Category Archives: Movement

Inconcievable Hilarity at El Grande Circus de Coca Cola

by Tracey Paleo, Gia On The Move

circus

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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.

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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!

NOW PLAYING UNTIL AUGUST 23, 2015

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 http://skylighttix.com

Find Them on Facebook: https://www.facebook.com/ktcla
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)

#WhatsHotNow: West Hollywood Rising at RISE NATION

#TimetoClimb

Rise Nation, VersaClimber

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by Tracey Paleo, Gia On The Move

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Make no mistake. This is youth fitness culture at its prime.

In the landscape of competitive niche workout gyms on La Cienega Blvd with Soul Cycle across the street as well as Soma Studio and Train West Hollywood, the chic new frontrunner is  RISE NATION .

More an evolution with its exclusive VersaClimber classes, rather than feeling like the next new fad already on the verge of disappearing, RISE NATION created by Jason Walsh and which opened earlier this year in January 2015, brings workout culture to a new reality.

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It doesn’t’ “try” to do too much.  Really, classes only do one thing. In fact, the climbing machines themselves don’t do anything at all.  YOU do all the work.

Yep. Sorry babes. But there will be no casual meditation in between steps, no opps to read or flirt on your iPhone, no apps to tell you what to do and no help from automated equipment. No. Not for this one.

Climbing is a full-time, full-body workout session. It takes focus. RISE NATION climbing classes deal in primitive movements and mechanics – think – how you learned to crawl, then walk, even swim. But the benefits are enormous. Sure, the ultimate bootie workout.  But gaining strength, stamina and overall energy in just 30 minutes while simultaneously stretching is the boost that even a once in while, barely committed student can enjoy. Seriously, I felt 10 years younger and happier just going through the motions.

nick, Rise Nation, VersaClimberThe music was bouncy and energetic without being exhausting, and Nick my instructor welcome me from the moment I walked through the door.

“I’ve got an amazing dance mix today for class.  You’re gonna love it!”

“I’m holding you to it Nick.”

(“Awesome” should be added to his name tag.  He delivered!)

It wasn’t easy.  For my first time on the machine, I paced myself and did surprisingly better than some other newbies.  But it wasn’t anxiety inducing hard either.  The blackout, no interruptions shades and nightclub style pulsating bright lights motivated me through the tough moments.

You can stop and start at will.  My feet got a little numb which is normal.  Takes a few classes for some peeps to deal with the foot stability. But the hefty line of post class new student signups  at the desk downstairs pretty much said, “Must come back!”

Other perks:  Shaded rooftop patio with seating and after workout bar serving fresh juices. Also towels are provided on all the machines.  I purchased a super soft, stylish T-shirt in the shop.  (No Nick did not give me the shirt off his back!  Although I think he would have had I asked. lol) There is also filtered alkaline H2O free to all.

Highly recommended.

Get more info on the website: http://rise-nation.com/

View class schedule

Gia #HFF15 #Reviews The Three Musketeers: Clowns with Swords

by Tracey Paleo, Gia On The Move

Clowns with Swords: The Three Musketeers

I admit clowns are not my thing.  They kind of scare me. I don’t always think they are funny.  And Clowns with Swords, although most distinctively contrasted from other mere buffoons, and immeasurably nonsensical are no “merry-andrews” either.

Imagine Alexandre Dumas’ adventurous heroes in what you may have assumed till now a romantic classic thanks to many cavalier film versions brought to life with beautiful dashing casts, elaborate costumes and awe-inspiring court scenery.  Then pause…

Clowns with Swords has definitely not only deconstructed this tale through the twisted lens of a clown, but in fact through extreme absurdity has lent a more accurate character portrayal in the way Dumas wrote them in the novel – less appealing infantry men willing to commit violence over slight insults and treating those they assume are their social or moral inferiors with contempt and cruelty.

Proportionately tangled the expertly orchestrated mechanics: aggressive physical movement choreography, stunts, mime, aerial and wire work, go a long way in telling their version of The Three Musketeers.  Fooling around, silly gags and slapstick diversions drive this piece in the capture and attempted execution of their female nemesis all for a magical paper that will create anyone’s own ending to a story.  The hot pursuit of their own outlandish brand of justice actually turns them into the villains they are supposedly hunting and we ultimately route for the bad girl as she thwarts them.

As billed – vulgar and irreverent, hilarious and poetic – The Three Musketeers: Clowns with Swords is a much meatier enterprise than most.  No simple jesters allowed. Belly laughs will be scarce.  Expect instead to be sufficiently captivated and sometimes appalled but well entertained by this piece.

Mixed.

One more performance!

Sunday June 28 2015, 5:30 PM | 1hr

Actors Company (OTHER SPACE THEATER) 916 N.Formosa Ave map

Tickets: http://www.hollywoodfringe.org/projects/2238?tab=details

Gia #HFF15 #Reviews : IamI

by Marc Wheeler

IAMI

A group of frustrated earthlings find themselves in a nebulous state of Limbo after physical death leads them to a mirror-faced man in full-body spandex.

No, this isn’t a comedy, but a philosophical reflection on the meaning of life and death told with movement, sound, spoken dialogue and multimedia projections. Lofty projects like this can easily fall into the category of Artsy Fartsy when they aren’t well-executed. Such is the case of “IamI” by writer/director Shawn Brown.

After a Big Bang of sorts we meet mother Aila (Kristin Tripe) as she gives daughter Jesny (Alix Schwartz) — yes, Jesny — a “magic stone” of protection to use if she ever feels sad, scared or lonely. Good thing, that stone, as Jesny soon finds herself motherless after Aila drowns herself.

Upon awakening, Aila discovers (surprise!) she didn’t die, and the mirror-faced creature in black spandex who greets her isn’t Death, but a curious cosmic entity named Iam (Erik Dabrowski) who inquires on human ideas of nakedness, love and mortality. After realizing quickly this outer-space afterlife isn’t what she requested, she gets him to strangle her to death — until she wakes up. So much for suicide.

We soon meet more who’ve passed through death’s door. First off, Deos (Tom Lucein), a shirtless blonde sporting an explosives belt and gym shorts who feels duped he hasn’t become a god upon his death as promised, but instead gets to hang with Aila, Iam and another spandexed-creature The Being (Nathan Nonhof) who always seems to be lurking about. Then explorer Wellesley Kelvin (Gabriel Meltz) and his female friend Feriluc Maydie (Molly Connor) — these names, I swear — who argue about the insecurities of aging after drinking from the poisonous Fountain of Youth. Next up are others billed as Reality and Ensemble played by Isaiah Baez, Talia Cartall and Sydney McDonald.

What follows is a series of celestial explorations, from the physical travels in the cosmic playground to the heady inquiries of Purpose, Meaning and Truth, all wrapped in packaged platitudes and vague abstractions. The movement in this piece, paralleling the plot, isn’t quite the polished choreography that could have elevated the story, relying more on nebulous performance-art posturing to give the impression of the other-worldly. All-over-the-map costuming, too, ranges from symbolic and eclectic to realistic and disheveled.

It’s clear by now that “IamI” is in over its head, with performers doing an adequate job despite the material. That’s not to say it’s all without merit. Beautiful original music by Ben Kruse and Kerri Shak provide a meditative ambience. Astral projections by video designer Trey Gilmore create a stunning backdrop on which to tell the tale. Sound Design by Sam Sewell and lighting design by Theatre Asylum’s Beth (last name not billed) are both effective in creating The Beyond.

Tzipora Reman is production manager, stage manager, props manager, technical director and producer. Shawn Brown is assistant video designer.

While experimentation in theatrical art forms is to be applauded, and exploring the meaning of life is admirable, Alternative Art Styles’ “IamI” goes by way of its characters and gets lost in its own cosmic Limbo.

Not Recommended.

Theatre Asylum – The Elephant Space
6322 Santa Monica Blvd, Los Angeles, CA 90038
Running time: 1 hr
Remaining shows:
Saturday, June 27, 2015 – 7:30 PM

Gia #HFF15 #Reviews: HIPPOPOTAMOIDEA!!!

Give me 15 minutes and I’ll give you Fringe!

by Tracey Paleo, Gia On The Move

HIPPOPOTAMOIDEA!!!

The shortest play at the Hollywood Fringe this year can only be described by an equally short review.

“Just Go!”

The world’s worst hangover or was it food poisoning, none of us could really tell, turns into a what-the-hell-was-that, Twilight-zone-like brain flip as an average Joe takes a particularly strange journey to rid himself of the ghosts that plague him.

Hippopotamoidea!!! created by Dylan Wallace from last year’s “Feast”  is entirely inventive, far out and so Fringe worthy hilarious that you really should not miss the opportunity to experience this completely experimental, dialog-free interlude.  It’s such a non-commitment in time for a fun payoff, you’ll be kicking yourself to have missed the buzz.

Definitely one of our favs!

NOTE: This performance is pay what you canSet your own price.

Complex Theatres (Flight Theatre, 6472 Santa Monica Blvd) Hollywood’s Theatre Row map

Friday June 12 2015, 9:00 PM | 15 mins
Friday June 12 2015, 9:30 PM | 15 mins
Saturday June 20 2015, 10:30 PM | 15 mins
Saturday June 20 2015, 11:00 PM | 15 mins
Friday June 26 2015, 7:45 PM | 15 mins
Friday June 26 2015, 8:15 PM | 15 mins
Saturday June 27 2015, 3:45 PM | 15 mins
Saturday June 27 2015, 4:15 PM | 15 mins

Gia Reviews Oedipus Machina at the Odyssey Theatre

by Tracey Paleo, Gia On The Move
Oedipus-Machina_1sm

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Extraordinarily intimate, Oedipus Machina, directed by Ron Sossi, and inspired by Ellen McLaughlin’s adaptation of the Sophocles text, opened this past weekend at The Odyssey Theatre in West Los Angeles.  It is a game changer. 

Spoken in contemporary language, and set in an ancient mysterious place, Oedipus Machina begins smack in the middle of this archetypal tragedy and ends with Oedipus’ banishment. Oedipus Machina focuses on the prime character, and his journey to ultimate self-destruction as a man in search of truth. 

This piece is endowed with many moving stage parts, and intriguing cinema projections that lead our attention into the story to become part of an inner circle rather than just along as voyeurs, thanks to set design by Keith Mitchell, lighting by Phillip Powers, sound by Christopher Moscatiello and video by Diana Cignoni.  These elements alone so dramatically intensified the narrative, it brought about an “other-worldly” state while galvanizing a fiercely strong, in-sync chorus who set a definitively potent physical, verbal and emotional pace, grounding the way for banner performances by Joshua Wolf Coleman (Oedipus), Martin Rayner (Creon) and Lorinne Vozoff (Tirisias).

If “the truth will set you free,” for Oedipus it is a brutal privilege. 

A plague grips the city of Thebes. Desperate to save his people, King Oedipus sends a messenger to the oracle at Delphi and discovers that the city’s salvation lies in finding and punishing the murderer of the former king, Laius, who was brutally slain by a stranger at a crossroads years ago. When Oedipus orders a manhunt, he unknowingly sets the wheels of his own destruction in motion.

Against all warning by prophet, by brother, by wife and by his people, he gives in to a voracious ego and a violent appetite for “the Light” – all  but for the truth of his real parentage.

Ultimately, it is “the Dark” that he must wither into. For like the Adam and Eve story, and the bite of the apple, when the truth of Oedipus’ real birth is revealed, he and his people gain a heavy, unbearable knowledge, and have lost their innocence forever.  

Creative, inspired and dramatically accessible.  Not to be missed this season!

Only one detractor – it’s a bit too long.  Shortened by 10-20 minutes it would easily still tell an effective, powerful story. 90 minutes with no intermission had theatre goers squirming just a little in their seats.

Everything else about this play is outstanding: costume design is by Audrey Eisner, assisted by Beth Miller; make-up design is by Catelyn Chism; props design is by Katherine S. Hunt; musical advisor is Barbara Rottman; and choreography advisor is Debbie McMahon. 

oedipus machinaOedipus Machina 

Inspired by Ellen Mc Laughlin‘s adaptation of the Sophocles text

Directed by Ron Sossi

Starring Alan Abelew, Brent Christensen, Joshua Wolf Coleman, Riley Rose Critchlow, J. Carlos Flores, Martin Rayner, Mariana Montes Sandoval, Cary Thompson,Tina Van Berckelaer, Lorinne Vozoff, Terry Woodberry, Dey Young

Produced by Ron Sossi and Barbara Mueller-Wittmann in association with Gloria Levy

Presented by Odyssey Theatre Ensemble, Ron Sossi, artistic director

Now Playing until Juy 26

Wednesdays at 8 p.m.: June 17 and July 8 ONLY

Thursdays at 8 p.m.: June 25, July 2, July 16 and July 23 ONLY

Fridays at 8 p.m.: June 5, 12, 19*, 26; July 3, 10, 17*, 24

Saturdays at 8 p.m.: June 6, 13, 20, 27; July 11, 18, 25 (dark July 4)

Sundays at 2 p.m.: June 7, 14, 21, 28; July 5, 12, 19, 26

*The third Friday of every month is wine night at the Odyssey: enjoy complimentary wine and snacks and mingle with the cast after the show.

WHERE:

Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

HOW:

(310) 477-2055 ext. 2 or www.OdysseyTheatre.com

Visit them on Facebook: www.facebook.com/OdysseyTheatre

Follow them on Twitter: @OdysseyTheatre_

TICKET: $34

Four “Tix for $10” performances: Friday, June 5; Friday, June 19 (wine night); Thursday, July 2; and Wednesday, July 8

Crazy Underneath The Trees

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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