Award-winning ‘Four Women in Red’ highlights Missing Murdered Indigenous Women in world premiere at the Victory

Someone knows. Somewhere. The Victory Theatre Center presents the world premiere of Four Women in Red, a provocative new play, written by Laura Shamas (Chickasaw Nation) and directed by Jeanette Harrison (Onondaga), about four resilient women searching for their missing loved ones. Opening night is set for February 14 (International Day of Action for #MMIW) at The Victory Theatre Center in Burbank, where performances continue through March 23. Two low-priced previews take place on February 8 and February 9.

Carolyn Dunn (Tunica-Choctaw/Biloxi, Mvskoke), Harriette Feliz (Chumash), Zoey Reyes (Diné and Chicana) and Jehnean Washington (Yuchi, Seminole and Shoshone) star as four First American women desperate to find missing friends and relatives in the face of apathetic sheriffs and dwindling clues. Are their loved ones lost? Were they taken? Are they even alive? This moving new play celebrates the power of community as the four women seek answers against all odds. Their roller coaster journey involves mystery, grief, prayer and moments of sudden joy.

Indigenous women are currently facing an epidemic of violence, with some of the highest rates of physical and sexual violence in the nation.

“Women and girls are disappearing, and no one will look for them,” says Victory Theatre Center producing artistic director Maria Gobetti. “It’s horrifying.”

“It breaks my heart,” says Shamas. “I wrote this play to raise awareness about this very real crisis. Congressional hearings were held last month to try to address some of these issues, but most Americans are unaware of this horrible ongoing emergency, and we must take action.”

Four Women in Red was first developed by Native Voices, the only Actors’ Equity theater company in the country dedicated to developing and producing new plays by Native artists. Written during the pandemic for a virtual Native Voices Short Play Festival, an expanded, full-length version was selected for the 2022 Native Voices Festival of New Plays. The Victory’s world premiere production, championed by Gobetti and board members Zilah Mendoza, Donna Preacher–Hall and Herb Hall, marks the first time a play developed by Native Voices has been produced by another Los Angeles theater. The play is the recipient of a prestigious Los Angeles New Play Project (LANPP) grant. In addition, the production is supported in part by a Burbank Community Arts Grant.

“Four Women in Red exposes an issue that touches nearly every Native family, yet one that most people are completely unaware of,” explains Harrison. “Deb Haaland, currently Secretary of the Interior under Biden—the first Native woman ever appointed to a cabinet position—has started the Missing and Murdered Unit (MMU), so this is a particular moment in history. If we can let people know the true impact of programs like this, it may help.”

The creative team for Four Women in Red includes costume designer Lorna Bowen (Muscogee Creek Nation, Seminole and Cherokee); lighting designer Grayson Basina (Ojibwe); production designer Evan Bartoletti; sound designer Jose Medrano Velazquez; graphic designer Nipinet Landsem (Ojibwe and Michif, descendant of the Turtle Mountain Band of Chippewa and a citizen of the Manitoba Métis Federation); dramaturg Gail Bryson; and photographer Tim Sullens. The associate producer is Lisa Lokelani Lechuga and the stage manager is Ngan Ho-Lemoine. Maria Gobetti and Evan Bartoletti produce.

Four Women in Red runs Fridays at 8 p.m., Saturdays at 8 p.m., and Sundays at 4 p.m. through March 23. Three preview performances take place February 8 and 9 on the same schedule. Tickets range from $20 to $41. The Victory Theatre Center is located at 3324 W. Victory Blvd in Burbank, CA 91505. For information and to purchase tickets, call (818) 841–5421 or go to thevictorytheatrecenter.org.

Los Angeles, CA

Rogue Machine’s West Coast Premiere of Bacon, by Sophie Swithinbank, takes an unflinching and unexpectedly humorous look at power and sexuality, through the dizzying lens of youth. Directed by Michael Matthews, and running February 8 – March 30 upstairs on the Henry Murray Stage, the play stars Jack Lancaster (Darren) and Wesley Guimarães (Mark).

Mark is new at school and too scared to make friends. Darren is out of control and too scary to make friends. Worlds apart, but more similar than they realize, the pair form a complex and manipulative relationship. Before they know it, they’re embarking on a dangerous experiment that will alter the course of their lives.

“Utterly compelling. Beautiful and devastating to watch.” – The Stage

“Bacon is about what happens when teenagers learn to bully and humiliate each other before they learn to love and accept themselves, says playwright Sophie Swithinbank. “The two central characters, Mark and Darren, were born from an act of bullying I witnessed, which led me to explore the idea of learned negative behaviors. I began to connect the bullying incident to an intense and semi-toxic relationship I had experienced growing up. It was a confusing, dangerously exciting time. The play also explores the binaries of class in relation to sexuality, and how confidence and acceptance can be closely related to social standing, from family to family. Bacon is a relationship drama for the modern age.”

Sophie Swithinbank (Playwright) is a multi-award-winning playwright and screenwriter, based in London. She is the 2023 winner of the Peggy Ramsay/Film4 Award. Her play Beans won the 2024 Sonia Friedman Prize for Best Play, and her play Bacon (Tony Craze Award Winner 2018) ran at Finborough Theatre in 2022, winning four Off West End Awards. Bacon has toured the UK, Australia, Canada and USA. Sophie has recently completed an attachment at the National Theatre, with whom she is developing an NT Connections play. Sophie has two new plays and a musical in development. For Theatre: Even in Arcadia (longlisted for Verity Bargate Award 2020), Circle Game (SouthwarkTheatre, shortlisted for Phil Fox Award 2020), Where There Is Smoke (National Theatre Learning), Come Inside (Bush Theatre) and The Superhero (Lyric Hammersmith). For TV: BACON (development with NBC Universal), L/OVER (MTV Finland), Sting (development with The Lighthouse film and TV). For film: Body Brokers (development with Eleven/No Ordinary).

Michael Matthews (Director) recently directed the World Premiere of June Carryl’s Blue at Rogue Machine before remounting the play at Edinburgh Festival Fringe and the 7 Dials Playhouse in London’s West End. Selected credits include: Matilda, Billy & Ray, and End of the Rainbow at La Mirada, Failure: A Love Story at CTG/Kirk Douglas Theatre. At Laguna Playhouse, The Seafarer, 12 Angry Men, The Graduate (w/ Melanie Griffith), Funny Girl at 3D Theatricals, Sons of the Prophet (LA Premiere), Psyche: A Modern Rock Opera (World Premiere) Peter Pan: The Boy Who Hated Mothers (LA Premiere), Very Still & Hard To See (World Premiere). Celebration Theatre: Cabaret, Dream Boy (LA Premiere), Bootycandy (LA Premiere), The Color Purple, What’s Wrong With Angry? (LA Premiere), Take Me Out!, The Women of Brewster Place, The Musical (West Coast Premiere), Stupid Kids (LA Premiere), Beautiful Thing, The Bacchae. Broadway: Butley (Assistant Director). International: Sleeping Giant and The Bacchae (Edinburgh Festival Fringe). Michael is the recipient of 2 Ovation Awards and 9 nominations, 1 LA Weekly Award and 2 nominations, 2 NAACP Theatre Awards, 1 Stage Raw Award, 3 Joseph Jefferson Award Nominations, and is the recipient of the 2015 LADCC Award for Career Achievement in Direction.

Justin Okin (Producer) serves as the executive director of Rogue Machine Theatre, where he has produced On the Other Hand, We’re Happy (LADCC award for Outstanding Production) and Heroes of the Fourth Turning (LA Times’ “Best Theater of 2023”). At Rogue Machine, Justin has appeared in Stop Kiss, MilkMilkLemonade, Monkey Adored and Pocatello. He has served on the Board of Directors at Theatre of NOTE, where he performed in Entropy and Eat the Runt. At The Road Theatre Company, Justin co-produced four seasons of the Summer Playwrights Festival and performed in At the Table. Additionally, he associate-produced Tiny Little Town and performed in Hot Cat with Theatre Movement. Other acting credits include appearances at Center Theatre Group, Lincoln Center’s Directors Lab, the Edinburgh Fringe Festival and The Public. He is the founder of Rogue Machine’s Playwright’s Roundtable which focuses on developing new works by some of theatre’s most creative new voices.

CAST: Jack Lancaster and Wesley Guimarães.

PRODUCTION TEAM: Stephen Gifford (Production Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Jen Albert (Fight Choreographer), Joy DeMichelle (Intimacy Director), Tuffet Schmelzle (Dialect Coach), Victoria Hoffman (Casting), Rich Wong (Stage Manager).

Rogue Machine is the only company to receive the Los Angeles Drama Critics Circle Polly Warfield Award for “Best Season” three times (2023, 2016, 2011). Additionally, they won the Ovation Award for “Best Season” (2017). Rogue Machine produces new plays and important contemporary plays not yet seen in Los Angeles. Nine of their productions have been published by Samuel French, Dramatists Play Service or Broadway Play Publishing, and six of the productions have had subsequent staging’s at significant theatres, including Off Broadway, major regional houses and the Donmar Warehouse in London. Four world premieres, Razorback, Small Engine Repair, Lone-Anon, and One Night in Miami… were made into feature films, and playwright Kemp Powers was nominated for an Academy Award in the category of “Best Adapted Screenplay.” In recognition of its artistic achievement, administrative strength, development of new work and other significant contributions to the field of professional theatre in the United States, Rogue Machine is supported by the Perenchio Foundation, Shubert Foundation, Ralph M. Parsons Foundation, David Lee Foundation, the City and County of Los Angeles, The Ahmanson Foundation, and the Richenthal Foundation. Rogue Machine is a recipient of the American Theatre Wing’s National Theatre Company Grant.

“Bacon” opens at 5pm on Saturday, February 8 and runs at 8pm Fridays, Saturdays, Mondays; 3pm Sundays through March 9, 2025 (No performance on February 10). Rogue Machine, in the Matrix Theatre (upstairs on the Henry Murray Stage) located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45; Seniors: $35; Students with ID: $25. Shows4Less: Fridays, February 14th ($15+), 21st, 28th ($20+), March 7 ($25+). Reservations: https://www.roguemachinetheatre.org/ or for more information 855-585-5185.

Four after show gatherings, “Bacon Bites,” are planned for February 9 (Meet the Playwright & Director), February 23 (LGBTQ), March 9 (Fringe Friends), and March 23 (LGBTQ).

Findawayhome Ink Presents the World Premiere of  “UNCONDITIONAL, A Musical Memoir” A new play by Margot Rose / Directed by Anne Kenny Opening at 7:30pm on Saturday, February 15 with reception to follow 7:30pm Thursdays, Fridays, Saturdays, 3pm Sundays through March 9, 2025 (no performances on 2/28, 3/1, 3/2)   Skylight Theatre, 1816 ½ North Vermont, Los Angeles, CA 90027 Los Angeles, CA In the wake of one of life’s most profound challenges, Margot Rose’s UNCONDITIONAL, A Musical Memoir forges a path to resilience with a commitment to go on in a world of unpredictability. This is a true story of dedication and loss; community and love, in which two women, already in their mid-forties, went to extraordinary lengths to have kids. After a tragic loss, the family would be thrown into a spiral that, once again, forced them to grapple with the question – how do we become (and stay) a family? How are we able to go on? “People do not do well in this life without purpose, and I was blessed to have found one that resonated deeply – I got to be a mother,” says creator Margot Rose. “So much of this piece deals with how we re-construct our lives after being torn apart by loss, but it’s not unique to my loss as a mom. No matter what it is, people or places, we all must figure out how to go on. And the only way we do that, is together.” Through her masterful weaving of original music and vivid storytelling, Margot celebrates the totality of her experience as a gay mother, before and during grief. This is a tale that reminds us that, while healing might not always be the right word for what we experience after such profound loss, we can go on and that very same ‘going on’ can lead us into a more profound connection with ourselves and one another.” Margot Rose (Playwright/Performer) began her stage career Off-Broadway as Alice in the original company of I’m Getting My Act Together and Taking it on the Road at Joe Papp’s Public Theatre before moving to Los Angeles with the show. Working as an actor, songwriter and storyteller, she has appeared in numerous TV series and films including 48 Hours, 21 Jump Street, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Desperate Housewives. For over a decade, Margot has produced and hosted Sidedoor Salon, a multi-discipline performance group, and has been an invited storyteller with Listen to Your Mother, Shine, Beyond Baroque and more. Margot performed her solo musical, Springloaded, in Los Angeles and most recently the Fountain Theatre produced a three-performance workshop of Unconditional. Margot received her BFA from NC School of the Arts and attended the Yale Drama School. Anne Kenny (Director) has worked as a dramaturg to develop UNCONDITIONAL for the stage since its inception in 2019. As a development producer/executive, Anne has worked with over 40 artists and thought leaders to bring their compelling stories to life on stage and screen including projects for Cineflix, Emerson College and Warner Bros. “I witnessed first-hand how this universal story has resonated with audiences in theatre workshops, living rooms, and spoken word performances. Margot’s story connects us to a way of embracing our experiences in life, with all their day-to-day minutiae, so that maybe we can better appreciate those small moments in life that are so large.”  – Director; Anne Kenny Production Team: Tommy Brown (Scenic Design), Aaron Benham (Musical Direction/Arrangements), William Mellon (Producer). “UNCONDITIONAL, A Musical Memoir” opens at 7:30pm on Saturday, February 15 and runs at 7:30pm on Thursdays, Fridays & Saturdays; 3pm Sundays; through March 9 (no performances on 2/28, 3/1, 3/2). Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027. Tickets are $30; with 10% discount for students and seniors. Reservations: [email protected]. Information (213) 761-7061.

East West Players (EWP), the largest and longest-running Asian American theater in the country, proudly announces the cast and creative team for the Los Angeles premiere of Lauren Yee‘s groundbreaking play, CAMBODIAN ROCK BAND, set to open in February 2025. The production marks a significant milestone as it brings this acclaimed work to Los Angeles County, home to the largest Cambodian population outside of Cambodia.

This part-play, part-rock concert tells the powerful story of a Khmer Rouge survivor returning to Cambodia after three decades. As his daughter prepares to prosecute one of the regime’s most notorious war criminals, they must confront their shared history through the healing power of music. The production features the music of LA-based band Dengue Fever, whose performances initially inspired playwright Lauren Yee to create this compelling work.

The production marks director Chay Yew’s thirteenth collaboration with East West Players, bringing his signature vision to an extraordinary ensemble. After directing the world premiere of CAMBODIAN ROCK BAND at South Coast Repertory and the off-Broadway run at Signature Theatre, Yew’s return to EWP continues a nearly thirty year artistic partnership.

The cast includes Kelsey Angel Baehrens* as Neary/Sothea, Abraham Kim* as Rom/Journalist, Tim Liu* as Ted/Leng, Jane Lui* as Pou/Guard, Joe Ngo* as Chum, and Daisuke Tsuji* as Duch.

The creative team includes Chay Yew (Director), Jane Lui and Matthew McNelly (Music Directors),Ashphord Jacoway (Additional Costume Design, original costume design by Linda Cho), Derek Jones (Lighting Design), Megumi Katayama and Mikhail Fiksel (Sound Designers), Mina Kinukawa (Scenic Design, original scenic design by Takeshi Kata), Jason H. Thompson (Projections Design), Yoko Haitz (Hair & Make-Up Design), Glenn Michael Baker (Properties Coordinator), Cesar Cipriano (Fight Director), Graham Schmidt (Associate Director), and Edward Khris Fernandez* (Stage Manager).

“Bringing CAMBODIAN ROCK BAND to Los Angeles is a profound moment for East West Players and our community,” says EWP Artistic Director Lily Tung Crystal. “With Chay’s remarkable direction and this exceptional company, many of whom were part of the original world-premiere production, we’re not just presenting a play—we’re sharing a vital story that resonates deeply with our region’s vibrant Cambodian community. This production represents everything we strive for at EWP: powerful storytelling, authentic representation, and artistic excellence that bridges generations and cultures.”

In alignment with East West Players’ mission of community representation and access, Artistic Director Lily Tung Crystal is working closely with leaders in the greater LA Khmer community to reserve and significantly subsidize over 20% of all seats specifically for Khmer audiences. This initiative ensures that those most profoundly impacted by the story have the opportunity to experience CAMBODIAN ROCK BAND.

CAMBODIAN ROCK BAND runs February 13, 2025 through March 9, 2025 at The David Henry Hwang Theater at the Union Center for the Arts at 120 Judge John Aiso Street, Los Angeles, CA 90012 in the historic Little Tokyo neighborhood. Performance times are Thursdays (preview week only), Fridays, Saturdays, and select Mondays at 8 PM, with additional 2 PM matinees on Saturday and 5 PM performances on Sunday. Opening Night is Sunday, February 16, 2024 at 5 PM. All Saturday 2 PM performances are “Masked Matinees,” making theater more accessible to audiences who prefer a masked experience. Monday, February 24, 2024 at 8 PM is the Pay-What-You-Can performance. All performance dates and details are subject to change.

East West Players 60th Anniversary Season Memberships and single tickets to CAMBODIAN ROCK BAND are available online at eastwestplayers.org or by calling (213) 625-7000.

Pasadena Playhouse Announces 
World Premiere Musical Adaptation from 
EGOT-Winners Pasek and Paul (Dear Evan Hansen)

Lyle, Lyle, Crocodile: The Musical 
An iTheatrics Musical 

                       Music and Lyrics                        
Benj Pasek, Justin Paul, Ari Afsar, Emily Xu Hall, 
Joriah Kwamé, Mark Sonnenblick

Libretto
Timothy Allen McDonald, Sara Wordsworth

Based on the Books by
Bernard Waber
Lyle, Lyle, Crocodile & The House on East 88th Street

Vocal Arrangements and Incidental Music       
Daniel Mertzlufft

Directed by Nina Meehan      

February 15 – March 16, 2025
at The Colony Theatre in Burbank
Tickets at pasadenaplayhouse.org or by calling 626-356-7529

Lyle, Lyle, Crocodile: The Musical splashes onto the stage with a song to sing! Join Lyle as he and his new human friends face their fears and find their voices. Inspired by Bernard Waber’s much-loved picture books, this lively musical features new music by EGOT-winning composers Benj Pasek and Justin Paul (The Greatest Showman, Dear Evan Hansen, La La Land). A celebration for the whole family, Lyle, Lyle, Crocodile: The Musical is packed with humor, heart, and showstopping tunes that will have audiences of all ages roaring with song.

Tickets:            Starting at $34 (Everyone ages 2+ needs a ticket)
Member Price: 20% off
Online — PasadenaPlayhouse.org
By phone at 626-356-7529
In person — Pasadena Playhouse Box Office, located at 39 South El Molino Avenue, Pasadena, CA 91101

Performance Schedule:  Saturdays and Sundays – 10:00 AM, 1:00 PM

Ages:               5-12 year olds and their families

Fountain Theatre presents L.A. premiere
of funny, poignant ‘Alabaster’
The Fountain Theatre presents the Los Angeles premiere of Alabaster, a funny and poignant new play about healing and the power of women by Audrey Cefaly. Directed by Casey Stangl, this darkly comic Southern drama runs February 16 through March 30.

For three years since the death of her family in a tornado that left her covered in scars, June has been living and creating “outsider” art in an isolated Alabama farmhouse, with only her goats for company. When a New York photographer working on a series about women with scars arrives, the attraction between June and Alice is palpable — but what they need from each other transcends anything physical. Nominated for the Pulitzer Prize, named to “The Kilroy’s List” of excellent new plays by women, and winner of the Calicchio Prize, Alabaster is an irresistible comic drama about women, art and healing.

“I love the play’s edgy theatricality and deft mix of comedy and drama,” says Stangl. “It attacks some very complex subjects — trauma, grief and the healing power of art — with a complete lack of sentimentality that is filled with humor and humanity.”

The all-woman cast features Virginia Newcomb, last seen at the Fountain in On the Spectrum and A House Not Meant to Stand, as June and Erin Pineda, whose L.A. credits include The Tempest, Love and Information and As You Like It at Antaeus Theatre Company, as Alice. The two goats, Weezy and Bib, are played respectively by Carolyn Messina, who originated the role in the world premiere production at Florida Repertory Theatre; and Laura Gardner, known for Marilyn, Mom & Me at International City Theatre, King Charles at the Pasadena Playhouse, and Razorback at Rogue Machine.

Since its launch at Florida Repertory Theatre as part of a record-breaking, 11-theater National New Play Network Rolling World Premiere, Alabaster has gone on to productions and rave reviews across the country. Reviewing that first production, Charles Runnels wrote in the Fort Myers News-Press, “First someone messaged me on Facebook. Then a text from a friend. Then a phone call. Then another message. And another. They all said the same thing: You HAVE to see ‘Alabaster’… I wasn’t planning on reviewing the show [but] finally ventured out to see what all the fuss is about… [and] Yes…‘Alabaster’ is terrific.” The Florida Weekly wrote, “It’s easy to see why theaters from Oregon to Illinois to Texas are all lining up to stage this new play… Ms. Cefaly rips your heart out of your chest, shatters it, then mends it.” The Chicago Tribune calls Alabaster “a nuanced, darkly comedic play… that examines how people cope with trauma and what recovery can look and feel like.”

The creative team at the Fountain includes scenic designer Frederica Nascimento; lighting designer Alison Brummer; sound designer Andrea Allmond; video designer Ly Eisenstein; costume designer Rebecca Carr; and properties designer Jenine MacDonald. The production stage manager is Angela Park, assisted by Gina DeLuca.

The Fountain Theatre creates, develops, and produces new plays that bring to life the urgent social, political, and cultural issues of our time, reflecting the vibrant diversity of Los Angeles and the nation. Its educational outreach programs inspire young people to become engaged citizens and leaders of tomorrow. The L.A. City Council commended the Fountain for “achieving a position of leadership in the Los Angeles theatre community… producing meaningful new plays of social and political importance that enrich the lives of the citizens of Los Angeles.” The Fountain is the recipient of the Los Angeles Drama Critic Circle’s Margaret Harford Award for sustained excellence in theater, presented for “outstanding productions of meaningful new plays and first-class performances spanning three decades.” Los Angeles Times theater critic Charles McNulty hailed the Fountain, stating, “No L.A. theater has done a better job of asking us to reexamine our lives through the lens of acute contemporary drama.” The Fountain Theatre’s most recent world premiere, Fatherland, conceived and directed by Stephen Sachs, just closed an off-Broadway run at Manhattan Theatre Club (New York City Center) with the original cast, where it received rave reviews as well as national and international coverage including from The New York Times, MSNBC, NPR and PBS.

Alabaster opens on Sunday, Feb. 16 at 7 p.m., with performances thereafter on Fridays, Saturdays and Mondays at 8 p.m. and Sundays at 2 p.m. through March 30 (dark Monday, Feb. 10. Tickets range from $25–$45; Pay–What–You–Want seating is available every Monday night in addition to regular seating (subject to availability); all previews are Pay-What-You-Want.

The Fountain Theatre is located at 5060 Fountain Avenue (at Normandie) in Los Angeles. Patrons are invited upstairs to relax before and after the show at the Fountain’s café. For reservations and information, call (323) 663–1525 or go to FountainTheatre.com.

A new opera about an American family wrongfully imprisoned in 1942 and the power of collective resistance to injustice.

Libretto by Lionelle Hamanaka

Music by Daniel Kessner

Directed by Diana Wyenn

Conducted by Steve F. Hofer

Featuring Roberto Perlas Gómez, Alexandra Bass, Tiffany Ho, Habin Kim, Patrick Tsoi-A-Sue, Sarah Z. Wang, Steve Moritsugu, Hisato Masuyama, Krishna Raman, Jamie Sanderson, and Dennis Rupp.

In 1942, during World War II, 120,000 people of Japanese ancestry—two-thirds of whom were American citizens—were unjustly incarcerated in concentration camps within the United States.

Created by librettist Lionelle Hamanaka, a descendant of camp survivors, and composer Daniel Kessner, this world premiere contemporary opera tells the moving story of the Shimono family, Japanese Americans forcibly removed from their suburban home in Southern California. After Mas, a fisherman and the head of the household, is arrested by the FBI on suspicion of espionage, the family is reunited in a desolate incarceration camp. As the family struggles to survive the emotional and physical toll of their wrongful imprisonment, this poignant, new opera illuminates the remarkable strength of familial bonds and the power of collective resistance in the face of injustice.

Performed in English, this captivating production directed by Diana Wyenn features an ensemble of eleven gifted singers performing with a twenty-two-member orchestra conducted by Steve F. Hofer.

Language: English

Run Time: Two hours and fifteen minutes, including one 15-minute intermission

Presented in partnership with the Japanese American Cultural & Community Center.

To learn how you can support, click here. The team behind The Camp is dedicated to ensuring this production is financially accessible to everyone. For general inquiries or to inquire about subsidized ticket options if you are experiencing financial hardship or have been impacted by the recent wildfires, please email [email protected].

Ophelia’s Jump Theatre Presents

2025 SEASON

HELVETICA

by Katie Coleman

directed by Elina de Santos

FEB 28 – MAR 16

2009 Porterfield Way

Suite I, Upland, CA

Helvetica “is a play about big things, like imagination, memory, and death, with a heroine named for a type font, a cardboard boat in which to go adventuring, and a stuffed bear to act as narrator and muse”.

– D. Baker

Launching our 2025 Season, Ophelia’s Jump is proud to present Helvetica by Katie Coleman and directed by Elina de Santos.

Presented February 26 through March 18, 2025, Helvetica will be performed at Ophelia’s Jump, located at 2009 Porterfield Way, Suite I, in Upland.

THE STORY: Helvetica Burke: adventurer, writer, and cynic, has spent her life packaging Death neatly between the lines of her beloved children’s books, with her trusty stuffed bear Myron by her side. When she encounters Death head-on however, she finds the storybook truths within the realities of her past, present, and future.

MEET THE CAST OF HELVETICA

RAVEN SCOTT is an actor and musician who has loved the theater from a young age. After training at CalArts, she’s been fortunate to work professionally in film and television. She is excited to be a part of Ophelia’s Jump Productions and continues to pursue her passion.

MIKKI HERNANDEZ is an LA-based actress, voiceover artist, and author. She is very excited to work with Ophelia’s Jump alongside such a beautifully talented cast and creative team. LA Theater: Three Witches (Theatre Ghosts), Brown & Out IV (Casa 0101), Millennial Pink (Hollywood Fringe). Film & TV: We’re Doing Good (SXSW), Second (HollyShorts), Entre Paredes (Disney+), In Love All Over Again (Netflix). Mikki trains at Moving Arts Theatre, is a proud UCLA alum, and enjoys traveling, dancing, and sharing stories through her digital publication MixedKids&Co. Her debut children’s book Cake Mix: Learning to Love All Your Ingredients is available nationwide.

LISA ROBBINS COMMITTED?, Lisa’s solo tragicomedy, garnished rave reviews at its recent premier produced by Elina de Santos with Rogue Machine (d.Mitch Levine). Doll’s House 2 (d.Allen Barton), Blessing…Broken Heart (d. Todd Salovey), In Every Generation (SD Rep), Catskill Sonata (d.Paul Mazursky), River Time (d.Katherine Cortez), Center of the Star and Long Bridge (d. Bill Rausch-Cornerstone), Love, Loss and What I Wore (Geffen), George Furth’s Sex.. (d. John Rubenstein). Rum Diary, James Dean, (d. Mark Rydell), guest stars, commercials. Member of The Actors Studio, Rogue Machine, The Braid. Lisa’s greatest work of art is her kid, Ren!

KELLY FRANETT is excited to be back at Ophelia’s Jump. This is Kelly’s third production with Ophelia’s Jump. The previous productions were (World Premiere) Sealed Orders and Measure for Measure which was performed at the Sontag Theatre as part of the OJP Midsummer Festival. He’s been seen in a variety of stage and film productions in LA/Orange County. Most recently a Critics Pic production of Lucy Kirkwoods The Children with the Wayward Artists.

OLGA KONSTANTULAKIS hails from Montreal. She is thrilled to be a part of this production. Most recently she played Veronica in God of Carnage, Logan in The Thanksgiving Play, Heidi Schreck in What the Constitution Means to Me, and Sonia in Vanya and Sonia and Masha and Spike. Other theatre credits include playing Jan in the LA premiere of Fifty Words which she co-produced, and Seta in Beast on the Moon (Ovation Recommended, Critic’s Pick Backstage and LA Weekly) which she also proudly produced. She is currently workshopping her solo piece, Becoming Apparent.

TONY KIM is honored to make his debut at Ophelia’s Jump. Film credits include Sleepless (2017), The Second Coming of Christ (2017) and Answered Prayers (2015). Theatre: A Wrinkle in Time at the Sierra Madre Playhouse, Rashomon.

PETER MENDOZA is born and raised in East Los Angeles, studied theatre, stage combat, and dance at East Los Angeles College. Theatre: Oscar in Sweat (Mark Taper Forum), Elliot in Elliot, A Soldiers Fugue (Kirk Douglas Theatre), Oedipus in Oedipus El Rey (Kirk Douglas Theatre, Digital Stage), Henry Reyna in Zoot Suit (Mark Taper Forum, U/S). Other Theatre: Satan in The Last days of Judas Iscariot, Tybalt in Romeo and Juliet; Rolling through East LA (Cholavision Prod.), Hason in Mojada: A Medea in Los Angeles (The Rep. Theatre of St. Louis), Belyaev in Three Days in the Country, Ferdinand in The Tempest, Florizel in The Winters Tale (Antaeus Theatre Company), Rafael in La Piedra Oscura, Don Carlos in Los Empeños de una Casa, Paco in Salon Mexico, Don Juan Tenorio in El Burlador de Sevilla (Bilingual Foundation of the Arts). Television: Perry Mason (HBO), From Scratch (Netflix), Shooter (USA), NCIS (CBS), Snowfall (FX), Casual (HULU), On My Block (Netflix). Film: Dead Bullet, Nathan’s Kingdom, Parasites, Tecato, Hello to Never, Ana Maria in Novella Land.

BRANDON GILL (NY Public Theater’s Hamlet) and
BRANDON MICHEAL HALL (HBO MAX’S Search Party) Star in
Pasadena Playhouse’s Production of

TOPDOG/UNDERDOG 
by Suzan-Lori Parks

Directed by Gregg T. Daniel (HBO’s True Blood)
&
Announcing “Pay It Forward” Ticket Initiative 
Benefitting Fire-Impacted Community Members

Wednesday, February 26, 2025 – Sunday, March 23, 2025
Press Opening March 4, 2025
Tickets on sale now at pasadenaplayhouse.org

Award-winning ‘Four Women in Red’ highlights Missing Murdered Indigenous Women in world premiere at the Victory

Someone knows. Somewhere. The Victory Theatre Center presents the world premiere of Four Women in Red, a provocative new play, written by Laura Shamas (Chickasaw Nation) and directed by Jeanette Harrison (Onondaga), about four resilient women searching for their missing loved ones. Opening night is set for February 14 (International Day of Action for #MMIW) at The Victory Theatre Center in Burbank, where performances continue through March 23. Two low-priced previews take place on February 8 and February 9.

Carolyn Dunn (Tunica-Choctaw/Biloxi, Mvskoke), Harriette Feliz (Chumash), Zoey Reyes (Diné and Chicana) and Jehnean Washington (Yuchi, Seminole and Shoshone) star as four First American women desperate to find missing friends and relatives in the face of apathetic sheriffs and dwindling clues. Are their loved ones lost? Were they taken? Are they even alive? This moving new play celebrates the power of community as the four women seek answers against all odds. Their roller coaster journey involves mystery, grief, prayer and moments of sudden joy.

Indigenous women are currently facing an epidemic of violence, with some of the highest rates of physical and sexual violence in the nation.

“Women and girls are disappearing, and no one will look for them,” says Victory Theatre Center producing artistic director Maria Gobetti. “It’s horrifying.”

“It breaks my heart,” says Shamas. “I wrote this play to raise awareness about this very real crisis. Congressional hearings were held last month to try to address some of these issues, but most Americans are unaware of this horrible ongoing emergency, and we must take action.”

Four Women in Red was first developed by Native Voices, the only Actors’ Equity theater company in the country dedicated to developing and producing new plays by Native artists. Written during the pandemic for a virtual Native Voices Short Play Festival, an expanded, full-length version was selected for the 2022 Native Voices Festival of New Plays. The Victory’s world premiere production, championed by Gobetti and board members Zilah Mendoza, Donna Preacher–Hall and Herb Hall, marks the first time a play developed by Native Voices has been produced by another Los Angeles theater. The play is the recipient of a prestigious Los Angeles New Play Project (LANPP) grant. In addition, the production is supported in part by a Burbank Community Arts Grant.

“Four Women in Red exposes an issue that touches nearly every Native family, yet one that most people are completely unaware of,” explains Harrison. “Deb Haaland, currently Secretary of the Interior under Biden—the first Native woman ever appointed to a cabinet position—has started the Missing and Murdered Unit (MMU), so this is a particular moment in history. If we can let people know the true impact of programs like this, it may help.”

The creative team for Four Women in Red includes costume designer Lorna Bowen (Muscogee Creek Nation, Seminole and Cherokee); lighting designer Grayson Basina (Ojibwe); production designer Evan Bartoletti; sound designer Jose Medrano Velazquez; graphic designer Nipinet Landsem (Ojibwe and Michif, descendant of the Turtle Mountain Band of Chippewa and a citizen of the Manitoba Métis Federation); dramaturg Gail Bryson; and photographer Tim Sullens. The associate producer is Lisa Lokelani Lechuga and the stage manager is Ngan Ho-Lemoine. Maria Gobetti and Evan Bartoletti produce.

Four Women in Red runs Fridays at 8 p.m., Saturdays at 8 p.m., and Sundays at 4 p.m. through March 23. Three preview performances take place February 8 and 9 on the same schedule. Tickets range from $20 to $41. The Victory Theatre Center is located at 3324 W. Victory Blvd in Burbank, CA 91505. For information and to purchase tickets, call (818) 841–5421 or go to thevictorytheatrecenter.org.

Los Angeles, CA

Rogue Machine’s West Coast Premiere of Bacon, by Sophie Swithinbank, takes an unflinching and unexpectedly humorous look at power and sexuality, through the dizzying lens of youth. Directed by Michael Matthews, and running February 8 – March 30 upstairs on the Henry Murray Stage, the play stars Jack Lancaster (Darren) and Wesley Guimarães (Mark).

Mark is new at school and too scared to make friends. Darren is out of control and too scary to make friends. Worlds apart, but more similar than they realize, the pair form a complex and manipulative relationship. Before they know it, they’re embarking on a dangerous experiment that will alter the course of their lives.

“Utterly compelling. Beautiful and devastating to watch.” – The Stage

“Bacon is about what happens when teenagers learn to bully and humiliate each other before they learn to love and accept themselves, says playwright Sophie Swithinbank. “The two central characters, Mark and Darren, were born from an act of bullying I witnessed, which led me to explore the idea of learned negative behaviors. I began to connect the bullying incident to an intense and semi-toxic relationship I had experienced growing up. It was a confusing, dangerously exciting time. The play also explores the binaries of class in relation to sexuality, and how confidence and acceptance can be closely related to social standing, from family to family. Bacon is a relationship drama for the modern age.”

Sophie Swithinbank (Playwright) is a multi-award-winning playwright and screenwriter, based in London. She is the 2023 winner of the Peggy Ramsay/Film4 Award. Her play Beans won the 2024 Sonia Friedman Prize for Best Play, and her play Bacon (Tony Craze Award Winner 2018) ran at Finborough Theatre in 2022, winning four Off West End Awards. Bacon has toured the UK, Australia, Canada and USA. Sophie has recently completed an attachment at the National Theatre, with whom she is developing an NT Connections play. Sophie has two new plays and a musical in development. For Theatre: Even in Arcadia (longlisted for Verity Bargate Award 2020), Circle Game (SouthwarkTheatre, shortlisted for Phil Fox Award 2020), Where There Is Smoke (National Theatre Learning), Come Inside (Bush Theatre) and The Superhero (Lyric Hammersmith). For TV: BACON (development with NBC Universal), L/OVER (MTV Finland), Sting (development with The Lighthouse film and TV). For film: Body Brokers (development with Eleven/No Ordinary).

Michael Matthews (Director) recently directed the World Premiere of June Carryl’s Blue at Rogue Machine before remounting the play at Edinburgh Festival Fringe and the 7 Dials Playhouse in London’s West End. Selected credits include: Matilda, Billy & Ray, and End of the Rainbow at La Mirada, Failure: A Love Story at CTG/Kirk Douglas Theatre. At Laguna Playhouse, The Seafarer, 12 Angry Men, The Graduate (w/ Melanie Griffith), Funny Girl at 3D Theatricals, Sons of the Prophet (LA Premiere), Psyche: A Modern Rock Opera (World Premiere) Peter Pan: The Boy Who Hated Mothers (LA Premiere), Very Still & Hard To See (World Premiere). Celebration Theatre: Cabaret, Dream Boy (LA Premiere), Bootycandy (LA Premiere), The Color Purple, What’s Wrong With Angry? (LA Premiere), Take Me Out!, The Women of Brewster Place, The Musical (West Coast Premiere), Stupid Kids (LA Premiere), Beautiful Thing, The Bacchae. Broadway: Butley (Assistant Director). International: Sleeping Giant and The Bacchae (Edinburgh Festival Fringe). Michael is the recipient of 2 Ovation Awards and 9 nominations, 1 LA Weekly Award and 2 nominations, 2 NAACP Theatre Awards, 1 Stage Raw Award, 3 Joseph Jefferson Award Nominations, and is the recipient of the 2015 LADCC Award for Career Achievement in Direction.

Justin Okin (Producer) serves as the executive director of Rogue Machine Theatre, where he has produced On the Other Hand, We’re Happy (LADCC award for Outstanding Production) and Heroes of the Fourth Turning (LA Times’ “Best Theater of 2023”). At Rogue Machine, Justin has appeared in Stop Kiss, MilkMilkLemonade, Monkey Adored and Pocatello. He has served on the Board of Directors at Theatre of NOTE, where he performed in Entropy and Eat the Runt. At The Road Theatre Company, Justin co-produced four seasons of the Summer Playwrights Festival and performed in At the Table. Additionally, he associate-produced Tiny Little Town and performed in Hot Cat with Theatre Movement. Other acting credits include appearances at Center Theatre Group, Lincoln Center’s Directors Lab, the Edinburgh Fringe Festival and The Public. He is the founder of Rogue Machine’s Playwright’s Roundtable which focuses on developing new works by some of theatre’s most creative new voices.

CAST: Jack Lancaster and Wesley Guimarães.

PRODUCTION TEAM: Stephen Gifford (Production Design), Chris Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Jen Albert (Fight Choreographer), Joy DeMichelle (Intimacy Director), Tuffet Schmelzle (Dialect Coach), Victoria Hoffman (Casting), Rich Wong (Stage Manager).

Rogue Machine is the only company to receive the Los Angeles Drama Critics Circle Polly Warfield Award for “Best Season” three times (2023, 2016, 2011). Additionally, they won the Ovation Award for “Best Season” (2017). Rogue Machine produces new plays and important contemporary plays not yet seen in Los Angeles. Nine of their productions have been published by Samuel French, Dramatists Play Service or Broadway Play Publishing, and six of the productions have had subsequent staging’s at significant theatres, including Off Broadway, major regional houses and the Donmar Warehouse in London. Four world premieres, Razorback, Small Engine Repair, Lone-Anon, and One Night in Miami… were made into feature films, and playwright Kemp Powers was nominated for an Academy Award in the category of “Best Adapted Screenplay.” In recognition of its artistic achievement, administrative strength, development of new work and other significant contributions to the field of professional theatre in the United States, Rogue Machine is supported by the Perenchio Foundation, Shubert Foundation, Ralph M. Parsons Foundation, David Lee Foundation, the City and County of Los Angeles, The Ahmanson Foundation, and the Richenthal Foundation. Rogue Machine is a recipient of the American Theatre Wing’s National Theatre Company Grant.

“Bacon” opens at 5pm on Saturday, February 8 and runs at 8pm Fridays, Saturdays, Mondays; 3pm Sundays through March 9, 2025 (No performance on February 10). Rogue Machine, in the Matrix Theatre (upstairs on the Henry Murray Stage) located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45; Seniors: $35; Students with ID: $25. Shows4Less: Fridays, February 14th ($15+), 21st, 28th ($20+), March 7 ($25+). Reservations: https://www.roguemachinetheatre.org/ or for more information 855-585-5185.

Four after show gatherings, “Bacon Bites,” are planned for February 9 (Meet the Playwright & Director), February 23 (LGBTQ), March 9 (Fringe Friends), and March 23 (LGBTQ).

Findawayhome Ink Presents the World Premiere of  “UNCONDITIONAL, A Musical Memoir” A new play by Margot Rose / Directed by Anne Kenny Opening at 7:30pm on Saturday, February 15 with reception to follow 7:30pm Thursdays, Fridays, Saturdays, 3pm Sundays through March 9, 2025 (no performances on 2/28, 3/1, 3/2)   Skylight Theatre, 1816 ½ North Vermont, Los Angeles, CA 90027 Los Angeles, CA In the wake of one of life’s most profound challenges, Margot Rose’s UNCONDITIONAL, A Musical Memoir forges a path to resilience with a commitment to go on in a world of unpredictability. This is a true story of dedication and loss; community and love, in which two women, already in their mid-forties, went to extraordinary lengths to have kids. After a tragic loss, the family would be thrown into a spiral that, once again, forced them to grapple with the question – how do we become (and stay) a family? How are we able to go on? “People do not do well in this life without purpose, and I was blessed to have found one that resonated deeply – I got to be a mother,” says creator Margot Rose. “So much of this piece deals with how we re-construct our lives after being torn apart by loss, but it’s not unique to my loss as a mom. No matter what it is, people or places, we all must figure out how to go on. And the only way we do that, is together.” Through her masterful weaving of original music and vivid storytelling, Margot celebrates the totality of her experience as a gay mother, before and during grief. This is a tale that reminds us that, while healing might not always be the right word for what we experience after such profound loss, we can go on and that very same ‘going on’ can lead us into a more profound connection with ourselves and one another.” Margot Rose (Playwright/Performer) began her stage career Off-Broadway as Alice in the original company of I’m Getting My Act Together and Taking it on the Road at Joe Papp’s Public Theatre before moving to Los Angeles with the show. Working as an actor, songwriter and storyteller, she has appeared in numerous TV series and films including 48 Hours, 21 Jump Street, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Desperate Housewives. For over a decade, Margot has produced and hosted Sidedoor Salon, a multi-discipline performance group, and has been an invited storyteller with Listen to Your Mother, Shine, Beyond Baroque and more. Margot performed her solo musical, Springloaded, in Los Angeles and most recently the Fountain Theatre produced a three-performance workshop of Unconditional. Margot received her BFA from NC School of the Arts and attended the Yale Drama School. Anne Kenny (Director) has worked as a dramaturg to develop UNCONDITIONAL for the stage since its inception in 2019. As a development producer/executive, Anne has worked with over 40 artists and thought leaders to bring their compelling stories to life on stage and screen including projects for Cineflix, Emerson College and Warner Bros. “I witnessed first-hand how this universal story has resonated with audiences in theatre workshops, living rooms, and spoken word performances. Margot’s story connects us to a way of embracing our experiences in life, with all their day-to-day minutiae, so that maybe we can better appreciate those small moments in life that are so large.”  – Director; Anne Kenny Production Team: Tommy Brown (Scenic Design), Aaron Benham (Musical Direction/Arrangements), William Mellon (Producer). “UNCONDITIONAL, A Musical Memoir” opens at 7:30pm on Saturday, February 15 and runs at 7:30pm on Thursdays, Fridays & Saturdays; 3pm Sundays; through March 9 (no performances on 2/28, 3/1, 3/2). Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027. Tickets are $30; with 10% discount for students and seniors. Reservations: [email protected]. Information (213) 761-7061.

East West Players (EWP), the largest and longest-running Asian American theater in the country, proudly announces the cast and creative team for the Los Angeles premiere of Lauren Yee‘s groundbreaking play, CAMBODIAN ROCK BAND, set to open in February 2025. The production marks a significant milestone as it brings this acclaimed work to Los Angeles County, home to the largest Cambodian population outside of Cambodia.

This part-play, part-rock concert tells the powerful story of a Khmer Rouge survivor returning to Cambodia after three decades. As his daughter prepares to prosecute one of the regime’s most notorious war criminals, they must confront their shared history through the healing power of music. The production features the music of LA-based band Dengue Fever, whose performances initially inspired playwright Lauren Yee to create this compelling work.

The production marks director Chay Yew’s thirteenth collaboration with East West Players, bringing his signature vision to an extraordinary ensemble. After directing the world premiere of CAMBODIAN ROCK BAND at South Coast Repertory and the off-Broadway run at Signature Theatre, Yew’s return to EWP continues a nearly thirty year artistic partnership.

The cast includes Kelsey Angel Baehrens* as Neary/Sothea, Abraham Kim* as Rom/Journalist, Tim Liu* as Ted/Leng, Jane Lui* as Pou/Guard, Joe Ngo* as Chum, and Daisuke Tsuji* as Duch.

The creative team includes Chay Yew (Director), Jane Lui and Matthew McNelly (Music Directors),Ashphord Jacoway (Additional Costume Design, original costume design by Linda Cho), Derek Jones (Lighting Design), Megumi Katayama and Mikhail Fiksel (Sound Designers), Mina Kinukawa (Scenic Design, original scenic design by Takeshi Kata), Jason H. Thompson (Projections Design), Yoko Haitz (Hair & Make-Up Design), Glenn Michael Baker (Properties Coordinator), Cesar Cipriano (Fight Director), Graham Schmidt (Associate Director), and Edward Khris Fernandez* (Stage Manager).

“Bringing CAMBODIAN ROCK BAND to Los Angeles is a profound moment for East West Players and our community,” says EWP Artistic Director Lily Tung Crystal. “With Chay’s remarkable direction and this exceptional company, many of whom were part of the original world-premiere production, we’re not just presenting a play—we’re sharing a vital story that resonates deeply with our region’s vibrant Cambodian community. This production represents everything we strive for at EWP: powerful storytelling, authentic representation, and artistic excellence that bridges generations and cultures.”

In alignment with East West Players’ mission of community representation and access, Artistic Director Lily Tung Crystal is working closely with leaders in the greater LA Khmer community to reserve and significantly subsidize over 20% of all seats specifically for Khmer audiences. This initiative ensures that those most profoundly impacted by the story have the opportunity to experience CAMBODIAN ROCK BAND.

CAMBODIAN ROCK BAND runs February 13, 2025 through March 9, 2025 at The David Henry Hwang Theater at the Union Center for the Arts at 120 Judge John Aiso Street, Los Angeles, CA 90012 in the historic Little Tokyo neighborhood. Performance times are Thursdays (preview week only), Fridays, Saturdays, and select Mondays at 8 PM, with additional 2 PM matinees on Saturday and 5 PM performances on Sunday. Opening Night is Sunday, February 16, 2024 at 5 PM. All Saturday 2 PM performances are “Masked Matinees,” making theater more accessible to audiences who prefer a masked experience. Monday, February 24, 2024 at 8 PM is the Pay-What-You-Can performance. All performance dates and details are subject to change.

East West Players 60th Anniversary Season Memberships and single tickets to CAMBODIAN ROCK BAND are available online at eastwestplayers.org or by calling (213) 625-7000.

Pasadena Playhouse Announces 
World Premiere Musical Adaptation from 
EGOT-Winners Pasek and Paul (Dear Evan Hansen)

Lyle, Lyle, Crocodile: The Musical 
An iTheatrics Musical 

                       Music and Lyrics                        
Benj Pasek, Justin Paul, Ari Afsar, Emily Xu Hall, 
Joriah Kwamé, Mark Sonnenblick

Libretto
Timothy Allen McDonald, Sara Wordsworth

Based on the Books by
Bernard Waber
Lyle, Lyle, Crocodile & The House on East 88th Street

Vocal Arrangements and Incidental Music       
Daniel Mertzlufft

Directed by Nina Meehan      

February 15 – March 16, 2025
at The Colony Theatre in Burbank
Tickets at pasadenaplayhouse.org or by calling 626-356-7529

Lyle, Lyle, Crocodile: The Musical splashes onto the stage with a song to sing! Join Lyle as he and his new human friends face their fears and find their voices. Inspired by Bernard Waber’s much-loved picture books, this lively musical features new music by EGOT-winning composers Benj Pasek and Justin Paul (The Greatest Showman, Dear Evan Hansen, La La Land). A celebration for the whole family, Lyle, Lyle, Crocodile: The Musical is packed with humor, heart, and showstopping tunes that will have audiences of all ages roaring with song.

Tickets:            Starting at $34 (Everyone ages 2+ needs a ticket)
Member Price: 20% off
Online — PasadenaPlayhouse.org
By phone at 626-356-7529
In person — Pasadena Playhouse Box Office, located at 39 South El Molino Avenue, Pasadena, CA 91101

Performance Schedule:  Saturdays and Sundays – 10:00 AM, 1:00 PM

Ages:               5-12 year olds and their families

Fountain Theatre presents L.A. premiere
of funny, poignant ‘Alabaster’
The Fountain Theatre presents the Los Angeles premiere of Alabaster, a funny and poignant new play about healing and the power of women by Audrey Cefaly. Directed by Casey Stangl, this darkly comic Southern drama runs February 16 through March 30.

For three years since the death of her family in a tornado that left her covered in scars, June has been living and creating “outsider” art in an isolated Alabama farmhouse, with only her goats for company. When a New York photographer working on a series about women with scars arrives, the attraction between June and Alice is palpable — but what they need from each other transcends anything physical. Nominated for the Pulitzer Prize, named to “The Kilroy’s List” of excellent new plays by women, and winner of the Calicchio Prize, Alabaster is an irresistible comic drama about women, art and healing.

“I love the play’s edgy theatricality and deft mix of comedy and drama,” says Stangl. “It attacks some very complex subjects — trauma, grief and the healing power of art — with a complete lack of sentimentality that is filled with humor and humanity.”

The all-woman cast features Virginia Newcomb, last seen at the Fountain in On the Spectrum and A House Not Meant to Stand, as June and Erin Pineda, whose L.A. credits include The Tempest, Love and Information and As You Like It at Antaeus Theatre Company, as Alice. The two goats, Weezy and Bib, are played respectively by Carolyn Messina, who originated the role in the world premiere production at Florida Repertory Theatre; and Laura Gardner, known for Marilyn, Mom & Me at International City Theatre, King Charles at the Pasadena Playhouse, and Razorback at Rogue Machine.

Since its launch at Florida Repertory Theatre as part of a record-breaking, 11-theater National New Play Network Rolling World Premiere, Alabaster has gone on to productions and rave reviews across the country. Reviewing that first production, Charles Runnels wrote in the Fort Myers News-Press, “First someone messaged me on Facebook. Then a text from a friend. Then a phone call. Then another message. And another. They all said the same thing: You HAVE to see ‘Alabaster’… I wasn’t planning on reviewing the show [but] finally ventured out to see what all the fuss is about… [and] Yes…‘Alabaster’ is terrific.” The Florida Weekly wrote, “It’s easy to see why theaters from Oregon to Illinois to Texas are all lining up to stage this new play… Ms. Cefaly rips your heart out of your chest, shatters it, then mends it.” The Chicago Tribune calls Alabaster “a nuanced, darkly comedic play… that examines how people cope with trauma and what recovery can look and feel like.”

The creative team at the Fountain includes scenic designer Frederica Nascimento; lighting designer Alison Brummer; sound designer Andrea Allmond; video designer Ly Eisenstein; costume designer Rebecca Carr; and properties designer Jenine MacDonald. The production stage manager is Angela Park, assisted by Gina DeLuca.

The Fountain Theatre creates, develops, and produces new plays that bring to life the urgent social, political, and cultural issues of our time, reflecting the vibrant diversity of Los Angeles and the nation. Its educational outreach programs inspire young people to become engaged citizens and leaders of tomorrow. The L.A. City Council commended the Fountain for “achieving a position of leadership in the Los Angeles theatre community… producing meaningful new plays of social and political importance that enrich the lives of the citizens of Los Angeles.” The Fountain is the recipient of the Los Angeles Drama Critic Circle’s Margaret Harford Award for sustained excellence in theater, presented for “outstanding productions of meaningful new plays and first-class performances spanning three decades.” Los Angeles Times theater critic Charles McNulty hailed the Fountain, stating, “No L.A. theater has done a better job of asking us to reexamine our lives through the lens of acute contemporary drama.” The Fountain Theatre’s most recent world premiere, Fatherland, conceived and directed by Stephen Sachs, just closed an off-Broadway run at Manhattan Theatre Club (New York City Center) with the original cast, where it received rave reviews as well as national and international coverage including from The New York Times, MSNBC, NPR and PBS.

Alabaster opens on Sunday, Feb. 16 at 7 p.m., with performances thereafter on Fridays, Saturdays and Mondays at 8 p.m. and Sundays at 2 p.m. through March 30 (dark Monday, Feb. 10. Tickets range from $25–$45; Pay–What–You–Want seating is available every Monday night in addition to regular seating (subject to availability); all previews are Pay-What-You-Want.

The Fountain Theatre is located at 5060 Fountain Avenue (at Normandie) in Los Angeles. Patrons are invited upstairs to relax before and after the show at the Fountain’s café. For reservations and information, call (323) 663–1525 or go to FountainTheatre.com.

A new opera about an American family wrongfully imprisoned in 1942 and the power of collective resistance to injustice.

Libretto by Lionelle Hamanaka

Music by Daniel Kessner

Directed by Diana Wyenn

Conducted by Steve F. Hofer

Featuring Roberto Perlas Gómez, Alexandra Bass, Tiffany Ho, Habin Kim, Patrick Tsoi-A-Sue, Sarah Z. Wang, Steve Moritsugu, Hisato Masuyama, Krishna Raman, Jamie Sanderson, and Dennis Rupp.

In 1942, during World War II, 120,000 people of Japanese ancestry—two-thirds of whom were American citizens—were unjustly incarcerated in concentration camps within the United States.

Created by librettist Lionelle Hamanaka, a descendant of camp survivors, and composer Daniel Kessner, this world premiere contemporary opera tells the moving story of the Shimono family, Japanese Americans forcibly removed from their suburban home in Southern California. After Mas, a fisherman and the head of the household, is arrested by the FBI on suspicion of espionage, the family is reunited in a desolate incarceration camp. As the family struggles to survive the emotional and physical toll of their wrongful imprisonment, this poignant, new opera illuminates the remarkable strength of familial bonds and the power of collective resistance in the face of injustice.

Performed in English, this captivating production directed by Diana Wyenn features an ensemble of eleven gifted singers performing with a twenty-two-member orchestra conducted by Steve F. Hofer.

Language: English

Run Time: Two hours and fifteen minutes, including one 15-minute intermission

Presented in partnership with the Japanese American Cultural & Community Center.

To learn how you can support, click here. The team behind The Camp is dedicated to ensuring this production is financially accessible to everyone. For general inquiries or to inquire about subsidized ticket options if you are experiencing financial hardship or have been impacted by the recent wildfires, please email [email protected].

Ophelia’s Jump Theatre Presents

2025 SEASON

HELVETICA

by Katie Coleman

directed by Elina de Santos

FEB 28 – MAR 16

2009 Porterfield Way

Suite I, Upland, CA

Helvetica “is a play about big things, like imagination, memory, and death, with a heroine named for a type font, a cardboard boat in which to go adventuring, and a stuffed bear to act as narrator and muse”.

– D. Baker

Launching our 2025 Season, Ophelia’s Jump is proud to present Helvetica by Katie Coleman and directed by Elina de Santos.

Presented February 26 through March 18, 2025, Helvetica will be performed at Ophelia’s Jump, located at 2009 Porterfield Way, Suite I, in Upland.

THE STORY: Helvetica Burke: adventurer, writer, and cynic, has spent her life packaging Death neatly between the lines of her beloved children’s books, with her trusty stuffed bear Myron by her side. When she encounters Death head-on however, she finds the storybook truths within the realities of her past, present, and future.

MEET THE CAST OF HELVETICA

RAVEN SCOTT is an actor and musician who has loved the theater from a young age. After training at CalArts, she’s been fortunate to work professionally in film and television. She is excited to be a part of Ophelia’s Jump Productions and continues to pursue her passion.

MIKKI HERNANDEZ is an LA-based actress, voiceover artist, and author. She is very excited to work with Ophelia’s Jump alongside such a beautifully talented cast and creative team. LA Theater: Three Witches (Theatre Ghosts), Brown & Out IV (Casa 0101), Millennial Pink (Hollywood Fringe). Film & TV: We’re Doing Good (SXSW), Second (HollyShorts), Entre Paredes (Disney+), In Love All Over Again (Netflix). Mikki trains at Moving Arts Theatre, is a proud UCLA alum, and enjoys traveling, dancing, and sharing stories through her digital publication MixedKids&Co. Her debut children’s book Cake Mix: Learning to Love All Your Ingredients is available nationwide.

LISA ROBBINS COMMITTED?, Lisa’s solo tragicomedy, garnished rave reviews at its recent premier produced by Elina de Santos with Rogue Machine (d.Mitch Levine). Doll’s House 2 (d.Allen Barton), Blessing…Broken Heart (d. Todd Salovey), In Every Generation (SD Rep), Catskill Sonata (d.Paul Mazursky), River Time (d.Katherine Cortez), Center of the Star and Long Bridge (d. Bill Rausch-Cornerstone), Love, Loss and What I Wore (Geffen), George Furth’s Sex.. (d. John Rubenstein). Rum Diary, James Dean, (d. Mark Rydell), guest stars, commercials. Member of The Actors Studio, Rogue Machine, The Braid. Lisa’s greatest work of art is her kid, Ren!

KELLY FRANETT is excited to be back at Ophelia’s Jump. This is Kelly’s third production with Ophelia’s Jump. The previous productions were (World Premiere) Sealed Orders and Measure for Measure which was performed at the Sontag Theatre as part of the OJP Midsummer Festival. He’s been seen in a variety of stage and film productions in LA/Orange County. Most recently a Critics Pic production of Lucy Kirkwoods The Children with the Wayward Artists.

OLGA KONSTANTULAKIS hails from Montreal. She is thrilled to be a part of this production. Most recently she played Veronica in God of Carnage, Logan in The Thanksgiving Play, Heidi Schreck in What the Constitution Means to Me, and Sonia in Vanya and Sonia and Masha and Spike. Other theatre credits include playing Jan in the LA premiere of Fifty Words which she co-produced, and Seta in Beast on the Moon (Ovation Recommended, Critic’s Pick Backstage and LA Weekly) which she also proudly produced. She is currently workshopping her solo piece, Becoming Apparent.

TONY KIM is honored to make his debut at Ophelia’s Jump. Film credits include Sleepless (2017), The Second Coming of Christ (2017) and Answered Prayers (2015). Theatre: A Wrinkle in Time at the Sierra Madre Playhouse, Rashomon.

PETER MENDOZA is born and raised in East Los Angeles, studied theatre, stage combat, and dance at East Los Angeles College. Theatre: Oscar in Sweat (Mark Taper Forum), Elliot in Elliot, A Soldiers Fugue (Kirk Douglas Theatre), Oedipus in Oedipus El Rey (Kirk Douglas Theatre, Digital Stage), Henry Reyna in Zoot Suit (Mark Taper Forum, U/S). Other Theatre: Satan in The Last days of Judas Iscariot, Tybalt in Romeo and Juliet; Rolling through East LA (Cholavision Prod.), Hason in Mojada: A Medea in Los Angeles (The Rep. Theatre of St. Louis), Belyaev in Three Days in the Country, Ferdinand in The Tempest, Florizel in The Winters Tale (Antaeus Theatre Company), Rafael in La Piedra Oscura, Don Carlos in Los Empeños de una Casa, Paco in Salon Mexico, Don Juan Tenorio in El Burlador de Sevilla (Bilingual Foundation of the Arts). Television: Perry Mason (HBO), From Scratch (Netflix), Shooter (USA), NCIS (CBS), Snowfall (FX), Casual (HULU), On My Block (Netflix). Film: Dead Bullet, Nathan’s Kingdom, Parasites, Tecato, Hello to Never, Ana Maria in Novella Land.

BRANDON GILL (NY Public Theater’s Hamlet) and
BRANDON MICHEAL HALL (HBO MAX’S Search Party) Star in
Pasadena Playhouse’s Production of

TOPDOG/UNDERDOG 
by Suzan-Lori Parks

Directed by Gregg T. Daniel (HBO’s True Blood)
&
Announcing “Pay It Forward” Ticket Initiative 
Benefitting Fire-Impacted Community Members

Wednesday, February 26, 2025 – Sunday, March 23, 2025
Press Opening March 4, 2025
Tickets on sale now at pasadenaplayhouse.org

“You Cannot Know the Hour” by Katrina Wood.

Mr. Brown is a grumpy, peevish, ailing, aging man. A widower, he has a housekeeper to keep his home running smoothly. One day, Brown finds that a nurse has been engaged to look after him on a full-time basis.

Brown frequently sees and speaks with the ghost of his dead wife, Helen. . She rebukes him for terrible crimes in his past. He responds by protesting his innocence of any wrongdoing.

Meanwhile, he finds himself at odds with his nurse. She frequently contradicts his instructions, almost gleefully. Could she possibly be pursuing a sinister, hidden agenda? If so, what is her objective?

Is Brown irredeemably evil, or is he an innocent?

Directed by Trace Oakley. Presented by Somerset Productions.

Fri. & Sat. at 8, Sun. at 7.

http://cannot-know-hour.brownpapertickets.com

West Coast Premiere of

‘FEAST.’ 
Unique Solo Play Offering a
Contemporary Vivid Reimagining of the Epic Poem Beowulf – as a Cautionary Tale

Opens March 8; The Count’s Den, DTLA

Leonix Movement Theatre in association with Immersive Art Collective present the West Coast premiere of FEAST., a vivid reimagining of the epic poem Beowulf, as a cautionary tale. True to the ancient myth, Grendel, a monstrous creature described as ‘mankind’s enemy’ is killed by Beowulf, but it is here that FEAST. diverges. In this immersive and visceral theatre experience, Grendel’s mother throws a dinner party to seek justice for her son’s murder, only to confront her own guilt and rage. Oscillating between witty banter and pointed exploration, this heightened high fantasy crashes into the contemporary political landscape, asking the audience to collectively contemplate climate change, income inequality, and the rising forces of authoritarianism. FEAST. will have its West Coast premiere for a five-week run, March 8 through April 6, at The Count’s Den in downtown Los Angeles.

Experience this provocative one-woman, live theatrical event during an actual ‘feast,’ with charcuterie/small bites and themed drinks. The FEAST.’s host is the sea-hag mother of Grendel, an ancient magickal creature thirsting for revenge, played by Erin Schlabach. Grendel’s mother has observed humanity for centuries, and through her lens the absurdities of human behavior are illuminated. Bewildered by humanity’s choices, her perspective is both curious, comical and unrelenting. Embodying a middle-aged woman, she champions the value of women and mothers, challenging the audience to look inward while also staying connected to the power and hope found in community.

The tale of Beowulf has been recirculated for over one thousand years; the brutal victory of man over monster resonating with people across millennia. This solo play was written (and originally performed) by playwright and comedian Megan Gogerty. Gogerty shifts the perspective of the story in FEAST., which first premiered in Iowa City at the Riverside Theatre in 2019, taking the spotlight away from the slaying hero, giving it to the mother of the slain instead.

“One of the many interesting aspects about FEAST. for me, has been the exploration of how we view the idea of heroism,” says Director Laura Covelli. “The archetype of a ‘hero’ throughout history has distinguishing qualities: they are noble, courageous, selfless and desire to help others. But this all depends on who is telling the story. Beowulf is described with these characteristics, but if we reimagine the story, as the playwright asks of us, through the lens of imperialism and the destruction of life and natural resources in the name of acquisition, the heroes and villains in this epic story shift. While Grendel, as illuminated by his mom, is shown to be both a diplomat and a defender of nature, Beowulf and his band of merry soldiers suddenly become the true monsters we’ve inaccurately lauded throughout time. History is set forth by the winners, and this concept is what excited me about FEAST.,” explains Covelli. “The play shows us why the voices of the voiceless MUST be heard; and the epic poem Beowulf, when held up as an example of every incident of imperialism throughout time, suggests there is always a side we have not been allowed to know.”

The creative team includes Producers Erin Schlabach & Laura Covelli; Creative Consultant Meredyth Hunt; Props Designer Rachel Adams; Lighting Designer Niki Armato; Sound Designer Niki Armato. The Executive Producer is Jolie Kobrinsky.

Erin Schlabach (performer) is a Los Angeles-based performer, director and educator whose work centers around storytelling, presence, possibility, and ritual. She is a founding member and Artistic Director of Leonix Movement Theatre. Erin has also collaborated with Invertigo Dance Theatre and Happy Chicken Theatre. Erin’s theatrical work has been featured in Los Angeles at REDCAT, The Ford Amphitheatre, Son of Semele Theatre, Moss Theatre, Highways Performance Space, The Electric Lodge, Espace, The Hollywood Fringe Festival, and iDFest; the Annex Theatre in Seattle, The Earth House in Indianapolis, and the Notting Hill Arts Club in London, among others. She holds an MFA from Naropa University/LISPA in Lecoq-based Actor-Created Theatre, a BS from Ball State University in Theatre Performance and Studio Art, and certification from Helikos Scuola Internazionale di Creazione Teatrale in Italy for Advanced Training in the Pedagogy of Movement Theatre. She is an alumnus of Directors Lab West and is a member of the Association of Movement Theatre Educators.

Laura Covelli (director) enjoys every aspect of storytelling and will often switch up her hats depending on the project. She has worked as a director, actor, dancer, writer and producer in multiple mediums, selecting or creating projects that she feels are impactful, inspiring and meant to incite discourse and change. Laura jumped at the chance to direct FEAST. The play’s heightened text, movement, humor, and provocative themes all align with the aspects of art she loves most. Laura co-directed Paradise Lost at the Greenway Court, which was nominated for nine Stage Raw awards in 2018, and won three. She directed her first short film in 2019 and has acted in a number of award winning films and tv shows. In 2022 Laura co-wrote and co-produced the short film “Crucible Island” as a part of the “Give Me an A” anthology. Born from the reaction of the overturning of Roe v Wade, “Give Me an A” received Best Feature and Best Writing awards at the Renegade Film Fest and is currently streaming on Amazon Prime and several other platforms.

Megan Gogerty (playwright) is a playwright and comedian. Her solo show Lady Macbeth and her Pal, Megan played at the Edinburgh Fringe Festival and won the Audience Pick of the Fringe at the Cincinnati Fringe Festival. Her play Bad Panda (Theatre Without Borders, Beijing; Iron Crow Theatre Co.; WordBRIDGE Boomerang Playwright honoree) is published by Original Works Publishing and was translated into Spanish for a five-month run at Del Teatro Milan in Mexico City. The Atlanta Journal-Constitution listed her solo show Hillary Clinton Got Me Pregnant in their yearly Top Ten Best Plays. Megan’s musical drama Love Jerry was produced in the New York Musical Theatre Festival where it won three Talkin’ Broadway Citations and four NYMF Excellence Awards including Excellence in Writing (Book). Her ten-minute play Rumple Schmumple (Dramatic Pub.) was a Kennedy Center/National ACTF honoree. Other plays include Housebroken (Riverside Theatre, Hollins University); Save Me, Dolly Parton (Riverside Theatre, Synchronicity Theatre; named among Best Plays in Atlanta by Creative Loafing). Her musical tribute album to the TV show Buffy The Vampire Slayer is widely available online. Megan was a Playwright’s Center Jerome Fellow, A WordBRIDGE alum, and she earned her MFA in Playwriting from the University of Texas at Austin. She currently teaches playwriting at the University of Iowa and is regularly returning visiting faculty for the Playwright’s Lab at Hollins University.

Performances of FEAST. take place from March 8 through April 6, 2025, on Saturdays at 7 p.m. and Sundays at 5 p.m. Tickets (general admission) are pick your price: $45, $55, or $65 and include a pre-performance ‘feast’ of charcuterie/small bites and themed drinks (there will be options for dietary restrictions). The selected ticket price will not affect the experience. If you can afford to pay more for your ticket, please do as you will be supporting the artists and staff who make risky, relevant, and unique theatre productions possible. Ultimately, programming should be accessible and Leonix Movement Theatre encourages guests to select the price point that best fits their budgets. The Count’s Den is located at 1039 S. Olive Street, Los Angeles CA 90015.

FEAST. contains overt references to sex and violence, and occasional profanity. The performance is intense, and the audience is physically close to the performer. Due to the above, FEAST. is suggested for ages 16 and older. Advance reservations are requested as tickets may not be available at the door.

For more information and to purchase tickets, visit https://www.leonixtheatre.org/

“Beatnik Girl” by Leda Siskind.

This world premiere play by one of Theatre 40’s most accomplished playwrights tells the story of a young woman of vision and principle, Edi Gordon, as she struggles with misogyny, antisemitism, and an unwanted pregnancy while trying to be a Beat poet. Set in New York’s lower east side in 1957, this sweet and touching new play is filled with lyrical original poetry, poignant humor and insight into the human condition that will stir the heart and take you back to the time of the Beat Generation – Kerouac, Ginsberg, Miles … and women too! Get in the groove!

Directed by Ann Hearn Tobolowsky.

Thurs.- Sat. at 7:30. Sun. at 2:00.

http://theatre40.org

facebook.com/theatre40

Mystery and romance abound in Gothic horror tale
‘Jane Eyre’ opening March 29 at A Noise Within

Mystery and romance abound in a thrilling and heart wrenching tale of self-determination adapted by Elizabeth Williamson from the classic novel by Charlotte Brontë. A Noise Within artistic director Geoff Elliott helms Jane Eyre for a March 29 opening at the company’s home in Pasadena, where performances continue through April 20. Previews begin March 23.

“I read the adaptation first, having never read the novel, and I couldn’t put it down—it set me on fire,” says Elliott. “It’s a deeply affecting love story that’s also a Gothic horror tale, at once stirring, terrifying, with an impending sense of violence, and, in the end, uplifting. Williamson did a remarkable job of distilling the novel, which I’ve since read three times, into a sweeping, fast-moving two hours that moves like a river.”

Orphaned as a child and determined to live life on her own terms, strong-willed Jane (Jeanne Syquia) takes a position at Thornfield Hall working as a governess for the brooding Edward Rochester (Frederick Stuart). There, she falls in love with her mysterious employer… until the discovery of a dark secret leads to a devastating aftermath. This bold and dynamic production offers a compelling portrayal of one woman’s quest for freedom and fulfillment in the face of devastating adversity.

The cast also includes Deborah Strang as Mrs. Fairfax, and Bert Emmett, Julia Manis, Trisha Miller and Riley Shanahan, who each take on multiple roles. Young Stella Bullock plays Jane as a child, as well as Mr. Rochester’s ward, Adele.

The creative team includes scenic designer Frederica Nascimento; costume designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Robert Oriol; wig and make up designer Tony Valdés; properties designer Stephen Taylor; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The production stage manager is Candice Segarra-Stroud, assisted by Katelyn Hampton.

A Noise Within has been called “an oasis for those who love classic stories” by the Los Angeles Times and is a leading regional producer based in Pasadena, California. Under the leadership of Elliott and Rodriguez-Elliott, the award-winning resident theater company is honored to represent the entire community at its state-of-the-art, 324-seat performance space. In addition to producing world-class performances of classic theater, the organization runs robust education programs with the goal of inspiring diverse audiences of all ages. ANW is committed to anti-racist policies and practices across the entirety of the organization. By interpreting its mission to fully engage audiences through community and artist-centered work in multiple creative disciplines, ANW is striving to be a theater that better serves the entire community.

Performances of Jane Eyre take place March 29 through April 20 on Thursdays, Fridays and Saturdays at 7:30 p.m., with matinees on Saturdays and Sundays at 2 p.m. (no matinee on Saturday, March 29). Four preview performances take place on Sunday, March 29 at 2 p.m., and on Wednesday, March 26; Thursday, March 27; and Friday, March 28, each at 7:30 p.m.

A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, March 30, beginning at 12:30 p.m. Post–performance conversations with the artists will take place every Friday (except the preview) and on Sunday, April 6. Student matinees are scheduled on select weekdays at 10:30 a.m.; interested educators should email [email protected].

Tickets to Jane Eyre start at $51.50 (including fees). Student tickets start at $20. Tickets to the preview performances on Wednesday, March 26 and Thursday, March 27 will be Pay What You Choose starting at $10 (available online beginning at noon the Monday prior, and at the box office beginning at 2 p.m. on the day of the performance) Discounts are available for groups of 10 or more.

A Noise Within is located at 3352 E Foothill Blvd., Pasadena, CA 91107. For more information and to purchase tickets, call (626) 356–3100 or go to www.anoisewithin.org.

West Coast Premiere of

‘FEAST.’ 
Unique Solo Play Offering a
Contemporary Vivid Reimagining of the Epic Poem Beowulf – as a Cautionary Tale

Opens March 8; The Count’s Den, DTLA

Leonix Movement Theatre in association with Immersive Art Collective present the West Coast premiere of FEAST., a vivid reimagining of the epic poem Beowulf, as a cautionary tale. True to the ancient myth, Grendel, a monstrous creature described as ‘mankind’s enemy’ is killed by Beowulf, but it is here that FEAST. diverges. In this immersive and visceral theatre experience, Grendel’s mother throws a dinner party to seek justice for her son’s murder, only to confront her own guilt and rage. Oscillating between witty banter and pointed exploration, this heightened high fantasy crashes into the contemporary political landscape, asking the audience to collectively contemplate climate change, income inequality, and the rising forces of authoritarianism. FEAST. will have its West Coast premiere for a five-week run, March 8 through April 6, at The Count’s Den in downtown Los Angeles.

Experience this provocative one-woman, live theatrical event during an actual ‘feast,’ with charcuterie/small bites and themed drinks. The FEAST.’s host is the sea-hag mother of Grendel, an ancient magickal creature thirsting for revenge, played by Erin Schlabach. Grendel’s mother has observed humanity for centuries, and through her lens the absurdities of human behavior are illuminated. Bewildered by humanity’s choices, her perspective is both curious, comical and unrelenting. Embodying a middle-aged woman, she champions the value of women and mothers, challenging the audience to look inward while also staying connected to the power and hope found in community.

The tale of Beowulf has been recirculated for over one thousand years; the brutal victory of man over monster resonating with people across millennia. This solo play was written (and originally performed) by playwright and comedian Megan Gogerty. Gogerty shifts the perspective of the story in FEAST., which first premiered in Iowa City at the Riverside Theatre in 2019, taking the spotlight away from the slaying hero, giving it to the mother of the slain instead.

“One of the many interesting aspects about FEAST. for me, has been the exploration of how we view the idea of heroism,” says Director Laura Covelli. “The archetype of a ‘hero’ throughout history has distinguishing qualities: they are noble, courageous, selfless and desire to help others. But this all depends on who is telling the story. Beowulf is described with these characteristics, but if we reimagine the story, as the playwright asks of us, through the lens of imperialism and the destruction of life and natural resources in the name of acquisition, the heroes and villains in this epic story shift. While Grendel, as illuminated by his mom, is shown to be both a diplomat and a defender of nature, Beowulf and his band of merry soldiers suddenly become the true monsters we’ve inaccurately lauded throughout time. History is set forth by the winners, and this concept is what excited me about FEAST.,” explains Covelli. “The play shows us why the voices of the voiceless MUST be heard; and the epic poem Beowulf, when held up as an example of every incident of imperialism throughout time, suggests there is always a side we have not been allowed to know.”

The creative team includes Producers Erin Schlabach & Laura Covelli; Creative Consultant Meredyth Hunt; Props Designer Rachel Adams; Lighting Designer Niki Armato; Sound Designer Niki Armato. The Executive Producer is Jolie Kobrinsky.

Erin Schlabach (performer) is a Los Angeles-based performer, director and educator whose work centers around storytelling, presence, possibility, and ritual. She is a founding member and Artistic Director of Leonix Movement Theatre. Erin has also collaborated with Invertigo Dance Theatre and Happy Chicken Theatre. Erin’s theatrical work has been featured in Los Angeles at REDCAT, The Ford Amphitheatre, Son of Semele Theatre, Moss Theatre, Highways Performance Space, The Electric Lodge, Espace, The Hollywood Fringe Festival, and iDFest; the Annex Theatre in Seattle, The Earth House in Indianapolis, and the Notting Hill Arts Club in London, among others. She holds an MFA from Naropa University/LISPA in Lecoq-based Actor-Created Theatre, a BS from Ball State University in Theatre Performance and Studio Art, and certification from Helikos Scuola Internazionale di Creazione Teatrale in Italy for Advanced Training in the Pedagogy of Movement Theatre. She is an alumnus of Directors Lab West and is a member of the Association of Movement Theatre Educators.

Laura Covelli (director) enjoys every aspect of storytelling and will often switch up her hats depending on the project. She has worked as a director, actor, dancer, writer and producer in multiple mediums, selecting or creating projects that she feels are impactful, inspiring and meant to incite discourse and change. Laura jumped at the chance to direct FEAST. The play’s heightened text, movement, humor, and provocative themes all align with the aspects of art she loves most. Laura co-directed Paradise Lost at the Greenway Court, which was nominated for nine Stage Raw awards in 2018, and won three. She directed her first short film in 2019 and has acted in a number of award winning films and tv shows. In 2022 Laura co-wrote and co-produced the short film “Crucible Island” as a part of the “Give Me an A” anthology. Born from the reaction of the overturning of Roe v Wade, “Give Me an A” received Best Feature and Best Writing awards at the Renegade Film Fest and is currently streaming on Amazon Prime and several other platforms.

Megan Gogerty (playwright) is a playwright and comedian. Her solo show Lady Macbeth and her Pal, Megan played at the Edinburgh Fringe Festival and won the Audience Pick of the Fringe at the Cincinnati Fringe Festival. Her play Bad Panda (Theatre Without Borders, Beijing; Iron Crow Theatre Co.; WordBRIDGE Boomerang Playwright honoree) is published by Original Works Publishing and was translated into Spanish for a five-month run at Del Teatro Milan in Mexico City. The Atlanta Journal-Constitution listed her solo show Hillary Clinton Got Me Pregnant in their yearly Top Ten Best Plays. Megan’s musical drama Love Jerry was produced in the New York Musical Theatre Festival where it won three Talkin’ Broadway Citations and four NYMF Excellence Awards including Excellence in Writing (Book). Her ten-minute play Rumple Schmumple (Dramatic Pub.) was a Kennedy Center/National ACTF honoree. Other plays include Housebroken (Riverside Theatre, Hollins University); Save Me, Dolly Parton (Riverside Theatre, Synchronicity Theatre; named among Best Plays in Atlanta by Creative Loafing). Her musical tribute album to the TV show Buffy The Vampire Slayer is widely available online. Megan was a Playwright’s Center Jerome Fellow, A WordBRIDGE alum, and she earned her MFA in Playwriting from the University of Texas at Austin. She currently teaches playwriting at the University of Iowa and is regularly returning visiting faculty for the Playwright’s Lab at Hollins University.

Performances of FEAST. take place from March 8 through April 6, 2025, on Saturdays at 7 p.m. and Sundays at 5 p.m. Tickets (general admission) are pick your price: $45, $55, or $65 and include a pre-performance ‘feast’ of charcuterie/small bites and themed drinks (there will be options for dietary restrictions). The selected ticket price will not affect the experience. If you can afford to pay more for your ticket, please do as you will be supporting the artists and staff who make risky, relevant, and unique theatre productions possible. Ultimately, programming should be accessible and Leonix Movement Theatre encourages guests to select the price point that best fits their budgets. The Count’s Den is located at 1039 S. Olive Street, Los Angeles CA 90015.

FEAST. contains overt references to sex and violence, and occasional profanity. The performance is intense, and the audience is physically close to the performer. Due to the above, FEAST. is suggested for ages 16 and older. Advance reservations are requested as tickets may not be available at the door.

For more information and to purchase tickets, visit https://www.leonixtheatre.org/

“Beatnik Girl” by Leda Siskind.

This world premiere play by one of Theatre 40’s most accomplished playwrights tells the story of a young woman of vision and principle, Edi Gordon, as she struggles with misogyny, antisemitism, and an unwanted pregnancy while trying to be a Beat poet. Set in New York’s lower east side in 1957, this sweet and touching new play is filled with lyrical original poetry, poignant humor and insight into the human condition that will stir the heart and take you back to the time of the Beat Generation – Kerouac, Ginsberg, Miles … and women too! Get in the groove!

Directed by Ann Hearn Tobolowsky.

Thurs.- Sat. at 7:30. Sun. at 2:00.

http://theatre40.org

facebook.com/theatre40

Mystery and romance abound in Gothic horror tale
‘Jane Eyre’ opening March 29 at A Noise Within

Mystery and romance abound in a thrilling and heart wrenching tale of self-determination adapted by Elizabeth Williamson from the classic novel by Charlotte Brontë. A Noise Within artistic director Geoff Elliott helms Jane Eyre for a March 29 opening at the company’s home in Pasadena, where performances continue through April 20. Previews begin March 23.

“I read the adaptation first, having never read the novel, and I couldn’t put it down—it set me on fire,” says Elliott. “It’s a deeply affecting love story that’s also a Gothic horror tale, at once stirring, terrifying, with an impending sense of violence, and, in the end, uplifting. Williamson did a remarkable job of distilling the novel, which I’ve since read three times, into a sweeping, fast-moving two hours that moves like a river.”

Orphaned as a child and determined to live life on her own terms, strong-willed Jane (Jeanne Syquia) takes a position at Thornfield Hall working as a governess for the brooding Edward Rochester (Frederick Stuart). There, she falls in love with her mysterious employer… until the discovery of a dark secret leads to a devastating aftermath. This bold and dynamic production offers a compelling portrayal of one woman’s quest for freedom and fulfillment in the face of devastating adversity.

The cast also includes Deborah Strang as Mrs. Fairfax, and Bert Emmett, Julia Manis, Trisha Miller and Riley Shanahan, who each take on multiple roles. Young Stella Bullock plays Jane as a child, as well as Mr. Rochester’s ward, Adele.

The creative team includes scenic designer Frederica Nascimento; costume designer Angela Balogh Calin; lighting designer Ken Booth; composer and sound designer Robert Oriol; wig and make up designer Tony Valdés; properties designer Stephen Taylor; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The production stage manager is Candice Segarra-Stroud, assisted by Katelyn Hampton.

A Noise Within has been called “an oasis for those who love classic stories” by the Los Angeles Times and is a leading regional producer based in Pasadena, California. Under the leadership of Elliott and Rodriguez-Elliott, the award-winning resident theater company is honored to represent the entire community at its state-of-the-art, 324-seat performance space. In addition to producing world-class performances of classic theater, the organization runs robust education programs with the goal of inspiring diverse audiences of all ages. ANW is committed to anti-racist policies and practices across the entirety of the organization. By interpreting its mission to fully engage audiences through community and artist-centered work in multiple creative disciplines, ANW is striving to be a theater that better serves the entire community.

Performances of Jane Eyre take place March 29 through April 20 on Thursdays, Fridays and Saturdays at 7:30 p.m., with matinees on Saturdays and Sundays at 2 p.m. (no matinee on Saturday, March 29). Four preview performances take place on Sunday, March 29 at 2 p.m., and on Wednesday, March 26; Thursday, March 27; and Friday, March 28, each at 7:30 p.m.

A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, March 30, beginning at 12:30 p.m. Post–performance conversations with the artists will take place every Friday (except the preview) and on Sunday, April 6. Student matinees are scheduled on select weekdays at 10:30 a.m.; interested educators should email [email protected].

Tickets to Jane Eyre start at $51.50 (including fees). Student tickets start at $20. Tickets to the preview performances on Wednesday, March 26 and Thursday, March 27 will be Pay What You Choose starting at $10 (available online beginning at noon the Monday prior, and at the box office beginning at 2 p.m. on the day of the performance) Discounts are available for groups of 10 or more.

A Noise Within is located at 3352 E Foothill Blvd., Pasadena, CA 91107. For more information and to purchase tickets, call (626) 356–3100 or go to www.anoisewithin.org.

“Happily Divorced” by Ruth Brandt.

Ruth had married for love, had a husband, a home, three kids, and an outlet for her creativity in her masterful abilities in cooking. She thought she had it all. Then she discovered her husband had interests outside the home that were not compatible with marriage. Coming to grips with the fact that her life was not going according to plan, she confronted her husband. She knew that she needed to make a change, and now she’s….Happily Divorced. She learned the most important lesson about love, and it liberated her, providing a world open to infinite possibilities.

Produced and performed by Ruth Brandt. . Directed by Mark Hatfield.

Saturday at 8 p.m.

http://whitefire.stagey.net/projects/11256

FURLOUGH’S PARADISE
WEST COAST PREMIERE
Written by a.k. payne
Directed by Tinashe Kajese-Bolden
Featuring Kacie Rogers & DeWanda Wise

Cousins Sade and Mina used to be inseparable. Now leading very different lives, they return to their childhood town for the funeral of their mother and aunt. While Sade is on a three-day furlough from prison and Mina experiences a brief reprieve from her career and life on the West Coast, the two try to make sense of grief, home, love, and kinship. As the clock ticks down, the cousins grapple with their conflicting memories of the past and their shared hopes for the future. Poetic and theatrical, Furlough’s Paradise explores family dreams of a utopia yet to be realized.

Previews: April 16, 2025 – April 23, 2025
Opening Night: April 24, 2025
Closing Night: May 18, 2025

LOCATION
Gil Cates Theater at Geffen Playhouse
10886 Le Conte Avenue, Los Angeles, CA 90024