSMALLonfident that YOU will.  The walking dead are everywhere and no one can keep them out of the almost abandoned church outside the city or onstage for that matter.

Ripe with ridiculous gags, one liners and probably the world’s calmest, coolest and completely buff guy who jumps in through the window to save the night, this show is dedicated to the innumerous and utterly stupid decisions that anyone could ever make in an apocalyptic attack.

It’s gonna get better with each weekend especially for the special Halloween show. So get your tickets now.  And … a word of advice in case you get stuck in the mayhem without a rescue, don’t count on the resident priest to save you either.  He’s too busy “sipping the sacrament”.

The Zombie Effect runs through December 14th, 2014, with performances on Friday and Saturday nights at 8:00 pm and Sunday at 7:00 pm. On October 31st there will be a very special Halloween performance at 10:00 pm.

ACME Comedy North Hollywood
5124 Lankershim Blvd., North Hollywood, CA. 91601

Running time is 75 minutes with no intermission.

Tickets_ZombieGeneral admission: $20.00.

Ponchos provided for splatter.

Playwright Leif Gantvoort

Directed by Leif Gantvoort and Jen Woldrich Pittman

Produced by Jeremy Luke, Leif Gantvoort and Eddie Alfano

Set and Lighting Design Leif Gantvoort

CAST:  Leif Gantvoort, Jeremy Luke, Krizia Bajos, Chauntal Lewis, Ana Alexander, Eddie Alfano, Kevin Small, Brett Sheridan, Femi Longe, Danny Turco, Charles McCarthy, Laura Seyffert, Meghan McCabe, Les Feltmate, Niko Bonelli and Rachel Bausch

Stop Drop Robot: Cerebral Eviction Notice

For today’s Music Monday feature we thought we needed to get your supremely hard core electronic rock band juices flowing!



Hailing all the way from the UK, Stop Drop Robot (SDR) is already set to release a second EP this coming November, for mere anniversary #2 as a band. With a blend of synthesized blues and rock these break outs from Sheffield are creating a unique sound that will grind you to a pulp.

There’s nothing tame about these boys.  What they’re producing is not for the timid.  Get ready for some aggressive visuals and an intensely addictive music explosion.

According to the band, Sam Christie on vocals, Nathan Bailey on bass, Matt Ross on guitar and Daniel Battye on drums, they use vocals as a tool to express conceptual ideas rather than narratives.  You can be sure, however, that SDR is an adventure no matter how you ride it.  The music just “cuts like a knife … so good!”

They are currently also working on some new videos.  For now you can check out the Official Stop Drop Robot Website, YouTube page and all their other channels listed below.  I’ve been told that if you really want to get their attention, they are regularly LIVE on Facebook.  Bonus:  you can also download some free tracks from their Soundcloud page.  Ahhhh…can anybody say “F*&%^ Yeah!”




DAN (drummer) @StopDropDan

NATHAN (guitar) @nathbailey

SAM (frontman) @StopDropSam

The Behavior of Broadus: Jacob Sidney Takes The Lead

by Tracey Paleo, Gia On The Move
Photo from the @BurglarsofHamm

Photo from the @BurglarsofHamm Twitter feed

It was a one shot deal for actor Jacob Sidney stepping into the title role of The Behavior of Broadus at the Sacred Fools Theatre on Thursday evening (Oct. 16). And oh how he pulled it off!

Ok, I’ll confess, I seem to have a penchant these days for alternate casts and understudies.  But when every other critic in Los Angeles is jumping into the fray to be the “first man out”, it’s so much more interesting to take a step back and see how things actually progress – well after opening night.

Over the summer at the Hollywood Fringe Festival, I had the opportunity to review Mr. Sidney for his lead role in Hamlet Max, a rather amorphous yet off-handedly effective characterization of Shakespeare’s Hamlet.  So I was quite looking forward to seeing what he could do with an even more obsessive personality.

For his “singular” achievement, Mr. Sidney, who normally plays Dean Stevens, completely dove into the character with exceeding skill.  In comparing photographs of the real John Broadus Watson, it could even be said that Sidney is a bit of a ringer. Truth be told, I never once thought about the fact that he was a “step-in” for the evening. It was the most natural, spot-on, technically well-presented performance that could have been rendered, supported by a wonderfully quick-witted ensemble which, coincidentally also included three other cast members switching places that evening. Due to an injury by actress C.J. Merriman, shortly on her way to foot surgery, cast members took the following roles: Aviva Pressman as Whitey; Kurt Bonnem as Loeb US; Scott Golden as Dean.  Overall, it was a total success.

The Behavior of Broadus

As a musical play, The Behavior of Broadus is mostly hilarious, bright, sit-up-and-pay-attention material that captures the imagination with ridiculous and often profane humor mitigated by dark moments that either suddenly creep in or which are thrust into the forum of the doctor’s lab, his relationships and his own psyche, a place where he himself fears to tread and yet, in his late life, has no choice but to confront. It is a fictionally composed story of the real life of John Broadus Watson, the American psychologist who established the Psychological School of Behaviorism and modern Advertising.

Coming from humble beginnings, John Broadus Watson starts off as a farm boy growing up in rural South Carolina circa early 1900.  Coerced, by his mother, into the religious road of preacher-ism, he eventually makes his way to the savvy sin bearing streets of Chicago to find converts. There he quickly throws down his Bible and finds a path to science.

Little-albertAided by his will, his imagination and in this version, his very intriguing, anthropomorphic relationships with farm animals and other four-legged testing patients he begins a life-long study on fear and classical conditioning, i.e. how to manipulate the human brain into doing what it is told. In his lifetime, John Broadus Watson conducted research on animal behavior, child rearing and advertising.  His most famous, greatest and undoubtedly shocking experiment was on an 8 month old baby named (Little) Albert with whom he took dangerously extreme liberties in the dissecting and retraining of the baby’s behaviors.  But it was his love affair (as then a married man) with his graduate student assistant, Rosalie Rayner, that ultimately sends him spiraling out of control and summarily booted from John Hopkins University. This consequently also leaves a once emotionally stable baby Albert mentally skewed for life, having been conditioned into phobias he never had. Watson never reconditions the baby back to normal behaviors.

The Behavior of Broadus

This past season has seen several shows come out of the Sacred Fools Company in collaboration with other theaters and groups, which has upped the level of intensity, sophistication and high-end storytelling.  If nothing else to note, above all, storytelling IS what they do best.  Broadus, written by The Burglars of Hamm and presented in association with The Center Theatre Group, hits the mark. Even with a bit too much length and repetitive music score, especially in the second act, which drains a bit of its impact, it is a first-rate production that with a “dust-up” should enjoy a second life or more in a larger theatre house and with a broader audience.  Let’s hope.

What is stunning in the show is the lighting (by Brandon Baruch) which fully activates and heightens every action and emotion, accompanied by a live onstage orchestra — a distinctly gorgeous yet un-intrusive element in this production. But what I kept coming back to most, was the cleverly thought out movement and dance choreography  (by Ken Roht), impressive in how it often created bold formations, telling its own story, using the entire space and lines of the stage, something, as a dancer, I always look for, but I don’t often see in many theatrical productions.  The costuming matched the timeline.  The animal masks were thoroughly inventive.  And…there was an abundance of absolutely priceless lines, gags and moments from each actor/character in this script.

Broadus is “made-to-order” role for Mr. Sidney and it in he triumphs along with the cast for this piece, especially, the incredibly talented and entertaining Devon Sidell who gives a knockout performance as Rosalie Raynor.  The Behavior of Broadus is undeniably good.

The Behavior of Broadus

The Behavior of Broadus was to close last week but has been extended.  Performances run until October 25th.

For more information and Tickets visit:

The Behavior of Broadus was commissioned by Center Theatre Group, Los Angeles, CA.  This production was developed with support from Andrew W. Mellon

The Rumer Has It at The Rockwell Table & Stage!

by Tracey Paleo, Gia On The MoveRumer Willis Instagram


She’s got her mother’s prettiness but she’s all sex appeal and swag like her famous dad (Bruce).  And with all of that Rumer Willis still manages to simply be herself.  She’s lovely.  She’s also 100% edge without any of the roughness.

Los Feliz 90027,  written and directed by Jake Wilson (“You Must Be Joking” and “Battery’s Down”) blasted off it’s world premiere, Episode 1, last night,  at the Rockwell Table & Stage on Vermont Ave. (Los Feliz, CA) with a full house and a high energy crowd of supporters including none other than Demi Moore who sat in full view awaiting her daughter’s debut.

A mixture of alternating live stage & film, music and uber reality waitressing/bartending — an experimental  format described as “live episodic entertainment” — the show managed a successful first night without a hitch.

rumerwillisThe love letter/spoof to soapy dramedy material isn’t grand. But the audience cared more about the characters and all of the demonstrative cattiness a heck of a lot more than the script  including a cameo by Perez Hilton on camera as a horrible casting director, so a great time was had by all.

 The storyline?…well…it’s a bit ludicrous.  It’s the … you know… I’m an actor trying to make it in Hollywood…living the dream or i’ll die trying or something like that mashed together with a drug score, a bar owner mc who cares less about the talent than fame, a porn sideline, the all-encompassing, effervescent drag show and the critical musical number that deepens the relationship between the unlikely soon to be lovers (Rumer and a new musician in town who works as a busboy at the bar); Barely post teenaged schmaltz at its best.  Miss Willis’ character, Veronica Hampton is the centerpiece actress who continually is dissed by boyfriend, friends, acquaintances and industry twits who jerk her around quite a bit in her struggle for success and happiness.

But does it all work? Absolutely.  The players are current and in reality, many if not most, (so I was told) a bunch of actors with food service side jobs.  So nearly everyone is a dead ringer and appropriately cast.  And will it keep audiences coming back?  Seems so.  No one was complaining and in a somewhat interactive environment, it’s more likely that fans will keeping loading in just to be closer to the melodrama and the (frankly) hot bods.

The show will perform twice a month (Friday and Sunday) LIVE at the Rockwell with projected pre-taped scenes with new upcoming episodes continuing on October 12 at 8pm through Sunday, February 15th.

Tickets range from $15 to $50. Season passes are also available.  Dinner and drinks are served.

For reservations, tickets and information call (323) 669-1550 ext. 20 or visit:

Rumer Willis
Bridgette B.
Alex Ellis
Levi Freeman
Ben D Goldberg
Blake Cooper Griffin
David Hull
Carly Jibson
Sebastian La Cause
Lisa Mindelle
Same Pancake
Corbin REid
Constantine Rousouli
Tory Devon Smith
Guest Starring:
Brandon Breault
Taylor Montana Catlin
Jenna Coker-Jones
Tiffany Daniels
Richie Elija Carcia
Adam Genztler
Asmeret Ghebremichael
Natalie Hall
Perez Hilton
Chauncy Jenkins
Nhut Le
Chantae Pink
Daniel Imperiale
Ruby Karyo
April Moreau
Christina Nguyen
Quinn Scillian
Caroline Smith
Produced by Kate Pazakis
Musical Direction by Brian P. Kennedy and Richie Garcia

Vox Lumiere–The Phantom of the Opera

by Tracey Paleo, Gia On The Move


My mostly non-theatre-going guest thought it was amazing, and that’s good enough for me.

If you’re looking for a bumped up movie experience a-la a Gothic version of The Rocky Horror Picture Show, then, Vox Lumiere’s, Phantom of the Opera is for you.

For the “season of the witch” you can expect something grandly dark, mysterious and carnival-style “over-the-top.”  What Vox Lumiere delivers is entertaining downtown LA movie mash-up, escapism mixed with live performance that doesn’t challenge the audience to much.

Most of the magic takes place on screen via the original 1925 American silent black and white horror film, Phantom of the Opera, a truly dramatic, visual treat, not easily found in any cinema today.

Erik, TThe Phantom (Lon Chaney) and Christine Daaé (Mary Philbin)An adaptation of Gaston Leroux’s 1910 novel Le Fantôme de l’Opéra, the film was directed by Rupert Julian and starred Lon Chaney, Sr in the title role of the deformed and obsessed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to make the woman he loves a star. The movie remains most famous for Chaney’s ghastly, self-devised make-up, which was kept a studio secret until the film’s premiere.

Interesting about this particular movie, is that Universal Studios last month, in order to make room to expand its theme park, actually destroyed Stage 28, which is where the original 1925 Phantom of the Opera silent picture was filmed.  Stage 28, historically, is one of the oldest stages on the lot at 90 years and the set, then commissioned by producer Carl Laemmle, whose niece Carla, who died on June 12th of this year (2014), was up till then, the oldest surviving actor in the film, has been housed in the space since that time.  Hence, it is one of the biggest and best reasons to experience this offering.  It is an incredible piece of film history not to be passed up. The rest is periphery.

The live performance has been created to add layers of detail, insight and emotion to the narrative, as well as a 21st century ‘story-within-a-story’ that complements and is a juxtaposition with the 1920s-era film.  But although the entire cast is technically, musically and choreographically deft in all forms, the performance below the screen finds itself hard-pressed to compete with what is showing above.  It’s a nice touch though and without all of the add-ons, the experience just wouldn’t be as inviting.

Overall, it’s a great show, family friendly and visually extravagant.


Untitled-1Music and lyrics by Kevin Saunders Hayes

Adapted from the novel Le Fantôme de l’Opéra by Gaston Leroux

Featuring the 1925 silent film The Phantom of the Opera directed by Rupert Julian and starring Lon Chaney

Fridays at 8 p.m: Oct. 10; Nov. 21; Dec. 12
Saturdays at 8 p.m.: Sept. 20; Oct. 11; Nov 22; Dec. 13

Los Angeles Theatre Center
514 S Spring St.
Los Angeles, CA 90013

Call for group, family, student, senior and military discounts
Call: 844 VOX-ROCK or visit:
Twitter: @voxlumiere
Vocalists: Julie Brody, Marisa Johnson, Victoria Levy, James Lynch, Chris Marcos, Danielle Skalsky, D. Valentine
Dancers: Siân Dakin, Cameron Evans, Carolyn Pampalone, Jamie Pfaff, Dustin Ripkens, Jason Sensation
Musicians: Christopher Allis on drums; Zac Matthews on bass; Jeff Miley on guitar

Produced by Rick CulbertsonGregory Franklin and Victoria Levy in association with Franklin Theatrical Investors.

Presented by Stage 28LLC

Lyric Theatre NYC’s, ON THE TOWN, in preview: The Model Critic Reviews


On The Town


About to open on 42nd St., this newly minted revival of  “On the Town” is pure, shimmering entertainment. Like a fine vintage wine from good stock, this show has color, clarity, and depth. Buy a ticket, sit back. and enjoy–it’s a sure thing. You’ll get a full orchestra, big glossy sets, great singers and dancers, slapstick humor, memorable ballads, fun, era costumes, a huge cast, and a battleship full of red, white and blue energy.

Everyone in America, with the exception of a few Milliennials, has probably heard or seen this familiar show in its entirety somewhere, somehow; or seen the movie “Fancy Free,” or heard the music–at least one song or another: “Lonely Town,” “New York, New York,” “Lucky to Be Me,” or “Some Other Time”–all familiar standards.  If not, here’s a great opportunity.

First done as a ballet, “Fancy Free”, by Jerome Robbins for American Ballet Theatre in 1944, next as a long running Broadway show based on the same idea a few years later, then finally reworked into an MGM movie in 1949, starring Frank Sinatra, Gene Kelly, and Ann Miller, this show has a long storied pedigree with many reincarnations here and abroad.

“Buy a ticket, sit back. and enjoy–it’s a sure thing.”

The plot is tissue thin, but beautifully manic: three young sailors on leave in New York City have 24 hours to meet some babes.  They see a poster of Miss Turnstiles in the subway, and one of the crew, Gabey, falls in love with her image–the lovely Miss Ivy Smith. On the poster is a glowing list of some of Ivy’s “accomplishments,” and armed with these slim clues, Gabey, and his two buddies, Chip and Ozzie, decide to track her down. Off in different directions, Gabey gets lucky and finds her at a singing lesson in a Carnegie Hall rehearsal studio.

This show is about song, dance and vaudevillian humor. Leading with the dance, and making this show uber special, is the super charming Megan Fairchild, a principal dancer with The New York City Ballet, who impeccably plays the sweet and petite Ivy.  It’s probably safe to say, historically, no one has ever danced this role better. Crisp, exacting, and fluid, Fairchild brings an ease and brilliance to her dances that is stunning–even for the talented cast surrounding her. Being a Balanchine trained dancer, a ballet technique requiring quickness, speed, and strength, the role is perfect for her, as she charms the house. She even gets to deliver a few spoken lines with quality.

The most affective song of the evening was the beautiful ballad “Lonely Town,” delivered by Gabey as he wanders the Battery at dusk, before his fortunes change with Ivy. Gabey, played by Tony Yazbeck, goes for all the passion in this big set piece, and truly captures his isolation as a scrub in the Big Town. His blue lament is underscored as people rush by, moving him to dance an expressive solo on the esplanade, with only the Statue of Liberty in the harbor for company.

The dance, apart from Ms. Fairchild’s welcomed feminine presence, is mainly the men’s work in the show. The choreography is what I’d call “Sailor Jazz” old school look–goofy sailor walks, slides, hitch kicks, big leaps, blazing turns full of speed and athleticism. This however, is not Jerome Robbins’ original choreography, but “in the style of…” that works well. Cylde Alves as Ozzie, romps, especially in the museum, and has tons of personality, while Chip, Jay Armstrong Johnson, the wildly naive one from Peoria, dances with a plasticity and energy that’s truly amazing. In the big ensemble pieces, all three shine.

The singing belongs to both Hildy (Alysssa Umpress), the zophtic cabbie who tempts Chip into her cab for a free “affair,” and takes him for a wild ride around the city,  then up to her apartment, and Claire DeLoone (Elizabeth Stanley), the looney Anthropologist who loves the study of Man, and wants to measure Ozzie for science, and study his primitive ways; likewise, corrals him into her apartment for futher examination. Both gals have big clear, belt voices, that create wide range and high notes–did I hear a high C from Ms Stanley?

The cast was huge, around 30 players, and many played multiple roles. Jackie Hoffman was absolutely hilarious in four roles. She was terrific as Maude P. Dilly, Ivy’s drunk, Jewish music teacher from Europe, who staggeringly says to student Ivy: “I could’ve been big over there if it hadn’t been for Those people.” “Who, says Ivy, the Germans?” “No, says Maude, “the audiences.”  Hoffman also plays Diana Dream at Diamond Eddie’s and sings “I Wish I Was Dead,” and again as Dolores Dolores at the Conga Cabana Club where she again sings “I Wish I Was Dead.” What a fine comedian!

When Gabey finally finds Ivy at Carnegie Hall, and get up the guts to ask her out, she accepts, and agree to meet at Nedicks. However, she is thwarted by Maude, who wants Ivy to go to work that evening instead, to make money for her music classes. We learn Ivy really isn’t the girl in the advertisements but a cooch dancer in Coney Island, so she never shows up to meet Gabey.  Maude meets a disconsolate Gabey instead, and tells him where Ivy works. All rush to take a subway to Coney Island, with only two hours remaining on their leave.

In an imaginary sequence of Coney Island, Gabey and Ivy dance an erotic dance in a boxing ring that dramatically represents the Freudian tensions of their attraction– an evocative, and shall we say, entertaining, dreamlike pas de deux enjoyed by everyone. A Japanese gentleman sitting next to me nodded and said it best, “She, very good dancer.” I nodded back, “Yes, very good.”

There’s much to like in this show, so many talents, so many bright scenes, wonderful music, great sets. There’s a lot of corny humor, abundant clichés, and not such great choreography, but in the end, all hangs together well because of its full body spirit and jazzy exuberance.  Those who know it will love it again, and those who haven’t will get a peek into mid-century Broadway history.  In all adds up to a remarkable experience; a cultural landmark of the American Musical Theatre that is simply, pure joy.

A must see…

buy tickets


 Now playing until March 29, 2015 at

Ford Center for Performing Arts, 214 West 43rd Street, New York, NY 10019


For more information visit the website.

Antonio Sacre: The Storyteller “Stripped”

by Tracey Paleo, Gia On The Move


Antonio Sacre is a man at a crossroads, scrying into the future, embracing a sign of life to come.

As I entered the VS Theatre on the first Sunday evening for the preview of Sacre’s latest enterprise for the Solo Collective, The Storyteller (“What were you thinking letting me see this unfinished!”, I somewhat scolded him after the show.) I immediately got a gut feeling that this would be a mashup, a little bit of everything soup, a hodgepodge of ideas.   

Then I thought, “What was it that he had to say?  How much more new material could one contrive and expound upon in the ongoing past and present Sacre saga?”  So many questions in that vein, loomed in my mind.  This was going to very well be a defining moment.  I was right.

Bearing witness to the litany of his public stories thus far, I, like so many other regular fans and followers have come to know Sacre most intimately.  His multi-cultural Cuban/Irish heritage and growing up “split-down-the-middle”; his doctor father, his Bostonian mother, his competitive brothers, heart breaks, divorces and make-ups, including his own; his adoring Spanish grandmother, crazy “Mick” uncles and cousins, his bilingual capabilities, books, plays and now tours around the country telling children’s stories (including for LAUSD), becoming a father himself, and all the metaphors, mythologies and allegories built into and around the insanity that is his personal and professional life.  What a whopper! – pickles included.

For starters, like anyone who’s lived an unsettling life, especially that of a theatrical performer and writer, there’s always another drama to unfold.  This time around however, Sacre takes a different direction and a lot more risk in the material and the presentation than ever before.  It’s his exclusive, growing up, right of passage story told in “real-time” without apology.  And it is bold!

He’s quite funny actually.  Exposing the murky comedic shades of elusive industry success, he compares the evolution of his work and career path to stripping, something he claims to be quite an authority on via his college days, to the devolutionary art & hustle, balls to the walls performances of highly skilled bump-and-grinders. Song One: stepping out into the lights, you begin to create relationships. Song Two: showing more than just skin…hooking you into the drama.  Song Three: hitting the pole hard for the climax.  THIS is your moment! The big wigs are in the room scouting you for the new TV pilot.  And if you’re lucky, you’ll move on – BIG – and make it all the way, glittered and perfumed, to the private Champagne Room for the ultimate lap dance.  It is exciting, utterly divergent material for a man used to exposing merely charming, romantic vulnerability.

Weeks later, I got the opportunity for a second round with the updated show and although Antonio has altered a few of the lines, removed text, re-aligned some of the subject matter and pulled it all to center he has by no means wrapped himself in a safety blanket of watered down material.  He has remained as dedicated to dancing at the raw precipice as his first preview night.

According to Sacre, his life is rather boring and that his singular privilege allotted to him by the audience, is that he gets to write stories and tell them and make a living at it.  But by no means is he special or great or best in any way.  Even his own father jokingly and regularly tells him that he is, “Only the 10th best storyteller in the family.”  In the most honest of ways, it is laughable because there is a huge truth to the statement.  But, as one artist witnessing another, I’d have to say, it’s time to remove the “only” in any description of him.

In The Storyteller, Sacre is directly questioning himself and his future.  Closer than ever to crossing over into the largest of limelights, will it be possible to realize fame, stardom, influence and wealth with the power players of entertainment instead of performing on a small stage, in a black box theatre, for mostly friends he’s had to repeatedly tempt to participate, like one of his strippers, in his work? Will he be doing only this after tonight, after that and after that and after, after, after, AMEN?  Or is this, the amazing and wondrous ability to engage people with his chronicles and fables and getting paid for it, “the next best thing.”  It’s a touch point that uncomfortably, depressingly hits home with everyone at some point.  As for his own life…that is…”to be continued.”

The Storyteller officially closed this past Sunday evening. However, two more extended performances have been added in November.  You are highly encouraged to hear this personal work. Check with the Solo Collective website for more information or follow Antonio Sacre on Twitter for updates: @antoniosacre

THE STORYTELLER by Antonio Sacre

“The Storyteller”
written and performed by Antonio Sacre
directed by Paul Stein

VS. Theatre
5453 West Pico Blvd
Los Angeles, CA 90019
United States

For twenty years, on three continents, in ten countries, in 45 states, and for over two million people, Antonio Sacre has told stories. He has published four books, six plays, and four audio recordings, many of which are award winners and critically lauded by magazines, newspapers, and other media worldwide.