At Open-Door Playhouse we bring the theater to you. Now Playing…

Set in the Winslow home in 1935, a wife and mother of five is pregnant again, but she is keenly aware that something is very wrong with this pregnancy.Bernadette Armstrong directs a cast that includes Ayla Rose Barreau as Mary, Gilbert Glenn Brown as James, Omari Williams as Doctor #1, and David Purdham as Doctor #2.

Melissa May Curtis is a playwright. Her play, The Deal, was warmly received at the 2024 Hollywood Fringe Festival. She also starred in the Netflix series Pet Stars.

Listen Here:
https://www.opendoorplayhouse.org/opendoortheaterplays/awomansworth
Run Time: 15:18

Founded by playwright and filmmaker Bernadette Armstrong, Open-Door Playhouse is a Theater Podcast- like the radio dramas of the 1940s and 1950s. The Playhouse launched on September 15, 2020. At the time, Open-Door Playhouse provided Playwrights, Actors, and Directors a creative outlet during the shutdown. Since its inception, Open-Door Playhouse has presented short and one-act plays by playwrights across the country and internationally. In 2021 Open-Door Playhouse received a Communicator Award for Content for the play Custody. In 2023, the play What’s Prison Like was nominated for a Webby Award in the Crime & Justice Category.

Over 16,000 downloads since published !

Sound Production: Oak House Recording Studio in Altadena, CA with Sound Engineer David Peters. The team behind the mic, Producer and Founder of Open-Door Playhouse Bernadette Armstrong, Assoc. Producer Laree Griffith, who manages our website and newsletter.

Rogue Machine Presents the West Coast Premiere of

“Nice Girl”

In suburban Massachusetts, 1984, thirty-seven-year-old Josephine Rosen has a dead-end job, still lives with her mother, and has settled into the uncomfortable comfort of an unintended spinsterhood. But when a chance flirtation with an old classmate and a new friendship at work give her hope for the possibility of change, she dusts off the Jane Fonda tapes and begins to take tentative steps towards a new life. A play about the tragedy and joy of figuring out who you are and letting go of who you were supposed to be.

A tenderly drawn drama…NICE GIRL presents a slice of middle-class life with unpatronizing honesty and simplicity” —The New York Times.

Melissa Ross (Playwright) is twice commissioned by both South Coast Repertory and Manhattan Theater Club and is currently commissioned by Atlantic Theater Company, Raven Theatre and San Francisco Playhouse. Her plays include Thinner Than Water, A Life Extra Ordinary, Nice Girl, An Entomologist’s Love Story, Of Good Stock and The Luckiest. Melissa’s plays have been produced at Manhattan Theater Club, LAByrinth Theater Company, South Coast Repertory, La Jolla Playhouse, The Gift Theater, Raven Theater Company, Kitchen Dog Theater, and San Francisco Playhouse. Melissa is a graduate of Bennington College and the Lila Acheson Wallace Playwriting Program at The Juilliard School, and is a proud member of LAByrinth Theater Company.

Ann Bronston (Director) is an active member of City Garage Theatre, Rogue Machine, and Pacific Resident Theatre. She directed the West Coast premiere of Bryon Lavery’s Dirt at the Raven Playhouse, and numerous productions at Pacific Resident theatre’s Co-op. Ann has performed throughout Los Angeles, including the West Coast premiere of Wallace Shawn’s Marie and Bruce at the Odyssey Theatre, and the world premiere of John Pollono’s Lost Girls at Rogue Machine Theatre. She has guest starred on many TV shows, movies of the week, and in films. Her award-winning short fiction has been published in numerous literary reviews, and she recently published her collection of stories “Bad Mothers and Other Miscreants.”

CAST: Anaïs Fairweather as Jo (actress/comedian/writer most known for her role as Supergirl in DC’s animated series DC Super Hero Girls. Credits include The Upright Citizen’s Brigade Theater where she acted on Maude Night and performed, wrote and directed on Character’s Welcome); Bailey Humiston as Sherry (TV includes The Sex Lives of College Girls, Pam & Tommy, The Bold and the Beautiful, and the films Sid Is Dead and the Cannes-screened short Backlog. A member of IAMA Theatre Company); Jeff Lorch* as Donny (Corktown ’39, Earthquakes in London, and Need to Know at Rogue Machine, Ameryka at Kirk Douglas Theatre; Rhinoceros, A View from the Bridge at Pacific Resident Theatre, improv at Groundlings, iO West, and UCB); Susan Peahl* as Francine (5 ACME Comedy awards for best performance by a female improvisor, and Bass Ale Comedy Award for The Liquid Radio Players 1940s improvised radio plays. Selected appearances at Impro Theatre, ComedySportzLA, ACME, TheatresportsLA, Chicago City Limits NY. Starred as the mom Sandy, in the TV pilot Shooting the Baxters, Galaxy Quest, and Megan Mullally Show).

PRODUCTION TEAM: Barbara Kallir (Scenic and Lighting Design), Christopher Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Rachel Frost (Props coordinator), Lauren Lovett (Dialect Coach), Grant Gerrard (Technical director), Victoria Hoffman (Casting), Rachel Manheimer (Production 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.

“Nice Girl” opens at 8pm on Saturday, May 31 and runs at 8pm Fridays, Mondays; 5pm Saturdays, Sundays through July 13, 2025 (no performances on Monday, June 2, Monday, June 9, Friday, July 4). Rogue Machine at the Matrix Theatre, upstairs on the Henry Murray Stage, is located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45 – $60; Seniors: $35; Students with ID: $25. Shows4Less: Friday, June 6 ($15+) Friday, June 20 ($20+) Friday, June 27 ($20+), Saturday, July 5 ($25+). Reservations: https://www.roguemachinetheatre.org/ or for more information 855-585-5185.

After show gatherings to “spill the tea” at Nice Girl will begin on June 1 with the cast. Additional dates with special guests will be announced on the website.

Sorry.

By Melissa R. Randel

Co-Directed by Larry Biederman
Produced by Dana Schwartz
Featuring Lea Floden, Anna Giannotis, Jeffrey Johnson, Denise Leitner, Melissa R Randel, Denise Scheerer, Jacqueline Wright

In present day, Francine, a lawyer, looks the other way from the harassment of a female colleague. Oh, and then she murders her husband. From the 19th century, Lillian terminates pregnancies with herbs. And she gets institutionalized for being a lesbian. Persephone, of Ancient Greece, fights breast cancer AND domestic violence. Three mythical Furies reflect these women to themselves, championing their power and questioning their participation in their own oppression. Sorry. challenges the many ways women defer, adapt, comply, and apologize in a man’s world. What if they just couldn’t anymore?

June 20-July 19, 2025
Fri-Sat at 8p, Sun at 4p

Grace Major Unshackles the Love and Hate of the Huntress in her Epic 1-Woman Performance!  

Slice of Grace

directed by Zombie Joe 

Zombie Joe’s Underground Theatre Group proudly presents actress Grace Major’s courageous one-woman excavation into the spiraling tunnel of her nightmares and dreamscapes! With help from her Angels – Grace braves the dark labyrinth of ascension into self actualization and Womanhood, as a Phoenix rising from its Ashes!

Written & Directed by Grace Major; Produced & Directed by Zombie Joe.

For Ages 17+  (Contains mature “triggering” themes, and graphic depictions).  Running time is 45 minutes.  Wheelchair accessible.

SATURDAY & SUNDAY, JULY 5, 6, 12 and 13, 2025 8:00p & 9:30p

SOCIAL MEDIA

Facebook: https://www.facebook.com/ZJUTheater/ and https://www.facebook.com/UrbanDeathZJU

Insta: @zombiejoes & @urbandeath_zju

SheLA Theater Festival is the premier festival for new, original, creative works from gender-marginalized playwrights in Los Angeles. This year’s 10th anniversary festival will be from July 8 to 14 at The Zephyr Theatre in West Hollywood. We have four amazing shows in this year’s festival, including a historical drama offering a striking exploration of womanhood and a musical Spanish retelling of the Weeping Woman. Each play is running twice during the festival’s runtime. The plays featured in this year’s festival are as follows:

• The Great Tikka Tour — Aditi Pradhan
  • A love story between a mother and her daughters.
  • July 8 7:30pm, July 11 7:30pm 
• The Tears of La Llorana — Celeste Moreno
  • A gothic musical ghost story.
  • July 9 7:30pm, July 12 8:30pm 
• Eléphant — Eva MeiLing Pollitt
  • An intimate, raw, and visually striking exploration of girlhood, womanhood, and the cost of survival.
  • July 10 7:30pm, July 12 5:00pm
• Bacchanalia — Regan Lavin
  • An intoxicating play about artists chasing transcendence — and spiraling into ritualistic madness.
  • July 12 2:30pm, July 13 3:00pm

For tickets and more information, please visit the following site: https://shenycarts.org.

5-STAR THEATRICALS

Presents the Second Show of its 2025 Season…

The Broadway Musical

Music and Lyrics by Kristen Anderson-Lopez & Robert Lopez
Book by Jennifer Lee

Originally directed on Broadway by Michael Grandage

Based on the Disney film written by Jennifer Lee
and directed by Chris Buck & Jennifer Lee

Originally produced on Broadway by Disney Theatrical Productions

Musical Direction by Anthony Lucca

Choreography by Cheryl Baxter

Direction by Yvette Lawrence

“The Cold Never Bothered Us Anyway” beginning Friday, July 11 in the Kavli Theatre at the Bank of America Performing Arts Center!

5-STAR THEATRICALS is thrilled to present the second production of its 2025 season, Disney’s FROZEN The Broadway Musical, music and lyrics by Kristen Anderson-Lopez & Robert Lopez, book by Jennifer Lee, originally directed on Broadway by Michael Grandage, based on the Disney film written by Jennifer Lee and directed by Chris Buck & Jennifer Lee, originally produced on Broadway by Disney Theatrical Productions.  5-Star Theatricals production features musical direction by Anthony Lucca, choreography by Cheryl Baxter and direction by Yvette Lawrence. Disney’s FROZEN The Broadway Musical will opens on Friday, July 11, 2025 at 7:30pm (press opening) and runs through Sunday, July 20, 2025 in the Kavli Theatre at the Bank of America Performing Arts Center, 2100 Thousand Oaks Boulevard in Thousand Oaks.   

For the first time in forever, experience the musical phenomenon that has taken the world by storm! Based on the Academy Award-winning animated feature film, Disney’s FROZEN The Broadway Musical includes all the film’s beloved songs by Kristen Anderson-Lopez and Robert Lopez, along with new music written exclusively for the stage!

ABOUT THE CAST AND CREATIVE TEAM

The Cast of Disney’s FROZEN The Broadway Musical features: Ellie Smith as “Princess Anna,” Monika Peña as “Princess Elsa,” Landen Starkman as “Olaf,” Frankie Zabilka as “Hans,” Sawyer Patterson as “Kristoff,” Sebastian Guerrero as “Sven,” Travis Joe Dixon as “Duke of Weselton,” Javier Garcia as “Oaken/Bishop/Ensemble,” Amy Sorensen as “Young Anna,” Catherine Last as “Young Elsa,” Ceron Jones as “Pabbie/Ensemble,” Jodi Marks as “Bulda/Ensemble,” Richie Ferris as “King Agnarr/Ensemble,” and Eleen Hsu-Wentland as “Queen Iduna/Ensemble.”  The Ensemble will also feature (in alphabetical order): Amanda Aceves-Lopez, Aaron Michael-Rees Camitses, Samaha Angelikah “Jelly” Chun, Luc Clopton, Jeff Garrido, Chloe Johnson, Lielle Kaidar, Melissa Musial, Micah Nicholson, Matthew Smith, Spencer Williams and Rasha Willes. The Youth Ensemble are (in alphabetical order): Zander Chin, Ava Giselle Field, Charlee Marie, Madison North, Conor Noson and Sophia Sedik.  

YVETTE LAWRENCE (Director) is thrilled to be returning to the 5-Star Theatricals family with Frozen!  Other 5-Star Theatrical shows include Cinderella, Disney’s Beauty and the Beast (starring Susan Egan), and Peter Pan. Ms. Lawrence is a multifaceted director, with a body of work that spans everything from Shakespeare to Kaufman & Hart to chamber pieces to full-scale musicals. She has directed over sixty productions in regional, educational, and black box settings. This summer she looks forward to directing The Old Man and The Old Moon for the Edinburgh Fringe Festival. Select performing credits include Broadway: Disney’s Beauty and The Beast, Falsettos, Nick & Nora (dir. Arthur Laurents); Off-Broadway: Bring in the Morning (dir. Sheldon Epps); National Tours: Little Shop of Horrors (dir. Jerry Zaks, chor. Kathleen Marshall), Disney’s Beauty and the Beast (L.A), Blood Brothers (Joseph Jefferson Award Nomination), Falsettos (dir. James Lapine) Television: One Life to Live, As the World Turns, The Guiding Light, and numerous national commercials. Recordings: A Broadway Christmas, Nick & Nora (Original Broadway Cast). Ms. Lawrence is also an arts educator, she conducts master classes, performs in concerts around the country, and serves as the director of the theatre program at Chaminade College Preparatory High School. She has an MFA in Performance Pedagogy and an MA in Education from Loyola Marymount University. 

CHERYL BAXTER (Choreography) has been in the entertainment business for over 45 years working in theater, commercials, film and television. She started her career as an assistant choreographer to Gene Kelly and Kenny Ortega in Coppola’s film, One From The Heart and went on to assist Meryl Streep in Death Becomes Her. She has worked on over 20 films including Xanadu, Tap, Grease 2, 500 Days of Summer, The Muppet Movie, This Is It, with Michael Jackson and The Account 2. Television credits include “Glee,” “General Hospital,” “The Academy and Golden Globe Awards,” “How I Met Your Mother,” “Physical,” “Palm Royale,” “The Perfect Couple” and “Night Court” to name a few.  She has danced beside legends such as Gregory Hines, Sammy Davis Jr. The Nicholas Brothers and Donald O’Connor and has backed up the rapper DaBaby on “The Grammy Awards” and Miley Cyrus on the “VMA Awards.” She has performed in the Los Angeles and First National companies of Cats and 42nd Street and can be seen in the Broadway telecast of Sophisticated Ladies. She has directed and choreographed theater productions world-wide and has set shows for Universal Studios, Disney, “Sesame Street Live,” “Paw Patrol” and “Hello Kitty.” Her new passion is Tik Tok, dancing with her best friend Beth as “Dababyboomers.” For 5-Star Theatricals, she has choreographed many productions including Evita, Peter Pan, Mary Poppins, Beauty and the Beast and Cinderella.            

ANTHONY LUCCA (Musical Director/Conductor) is an award-winning music director, orchestrator, and arranger.  He is the music supervisor, orchestrator, and arranger for King of Pangea, currently playing at the King’s Head Theatre in London. As a music director, world premieres include Bronco Billy (Skylight Theatre Company, LA Drama Critic’s Circle Award for Best Musical Direction), Mutt House (Kirk Douglas Theater), Cult of Love (IAMA Theatre Company).  West Coast premieres: Calvin Berger, The Civility of Albert Cashier (Colony Theatre Company). Regional (Los Angeles): The Sound of Music, Oliver!, Cinderella, Something Rotten!, Mamma Mia! (5-Star Theatricals), Sideways: In Concert (Via Reggia Productions), Evita (Palos Verdes Performing Arts Center).  He served as resident music director for the National Theatre Institute at the Eugene O’Neill Theatre Center (2016-2017).  Orchestration: Māyā: In Concert (Prospect Musicals), King of Pangea (Kings Head Theatre),Belles Are Swinging (MB Artists), Hans Christian Andersen’s The Shadow (Mixed eMotion Theatrix).  As a guest artist, he teaches and music directs for the Rubicon Theatre Company’s Summer Youth Program, Loyola Marymount University and is an adjunct faculty member at USC School of Dramatic Arts, where he is director of the USC Musical Theatre Summer Conservatory. 

The Design Team of DISNEY’S FROZEN THE BROADWAY MUSICAL features: Lighting Design by Brandon Baruch; Sound Design by Jonathan A. Burke; Costume Coordination by Noëlle Raffy-Porter; Hair & Wig Design by Luis Martinez; Props Design by Alex Choate. The Production Stage Manager is Cameron J. Turner. 

ABOUT THE SCHEDULE AND PRICING

DISNEY’S FROZEN THE BROADWAY MUSICAL opens on Friday, July 11, 2025 at 7:30pm (press opening) and run through Sunday, July 20, 2025 at the Kavli Theatre at the Bank of America Performing Arts Center, 2100 Thousand Oaks Boulevard in Thousand Oaks.   

Performances are Thursdays at 7:30pm; Fridays at 7:30pm; Saturdays at 1:00pm and 7:30pm; Sundays at 1:00pm.                                                             

Tickets are on sale now and may be purchased at the Bank of America Performing Arts Center Box Office located at 2100 Thousand Oaks Boulevard in Thousand Oaks, or through www.5startheatricals.com, or by phone at (805) 449-2787.  For groups of 10 or more, please call Group Sales, 5-STAR THEATRICALS at (805) 497-8613 x 1.      

Ticket prices range from $55 – $95.  For ticket and theatre information, call (805) 449-ARTS (2787).  DISNEY’S FROZEN THE BROADWAY MUSICAL performs at the Kavli Theatre, Bank of America Performing Arts Center, at 2100 Thousand Oaks Boulevard in Thousand Oaks.   

For membership & ticket information, call 805-231-3604 or visit www.5startheatricals.com.

Theatricum re-imagines Chekhov’s classic tragicomedy with ‘The Seagull: Malibu’

In the aftermath of the civil rights movement, a disillusioned young writer is haunted by the rise of a consumer-driven, plasticized world and the early warning signs of climate change. Will Geer Theatricum Botanicum presents the world premiere of The Seagull: Malibu, an evocative retelling of Anton Chekhov’s timeless masterpiece as re-imagined by Theatricum artistic director Ellen Geer. Performances join Theatricum’s repertory season beginning July 12.

It’s the 1970s, and American culture is transitioning from the ideals of free-love to the self-centered “Me Generation.” At the Malibu estate of New York transplant Thad (Tim Halligan), budding writer Constantine (Christopher Glenn Gilstrap) prepares a performance of his new play — a theoretical, avant-garde observation of the changing world and climate. But his ideas are dismissed as absurdist fantasy by Nina (Caroline Quigley), the show’s young star with whom Constantine is in love, and by his ego-driven audience: his mother, the aging actress Irina Arkadin (Susan Angelo); Arkadin’s much younger lover, the acclaimed novelist Trigger Hale (Rajiv Shah); groundskeeper Ivan (Franc Ross); Ivan’s daughter, the morose Masha (Willow Geer) and his wife, Paulina (Katherine Griffith); and the local teacher, Ted (Steven C. Fisher). Only the philosophical Dr. Dore (Daniel Reichert) sees the merit in his argument.

With the crashing waves of Malibu as both a literal and metaphorical backdrop, Chekhov’s tragicomic masterpiece about fame, art and unrequited love is emblematic of the societal and artistic upheavals of a culture in flux. As in the original, the beautiful, sun-soaked locale belies the turbulent emotions of its inhabitants: Constantine loves Nina even as Trigger pursues her. Nina, longing for fame, is hypnotized by Trigger’s success. Irina clings to her fading youth and celebrity — and to Trigger. Masha loves Constantine, while Ted loves Masha. Paulina yearns for Dr. Dore, and Thad longs to return to the lights of New York City.

“Chekhov’s exploration of human fragility, ambition and the search for love and meaning is a reminder of the fragile threads that unite us all.” says adaptor Geer, who also directs. “This retelling invites audiences to reflect on themes of social hierarchy and societal vanity, the dissonance between art and commerce, and the desperate need for love and authenticity in an era dominated by superficiality.”

The costume designer for The Seagull: Malibu is Vicki Conrad, with lighting designed by Hayden Kirschbaum and sound by Grace Escandón. Nicole Bernardini is the prop master and Beth Eslick is the wardrobe supervisor. The production stage manager is Karen Osborne, assisted by Sky Wahl.

The Seagull: Malibu will run in rotation every weekend with Shakespeare’s Much Ado About Nothing, A Midsummer Night’s Dream and Strife, each of which open earlier in the season. Wine in the Wilderness, by celebrated writer Alice Childress, will join the repertory season on August 9. Unlike most theaters in the L.A. area that stage continuous runs of a single play, Theatricum will perform all five plays in repertory, making it possible, once they are all up and running, to see all five in a single weekend.

Theatricum’s beginnings can be traced to the early 1950s when Will Geer, a victim of the McCarthy era Hollywood blacklist (before he became known as the beloved Grandpa on The Waltons), opened a theater for blacklisted actors and folk singers on his property in Topanga. Friends such as Ford Rainey, Della Reese, Pete Seeger and Woody Guthrie joined him on the dirt stage for vigorous performances and inspired grassroots activism, while the audiences sat on railroad ties. Today, two outdoor amphitheaters are situated in the natural canyon ravine, where audiences are able to relax and enjoy the wilderness during an afternoon or evening’s performance. Theatricum’s main stage amphitheater sports a new and improved sun shade for increased audience comfort, installed with support from the Los Angeles County Board of Supervisors and the Ahmanson Foundation. Theatricum is the recipient of multiple awards, including the Margaret Harford Award for “sustained excellence,” which is the Los Angeles Drama Critics Circle’s highest honor.

The Seagull: Malibu opens on Saturday, July 12 at 7:30 p.m. and continues to run in repertory through October 5. For a complete schedule of performances, scroll all the way down or visit the website.

Tickets to performances range from $15 to $51. Premium seating is available for $64 ($60 cash at the door, subject to availability). The performances on Thursday, Aug. 28 and Monday, Sept. 22 are Pay-What-You-Will (available online the week of the performance or pay cash at the door); both Pay-What-You-Will performances also feature 30-minute Prologue (pre-show) discussions beginning at 6:30 p.m.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Patrons are welcome to arrive early to picnic in the gardens before a performance.

Will Geer Theatricum Botanicum is located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley. Topanga Canyon Blvd is currently open between Pacific Coast Highway and the theater between 5 a.m. and midnight daily, making Theatricum accessible from PCH as well as from the Valley during performance times. To access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South. For the most up-to-date information, go to tcep.org/emergencystatus.

For more information and to purchase tickets, call (310) 455-3723 or visit theatricum.com

Trans Mom vs. Family Court: Justice Sees No Gender

Why am I chronicling my transition to trans-mother while simultaneously fighting for custody rights in 1995 without an attorney? Because positive trans-stories are needed as witness of common ground and our rightful place in society. I’m sharing my custody battle for the first time publicly to help reframe trans stereotypes and empower our community and allies against dishonest rhetoric and discriminatory legislation.

Maybe telling this story risks backlash, but still I’m urgently compelled to challenge bias and hate, and save lives; especially as we face persecution and legislative animus trying to literally erase trans people!

My story highlights how transgender parents face discriminatory scrutiny in custody battles, where ‘best interest of the child’ is often weaponized against them based solely on gender identity. Despite psychological experts confirming that transitioning doesn’t affect parenting abilities, these biases persist in our legal system.

Set in the 90’s, my story also shows that being ‘trans’ isn’t some recent phenomenon. We have always been here and always will be.

Transgender rights are revoked daily. As of April 2025, there are over 850 anti-transgender bills under consideration nationwide, with 219 actively being considered as of January 17, 2025.

Some of us feel like giving up, fleeing our country. They want us terrified. States like Kentucky and Nevada have terminated parental rights based on gender identity. We cannot bear more parents being separated from their children, more trans suicides, more hate crimes – and more lies.

The issue extends beyond courtrooms into broader civil rights challenges affecting LGBTQIA2S communities. As more people live authentically, trans custody disputes increase, forcing some parents to choose between their truth and relationships with their children. This reflects an openly coordinated pattern of attacks – from challenges to same-sex marriage, sports participation, restroom choices, medical treatment and adoption rights to restrictions on discussing gender and sexuality in schools.

These efforts connect with increased surveillance of marginalized groups and attempts to weaken workplace protections against discrimination based on gender identity and sexual orientation. Their agenda is ultimately about controlling not just identities, but bodies, voices, and personal freedoms.

At this moment, trans rights are being rolled back decades and our very existence is being undermined.

In 2024;

* 46% of trans and nonbinary youth considered suicide (14% attempted)
* Anti-trans laws increased suicide up to 72%
* At least 32 trans individuals were murdered
* FBI data shows rising LGBTQIA2S hate crimes

I’m weaving live looping, reenactment, courtroom audio and transcripts, my music and photographs to entertain, educate, motivate and unify. My story demonstrates that authenticity and equal rights are as valid for trans people as for cis people and the potential impact demands that my story be shared. I truly appreciate your support for my play and for our community!

Anyone under 16 should be accompanied by a parent or guardian.
There is no violence, ideations or profanity but there are contextual sexual references.

Ghost Train

Nominated for Best Dramatic Theatre Award at Hollywood Fringe 2025!

Winner of the Best of Feury Developmental Award 2025!

Barbera, a conservative American housewife catches a German overnight train.

Once aboard, she meets Marlene, a Berlin woman.

The two women get to know each other and bond; but they do not agree politically.

They learn about each other’s lives and where they’re from and it becomes unclear whether they are talking about 1930’s Nazi Germany…or modern day American politics.

And when Marlene shares that she is a transwoman, Barbera’s beliefs are challenged by this reveal.

As the two women discuss and debate; their mutual distrust shifts towards understanding…as they come to see the other has valid concerns.

But the train races on, as they struggle to fully see each other…to find mutual acceptance and recognition.

Marlene fears state control will render her out of existence; Barbera fears for the abandonment of traditional values.

But they find agreement on how patriarchy puts a jackboot on both their necks.

Their anger softens into awareness but they still argue over who should step down…who should leave the train.

And as Marlene reveals another secret, Barbera is forced to confront her own beliefs.

At the heart of our story are two women coming to understand they are more alike than different; and that by coming together…they can save each other.

Written by Leia Vogelle

Directed by Becca Khalil

Assistant Director and Dramaturg – Peyton Ashby

Produced by Zander Raphael and Leia Vogelle

Performed by Laura Baggett and Leia Vogelle

Bold, subtle and provocative.

I was on the edge of my seat.

Poignant, relevant and powerful.

I had literally CHILLS at the end.

Powerful exploration of the trans experience today and how it mirrors 1930s Germany. Grounded, intriguing, mysterious and powerful! 

Themes of identity, freedom and empathy strongly resonate in today’s political environment fraught with prejudice and discrimination.

A relevant lens of feminism now, while hitting the mark on the value of learning critical lessons from voices of the past.

Beautiful & important storytelling. I want to see it again.

 2025 Best of Feury – Best Solo Show 

Hours after her breakup party, an insecure and somewhat drunk young real estate agent receives too much attention from a married man. Now the almost-virgin is forced to come to terms with the fact that she is “The Other Woman.”

A comedic memory play unraveling one woman’s experience as “the other woman,” challenging societal blame and assumptions in adultery.

Instagram:
@sfstheatrela
@combinedartform

Berta, Berta: Andi Chapman directs West Coast
premiere of unique love story at Echo Theater Company 

“Berta in Meridian and she living at ease; I’m on old Parchman, got to work or leave.” The Echo Theater Company presents the West Coast premiere of Berta, Berta a sensuous love story by Angelica Chéri that was inspired by a prison chain gang song from Parchman Farm. Andi Chapman directs for a July 19 opening, with performances continuing through August 25. There will be three Pay-What-You-Want previews on July 16, July 17 and July 18.

DeJuan Christopher and Kacie Rogers star in Chéri’s unique, magical and heart-wrenching “fictional origin story” of the song “Berta, Berta.” In 1920s Mississippi, Leroy has committed an unforgivable crime and is ready to accept his punishment: incarceration at notorious Parchman Farm. He has just one final wish before he’s caught – a chance to make amends with his long lost love, Berta. Their reunion swells from a quarrelsome conjuring of the past to an impassioned plot to escape their impending fate.

The song was incorporated by August Wilson in his play, The Piano Lesson. Chéri first came across it while watching a production, and found herself haunted by it.

“What’s so striking about ‘Berta, Berta’ is that people from all over have sung this for decades and have no idea who the man is who originated this song or who the woman is who is the subject of this song,” she explained in an interview. “Every man who sang this song had his own Berta. He had the same longing, disenfranchisement, and captivity. Where did this song come from? I had to write an origin story.”

Parchman Farm remains an infamous prison in Mississippi that the Innocence Project calls “a prison modeled after a slave plantation.” In the years following emancipation, working prisoners to literal death was so commonplace that “not a single leased convict ever lived long enough to serve a sentence of ten years or more,” wrote David M. Oshinsky in “Worse Then Slavery,” his epic history of race and punishment in the deep South. According to a recent article in the UK Guardian, Parchman was also “the site of some of the most remarkable music in American history… Singing through the turmoil was not just common but routine at Parchman, whether inmates were musicians or not.

“Berta, Berta is a beautifully written, simple love story set against the backdrop of Jim Crow,” says Chapman. “It’s poetry – a book coming to life. Love can pierce through anything.”

The creative team for Berta, Berta includes scenic designer Amanda Knehans, lighting designer Andrew Schmedake, sound designer Jeff Gardner and costume designer Wendell C. Carmichael. The production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland and Joy DeMichelle produce for the Echo Theater Company.

Angelica Chéri is a playwright, bookwriter and lyricist, screenwriter and poet. Her plays include Phenomenal Woman, Maya Angelou (Ensemble Theater of Houston); The Seeds of Abraham (Billie Holiday Theatre); The Sting of White Roses (National Black Theatre Festival); Crowndation (National Black Theatre); and The Wiring & the Switches (Geffen Writers Group). Angelica and collaborator Ross Baum received the Richard Rodgers Award for their musical Wanted (formerly titled Gun & Powder), which is heading to Broadway next season. Angelica is co-writer of the Highway to Heaven series reboot on the Lifetime Network and a story producer for Season 2 of the documentary television series Dear… on Apple TV+. Angelica received her BA in Theater from UCLA, MFA in Playwriting from Columbia University and MFA in Musical Theater Writing from NYU.

Founded in 1997, the Echo Theater Company has gained a reputation for producing and developing exhilarating new work. Under the artistic leadership of Chris Fields, the company has championed playwrights for more than a quarter century, producing and commissioning numerous world premieres and introducing Los Angeles to playwrights David Lindsay-Abaire, Adam Rapp and Sarah Ruhl among others. The Echo has won countless Los Angeles Drama Critics Circle, Ovation, LA Weekly and Stage Raw awards, and is frequently cited on end-of-the-year “Best of Lists” including by the Los Angeles Times and NPR affiliate KCRW 89.9 FM. The company was anointed “Best Bet for Ballsy Original Plays” by the LA Weekly and was a recipient of a “Kilroy Cake Drop” to honor its efforts to produce women and trans writers. KCRW declared that “Echo Theater Company is on a fierce journey,” and Los Angeles Times theater critic Charles McNulty wrote, “Artistic directors of theaters of all sizes would be wise to follow the [lead] of the Echo’s Chris Fields, who [is] building audience communities eager for the challenge of path-breaking plays.” In 2023, the Echo was honored with the Los Angeles Drama Critics Circle’s prestigious Margaret Harford Award for Excellence in Theatre. Last season’s productions of Dido of Idaho by Abby Rosebrock and Clarkston by Samuel D. Hunter each garnered numerous awards and were named to multiple end-of-year “Best of 2024” lists.

Berta, Berta opens on Saturday, July 19, with performances continuing on Fridays, Saturdays and Mondays at 8 p.m., and Sundays at 4 p.m. through August 25. Additionally, there will be three preview performances on Wednesday, July 16; Thursday, July 17; and Friday, July 18, each at 8 p.m. Tickets are $38 on Fridays, Saturdays and Sundays; all Monday night performances, as well as previews, are Pay–What–You–Want. Atwater Village Theatre is located at 3269 Casitas Ave in Los Angeles, CA 90039.

For more information and to purchase tickets, call (747) 350-8066 or go to EchoTheaterCompany.com.

Tiffany Caputo, Theresa Caputo’s equally as psychic cousin, is stepping out to prove she has just as many astral moves as her cousin (who she respects very much their family for chrissake). Join Tiffany for A Psychic Evening with Long Island’s Other Medium at The Hudson Theatres (Guild) in Hollywood, Los Angeles, CA following the 2025 Hollywood Fringe Festival and get your very own live reading during the show! Guaranteed new things will come to light! For more information and tickets:

Go Here for More Info

Dead Fat Corpse, a daring two-hander solo play by Barbara Lee Bragg, made its Hollywood Fringe Festival debut this June, and receives a Best of Feury Encore Performance,  bringing audiences an unfiltered, semi-autobiographical journey through identity, survival, and the brutal realities of the entertainment industry.

Dead Fat Corpse is a dark comedy layered with metaphorical storytelling, drawn directly from Bragg’s own life as a young actor confronting Hollywood’s unforgiving terrain. At its heart, the play is a declaration of defiance and resilience. “Born out of pain—fire like a Phoenix arising,” Bragg says. “A poor kid from rural Wyoming gets into Yale Drama School and then has to fight like hell for the rest of her life to keep her dream alive. Never give up.” The play embodies that spirit, chronicling her relentless pursuit of a dream in the face of an industry that often devalues those who don’t fit its narrow mold.

The title Dead Fat Corpse comes from a real casting call that encapsulated the brutal objectification Bragg encountered—an audition seeking someone to play exactly that. The moment was a breaking point, pushing her to leave acting and take a telemarketing job. But it also became a turning point. Fueled by the pain and absurdity of that experience, Bragg returned to the stage with renewed purpose. Through biting humor and unflinching social commentary, the play explores the entertainment industry’s darker undercurrents, touching on themes of homelessness, self-worth, and survival—all shaped by Bragg’s lived experience.

Through biting humor and devastating truths, Dead Fat Corpse confronts themes of self-worth, rejection, and perseverance. Bragg recalls a formative piece of advice given to her by playwright John Patrick Shanley: “Most people are sleepwalking through life, and yet about 10% are walking around in constant amazement.” Bragg states, “this is why I wrote this. Because you can’t keep a champion down.”

Audiences will leave with a challenge—what will you do with your one wild and precious life? “You can be a hero to yourself,” Bragg states. “You pick yourself. FLY.”

ABOUT THE PRODUCTION

Debra Deliso (Director) is a critically acclaimed actor, writer, and director. She is the recipient of the LA Women’s Theatre Festival Rainbow Award for her decades of work in forgotten communities, including incarcerated women and disabled artists. She has directed over 800 original solo plays, many of which have garnered awards in Los Angeles and NYC. Since 2002, Debra has been teaching acting, improv, and playwriting at AADA and USC, based on her master’s thesis, The Physicalization of a Role. Exhilarated, she recently wrapped producing, directing, and acting in her first feature film, Small Town. For upcoming workshops, visit www.debradeliso.com.

Barbara Lee Bragg (Writer/Performer) hails from a Wyoming pioneer family, with both her father and grandfather recognized as award-winning Western authors. She earned her MFA from the prestigious Yale School of Drama after moving to New York, later performing in several Off-Broadway productions and voice work for Broadway. Now based in Los Angeles, Barbara has appeared in numerous television shows, written solo performances, and adapted Western scripts. She recently starred in Space Command: Forgiveness. She belongs to Open Fist Theatre company and will be on Tom Jacobsen’s newest play. Barbara Lee Bragg – IMDb

Catharine Koszlowski (Performer)  is a dynamic performer whose energy and depth bring her characters to life. Originally from the South Side of Chicago, she discovered her passion for acting in high school, immersing herself in community theater before moving to New York City to study Meisner technique and train at The Actors Studio. A former member of the renowned improv troupe Meow Wolf, Catherine brings versatility and authenticity to her roles. In Dead Fat Corpse, she plays Chicago and Lilith, the sidekick to Barbs. Her presence promises to add a compelling layer to this bold, provocative production.

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Ann Noble and Jeffrey Johnson return with “52 Pick-Up” at the Echo Theater Company

What happens when two poor clowns, one good at cards, one good at music, meet on the street after an unfortunate incident?  How can they communicate when words are dangerous?  Will kindness prevail?  Or criminality?  Will hearts be stolen or shared?

Ann Noble redons a clown nose as “Penny”, who’s left beaten and battered amongst the garbage in an alley; she’s found by another clown, “Arcade” (Jeffrey Johnson), who can’t help but try to figure out what happened.  It all gets very tricky as they struggle to discover a common language with which to tell each other their stories.  And even with one only speaking music and one only speaking magic, they will find they understand each other perfectly; but then what will they do, when the truth is finally out?  The show’s almost sold-out debut run at this year’s Hollywood Fringe was hailed as “brilliant” “genius” “magical” “heartbreaking” “profound” “whimsical”, and garnered a nomination for the “Theatre Theater Playwright Award”.  Additional performances take place with the Echo Theater Company in Atwater Village, July 22 – 31 for a limited engagement.

Written and directed by Ann Noble (A Bella Incarceration, Little Parts Hunts a Baby-Daddy), original music by Jeffrey Johnson (Drunken Troubadour, Three Witches), and originally produced by Michael Perlmutter & Carolina Rodriguez (Theatre Ghosts) at the Hollywood Fringe. 

Ann Noble is a veteran Theatre Ghosts/Fringe director & performer.  Other recent theatre work includes:  A Noise Within, Rogue Machine, Son of Semele/The Victory, Ghost Road, Antaeus, Echo, Vs., Kayenta Arts (Utah), South Coast Rep, Moving Arts, The Road, LA’s LGBT Center, LA’s MOTH.  She is also an award-winning playwright, acting coach/teacher and jail chaplain.

Jeffrey Johnson has worked with such lauded theatres as Critical Mass, The Evidence Room, Vs. Theatre, Son of Semele, Moving Arts, Bad Puppets, Bootleg Theatre, the Odyssey, and more.  Most Notably, Mr. Johnson has been the voice of T-Mobile since 2012.  “Captain Black”, his feature film debut (writer/director/lead actor) earned him several prestigious awards for Best Actor, Best Film and Best Direction. 

52 Pick-Up is being presented Tuesday & Thursday evenings @ 8 pm on July 22, 24, 29, 31 (see website for more details) only.  All tickets are $15.  Produced by both The Echo Theater Company & Theatre Ghosts at The Echo’s theater space in Atwater:  located at 3269 Casitas Ave, Los Angeles, CA 90039

For more information and to purchase tickets go to The Echo Theater Company

Neil Gooding Productions presents
West Coast Premiere of Hit Off-Broadway Play
‘The Opposite of Love’
Hudson Backstage Theatre

 An intimate story about a trust fund baby and a down on his luck hustler who form an unlikely bond, the hit Off-Broadway play The Opposite of Love will have its west coast premiere opening July 25 at the Hudson Backstage Theatre and continues through August 31, with a preview performance on July 24. Featuring original star and Los Angeles native Ashley Griffin (Playwright and co-stars as Eloise) making her long awaited Los Angeles theatrical return, co-starring with actor Evan Strand (co-stars as Will). When Eloise hires Will to help her move past her sexual trauma, their search for intimacy must survive darker inclinations in a world where love is a commodity.

Presented by Neil Gooding Productions (Back to the Future, Gypsy, Operation Mincemeat, Sunset Blvd.) and directed by Melora Marshall, an actress in her own right and director renowned for her dynamic contributions to the stage, particularly at the Will Geer Theatricum Botanicum in Topanga Canyon. A longtime company member, she has performed in countless productions over the decades, often taking on gender-bending and unconventional roles that showcase her versatility and depth as an artist.

This show will mark the “hometown return” of Broadway artist, and L.A. native, Ashley Griffin, in her first theatrical performance/performance of her work in L.A. since her move to NYC to attend NYU’s Tisch School of the Arts, after which she began her Broadway/off-Broadway career. Griffin started as a child actor in L.A. known for her tremendous dramatic acting ability. She made her Shakespeare debut at age eight and performed in theater, film and T.V. all over L.A., including traveling with some productions to London and Stratford-Upon-Avon. She had her first play produced in L.A. when she was seventeen years old.

The Opposite of Love had received development at A.R.T. and off-Broadway’s Theatre Row and premiered off-Broadway in 2024 at The Royal Family Theater, produced by NewYorkRep Founding Executive Director, Gayle Waxenberg.

Described as “If ‘Pretty Woman’ was a ‘Black Mirror’ episode, sans tech, THE OPPOSITE OF LOVE has been heralded as:

– “A masterpiece…For anyone asking where the great new American plays are, look no further…(an) extraordinary achievement (that) cuts straight to the heart of the human condition” – OnStage

– “A bold and hard hitting new play” – Plays to See

– “A truthful, devastating and brave play” – Times Square Chronicles

“There are a lot of things we don’t talk about when it comes to intimacy,” says Ashley Griffin. “My generation was the first raised after the afterglow of the “free love” movement had faded and given way to a free for all cyber world where dating feels like an audition process and love, in many ways, is a commodity. We need to finally talk about the painful experiences, the dangers, the fears that have become horribly casual and common, in addition to addressing the long term ramifications of sexual assault and trauma for those of any gender. The Opposite of Love was born out of a desire to hold a mirror up to the issues in romantic relationships we pretend don’t exist or, for some, may not realize exist at all.”

*ASHLEY GRIFFIN (Eloise, Playwright) is a Broadway writer/performer most well known as the first person in history to be nominated for a major award (NYIT Award) for both playing and directing Hamlet (for a theatrical production.) As a writer, Ashley’s work has been produced/developed at New World Stages, Manhattan Theater Club, Playwrights Horizons and more. Ashley received the WellLife Network Award and a county commendation for her off-Broadway play Trial (directed by Lori Petty and heralded as “If this show were on Broadway, it would win the Pulitzer” – StageScore) which is currently in talks for a transfer. She has written extensively for film and T.V. and is the author of two bestselling novels, Blank Paige and The Spindle. As a performer, Ashley has appeared extensively on and off-Broadway as well as on T.V. and film. Highlights include work at The Gershwin Theater, Lincoln Center, Playwrights Horizons, MTC, The Public Theater, as well as in The Greatest Showman and on Homeland. She holds a BFA from NYU’s Tisch School of the Arts and has trained at the RSC and the National Theater.

*EVAN STRAND (Will) is an American actor and dynamic performer whose range, discipline, and captivating presence have made him a standout across television, film, and theatre. His on-screen credits include memorable appearances on General Hospital and Grey’s Anatomy (ABC), as well as the beloved Reddi Whip Milkman in NBC’s Hairspray Live. On stage, Evan is best known for his acclaimed portrayal of Sven in Disney’s Frozen National Tour and limited Singapore engagement, and for his performance in Zoot Suit at the Mark Taper Forum. A classically trained ballet dancer from the age of seven, Evan has graced the stage in roles such as Bluebird in Sleeping Beauty, Oberon in A Midsummer Night’s Dream, and Kashchei in Firebird. His versatility extends far beyond dance, with extensive training in horseback and motorcycle riding, boxing, stage combat, puppetry, archery, and weapons handling. He also has a background in synchronized swimming, pole vaulting, track & field, baseball, soccer, Tai Chi, and stilt walking.

*Appear courtesy of Actors Equity Association

MELORA MARSHALL (Director) is an American actress and director renowned for her dynamic contributions to the stage, particularly at the Will Geer Theatricum Botanicum in Topanga Canyon, California. A longtime company member, she has performed in countless productions over the decades, often taking on gender-bending and unconventional roles that showcase her versatility and depth as an artist. Standout performances include the title role in Shakespeare’s Richard III, where she brought a chilling and compelling presence to the infamous monarch, and Joan of Arc in George Bernard Shaw’s Saint Joan, a portrayal marked by fierce conviction and emotional clarity. Aside from stage, she works in film and television. In recent years, she has increasingly focused on directing, bringing her deep understanding of classical and contemporary texts to the helm. In 2024, she directed Tartuffe: Born Again, a bold adaptation of Molière’s classic play, reimagined in 1980s Louisiana with Tartuffe as a disgraced televangelist. The production earned her the 2024 Progie Theater Award, The Welles, for Best Director of a Progressive Play, honoring both her artistic vision and the production’s timely satire on power, faith, and manipulation. Her creative work has extended to other major venues including the Mark Taper Forum, Ahmanson Theatre, The Old Globe, and South Coast Repertory. A multifaceted artist—singer, songwriter, guitarist, actress, director—she has also been a devoted Shakespeare educator, leading workshops and classes at Theatricum for decades. Her teaching blends scholarship with performance practice, and she has mentored countless emerging actors in the rhythms, rhetoric, and emotional truth of Shakespeare’s language.

NEIL GOODING PRODUCTIONS (Producer) was established in 2002 and brings high quality theatrical experiences to Broadway, West End, Australian and international audiences, upholding a strong emphasis on the development of new work. NGP was founded by Neil Gooding – an international theatre Director, Producer and Writer. As a producer, Neil’s work includes Broadway: Back to the Future: The Musical, Harmony, All of Me, Macbeth and the current revivals of Sunset Boulevard and Gypsy. Neil is represented on the West End by Back to the Future: The Musical and Holding the Man. Neil has been nominated for numerous awards including the 2009 Helpmann Award and the Sydney Theatre Critics Award.

Performances of The Opposite of Love take place on Thursdays, Fridays and Saturdays at 7:30 p.m.; Sundays at 4 p.m. from July 24 through August 31. There will be a preview performance on Thursday, July 24 at 7:30 p.m. Tickets range from $29-$45.

Hudson Backstage Theatre is located at 6539 Santa Monica Blvd., Los Angeles CA 90038 (at N Hudson Ave). To purchase tickets and for more information, go to https://www.onstage411.com/ or The Opposite of Love – Hudson Backstage Theatre – Los Angeles – onstage411.com or call (323) 856-4249.

Trans Mom vs. Family Court: Justice Sees No Gender

Saturday July 26 2025, 2:30 PM 

Why am I chronicling my transition to trans-mother while simultaneously fighting for custody rights in 1995 without an attorney? Because positive trans-stories are needed as witness of common ground and our rightful place in society. I’m sharing my custody battle for the first time publicly to help reframe trans stereotypes and empower our community and allies against dishonest rhetoric and discriminatory legislation.

Maybe telling this story risks backlash, but still I’m urgently compelled to challenge bias and hate, and save lives; especially as we face persecution and legislative animus trying to literally erase trans people!

My story highlights how transgender parents face discriminatory scrutiny in custody battles, where ‘best interest of the child’ is often weaponized against them based solely on gender identity. Despite psychological experts confirming that transitioning doesn’t affect parenting abilities, these biases persist in our legal system.

Set in the 90’s, my story also shows that being ‘trans’ isn’t some recent phenomenon. We have always been here and always will be.

Transgender rights are revoked daily. As of April 2025, there are over 850 anti-transgender bills under consideration nationwide, with 219 actively being considered as of January 17, 2025.

Some of us feel like giving up, fleeing our country. They want us terrified. States like Kentucky and Nevada have terminated parental rights based on gender identity. We cannot bear more parents being separated from their children, more trans suicides, more hate crimes – and more lies.

The issue extends beyond courtrooms into broader civil rights challenges affecting LGBTQIA2S communities. As more people live authentically, trans custody disputes increase, forcing some parents to choose between their truth and relationships with their children. This reflects an openly coordinated pattern of attacks – from challenges to same-sex marriage, sports participation, restroom choices, medical treatment and adoption rights to restrictions on discussing gender and sexuality in schools.

These efforts connect with increased surveillance of marginalized groups and attempts to weaken workplace protections against discrimination based on gender identity and sexual orientation. Their agenda is ultimately about controlling not just identities, but bodies, voices, and personal freedoms.

At this moment, trans rights are being rolled back decades and our very existence is being undermined.

In 2024;

* 46% of trans and nonbinary youth considered suicide (14% attempted)
* Anti-trans laws increased suicide up to 72%
* At least 32 trans individuals were murdered
* FBI data shows rising LGBTQIA2S hate crimes

I’m weaving live looping, reenactment, courtroom audio and transcripts, my music and photographs to entertain, educate, motivate and unify. My story demonstrates that authenticity and equal rights are as valid for trans people as for cis people and the potential impact demands that my story be shared. I truly appreciate your support for my play and for our community!

Anyone under 16 should be accompanied by a parent or guardian.
There is no violence, ideations or profanity but there are contextual sexual references.

Theatricum re-imagines Chekhov’s classic tragicomedy with ‘The Seagull: Malibu’

In the aftermath of the civil rights movement, a disillusioned young writer is haunted by the rise of a consumer-driven, plasticized world and the early warning signs of climate change. Will Geer Theatricum Botanicum presents the world premiere of The Seagull: Malibu, an evocative retelling of Anton Chekhov’s timeless masterpiece as re-imagined by Theatricum artistic director Ellen Geer. Performances join Theatricum’s repertory season beginning July 12.

It’s the 1970s, and American culture is transitioning from the ideals of free-love to the self-centered “Me Generation.” At the Malibu estate of New York transplant Thad (Tim Halligan), budding writer Constantine (Christopher Glenn Gilstrap) prepares a performance of his new play — a theoretical, avant-garde observation of the changing world and climate. But his ideas are dismissed as absurdist fantasy by Nina (Caroline Quigley), the show’s young star with whom Constantine is in love, and by his ego-driven audience: his mother, the aging actress Irina Arkadin (Susan Angelo); Arkadin’s much younger lover, the acclaimed novelist Trigger Hale (Rajiv Shah); groundskeeper Ivan (Franc Ross); Ivan’s daughter, the morose Masha (Willow Geer) and his wife, Paulina (Katherine Griffith); and the local teacher, Ted (Steven C. Fisher). Only the philosophical Dr. Dore (Daniel Reichert) sees the merit in his argument.

With the crashing waves of Malibu as both a literal and metaphorical backdrop, Chekhov’s tragicomic masterpiece about fame, art and unrequited love is emblematic of the societal and artistic upheavals of a culture in flux. As in the original, the beautiful, sun-soaked locale belies the turbulent emotions of its inhabitants: Constantine loves Nina even as Trigger pursues her. Nina, longing for fame, is hypnotized by Trigger’s success. Irina clings to her fading youth and celebrity — and to Trigger. Masha loves Constantine, while Ted loves Masha. Paulina yearns for Dr. Dore, and Thad longs to return to the lights of New York City.

“Chekhov’s exploration of human fragility, ambition and the search for love and meaning is a reminder of the fragile threads that unite us all.” says adaptor Geer, who also directs. “This retelling invites audiences to reflect on themes of social hierarchy and societal vanity, the dissonance between art and commerce, and the desperate need for love and authenticity in an era dominated by superficiality.”

The costume designer for The Seagull: Malibu is Vicki Conrad, with lighting designed by Hayden Kirschbaum and sound by Grace Escandón. Nicole Bernardini is the prop master and Beth Eslick is the wardrobe supervisor. The production stage manager is Karen Osborne, assisted by Sky Wahl.

The Seagull: Malibu will run in rotation every weekend with Shakespeare’s Much Ado About Nothing, A Midsummer Night’s Dream and Strife, each of which open earlier in the season. Wine in the Wilderness, by celebrated writer Alice Childress, will join the repertory season on August 9. Unlike most theaters in the L.A. area that stage continuous runs of a single play, Theatricum will perform all five plays in repertory, making it possible, once they are all up and running, to see all five in a single weekend.

Theatricum’s beginnings can be traced to the early 1950s when Will Geer, a victim of the McCarthy era Hollywood blacklist (before he became known as the beloved Grandpa on The Waltons), opened a theater for blacklisted actors and folk singers on his property in Topanga. Friends such as Ford Rainey, Della Reese, Pete Seeger and Woody Guthrie joined him on the dirt stage for vigorous performances and inspired grassroots activism, while the audiences sat on railroad ties. Today, two outdoor amphitheaters are situated in the natural canyon ravine, where audiences are able to relax and enjoy the wilderness during an afternoon or evening’s performance. Theatricum’s main stage amphitheater sports a new and improved sun shade for increased audience comfort, installed with support from the Los Angeles County Board of Supervisors and the Ahmanson Foundation. Theatricum is the recipient of multiple awards, including the Margaret Harford Award for “sustained excellence,” which is the Los Angeles Drama Critics Circle’s highest honor.

The Seagull: Malibu opens on Saturday, July 12 at 7:30 p.m. and continues to run in repertory through October 5. For a complete schedule of performances, scroll all the way down or visit the website.

Tickets to performances range from $15 to $51. Premium seating is available for $64 ($60 cash at the door, subject to availability). The performances on Thursday, Aug. 28 and Monday, Sept. 22 are Pay-What-You-Will (available online the week of the performance or pay cash at the door); both Pay-What-You-Will performances also feature 30-minute Prologue (pre-show) discussions beginning at 6:30 p.m.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Patrons are welcome to arrive early to picnic in the gardens before a performance.

Will Geer Theatricum Botanicum is located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley. Topanga Canyon Blvd is currently open between Pacific Coast Highway and the theater between 5 a.m. and midnight daily, making Theatricum accessible from PCH as well as from the Valley during performance times. To access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South. For the most up-to-date information, go to tcep.org/emergencystatus.

For more information and to purchase tickets, call (310) 455-3723 or visit theatricum.com

Berta, Berta: Andi Chapman directs West Coast
premiere of unique love story at Echo Theater Company 

“Berta in Meridian and she living at ease; I’m on old Parchman, got to work or leave.” The Echo Theater Company presents the West Coast premiere of Berta, Berta a sensuous love story by Angelica Chéri that was inspired by a prison chain gang song from Parchman Farm. Andi Chapman directs for a July 19 opening, with performances continuing through August 25. There will be three Pay-What-You-Want previews on July 16, July 17 and July 18.

DeJuan Christopher and Kacie Rogers star in Chéri’s unique, magical and heart-wrenching “fictional origin story” of the song “Berta, Berta.” In 1920s Mississippi, Leroy has committed an unforgivable crime and is ready to accept his punishment: incarceration at notorious Parchman Farm. He has just one final wish before he’s caught – a chance to make amends with his long lost love, Berta. Their reunion swells from a quarrelsome conjuring of the past to an impassioned plot to escape their impending fate.

The song was incorporated by August Wilson in his play, The Piano Lesson. Chéri first came across it while watching a production, and found herself haunted by it.

“What’s so striking about ‘Berta, Berta’ is that people from all over have sung this for decades and have no idea who the man is who originated this song or who the woman is who is the subject of this song,” she explained in an interview. “Every man who sang this song had his own Berta. He had the same longing, disenfranchisement, and captivity. Where did this song come from? I had to write an origin story.”

Parchman Farm remains an infamous prison in Mississippi that the Innocence Project calls “a prison modeled after a slave plantation.” In the years following emancipation, working prisoners to literal death was so commonplace that “not a single leased convict ever lived long enough to serve a sentence of ten years or more,” wrote David M. Oshinsky in “Worse Then Slavery,” his epic history of race and punishment in the deep South. According to a recent article in the UK Guardian, Parchman was also “the site of some of the most remarkable music in American history… Singing through the turmoil was not just common but routine at Parchman, whether inmates were musicians or not.

“Berta, Berta is a beautifully written, simple love story set against the backdrop of Jim Crow,” says Chapman. “It’s poetry – a book coming to life. Love can pierce through anything.”

The creative team for Berta, Berta includes scenic designer Amanda Knehans, lighting designer Andrew Schmedake, sound designer Jeff Gardner and costume designer Wendell C. Carmichael. The production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland and Joy DeMichelle produce for the Echo Theater Company.

Angelica Chéri is a playwright, bookwriter and lyricist, screenwriter and poet. Her plays include Phenomenal Woman, Maya Angelou (Ensemble Theater of Houston); The Seeds of Abraham (Billie Holiday Theatre); The Sting of White Roses (National Black Theatre Festival); Crowndation (National Black Theatre); and The Wiring & the Switches (Geffen Writers Group). Angelica and collaborator Ross Baum received the Richard Rodgers Award for their musical Wanted (formerly titled Gun & Powder), which is heading to Broadway next season. Angelica is co-writer of the Highway to Heaven series reboot on the Lifetime Network and a story producer for Season 2 of the documentary television series Dear… on Apple TV+. Angelica received her BA in Theater from UCLA, MFA in Playwriting from Columbia University and MFA in Musical Theater Writing from NYU.

Founded in 1997, the Echo Theater Company has gained a reputation for producing and developing exhilarating new work. Under the artistic leadership of Chris Fields, the company has championed playwrights for more than a quarter century, producing and commissioning numerous world premieres and introducing Los Angeles to playwrights David Lindsay-Abaire, Adam Rapp and Sarah Ruhl among others. The Echo has won countless Los Angeles Drama Critics Circle, Ovation, LA Weekly and Stage Raw awards, and is frequently cited on end-of-the-year “Best of Lists” including by the Los Angeles Times and NPR affiliate KCRW 89.9 FM. The company was anointed “Best Bet for Ballsy Original Plays” by the LA Weekly and was a recipient of a “Kilroy Cake Drop” to honor its efforts to produce women and trans writers. KCRW declared that “Echo Theater Company is on a fierce journey,” and Los Angeles Times theater critic Charles McNulty wrote, “Artistic directors of theaters of all sizes would be wise to follow the [lead] of the Echo’s Chris Fields, who [is] building audience communities eager for the challenge of path-breaking plays.” In 2023, the Echo was honored with the Los Angeles Drama Critics Circle’s prestigious Margaret Harford Award for Excellence in Theatre. Last season’s productions of Dido of Idaho by Abby Rosebrock and Clarkston by Samuel D. Hunter each garnered numerous awards and were named to multiple end-of-year “Best of 2024” lists.

Berta, Berta opens on Saturday, July 19, with performances continuing on Fridays, Saturdays and Mondays at 8 p.m., and Sundays at 4 p.m. through August 25. Additionally, there will be three preview performances on Wednesday, July 16; Thursday, July 17; and Friday, July 18, each at 8 p.m. Tickets are $38 on Fridays, Saturdays and Sundays; all Monday night performances, as well as previews, are Pay–What–You–Want. Atwater Village Theatre is located at 3269 Casitas Ave in Los Angeles, CA 90039.

For more information and to purchase tickets, call (747) 350-8066 or go to EchoTheaterCompany.com.

Neil Gooding Productions presents
West Coast Premiere of Hit Off-Broadway Play
‘The Opposite of Love’
Hudson Backstage Theatre

 An intimate story about a trust fund baby and a down on his luck hustler who form an unlikely bond, the hit Off-Broadway play The Opposite of Love will have its west coast premiere opening July 25 at the Hudson Backstage Theatre and continues through August 31, with a preview performance on July 24. Featuring original star and Los Angeles native Ashley Griffin (Playwright and co-stars as Eloise) making her long awaited Los Angeles theatrical return, co-starring with actor Evan Strand (co-stars as Will). When Eloise hires Will to help her move past her sexual trauma, their search for intimacy must survive darker inclinations in a world where love is a commodity.

Presented by Neil Gooding Productions (Back to the Future, Gypsy, Operation Mincemeat, Sunset Blvd.) and directed by Melora Marshall, an actress in her own right and director renowned for her dynamic contributions to the stage, particularly at the Will Geer Theatricum Botanicum in Topanga Canyon. A longtime company member, she has performed in countless productions over the decades, often taking on gender-bending and unconventional roles that showcase her versatility and depth as an artist.

This show will mark the “hometown return” of Broadway artist, and L.A. native, Ashley Griffin, in her first theatrical performance/performance of her work in L.A. since her move to NYC to attend NYU’s Tisch School of the Arts, after which she began her Broadway/off-Broadway career. Griffin started as a child actor in L.A. known for her tremendous dramatic acting ability. She made her Shakespeare debut at age eight and performed in theater, film and T.V. all over L.A., including traveling with some productions to London and Stratford-Upon-Avon. She had her first play produced in L.A. when she was seventeen years old.

The Opposite of Love had received development at A.R.T. and off-Broadway’s Theatre Row and premiered off-Broadway in 2024 at The Royal Family Theater, produced by NewYorkRep Founding Executive Director, Gayle Waxenberg.

Described as “If ‘Pretty Woman’ was a ‘Black Mirror’ episode, sans tech, THE OPPOSITE OF LOVE has been heralded as:

– “A masterpiece…For anyone asking where the great new American plays are, look no further…(an) extraordinary achievement (that) cuts straight to the heart of the human condition” – OnStage

– “A bold and hard hitting new play” – Plays to See

– “A truthful, devastating and brave play” – Times Square Chronicles

“There are a lot of things we don’t talk about when it comes to intimacy,” says Ashley Griffin. “My generation was the first raised after the afterglow of the “free love” movement had faded and given way to a free for all cyber world where dating feels like an audition process and love, in many ways, is a commodity. We need to finally talk about the painful experiences, the dangers, the fears that have become horribly casual and common, in addition to addressing the long term ramifications of sexual assault and trauma for those of any gender. The Opposite of Love was born out of a desire to hold a mirror up to the issues in romantic relationships we pretend don’t exist or, for some, may not realize exist at all.”

*ASHLEY GRIFFIN (Eloise, Playwright) is a Broadway writer/performer most well known as the first person in history to be nominated for a major award (NYIT Award) for both playing and directing Hamlet (for a theatrical production.) As a writer, Ashley’s work has been produced/developed at New World Stages, Manhattan Theater Club, Playwrights Horizons and more. Ashley received the WellLife Network Award and a county commendation for her off-Broadway play Trial (directed by Lori Petty and heralded as “If this show were on Broadway, it would win the Pulitzer” – StageScore) which is currently in talks for a transfer. She has written extensively for film and T.V. and is the author of two bestselling novels, Blank Paige and The Spindle. As a performer, Ashley has appeared extensively on and off-Broadway as well as on T.V. and film. Highlights include work at The Gershwin Theater, Lincoln Center, Playwrights Horizons, MTC, The Public Theater, as well as in The Greatest Showman and on Homeland. She holds a BFA from NYU’s Tisch School of the Arts and has trained at the RSC and the National Theater.

*EVAN STRAND (Will) is an American actor and dynamic performer whose range, discipline, and captivating presence have made him a standout across television, film, and theatre. His on-screen credits include memorable appearances on General Hospital and Grey’s Anatomy (ABC), as well as the beloved Reddi Whip Milkman in NBC’s Hairspray Live. On stage, Evan is best known for his acclaimed portrayal of Sven in Disney’s Frozen National Tour and limited Singapore engagement, and for his performance in Zoot Suit at the Mark Taper Forum. A classically trained ballet dancer from the age of seven, Evan has graced the stage in roles such as Bluebird in Sleeping Beauty, Oberon in A Midsummer Night’s Dream, and Kashchei in Firebird. His versatility extends far beyond dance, with extensive training in horseback and motorcycle riding, boxing, stage combat, puppetry, archery, and weapons handling. He also has a background in synchronized swimming, pole vaulting, track & field, baseball, soccer, Tai Chi, and stilt walking.

*Appear courtesy of Actors Equity Association

MELORA MARSHALL (Director) is an American actress and director renowned for her dynamic contributions to the stage, particularly at the Will Geer Theatricum Botanicum in Topanga Canyon, California. A longtime company member, she has performed in countless productions over the decades, often taking on gender-bending and unconventional roles that showcase her versatility and depth as an artist. Standout performances include the title role in Shakespeare’s Richard III, where she brought a chilling and compelling presence to the infamous monarch, and Joan of Arc in George Bernard Shaw’s Saint Joan, a portrayal marked by fierce conviction and emotional clarity. Aside from stage, she works in film and television. In recent years, she has increasingly focused on directing, bringing her deep understanding of classical and contemporary texts to the helm. In 2024, she directed Tartuffe: Born Again, a bold adaptation of Molière’s classic play, reimagined in 1980s Louisiana with Tartuffe as a disgraced televangelist. The production earned her the 2024 Progie Theater Award, The Welles, for Best Director of a Progressive Play, honoring both her artistic vision and the production’s timely satire on power, faith, and manipulation. Her creative work has extended to other major venues including the Mark Taper Forum, Ahmanson Theatre, The Old Globe, and South Coast Repertory. A multifaceted artist—singer, songwriter, guitarist, actress, director—she has also been a devoted Shakespeare educator, leading workshops and classes at Theatricum for decades. Her teaching blends scholarship with performance practice, and she has mentored countless emerging actors in the rhythms, rhetoric, and emotional truth of Shakespeare’s language.

NEIL GOODING PRODUCTIONS (Producer) was established in 2002 and brings high quality theatrical experiences to Broadway, West End, Australian and international audiences, upholding a strong emphasis on the development of new work. NGP was founded by Neil Gooding – an international theatre Director, Producer and Writer. As a producer, Neil’s work includes Broadway: Back to the Future: The Musical, Harmony, All of Me, Macbeth and the current revivals of Sunset Boulevard and Gypsy. Neil is represented on the West End by Back to the Future: The Musical and Holding the Man. Neil has been nominated for numerous awards including the 2009 Helpmann Award and the Sydney Theatre Critics Award.

Performances of The Opposite of Love take place on Thursdays, Fridays and Saturdays at 7:30 p.m.; Sundays at 4 p.m. from July 24 through August 31. There will be a preview performance on Thursday, July 24 at 7:30 p.m. Tickets range from $29-$45.

Hudson Backstage Theatre is located at 6539 Santa Monica Blvd., Los Angeles CA 90038 (at N Hudson Ave). To purchase tickets and for more information, go to https://www.onstage411.com/ or The Opposite of Love – Hudson Backstage Theatre – Los Angeles – onstage411.com or call (323) 856-4249.

He’s Back. And This Time, You’re on His List.

The Blood-Soaked Legacy of Camp Diamond Lake Lives ON in SUMMER SLASHER 2, ZJU’s All-New Thrilling and Terrifying Immersive Horror-Theatre Experience!

It’s been ten years since the brutal events of the original Summer Slasher, when a group of unsuspecting camp counselors met a gruesome end. Now, a brand-new team of counselors has arrived to reopen Camp Diamond Lake—but the horror never left. Jacob has returned… and he’s ready for fresh victims.

Set in a nostalgic 1990s summer camp, SUMMER SLASHER 2 is a fast-paced, immersive, and wildly fun horror show packed with interactive elements, unexpected twists, and plenty of scares,  Prior to entering, each guest will take a personality test to determine their assigned 90s horror character trope—changing how they experience the chaos inside. You’ll laugh, scream, run, and maybe even die (theatrically, of course).

Featuring Charlotte Cocker, Jorge Vaca, Daniella Ghalambor, Danielle Gray, Dantrell McClain, Jacksyn Ivy Jane, Jayson Kyle, Michael Medina and Raven Mahoney; Written and Directed by Charlotte Cocker (The Exorcism of Sophia Grace, ABDUCTED) and Produced by Zombie Joe.

A deadly summer awaits…Will your trope keep you alive—or get you killed?

DETAILS:

WHO:  Zombie Joe’s Underground Theatre Group

WHAT:  SUMMER SLASHER 2

WHEN:  AUGUST 1, 2, 8 and 9, 2025 (FRI & SAT Nights)

SHOWTIMES:  FRIDAYS & SATURDAYS at 7:00p / 7:45p / 8:30p / 9:15p / 10:00p / 10:45p

WHERE:  ZJU Theatre Group – 4850 Lankershim Boulevard, North Hollywood, CA 91601
TICKETS:  http://zombiejoes.tix.com/  Advance tickets $20 online / $25 at door

WEBSITES:  http://zombiejoes.com/ & http://www.urbandeath.com/

IG:  @zombiejoes & @urbandeath_zju

IMPORTANT:  For Ages 18+ only *(Contains mature “triggering” themes, nudity, plus You will get wet w/splashing water); Waivers to be signed at door, prior to entry; SUMMER SLASHER 2 is Not Wheelchair accessible. 

SOCIAL MEDIA

Facebook: https://www.facebook.com/ZJUTheater/ and https://www.facebook.com/UrbanDeathZJU

IG: @zombiejoes & @urbandeath_zju

Theatricum Botanicum presents ‘Wine in the Wilderness’

Alice Childress play examines race, gender and class against backdrop of 1964 Harlem race riots

In 1964, as race riots blaze on the streets outside his Harlem home, a painter works feverishly to complete a work of art that will embody the essence of Black pride. Gerald C. Rivers directs Wine in the Wilderness, a potent examination of race, gender and class by celebrated playwright Alice Childress. Performances join the outdoor summer repertory “Season of Resilience” at Will Geer Theatricum Botanicum beginning August 9 and continuing through October 12.

Theatricum favorite Max Lawrence stars as Bill Jameson, an artist who has already completed two panels of a triptych portraying his vision of Black womanhood. The first is the portrait of an angelic young girl, representative of Black female innocence. The second depicts Bill’s ideal Black woman: a noble African “queen” with natural hair bathed in sunlight. But the third panel is still blank because, as he explains to Oldtimer (Alex Morris), Bill has been unable to find the right inspiration for a truly “messed-up” Black chick. That is until Bill’s friends Cynthia (Sydney A. Mason) and Sonny-Man (Kameron J. Brown) introduce him to the perfect model: a woman they met at a bar after the riot burned her out of her home. As it turns out, Tomorrow “Tommy” Marie (LeShay Tomlinson Boyce) is not one to be bound by Bill’s misogynistic assumptions.

Wine in the Wilderness was written in 1968, at the height of the Black Power-spawned Black Arts Movement that called for the creation of poetry, novels, visual art and theater to reflect pride in Black history and culture as a means to awaken Black consciousness and achieve liberation.

“Harlem was experiencing a resurgence in the ’60s,” notes Rivers. “There was an explosion of art, culture and racial pride even as the rest of the country was torn apart by political turmoil and the Civil Rights Movement.”

But Childress, known for her uncompromising politics and unflinching depictions of racism, classism and sexism, uses Wine in the Wilderness to expose the hypocrisy of the power and arts movements—movements that spouted slogans espousing racial pride while continuing to perpetuate negative stereotypes and class prejudice.

Wine in the Wilderness was originally written for television, premiering as part of the WGBH series On Being Black in Boston, MA on March 4, 1969. It went on to air on TV stations across the country except for in Alabama, where it was banned because the subject matter was viewed as too controversial. In 1974, Childress’s play Wedding Band: A Love/Hate Story in Black and White was adapted and broadcast by ABC. It was similarly censored by Southern ABC affiliates because of its content.

A longtime company member, Rivers previously directed Theatricum’s critically acclaimed, world premiere production of Trouble the Water, an adaptation of Rebecca Dwight Bruff’s historical novel about Robert Smalls, the first African American hero of the Civil War. As an actor, he can currently be seen on the Theatricum stage as Dogberry in Much Ado About Nothing and firebrand David Roberts in Strife. Meanwhile, Lawrence currently stars as Oberon in Theatricum’s A Midsummer Night’s Dream alongside Mason, who plays Hippolyta. Morris and Boyce, newcomers to Theatricum, appeared together in The Piano Lesson at A Noise Within, where Morris has also been seen in four other August Wilson productions and Boyce recently appeared in A Man of No Importance. Also new to Theatricum, Brown is the recipient of USC’s Jack Nicholson Award for Outstanding Undergraduate Acting for his performance in Alice Childress’ play Trouble in Mind.

Wine in the Wilderness features original paintings by Zach Bones. The costume designer is Beth Eslick, with lighting designed by Hayden Kirschbaum and sound by Lucas Fehring. Shoshanna Green is the prop master. Lena Ford serves as assistant director and dramaturg. The production stage manager is Lacey Szerlip, assisted by Alex Penner.

Wine in the Wilderness will run in rotation every weekend with Shakespeare’s Much Ado About Nothing, A Midsummer Night’s Dream, Strife and The Seagull: Malibu, each of which open earlier in the season. Unlike most theaters in the L.A. area that stage continuous runs of a single play, Theatricum will perform all five plays in repertory, making it possible, once they are all up and running, to see them all in a single weekend.

Theatricum’s beginnings can be traced to the early 1950s when Will Geer, a victim of the McCarthy era Hollywood blacklist (before he became known as the beloved Grandpa on The Waltons), opened a theater for blacklisted actors and folk singers on his property in Topanga. Friends such as Ford Rainey, Della Reese, Pete Seeger and Woody Guthrie joined him on the dirt stage for vigorous performances and inspired grassroots activism, while the audiences sat on railroad ties. Today, two outdoor amphitheaters are situated in the natural canyon ravine, where audiences are able to relax and enjoy the wilderness during an afternoon or evening’s performance. Theatricum’s main stage amphitheater sports a new and improved sun shade for increased audience comfort, installed with support from the Los Angeles County Board of Supervisors and the Ahmanson Foundation. Theatricum is the recipient of multiple awards, including the Margaret Harford Award for “sustained excellence,” which is the Los Angeles Drama Critics Circle’s highest honor.

Wine in the Wilderness opens on Saturday, Aug. 9 at 7:30 p.m. and continues to run in repertory through October 12. For a complete schedule of performances, scroll all the way down or visit the website.

Tickets to performances range from $15 to $51. Premium seating is available for $64 ($60 cash at the door, subject to availability). The performances on Sunday, Aug. 24 and Monday, Sept. 29 are Pay-What-You-Will (available online the week of the performance or pay cash at the door); both Pay-What-You-Will performances also feature 30-minute Prologue (pre-show) discussions beginning at 6:30 p.m.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Patrons are welcome to arrive early to picnic in the gardens before a performance.

Will Geer Theatricum Botanicum is located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley. Topanga Canyon Blvd is now open between Pacific Coast Highway and the theater between 5 a.m. and midnight daily, making Theatricum accessible from PCH as well as from the Valley during performance times. However, due to construction, there may be additional traffic en route to the theater. Please check your preferred GPS system prior to traveling. For the most up-to-date road information, go to tcep.org/emergencystatus. To access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South.

Odyssey Theatre’s ‘Thresholds of Invention’ presents
Alice Neel and Cecilia Beaux: Double Portrait
by Doris Baizley

Sunday, August 10 at 2 p.m.

WHAT:
Odyssey Theatre Ensemble’s Thresholds of Invention series of first looks at pieces in process by prominent L.A. visionaries presents a reading of Alice Neel and Cecilia Beaux: Double Portrait, a work in progress by Los Angeles-based playwright Doris Baizley. Beth Ruscio and Shannon Holt star as the two iconic painters, both from Philadelphia, yet aesthetically and experientially worlds apart. Beaux, born in the mid 19th Century, abided by the restrictions of her time while Neel, born at the turn of the 20th, was able to break through any imposed limitations. Had the male-dominated societies each was subjected to changed that drastically in so short a time? Yet both artists, each wholly committed to her art, ultimately triumphed despite adversity.

WHEN:
Sunday, August 10 at 2 p.m.

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

PARKING:
Free in on-site parking lot

TICKETS:
$25 (plus $3 fee if paying by credit card)

HOW:
OdysseyTheatre.com
(310) 477-2055 ext. 2

Theatricum re-imagines Chekhov’s classic tragicomedy with ‘The Seagull: Malibu’

In the aftermath of the civil rights movement, a disillusioned young writer is haunted by the rise of a consumer-driven, plasticized world and the early warning signs of climate change. Will Geer Theatricum Botanicum presents the world premiere of The Seagull: Malibu, an evocative retelling of Anton Chekhov’s timeless masterpiece as re-imagined by Theatricum artistic director Ellen Geer. Performances join Theatricum’s repertory season beginning July 12.

It’s the 1970s, and American culture is transitioning from the ideals of free-love to the self-centered “Me Generation.” At the Malibu estate of New York transplant Thad (Tim Halligan), budding writer Constantine (Christopher Glenn Gilstrap) prepares a performance of his new play — a theoretical, avant-garde observation of the changing world and climate. But his ideas are dismissed as absurdist fantasy by Nina (Caroline Quigley), the show’s young star with whom Constantine is in love, and by his ego-driven audience: his mother, the aging actress Irina Arkadin (Susan Angelo); Arkadin’s much younger lover, the acclaimed novelist Trigger Hale (Rajiv Shah); groundskeeper Ivan (Franc Ross); Ivan’s daughter, the morose Masha (Willow Geer) and his wife, Paulina (Katherine Griffith); and the local teacher, Ted (Steven C. Fisher). Only the philosophical Dr. Dore (Daniel Reichert) sees the merit in his argument.

With the crashing waves of Malibu as both a literal and metaphorical backdrop, Chekhov’s tragicomic masterpiece about fame, art and unrequited love is emblematic of the societal and artistic upheavals of a culture in flux. As in the original, the beautiful, sun-soaked locale belies the turbulent emotions of its inhabitants: Constantine loves Nina even as Trigger pursues her. Nina, longing for fame, is hypnotized by Trigger’s success. Irina clings to her fading youth and celebrity — and to Trigger. Masha loves Constantine, while Ted loves Masha. Paulina yearns for Dr. Dore, and Thad longs to return to the lights of New York City.

“Chekhov’s exploration of human fragility, ambition and the search for love and meaning is a reminder of the fragile threads that unite us all.” says adaptor Geer, who also directs. “This retelling invites audiences to reflect on themes of social hierarchy and societal vanity, the dissonance between art and commerce, and the desperate need for love and authenticity in an era dominated by superficiality.”

The costume designer for The Seagull: Malibu is Vicki Conrad, with lighting designed by Hayden Kirschbaum and sound by Grace Escandón. Nicole Bernardini is the prop master and Beth Eslick is the wardrobe supervisor. The production stage manager is Karen Osborne, assisted by Sky Wahl.

The Seagull: Malibu will run in rotation every weekend with Shakespeare’s Much Ado About Nothing, A Midsummer Night’s Dream and Strife, each of which open earlier in the season. Wine in the Wilderness, by celebrated writer Alice Childress, will join the repertory season on August 9. Unlike most theaters in the L.A. area that stage continuous runs of a single play, Theatricum will perform all five plays in repertory, making it possible, once they are all up and running, to see all five in a single weekend.

Theatricum’s beginnings can be traced to the early 1950s when Will Geer, a victim of the McCarthy era Hollywood blacklist (before he became known as the beloved Grandpa on The Waltons), opened a theater for blacklisted actors and folk singers on his property in Topanga. Friends such as Ford Rainey, Della Reese, Pete Seeger and Woody Guthrie joined him on the dirt stage for vigorous performances and inspired grassroots activism, while the audiences sat on railroad ties. Today, two outdoor amphitheaters are situated in the natural canyon ravine, where audiences are able to relax and enjoy the wilderness during an afternoon or evening’s performance. Theatricum’s main stage amphitheater sports a new and improved sun shade for increased audience comfort, installed with support from the Los Angeles County Board of Supervisors and the Ahmanson Foundation. Theatricum is the recipient of multiple awards, including the Margaret Harford Award for “sustained excellence,” which is the Los Angeles Drama Critics Circle’s highest honor.

The Seagull: Malibu opens on Saturday, July 12 at 7:30 p.m. and continues to run in repertory through October 5. For a complete schedule of performances, scroll all the way down or visit the website.

Tickets to performances range from $15 to $51. Premium seating is available for $64 ($60 cash at the door, subject to availability). The performances on Thursday, Aug. 28 and Monday, Sept. 22 are Pay-What-You-Will (available online the week of the performance or pay cash at the door); both Pay-What-You-Will performances also feature 30-minute Prologue (pre-show) discussions beginning at 6:30 p.m.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Patrons are welcome to arrive early to picnic in the gardens before a performance.

Will Geer Theatricum Botanicum is located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley. Topanga Canyon Blvd is currently open between Pacific Coast Highway and the theater between 5 a.m. and midnight daily, making Theatricum accessible from PCH as well as from the Valley during performance times. To access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South. For the most up-to-date information, go to tcep.org/emergencystatus.

For more information and to purchase tickets, call (310) 455-3723 or visit theatricum.com

Theatricum Botanicum presents ‘Wine in the Wilderness’

Alice Childress play examines race, gender and class against backdrop of 1964 Harlem race riots

In 1964, as race riots blaze on the streets outside his Harlem home, a painter works feverishly to complete a work of art that will embody the essence of Black pride. Gerald C. Rivers directs Wine in the Wilderness, a potent examination of race, gender and class by celebrated playwright Alice Childress. Performances join the outdoor summer repertory “Season of Resilience” at Will Geer Theatricum Botanicum beginning August 9 and continuing through October 12.

Theatricum favorite Max Lawrence stars as Bill Jameson, an artist who has already completed two panels of a triptych portraying his vision of Black womanhood. The first is the portrait of an angelic young girl, representative of Black female innocence. The second depicts Bill’s ideal Black woman: a noble African “queen” with natural hair bathed in sunlight. But the third panel is still blank because, as he explains to Oldtimer (Alex Morris), Bill has been unable to find the right inspiration for a truly “messed-up” Black chick. That is until Bill’s friends Cynthia (Sydney A. Mason) and Sonny-Man (Kameron J. Brown) introduce him to the perfect model: a woman they met at a bar after the riot burned her out of her home. As it turns out, Tomorrow “Tommy” Marie (LeShay Tomlinson Boyce) is not one to be bound by Bill’s misogynistic assumptions.

Wine in the Wilderness was written in 1968, at the height of the Black Power-spawned Black Arts Movement that called for the creation of poetry, novels, visual art and theater to reflect pride in Black history and culture as a means to awaken Black consciousness and achieve liberation.

“Harlem was experiencing a resurgence in the ’60s,” notes Rivers. “There was an explosion of art, culture and racial pride even as the rest of the country was torn apart by political turmoil and the Civil Rights Movement.”

But Childress, known for her uncompromising politics and unflinching depictions of racism, classism and sexism, uses Wine in the Wilderness to expose the hypocrisy of the power and arts movements—movements that spouted slogans espousing racial pride while continuing to perpetuate negative stereotypes and class prejudice.

Wine in the Wilderness was originally written for television, premiering as part of the WGBH series On Being Black in Boston, MA on March 4, 1969. It went on to air on TV stations across the country except for in Alabama, where it was banned because the subject matter was viewed as too controversial. In 1974, Childress’s play Wedding Band: A Love/Hate Story in Black and White was adapted and broadcast by ABC. It was similarly censored by Southern ABC affiliates because of its content.

A longtime company member, Rivers previously directed Theatricum’s critically acclaimed, world premiere production of Trouble the Water, an adaptation of Rebecca Dwight Bruff’s historical novel about Robert Smalls, the first African American hero of the Civil War. As an actor, he can currently be seen on the Theatricum stage as Dogberry in Much Ado About Nothing and firebrand David Roberts in Strife. Meanwhile, Lawrence currently stars as Oberon in Theatricum’s A Midsummer Night’s Dream alongside Mason, who plays Hippolyta. Morris and Boyce, newcomers to Theatricum, appeared together in The Piano Lesson at A Noise Within, where Morris has also been seen in four other August Wilson productions and Boyce recently appeared in A Man of No Importance. Also new to Theatricum, Brown is the recipient of USC’s Jack Nicholson Award for Outstanding Undergraduate Acting for his performance in Alice Childress’ play Trouble in Mind.

Wine in the Wilderness features original paintings by Zach Bones. The costume designer is Beth Eslick, with lighting designed by Hayden Kirschbaum and sound by Lucas Fehring. Shoshanna Green is the prop master. Lena Ford serves as assistant director and dramaturg. The production stage manager is Lacey Szerlip, assisted by Alex Penner.

Wine in the Wilderness will run in rotation every weekend with Shakespeare’s Much Ado About Nothing, A Midsummer Night’s Dream, Strife and The Seagull: Malibu, each of which open earlier in the season. Unlike most theaters in the L.A. area that stage continuous runs of a single play, Theatricum will perform all five plays in repertory, making it possible, once they are all up and running, to see them all in a single weekend.

Theatricum’s beginnings can be traced to the early 1950s when Will Geer, a victim of the McCarthy era Hollywood blacklist (before he became known as the beloved Grandpa on The Waltons), opened a theater for blacklisted actors and folk singers on his property in Topanga. Friends such as Ford Rainey, Della Reese, Pete Seeger and Woody Guthrie joined him on the dirt stage for vigorous performances and inspired grassroots activism, while the audiences sat on railroad ties. Today, two outdoor amphitheaters are situated in the natural canyon ravine, where audiences are able to relax and enjoy the wilderness during an afternoon or evening’s performance. Theatricum’s main stage amphitheater sports a new and improved sun shade for increased audience comfort, installed with support from the Los Angeles County Board of Supervisors and the Ahmanson Foundation. Theatricum is the recipient of multiple awards, including the Margaret Harford Award for “sustained excellence,” which is the Los Angeles Drama Critics Circle’s highest honor.

Wine in the Wilderness opens on Saturday, Aug. 9 at 7:30 p.m. and continues to run in repertory through October 12. For a complete schedule of performances, scroll all the way down or visit the website.

Tickets to performances range from $15 to $51. Premium seating is available for $64 ($60 cash at the door, subject to availability). The performances on Sunday, Aug. 24 and Monday, Sept. 29 are Pay-What-You-Will (available online the week of the performance or pay cash at the door); both Pay-What-You-Will performances also feature 30-minute Prologue (pre-show) discussions beginning at 6:30 p.m.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Patrons are welcome to arrive early to picnic in the gardens before a performance.

Will Geer Theatricum Botanicum is located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley. Topanga Canyon Blvd is now open between Pacific Coast Highway and the theater between 5 a.m. and midnight daily, making Theatricum accessible from PCH as well as from the Valley during performance times. However, due to construction, there may be additional traffic en route to the theater. Please check your preferred GPS system prior to traveling. For the most up-to-date road information, go to tcep.org/emergencystatus. To access Theatricum from the Valley, exit the 101 at Topanga Canyon Blvd. South.