Category Archives: Theatre

Actors’ Equity Members Have Voted. Here are the numbers:

The results of the Actors’ Equity Union 2015 Election were made official yesterday.  Here is the actual voting tally for both the Eastern and Western Regions.

2015Election
OFFICERS PRESIDENT Three-Year Term
*Kate Shindle 2,692
Nick Wyman 2,387
Larry Cahn 746

OFFICERS WESTERN REGIONAL VICE PRESIDENT Three-Year Term

*Doug Carfrae 2,839
Donal Thoms-Cappello 1,754

EASTERN REGION PRINCIPAL Three-Year Term (Vote for 8)
*Dana Ivey 3,373
*Tonya Pinkins 2,691
*Maureen Moore 2,173
*Kate O’Phalen 2,164
*Judy Rice 2,018
*Kristine Nevins 1,8772
*Joanne Borts 1,591
*Sid Solomon 1,557
Jeff Blumenkrantz 1,515
Scott Evans 1,450
Christopher Gurr 1,449
Scott McGowan 1,386
Buzz Roddy 1,330
Karen D. Howell 1,260
Todd Buonopane 1,256
Matt DeAngelis 1,185
Joe Zaloom 1,176
Craig A. Meyer 1,174
Wally Dunn 1,150
Tom Helmer 969
John Christopher Jones 880
Staś Kmieć 588

EASTERN REGION STAGE MANAGER Three-Year Term (Vote for 2)
*Ruth E. Kramer 2,893
*Amber White 2,388
Dan Zittel 1,579
Eric H. Mayer 1,256

WESTERN REGION PRINCIPAL Three-Year Term (Vote for 3)
*Mary-Pat Green 2,152
*Jeff Marlow 1,532
*Barbara N. Roberts 1,517
Cynthia Marty 1,489
Jeffrey Christopher Todd 1,459
John Herzog 1,174
Mary Gutzi 1,097
Edgar Landa 983
Jeffrey B. Landman 820
Kyle Nudo 769

The following candidates were nominated with no opposition and, pursuant to Rule VI(E)6 of the Nominations and Election Policy, they have been deemed elected.

 

OFFICERS 1ST VICE PRESIDENT Three-Year Term
*Paige Price

OFFICERS 2ND VICE PRESIDENT Three-Year Term
*Rebecca Kim Jordan

OFFICERS 3RD VICE PRESIDENT Three-Year Term
*Ira Mont

OFFICERS SECRETARY/TREASURER Three-Year Term
*Sandra Karas

OFFICERS EASTERN REGIONAL VICE PRESIDENT Three-Year Term
*Melissa Robinette

OFFICERS CENTRAL REGIONAL VICE PRESIDENT Three-Year Term
*Dev Kennedy

EASTERN REGION CHORUS Three-Year Term
*Bill Bateman

CENTRAL REGION CHORUS Three-Year Term
*Ariane Dolan

WESTERN REGION STAGE MANAGER Three-Year Term
*Malcolm D. Ewen

Actors’ Equity claims 20-year-old Los Angeles theater company has never produced in L.A.

Company founding artistic director pens scathing letter in response

.

.

.

.

.

.

 

Actors’ Equity Association, the national union of theater performers and stage managers, recently notified several award-winning Los Angeles theater companies, among them long-time membership company Evidence Room, that Equity has no record that they have ever produced in Los Angeles. Evidence Room founding artistic director Bart DeLorenzo has written a trenchant letter in response.

As part of a set of new Rules and Agreements that Actors’ Equity is attempting to institute in the Los Angeles theater community, the union is in the process of determining whether or not dozens of small theater companies working in theaters with 99 seats or less qualify as “membership companies.” This is a designation that would exempt them from substantially increasing actor pay in accordance with new rules for non-membership companies. The union’s new rules have served to galvanize and unite theater practitioners who oppose them, and have become the subject of heated debate in the media.

Equity’s requirements for acceptance as a membership company are twofold: one, the theater must operate primarily for the mutual benefit of its members; and two, the theater must have produced in Los Angeles prior to February 6, 2015.

Several theater companies have been notified that they are being rejected as membership companies because, according to Actors’ Equity, there is no record that they have produced in L.A. prior to February 6.

Evidence Room (http://evidenceroomtheater.com/), a company that has been in existence for 20 years, has produced more than 50 plays in Los Angeles and was named by the Los Angeles Times in 2001 as “L.A.’s most valuable rising theater,” received such a letter from Actors’ Equity, which stated that, “Based on the information that we have, it does not appear that your company meets the requirements of the membership company rule, because your company had not produced under the 99-Seat Plan prior to February 6, 2015.

Please see below for the response from Evidence Room founding artistic director Bart DeLorenzo:

Dear A—–,

Thanks for getting back to me so quickly. Please forgive my astonished response. As someone who has been directing and producing shows with the Evidence Room Theater for 20 years, I was really taken aback by your determination that you had no records of our theater, especially since I personally have probably signed and mailed in about 40 of those 99-seat forms registering our shows with Actors Equity over the years. And yet there are none in your records? I have to say it makes me curious about the record-keeping over there…

To me it was like your wondering if Nathan Lane had ever performed in a Broadway show. (I just looked it up: he’s done 20, about half the number of 99-seat shows Evidence Room has registered.)

A simple Google search would probably also have told you as much. (Which is what I conducted on you when I wondered who it could be that was asking such a, forgive me, LA-theater-ignorant question.) Or a conversation with practically anyone working in theater in Los Angeles might have helped you. Or if you have seriously managed to misfile all those forms over all those years, you could also have looked at our company website, which might have led you to several articles on the company in the Los Angeles Times. We haven’t been hiding.

I have to say that I have been listening for months now to Los Angeles actors complaining about the willful ignorance of their Actors Equity representatives and Equity’s dogged willfulness to eradicate the LA theater ecosystem, but your email is my first actual direct Equity encounter. And I have to say, you do nothing to correct the terrible impression everyone keeps criticizing. You perfectly enact the pattern of carelessly shooting something down based on little or no facts and asking questions later. And that just seems so out of character with the excellent meticulous and conscientious Equity stage managers I’ve worked with over the years. What is happening?

Now, A—–, your resume shows that you have worked with all sorts of people I know and respect and perhaps you have just been given a task completely outside your area. (I know I would have a hard time sorting through foreign theaters and making determinations about them.) But I have to wonder why you were given this job. Isn’t there one person in all of Actors Equity who is familiar with Los Angeles theater? If not, maybe that’s the bigger problem.

Well, A—–, you are undoubtedly tasked with many more letters like the one you sent me to deal with so I shouldn’t keep you any longer, but I would be remiss in not taking this moment to encourage you and your Equity brethren to dispense with all this bureaucratic nonsense and sit down with the 99-seat theaters and have a conversation. You all must know that this edict-on-high approach isn’t working and is never going to work. If you try to move forward with it, there will be lawsuits and strikes and rallies and all sorts of unpleasantness. The Union isn’t listening to its own members and even the most casual glance at history can tell anyone that a house divided will not stand.

Everyone in LA theater wants actors to be paid more money, but there are too many Equity actors out here for that to work in the proposals that Equity has hastily revised and thrust at the community. (They perhaps save Equity’s face a little, but don’t really do anything to address the real issues.) So please, I encourage all of you over there to get to know LA theater a little more before you try to administer it so strenuously. Rip up your unpopular proposals and start fresh with a community that really wants to work with you. If you want, A—–, you can start with me. I’ll be happy to tell you about my 20-year-old company and anything else you’d like to know.

All best,

Bart

PS Below are some 99-seat titles you can use to search — with their production dates. If you can’t find any of these in your files, I can perhaps send you more. Please let me know if you need any additional information.

1995 | SWELL| May 11 – Jun 18 | LEONCE & LENA | Oct 27 – Nov 26 | THEHOUSEGUESTS | Nov 1 – Dec 2 | 1996 | THE LIFE OF STUFF |Apr 27 – Jun 28 | I’M DREAMING, BUT AM I? | Jun 16 – 30 | TALES OF THE LOST FORMICANS | Sep 14 – Oct 26 | EARLY MORNING | Sep 19 – Nov 2 co-production w/ Tuesday Prod. | SWEETHOSTAGE | Nov 15 – Dec 21 co-production w/ Real Theater | 1997 | ANDROMACHE | May 1- Jun 8 | THE IMPORTANCE OF BEING EARNEST | Jul 10 – Aug 3 co-production w/ Fabulous Monsters | ALMOST BLUE | Sep 19- Oct 26 | 1998 | ONE FLEA SPARE | Sep 12 – Oct 24 | 1999 | FLOW MY TEARS, THE POLICEMAN SAID | Apr 10 – May 16 | NO ORCHIDS FOR MISS BLANDISH | Oct 23 – Nov 28 | 2000 | THE BERLIN CIRCLE | May 11 – July 7, 2000 | SPEED-HEDDA | Aug 12 – Oct 1 co-production w/ Fabulous Monsters | SAVED| Oct 21, 2000 – Feb 4, 2001 | 2001 | COLOGNE: OR THE WAY EVIL ENTERS THE WORLD| Jan 18 – Feb 2 | THREE DAYS OF RAIN | Mar 28 – May 26 | DON CARLOS | Jun 9 – Jul 29 | THE IMPERIALISTS AT THE CLUB CAVE CANEM | Sep 15 – Oct 20 | DELIRIUM PALACE | Nov 8 – Dec 16 | THE LOST CHRISTMAS EPISODE | Dec 1 – 23 | 2002 | DOG MOUTH | Jan 12 – Mar 2 co-production w/ Padua Plays | Feb 9 – Jun 22 | PENTECOST | May 25 – Jul 13 | NOTHIN’ BEATS PUSSY | Aug 10 – Sep 14 | HOLLYWOOD BURNING | Oct 3, 2002 – Feb 6, 2003 | HOT PROPERTY | Oct 10, 2002 – Feb 22, 2003 | CRINGE | Nov 14, 2002 – Feb 9, 2003 | 2003 | MAYHEM | Mar 20 – Apr 19 | THE SKIN OF OUR TEETH | Jun 7 – Jul 20 | MESSALINA | Oct 5 – Nov 16 | 2004 | HARD TIMES | Charles Dickens | May 1 – Jun 6 | THREE FEET UNDER | Jul 15 – Aug 8 | HOMEWRECKER | Aug 14 – Sep 11 | DARKRAPTURE | Sep 25 – Nov 6 | 2005 | FLOW MY TEARS, THE POLICEMAN SAID | March 12 – May 7 | THE BLACKS | May 21 – April 26 | KILLERS | July 23 – Sept 3 | SHE STOOPS TO COMEDY | Sept 17 – Nov 19 | 2006 | INSIDE THE CREOLE MAFIA | Feb 4 – Apr 2 co-production w/ Luna Ray Films |THE CHERRY ORCHARD | May 27 – July 2 | 2007 | ATTEMPTS ON HER LIFE | Nov 10 – Dec 15 co-production w/ Unknown Theater | 2009 | THE RECEPTIONIST | Aug 5 – Nov 21 co-production w/ the Odyssey Theatre | 2011 | MARGO VEIL | Jun 8 – Aug 14 co-production w/ the Odyssey Theatre 2012 | IVANOV | Apr 11 – June 16 co-production w/ the Odyssey Theatre | 2013 | ANNAPURNA | Apr 20 – June 9 co-production w/ the Odyssey Theatre | 2014 | PASSION PLAY | Jan 25 – March 16 co-production w/ the Odyssey Theatre

Imagining Brad at Theatre Asylum Has Been Extended. Here’s why you should go:

 33% of all proceeds will be donated to non-profit agencies that help survivors of domestic abuse and provides outreach to prevent its happening

Imagining Brad Meme Draft 7 5.12.15 (1)

IMAGINING BRAD Continues Through July 25, 2015

Additionally, IMAGINING BRAD  will continue its TALK BACK EVENT SCHEDULE for the ongoing performances

Each evening will include a Talk Back promptly after the show in which distinguished guests – some involved in helping victims of domestic abuse rebuild their lives AND some that have incorporated their own experience with abuse into their art – writers, comedians, poets, filmmakers, musicians, etc. Our hope is that a vibrant conversation will take place amongst the panelists giving us a bit more information on the facts and figures as well as a mission that we can each go forth with to insite change at a personal level. Of course, there will be time allowed for questions from the audience.  The strength of the human spirit to survive and thrive will astound.

May 13 – Good Shepherd Shelter (representative)

May 20 – Rainbow Services (Judy Gordon – Director of Volunteers and Education)

May 27 – Peace Over Violence (Nora Mitchell – Emergency Services Coordinator)

Your attendance and support helps these organizations!:

Peace Over Violence: http://www.peaceoverviolence.org

Good Shepherd Shelter: http://www.goodshepherdshelter.org

Rainbow Services: http://www.rainbowservicesdv.org

Jenesse Center Incorporated: http://gschomeless.org/2013/

Haven Hills: https://www.havenhills.org

Imagining Brad plays at 8 PM on Wednesday’s, May 13, 20, May 27. They will go on a short hiatus during the HOLLYWOOD FRINGE FESTIVA reopening Thursday, July 9. Imagining Brad plays Thursday through Saturday at 8 PM www.imaginingbrad.com.

Tickets, Imagining Brad, domestic violence, domestic abuseTickets are $20 at: http://imaginingbrad.brownpapertickets.com

 IMAGINING BRAD, directed by Clare Carey (Aquarius, Coach), starring Sirena Irwin (I Love Lucy Live on Stage, SpongeBob Square Pants) and Sarah Randall Hunt (Unfinished Business, Chronic) announces an extension through July 25. The production will take a brief hiatus for Hollywood Fringe Festival then reopen on Thursday, July 9 at Theatre Asylum (6322 Santa Monica Blvd. Hollywood, CA 90038) and run Thursday, Friday and Saturday’s at 8 PM through July 25, 2015.

Nashville – graffiti – a ball of flesh – a tuft of blue hair – hymnals -beer in Styrofoam mugs – respectable orgasms…In this absurd, poignant, uncomfortably funny play written by Academy Award nominated Peter Hedges, two women grow a unique friendship of compassion, support, and survival. Imagining Brad beautifully reveals the often-disquieting dynamics in the relationship of men and women in contemporary society.

ibCAST & CREATIVE BIOS:

Peter Hedges is a novelist, playwright, filmmaker, and director best known for his novel and screenplay “What’s Eating Gilbert Grape,” “Pieces of April,” “The Odd Life of Timothy Green,” and “Dan in Real Life,” and received an Academy Award nomination for Best Adapted Screenplay for “About a Boy.”

Sirena Irwin (playing Dana Sue Kaye) originated the role of Lucy Ricardo in the touring production of “I Love Lucy Live On Stage,” which garnered her numerous awards (500+ performances). She has also been recurring on SpongeBob Square Pants since 1999 (100+episodes as well as both movies) sirenairwin.com.

Sarah Randall Hunt (playing Brad’s Wife) is most known for her work on film in Unfinished Business (with Vince Vaughn), Chronic (with Tim Roth), and on stage in MachinalBoeing Boeing, and sings with the folk rock band, “A Band Called Honalee.” sarahrandallhunt.com

Clare Carey, (Director) is a hard working actress whose credits go back three decades.  She has a juicy recurring role in the upcoming NBC Drama Aquarius, starring David Duchovny. Clare got her start  starring in the hit series ‘Coach’ and more recently she was a regular on Starz’ series Crash, with Dennis Hopper, the Fox series ‘Point Pleasant’, ABC Family’s ‘So Little Time.’ She has had recurring roles on Jericho, NCIS, Chuck and Medical Investigation, and many memorable guest star roles including CSI, Revenge, Major Crimes, House MD, Weeds,’Without a Trace, ER,  and Grey’s Anatomy. Clare has directed  short films including “The Hardest Part” and “Girl Power Parking Lot” as well as the critically acclaimed original kids musical, “Princess Bean’s Messy World” at the Electric Lodge.

Imagining Brad -Sarah Randall Hunt_Sirena Irwin_sm

 

 

 

 

63 Trillion at The Odyssey Theatre

by Tracey Paleo, Gia On The Move
Cast-63T-WEB

.

Money. Sex. Bad behavior….just another day at the stock exchange. 

There are approximately 63 trillion dollars on the line in fees, investments and customer assets and no one but the intern seems to care all that much in The New American Theatre’s world premiere comedy 63 Trillion written by John Bunzel (Born to Be Wild, The Wonder Years) and Steve Zuckerman (Anger Management, Golden Girls) currently playing at the Odyssey Theatre, Los Angeles, CA.

When global financial markets go radioactive, predators stand poised for a fight to the finish. Partnerships prove to be perilous and laws are meaningless in the jungle of scheming money managers.

And let me pause right here, right now with a precursor to this review.  I worked on Wall Street for many years.  So it’s been kind of a fun experience to have a first hand knowledge about what really happens on the Stock Exchange and how THIS show decided to tell its story.

LernerCicchiniStehlin-WEB

It was certainly entertaining enough for audiences who laughed for the entire 90 minutes plus intermission and usually that’s good enough for me. But the dark comedic portrayal of these semi-delusional, money hungry, Gordon Gekko-wannabe “Masters of the Universe” is on one hand so close to the “senior level management truth” that it almost makes this play plausible; but then so over-the-top comedic that in the end it is simple outrageously farcical.  Does this stuff happen?  Occasionally, which is why Jeffrey Jones’ vicious play for a mega client-advisory takeover and the wealthiest one we come to find out is actually orchestrating the cataclysmic Chinese hedge fund crash which has them all scheming around, is so delicious that we obscenely root for Jones (Dick) in all his diabolical if not perverse, grandeur.

And when on-the-surface thoughtful up & comer Jonah (played by Noah James) is told “You’re just passing through on the way to somewhere (else) so I don’t want to teach you about wealth management!”, it’s even more nectarous when Johah impressively gorilla-warfare style turns the game on everyone else, to Dick’s ultimate delight and advantage.

There is some serious hilarity going on by way of what often comes across as a bunch of high school boys trying to figure out how to cheat on an Algebra test and lots of exhaustive sidelines that come into play.  When lawyer Megan Gallagher (Nancy) arrives on the scene to mete out out the punishments (some of these guys are going “down!” for more than bad behavior), ordering the boys to their respective corners, it gets little a la Sr. Mary Margaret parochial and consequently a bit slapstick funny and the show takes a whole other life on a different track.  

On the down side, there are too many scene changes and the second act feels like an different show. But Robert Cicchini brings his “Jersey Boy” (spot on!) A game as does Megan Gallagher, Ken Lerner Jack Stehlin and Jordan Lund. Jeffrey Jones remains as one hell of a class act all by himself, no hyperbole necessary.

63trillionfrontpage_zpsw7es8eyl 8pm Fridays and Saturdays, 2pm, Sunday June 7th (one matinee), closing on June 7, 2015. A guest production at the Odyssey Theatre, located at 2055 South Sepulveda Blvd. Los Angeles, CA 90025 Tickets are $30-$34.99. Tickets at NewAmericanTheatre.com/tickets.html or call 310-477-2055. $3 parking available at the theater, or free street parking.

Twitter: #NewAmericanThtr

Crazy Underneath The Trees

Crazy-FB (1)
.
Spontaneity is decidedly part of Moon Mile Run’s philosophy; if they hear about something that needs a bit of nurturing—even if it’s a last-minute Open Rehearsal to support a piece—they just might consider getting involved.
 
And they did!
How could they ignore the work of two paragons of Los Angeles’ theater history: Darrell Larson and Rob Sullivan? These two were doing “edgy and raw” theater in the Seventies, before those terms were used to describe theater.
 
Larson describes the piece, Crazy Underneath The Trees: “…not a play, not a poem, perhaps a prayer, definitely a confession, possibly an argument, seduction or negotiation? All of the above, actually, and with percussion. The latter is supplied by the inimitable MIKE TEMPO, of BONEDADDYS fame, with special guest, PAUL LACQUES on guitar.”
 
So join Moon Mile Run in Silver Lake for a COMPLIMENTARY EVENT on Monday, May 11, at 9:30 PM. Spirit Studio (3711 Evans Street, off Hyperion, 90027). Reservation are not required.
Mark Bringelson                 Michael Kearns                       Ryland Shelton
 

REDCAT presents the World Premiere of The Institute of Memory (TIMe)

A Multimedia Performance 

1. Photo Courtesy the Artist

REDCAT, CalArts’, presents the World Premiere of The Institute of Memory (TIMe), by director and media artist Lars Jan and his company Early Morning Opera, Thursday May 28 to Sunday May 31.

Produced by the CalArts Center for New Performance, TIMe is a multi-dimensional performance about how the future of remembering is changing right now. A leading-edge visual design sets the stage for this theatrical exploration of the blurring of short and long term memories, and the transformation of archives from physical to digital structures.

TIMe features two performers, projected imagery and original musical compositions by world-renowned vocalist and composer Mariana Sadowska, as part of its extensive multimedia collage, which trace the evolution of national and personal remembering and privacy through the story of the director’s father known in later life as Henryk S. Ryniewicz, a Polish resistance fighter in WWII, a McCarthy-era anti-communist speaker, a Cold War intelligence operative, and privacy-obsessed misanthrope.

TIMe is at the intersection of theater, film and new media. Hybridizing theatrical forms and contemporary art practices, the performance draws from both emerging digital technologies and analog antiques—notably visible in Jan’s use of a custom-tailored mid-century typewriter transformed by artist Andrew Schneider into both musical instrument and functional lighting/sound/video board.

This project is supported by Culture.pl as part of a program celebrating the 100th anniversary of the birth of Tadeusz Kantor.

Thursday, May 28, 2015 to Sunday, May 31, 2015

Lars Jan/Early Morning Opera: The Institute of Memory (TIMe)

redcat logoTickets: $10-25
Location: REDCAT | 631 West 2nd St. Los Angeles, CA 90012

For more information call the REDCAT Box Office at 213-237-2800
Or visit:  http://www.redcat.org/event/lars-jan-early-morning-opera-institute-memory-time

GENERAL INFORMATION
For current program and exhibition information call 213-237-2800 or visit www.redcat.org.

REDCAT is located in downtown Los Angeles inside the Walt Disney Concert Hall complex with a separate entrance at the corner of West 2nd and Hope Streets.

Parking is available in the Walt Disney Concert Hall parking structure. $9 event rate or $5 for vehicles entering after 8:00 pm on weekdays.

Box Office Hours: Tuesdays– thru Saturday from noon until 6 pm or two hours prior to curtain

 

 

 

The Anarchist at Theatre Asylum

To be delirious. [dih-leer-ee-uh s]sound
To be numb by the ecstasy of perfection. [per-fek-shuh n] 

The-Anarchist6492low-Res

The opening of The Anarchist at Theatre Asylum on Santa Monica Blvd., Theatre Row Hollywood, this past weekend, is the dictionary definition of impeccable excellence. An instantaneous lights up and go! Mamet all the way with rapid crossfire, deftly performed, showing off what might possibly be the ultimate execution of Meisner stage craft.

Submission, rebirth and faith are the issues that come into play or so we are led to believe from lead character Cathy in a white hot intensity of erudite repartee, wit, lies and manipulation. But who is manipulating who?

Decades ago lead character Cathy (Felicity Huffman) and a group of young anarchists murdered two police officers. Now just moments before her final parole appeal with the victims’ families waiting in the office next-door, Cathy must convince a prison administrator, Ann (Rebecca Pidgeon), of her reformation or risk serving a life sentence.

Directed by Marja-Lewis Ryan (One in the Chamber), The Anarchist not only fulfills even the remotest of fantasies about what first-rate theatre can be, it smashes the notion that 99 Seat Theater is subpar while supporting every aspect of it being large yet intimate.

Felicity Huffman and Rebecca Pidgeon commit to a stunning performance that will verily take your breath away.

“My God, I’ve been to the theatre!”

Very highly recommended!

The AnarchistThe Anarchist by David Mamet
(Drama)

Starring Felicity Huffman and Rebecca Pidgeon

Written by David Mamet

Directed by Marja-Lewis Ryan

Runs
Fri, Apr 24 – Sat, May 23
Thurs, Fri, Sat, Sun, @ 8pm 

BUY TICKETS$34/Ticket

Reservations
(323) 960-7784

Special Events
LA Drama Critics Circle Award Winning Actress HEIDI SULZMAN will UNDERSTUDY for FELICITY HUFFMAN on FRIDAY 5/8.

Special Show Info
Running time: 70 minutes.
No Late Seating. Valet Parking will be made available at cost.

Theatre Asylum
6320 Santa Monica Blvd.
Los Angeles, CA  90038
Street Parking
Area Map

Special Theatre Info
Allow time for Street Parking! Wheelchair Access is available at this theatre.

The theatre has concessions.