Category Archives: Media

Film to Watch: The Diary of a Teenage Girl

Diary of a Teenage Girl
Like most teenage girls, Minnie Goetze (Bel Powley) is longing for love, acceptance and a sense of purpose in the world. Minnie begins a complex love affair with her mother’s (Kristen Wiig) boyfriend, “the handsomest man in the world,” Monroe Rutherford (Alexander Skarsgård). What follows is a sharp, funny and provocative account of one girl’s sexual and artistic awakening, without judgment.
In theaters August 7, 2015!


Set in 1976 San Francisco, THE DIARY OF A TEENAGE GIRL begins at the crossroads of the fading hippie movement and the dawn of punk rock. News commentary of the Patty Hearst trial echoes in the background, as Minnie’s young expressive eyes soak in a drug-laden city in transition- where teenage rebellion and adult responsibility clash in characters lost and longing. Minnie’s hard-partying mother and absent father have left her rudderless. She first finds solace in Monroe’s seductive smile, and then on the backstreets of the city by the bay. Animation serves a refuge from the confusing and unstable world around her. Minnie emerges defiant- taking command of her sexuality and drawing on her newfound creative talents to reveal truths in the kind of intimate and vivid detail that can only be found in the pages of a teenage girl’s diary.

THE DIARY OF A TEENAGE GIRL is based on Phoebe Gloeckner’s novel of the same name, hailed by Salon as “one of the most brutally honest, shocking, tender and beautiful portrayals of growing up female in America.” Writer/Director Marielle Heller unlocks this diary with a richly comedic and deeply personal vision. In her feature film directorial debut, Heller brings Gloeckner’s book to life with fearless performances, a stirring score, inventive graphic novel-like animation sequences, imagination, humor and heart. It is a coming of age story that is as poignant as it is unsettling.

 THE DIARY OF A TEENAGE GIRL, starring Bel Powley,
Alexander Skarsgård, Christopher Meloni and Kristen Wiig
 A Sony Pictures Classics Film
Bel Powley, Alexander Skarsgård, Christopher Meloni and Kristen Wiig
Written & Directed by
Marielle Heller
Based On the Novel by
Phoebe Gloeckner

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Film & TV Femmes: Welcome to ‘The Director List’


The Director List Launches Online Database Connecting Female Directors with Future Projects


.Listen up ladies of film and television!  This is probably one of the more important notices you’ll read this year.

The Director List, women directors, women in film and television

The Director List is proud to announce the official launch of their new website featuring an online database devoted to increasing awareness and accessibility to female directors and their work in feature films, television, large-scale commercials and music videos. Founded by independent filmmaker Destri Martino, TDL’s main purpose is tho address the consistently low number of women hired for directing jobs and provide a practical solution for creating change and reversing the trend.

There are currently over 850 experienced female directors included in the database, with new additions and updates everyday. Directors are located in the U.S. and over 11 regions around the world. Every woman on the list has either directed a feature-length film (narrative or documentary), television episodes, or they are seasoned commercial or music video directors. Advanced search functions allow users to do a keyword search or filter by medium, genre or region.

The Director List, women directors, women in film and television“Year after year the statistics on the number of women directors being hired for film and TV projects remains depressingly low. Our hope is that this database will lead to more women directors being added to director lists around town and more women being considered for jobs and hired!” explains Destri Martino.

Inspired while doing her Masters thesis research at the London School of Economics, Destri realized there were a lot more working female directors than mainstream media coverage led one to believe. It was then that her passion for promoting the work of female directors was ignited, and soon the first iteration of TDL was born as a Pinterest board, highlighting photos of working women directors.

After sparking interest from the growing list, it was clear that the public needed a way to better explore it in detail and building the database was the natural progression. In addition to the database, TCL  features news, photos, videos and social media integration to connect to the passionate community that appreciates the feature film and television projects women are creating around the world. “This is a place to find all of the current news on women directors and see that  many exist, in full color, ” says Martino.

The Director List is positive this new database eliminates the most common excuses heard in the industry for not firing women and empowers executives, producers, and agents to discover new female directing talent for their upcoming projects – from low budget indies to million-dollar blockbusters.

LAfilmFestTDL is and Awesome Without Borders Grant Awardee and an Official Participating Organization for the Los Angeles Film Festival in June 2015. The TDL site is fiscally sponsored by Cinefemme.


Cinefemme_Film_Festival_2015.600x900Twitter: @TheDirectorList
Pinterest: DestriMartino
Instagram: @TheDirectorList


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 (, 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,


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

GUSH at Highways Performance Space on Friday May 29th

Exploring Becoming Undone, Sex & Death, Excess, and Being ConsumedGUSH

Highways Performance Space presents GUSH

5 New Contemporary Dance Works
By Choreographers Charlotte Adams and Jennifer Kayle
In Santa Monica, CA
Friday, May 29 and Saturday, May 30, 2015

Kayle probes the realm of mortal passion and the new era of human impact on the earth. Adams uncovers the body’s anatomy and its undoing, and the ludicrous toiling for success.

Five works immerse viewers in the distinctly visceral performance of eleven dancers and two musicians. The pieces include original music by composer Jason Palamara, and original video by Alex Bush and Tori Lawrence.

The two-hour event starts at 8:30pm at Highways Performance Space (18th Street Arts Center, 1651 18th Street, Santa Monica, CA 90404).

General admission tickets are $20 in advance ($15 for students, Highways members, and seniors) and can be purchased here. Reservations may also be made by calling 310-315-1459.

TicketsAdditional information is available at

Also at the Highways Event Page

Listen to composer Jason Palamara on SoundCloud –

“The works in GUSH have different looks and languages, but share common blood,” according to Kayle. “The images pulse with intensity and dancers cut deep with words and gestures. Exposed limbs, flickering video, and poetic objects seep over the edge.”

In their second collaborative concert, Adams and Kayle reveal an ongoing dialogue. “The works accumulate in a gut-level conversation; feelings simmer in farewell waltzes, plastic rain, and seam-ripping fits,” says Kayle. “As people pile on gurneys, and sunbathe at the apocalypse, the darker tones mix with humor, satire, and hopefulness, cutting down to the bone and plunging the audience into the world of GUSH.”

Adams and Kayle return to Highways, armed with 5 new contemporary dance works. The two choreographers first presented work at Highways in 2010, when they brought their collaborative project Virtually Yours to Santa Monica. GUSH dancers include Jessica Anthony, Zach Bird, Emily Climer, Erin Corcoran, Crystal Gurrola, Emily McElwain, Tyler Nemmers, Anthony Pucci, Katie Skinner, Melanie Swihart, and Calvin Windshitl. The five works presented at GUSH in May include:

Riding Mad Horses (Choreography by Kayle) –
Riding Mad Horses reflects on passion as a double-edged sword – a life force that is the very essence of vitality, and also the cause of our undoing, sizzling our being with desire and uncontrolled drive. Particularly in the realm of the sexual, the sensual, and the romantic, passion is a dangerous line to tread. Despite hours of meditation to cultivate “detachment,” many have wondered if a dispassionate life is worth living … and even truly possible. Yet be forewarned: “A man in a passion rides a mad horse.” (Benjamin Franklin)

Five Rejections and a Funeral (Choreography by Adams) –
The contemporary dance cousin to the popular Dilbert cartoon, Five Rejections and a Funeral skewers the hardships, heartbreaks, and frustrations that affect employees everywhere in the new economy. Peer reviews, letters of rejection, bureaucracies, bosses, firings, auditions, and job applications all bring a “little death” with each receipt. Humorous at times, yet darker in intent, Adams’ piece acknowledges the negative baggage that comes along with working, while recognizing the weirdness of and humor in job-related predicaments.

GUSH-2Smoke Screen (Choreography by Kayle) –
Smoke Screen joins an interdisciplinary conversation in considering whether we are in a new geologic era, The Anthropocene, an epoch where human activities have a significant global impact on the earth. As technology merges with natural processes, as human powers increase to alter what was once labeled as “organic,” conventional distinctions begin to blur. With the human body at the center of its substance, Smoke Screen reveals the body as both a genesis of environmental and ecological impact, and a place where that impact is felt.

Dysphonia (Choreography by Adams, Music by Palamara) –
Dysphonia, a collaborative new work by composer Jason Palamara and choreographer Charlotte Adams, combines interactive electronics and dance in an exciting and devastating work exploring artificial intelligence. Sensors worn by a dancer communicate with Palamara’s computer program, HIDI, responding in sound to the dancer’s movement as Adams’ choreography toys with the idea of our obsession with searching and accepting “cures” in blind faith of technology. Palamara’s live violin is accompanied by Justin Comer’s saxophone and paired with the performance of six dancers.

Beyond Anatomy (Choreography by Adams) –
Beyond Anatomy utilizes the science of the body to transform the stage into a visual anatomy lesson. Opening with a “lecture” on human anatomy, veering gleefully to talking and waltzing skeletons, before descending to bodies out of control, the piece, ponders whether or not we are more than the sum of our parts. Beyond Anatomy is performed to music ranging from Patti Page to Stephen Foster.

Choreographer Jennifer Kayle’s Smoke-Screen. Photo by Eric Lawrence

Choreographer Jennifer Kayle’s Smoke-Screen. Photo by Eric Lawrence

Charlotte Adams, Choreographer
Charlotte Adams’ choreography has been described as “arresting” (The New York Times) and “gorgeous … delicious” (The Tucson Weekly). Her style combines a signature wit and athleticism, with an eye for the poetry of human foibles. In 2001, Adams and Dancers had its premiere performance at New York’s Joyce SoHo and new work was selected to return in 2003 and 2006. Notable projects include the selection of Adams’ choreography for Highways Performance Space in Los Angeles, May 2015; The White Wave DUMBO Dance Festival, 2009 and 2012 in New York; a collaborative project with colleague Jennifer Kayle entitled Virtually Yours, presented by the prestigious El Museo Centro Leon in Santiago, Dominican Republic, and Highways Performance Space in Los Angeles, both in 2010; and an invitation to teach and present choreography at The University of Puerto Rico, San Juan, with The Dance Knots Project, 2013. Adams began her choreographic career in Tucson, Arizona as a founding member of Tenth Street Dancework and was awarded the $25,000 Arizona Arts Award. Under her direction, the company performed throughout the Southwest and in tours to Nebraska, Texas, North Carolina, as well as numerous cites in Japan, the Philippines, South Korea, Australia, and Southern France. Adams joined the faculty in The Department of Dance at The University of Iowa in 1998.

Jennifer Kayle, Choreographer
Jennifer Kayle’s work has been chosen for festivals, for regional and national GALA concerts, and for grants including an NEA/CBE project to investigate improvisational methods for choreography. Kayle’s dancing has been referred to as having “muscular presence” (Dance Source Houston), while her work has been reviewed as “provocative, tight, with wit and stage craft… serious chops” (Vox Fringe), “distinct… affecting scenes” (Hampshire Gazette), and “memorable… shockingly poignant” (City Revealed). She is co-founder of MICI: Movement Intensive in Compositional Improvisation, a professional laboratory dedicated to performance improvisation. She actively presents her work in the U.S. and internationally at venues including New Territory/Cuerpo de Danza (San Juan, Puerto Rico), Performatica (Cholula, Mexico), El Museo Centro Leon (Santiago, Dominican Republic), 37 por las Tablas (Santiago, Dominican Republic), the Dostoevsky Museum Theatre (St. Petersburg, Russia), Osobniak Theatre-Body/Word International Festival (St. Petersburg, Russia), Harvest Chicago Contemporary Dance Festival, Links Hall (Chicago, IL), The Dance COLEctive (Chicago, IL), Joyce Soho (New York, NY), Symphony Space-International New Music Festival (New York, NY), Jacob’s Pillow (Becket, MA), Highways Performance Space (Los Angeles, CA), University of Utah (Salt Lake City), New Articulations (Tucson, AZ), and Imagining America: Artists and Scholars in Public Life, A Call to Action (Syracuse, NY). Kayle is an Associate Professor and Co-Director of the MFA Program in Dance at University of Iowa. She holds a BA from Middlebury College and an MFA from Smith College.

Jason Palamara, Composer
Jason Palamara is a third year PhD student in music composition at the University of Iowa. He is an active performer on the violin, guitar, and laptop with Bonecrusher Ensemble of Louisville, KY, the 24+24 Hour Composition Project in Iowa City, IA, and the newly constructed Iowa City Laptop Orkestra (ICLOrk). Palamara currently works as an audio engineer and composer for the University of Iowa Department of Dance. He composes music for many dance department projects, specializing in electroacoustic music, collaboration, improvisation, and audience engagement. He also teaches songwriting and musicianship to the inmates at Oakdale Community Prison.

Highways Performance Space
Under the leadership of Artistic Director Leo Garcia, Highways Performance Space is Southern California’s boldest center for new performance. Now in its 26th year, Highways continues to be an important alternative cultural center in Los Angeles that encourages fierce new artists from diverse communities to develop and present innovative works. Described by the Los Angeles Times as “a hub of experimental theater, dance, solo drama, and other multi-media performance,” Highways promotes the development of contemporary socially involved artists and art forms.

#howdoyoufeelnow? Joywave: Tongues


They wanted to find a way to have this question live on its own, out in the real world, independent of any musical accompaniment. There were a lot of elaborate ideas thrown around to make something happen but ultimately simplicity reigned supreme.

They chose 249 Eldridge Street (@ Houston), on the Lower East Side, NYC.



joywave“One of our favorite aspects of the new record is its title. The way it provokes, challenges and prompts actual thought and reflection is exciting to us; equal parts interrogation and declaration. It has a few specific meanings to us, but many of the people we’ve talked to have completely different interpretations.” 

– Joywave

If you’re walking by, spend some time with it and think.

How Do You Feel Now?

Follow them on Instagram – Check them out on

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 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:

For current program and exhibition information call 213-237-2800 or visit

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




My Child: Mothers of War

by Tracey Paleo, Gia On The Move

Melina K.

It’s not a gun, an explosion, an accident, a command or a march that will kill you.

It’s LOVE.

It’s a mother’s love for a son that squeezes your already exhausted aching heart so tight from joy and pride and exultation for the perfect beauty you created, then rips it, shreds it, disintegrates it with confusion, tears, anger, guilt and emptiness into ashes and dust until only the almost unspeakable memory of what it might have felt to have a heart remains.

My Child: Mothers of War, a world premiere play by Angeliki Giannokopoulos base on the award-winning documentary, is that kind of love.

There are so many stories unique and yet exact from mothers all over the world; stories of sending their sons and now daughters off to war.  What is fascinating is what they share rather than what are the differences about their experiences, for truly there are none.  Your child is yours.

In My Child: Mothers of War a group of women sit quietly and narrate the details of their respective sons lives and deaths from watching their delicate breathing as infants, accomplishments, boyish adventures, likes, love hopes, dreams and then wonderment at each one’s revelation about wanting to join the military – to become a man, to defend his country, to protects his sisters, mothers, fathers, family from the horrors of violence and war, to “do the right thing” for all.

We are taken through the real life stories of American mothers who talk about the journeys they take with their sons from the start of boot camp to phone calls & emails from the middle of the desert in Iraq to their abrupt deaths and the shocking awareness that for many of them, no amount of life can ever fill the vacancy of loss.

What you come to realize in this piece is that it is the mothers who are the real soldiers having to face a destiny that isn’t even their own, head on, without any sense of control, stability or reality, except for a romantic version of the future that is soon to happen when your child comes home.

It’s not a pro or anti war piece. Nor should you go to this show for that reason.  What it is, is emotional, severely intimate, beautiful and tragic. 

Simply gorgeous portrayals by every one of the actresses supported by a bright, charming and thoroughly talented cast of young men who bring to life the emotional transition of leaving boyhood behind to become men.

Simple, compact and very well directed and staged.  This show perfectly gets the point across in its theatrical form. Be prepared to truly leave the theatre with your heart in your hand.


Based On An Award-winning Documentary
Directed By Angeliki Giannakopoulos



Running Sunday’s only at 7pm through May 31st, 2015.

6539 Santa Monica Blvd.
Los Angeles, CA. 90038

General admission:  Tickets are $30 and $50 for the opening night gala fundraiser for Fisher House and are available for purchase at:

Reserve online or call:  (818) 963-8219