Shari Barrett - Page 25

Mae West was definitely a woman who played by her own rules in all aspects of her life. She dismissed barriers, boundaries, fears, judgements and prejudices and always believed women needed to be in charge of their own lives. Her play SEX was both outrageous and pornographic in 1926, full of playfulness and lots of camp as well as topical storytelling about the battle of the sexes. As the show's director Sirena Irwin shares, "SEX is a story of survival, imprisonment, fear, revenge, transformation, freedom, and love. It is a feminist perspective from nearly 100 years ago that invites us to reflect on where we've progressed and where we've stagnated. Mae West, in her wisdom, tried to open minds with humor and heart."

In our town full of struggling actors and others from all aspects of show business, it's no wonder so many solo shows about the Industry make their way into local theaters. And any of us who have endured that backstage moment when overwhelming fear makes us forget every single line we were about to speak, or when a spotlight hits your face and makes you freeze will certainly understand many of the familiar moments shared by Steven Shaw in LOST & FOUND: A GUILT TRIP THROUGH SHOW BUSINESS, returning to Theatre 40 in Beverly Hills after a sold out run in January 2017.

MR. PIM PASSES BY debuted on the stage in 1919, written by A.A. Milne (1882-1956) Although he will be known forever for his children's literature as the creator of Winnie-the-Pooh, Milne also wrote numerous plays and screenplays, books of poetry, and seven novels. This comedy for grown-ups tells a tale of mistaken identity and the lives it affects after a mysterious stranger pops up at a Woodbury, Connecticut home. It's never explained why Mr. Pim is in the neighborhood, although it's very apparent he does not live in the area nor is he visiting anyone else who does. And as the story builds, you might decide he is a character much like Clarence the Angel in "It's a Wonderful Life," there to simply make sure that love rules the day.

Sharing scenes and memories with her younger self during the entire musical is 25-year old Violet, portrayed with both great innocence and insightful common sense by Claire Adams, whom we meet as she is setting off on a journey of hope and discovery aboard a Greyhound bus bound for Tulsa, Oklahoma ('On My Way') where she hopes a TV evangelist can create a miracle and cure her disfigurement. And just how disfigured is Violet that people react to her appearance with so much shock? That is left to your imagination since her scar is often described but never seen, almost as if the real scar is unseen on her soul rather than a physical deformity on her face.

DIE, MOMMIE, DIE! is a campy noir classic that follows the devious actions of fading Hollywood star Angela Arden, played to the hilt by Drew Droege in drag. Think of Gloria Swanson in "Sunset Boulevard" and throw in a bit of Joan Crawford's attitude and you get the idea of who Angela Arden is. And let me tell you, Droege is a wonder running across the stage in high heels, always dressed to feminine perfection by costumer Allison Dillard. But Angela is trapped in an unhappy marriage and plots to kill her husband, Hollywood producer Sol Sussman (Pat Towne) in order to be with her young, and very well-hung lover Tony Parker (Andrew Carter). His endowment is a running gag throughout the play, aimed at almost every other character at some point, a bit too suggestive and sexy for young audiences.

Perhaps the best way to start writing about Elizabeth Gregory Wilder's play PROVENANCE is to share its definition, as it pertains to the history of ownership of a valued object or work of art or literature, not the capital of Rhode Island. Now being performed at Little Fish Theatre in San Pedro's Arts District, directed with loving reverence by Holly Baker-Kreiswirth and produced by Tara Donovan, the play centers on a rare book search which leads to an isolated library, and librarian, on the top of a hill in an identified area. Perhaps the best guess, according to the director and cast, would be the Smoky Mountains of Tennessee.

In the years before computers and cell phones to assist Bernard with scheduling, he uses a datebook and the world globe sitting on his desk to keep track of where each of the three stewardesses he plans to marry will be travelling, and has managed to keep 'one up, one down and one pending.' But Bernard's life is about to get incredibly bumpy when his friend, Robert (pratfall expert Brian O'Sullivan), comes to stay and unexpected schedule changes bring all three women to Paris and Bernard's apartment at the same time. And with Robert meeting all these lovely ladies for the first time on the same day, he soon forgets which lies to tell to whom to keep Bernard out of the doghouse. Hilarity ensues!

I have seen and loved many shows by The Dollface Dames performed at other locations in our city, each show having a different feel to it along with each group's own style of choreography. There is so much variety, within their shows and the venues where they perform, no two shows have ever been alike. So, I was very excited to visit a real speakeasy where the art of burlesque began. Our evening began with a 40-minute private tour of the R6 Distillery in El Segundo with Head Distiller and Owner, Rob Rubens, who carefully explained the distilling process and facility, noting it is the only establishment in Los Angeles where both hard alcohol and beer are created from scratch. But then it was on to the show in the distillery's Speakeasy!

Director Simon Levy, who has won much acclaim for his current production of Chaim Potok's The Chosen at the Fountain Theatre, now brings his directorial insight on achieving assimilation into America to the Sierra Madre Playhouse's production of THE IMMIGRANT, written by Mark Harelik about his grandfather's struggle to survive as the only Jewish immigrant to settle in Hamilton, Texas in 1909. The play is a timely and touching meditation on parents and children, newcomers and natives, Christians and Jews, and on what it means to be an American.

Directed with crackling energy by Dana Resnick at the Odyssey Theatre, BAD JEWS opens the evening after Poppy's funeral, a beloved family patriarch who survived the Holocaust, hiding his most precious gold possession under his tongue for two years. Now that he is gone, a family battle to inherit the precious keepsake is about to take place between the ever-talking, self-centered Daphna Feygenbaum (Jeanette Deutsch), and her cousins Jonah (Austin Rogers) and Liam Haber (Noah James). Their ensuing battle pits her strong will against Jonah's gentle soul and Liam's overly-educated, brash intellect, muted only by Liam's shiksa (Yiddish for a non-Jewish woman) girlfriend Melody (Lila Hood, a seemingly bubble-headed, blue-eyed blonde) whose heart is open to allowing each to have their say, inadvertently setting off the ensuing firestorm for possession.

DEAR JOHN, WHY YOKO? with music by Anzu Lawson and Joerg Stoeffel, book and lyrics by Anzu Lawson, tells the untold story of a love that changed the world and defined an era fraught with the same type of protests taking place now. It is my hope by sharing your story, we may all be lucky enough to live out our own dreams in a world where peace and love really exist between all people and war is dead. And we will have John Lennon and Yoko Ono to thank for that vision.

The second play in this year's Block Party is AMERYKA, written and directed by Critical Mass Performance Group Artistic Director Nancy Keystone, which continues through April 29, 2018 at the Kirk Douglas Theatre in Culver City. Plan to arrive early so you can take advantage reading all the information posted in several areas of the lobby (as well as in the two main theater entrances) about Tadeusz Ko?ciuszko, a Polish freedom fighter who assisted Thomas Jefferson in the formation of our country, as his remarkable life and beliefs are central to the plot of this play.

I was lucky enough to be one of the lucky ones to be in the Broad Stage audience recently when the extraordinary Dance Theatre of Harlem invited Los Angeles audiences, for the first time in way too many years, to join in with them in experiencing the wonders of neo-classical and contemporary ballet that is both of the moment and timeless. The evening's 105-minute program consisted of Brahms Variations, choreographed by Robert Garland (2016), Dancing on the Front Porch of Heaven, choreographed by Ulysses Dove (1993) and Vessels, choreographed by Darrell Grand Moultrie (2014), each more enchanting than the last!

Anyone who has ever been involved in a volunteer theatrical production will certainly understand the craziness associated with amateurs attempting to put on a play due to both their lack of acting experience, taking direction, or the maddening interference from its meddling playwright who drops in at every rehearsal with newly revised and/or added scenes which contradict what they have already been rehearsing. Such is the case in Rick Abbot's comedy PLAY ON! which is currently being presented at Theatre Palisades as the second show of its 2018 season, directed by Sherry Coon and produced for the community theater group by Martha Hunter and Sue Hardie.

Neighborhood bars have always been a gathering place for locals to share drinks and camaraderie in a place far from the responsibilities of work and home life, or in spite of them. Fans of the popular TV show "Cheers" no doubt remember how hanging out in a place where "everyone knows your name" often seemed better than anywhere else in your life. McRae's new play takes place in the blue-collar Bay Ridge section of Brooklyn in a rundown neighborhood institution called THE ALAMO, which its patrons refer to as the last great American bar. But times change and so do neighborhoods, and McRae paints a humorous yet heartbreaking portrait of eight working class Bay Ridge natives who always seem to find themselves on the front lines of change in America, even in their favorite hangout.

As it did last year with its first Block Party, Center Theatre Group continues to strengthen its relationships within the Los Angeles theatre community by creating additional avenues for the organization to work with local playwrights, actors, directors and designers to gain more exposure for their work in greater Los Angeles. This year, Center Theatre Group received 53 submissions for Block Party 2018 from intimate theatre companies in the greater Los Angeles area who each submitted one production that opened at their location between January 1, 2016, and May 30, 2017. This year's first Block Party 2018 selection is the Playwrights' Arena production of BLOODLETTING, written by Boni B. Alvarez and directed by Playwrights' Arena Artistic Director Jon Lawrence Rivera. The play opened at the Kirk Douglas Theatre in Culver City on Saturday, March 31 and closes Sunday, April 8.

Long before Felix met Oscar, Vincent van Gogh and Paul Gauguin were ill-fitting roommates in the south of France, which turned out to be a fateful co-habitation that changed the face of art - as well as Van Gogh's face! Playwright Brendan Hunt cleverly re-imagines these two art masters as the subjects of Neil Simon's original draft of The Odd Couple, which Hunt presents as being co-written with yet another of the oddest couples possible - Sam Shepard, here introduced as Steve, an oddball busboy looking for his first big break.

LITTLE WOMEN, THE MUSICAL with book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein, is based on the beloved 1869 classic novel by Louisa May Alcott. It's a song-filled adaptation of the touching tale of young love, achieving dreams, and the power of family to overcome even the most difficult of life's challenges. No doubt almost every young woman read the novel at some point during their lives, devouring the tale of the March sisters adventures (budding author Jo, practical Meg, sweet Beth, and romantic Amy) who are coming of age during the Civil War under the care of their doting mother, whom they call Marmee, while their father is away fighting for the North. They gather together to read his too infrequent letters, each warmly cuddling together around their beloved mother like a safe cocoon in a world being torn apart by violence around them.

Real Art Daily Productions (RADProd) is a new company that produces both film and theatre productions. With concentrated study and education in both classical music and theatre, Georginna Feyst, CEO and Executive Producer, whose reverence for fine art, cinema, theatre and other forms of storytelling let her to select probably one of the most definitive and difficult plays, Jean-Paul Sartre's 1944 existentialist play, NO EXIT, as the company's kick off production. In it, three strangers are locked together by a Bellboy in what they assume is hell (since all know they have recently died). Expecting but not receiving any physical torture to occupy them, they are forced to simply exist with each other without any hope of escape from the room, each other, and worst of all - themselves. It is a 100-minute examination of the futility of life.

ENGAGING SHAW begins in England in 1897 in a comfortable cottage in Stratford, England, where Shaw hopes to complete his new play. As he engages in conversation with his friends, the happily married cottage owners, Beatrice and Sidney Webb, we learn Shaw is a notorious flirt and heartbreaker who enjoys romancing women, attracting them to him "like a moth to the flame." But it is soon apparent he is not particularly interested in sex, a fact reflected in his real life where he remained a virgin until his 29th birthday. It's the thrill of the hunt that is the main attraction for Shaw, thoroughly enjoying the effect he has on women as he pursues them, not in the keeping of them. In present-day parlance, he'd be considered a sexist cad. Beatrice sees an opportunity to deflect Shaw's interest in her (and hers in him) by inviting their wealthy benefactor Charlotte to visit, knowing when she meets Shaw, the financially challenged but famous Irish playwright and political activist, that sparks will fly.