Love, Sex and the I.R.S.
Palos Verdes Performing Arts at Norris Theatre
Reviewed by Dany Margolies
Bryan Dobson, Diane Vincent, and Jeffrey Cannata
Photo by Melissa Mollo
Farce. It’s that theatrical plot in which a character—apparently always male—tells a lie and gets wound up in it. Then, somehow, over the course of two hours, he manages to unwind himself and earn the forgiveness of his fellow characters. Not many stage productions of farce succeed. This one does, earning top marks all around.
Billy van Zandt and Jane Milmore wrote the play in the late 1970s, and director Ken Parks sets his version in that era. The play is considerably funnier in that context. Somehow, in the 1970s, love seemed easier, sex more daring, and tax fraud less common and less troubling.
The writing seems well-plotted, explaining away possible inconsistencies and leaving the audience free to howl at the one-liners. Or perhaps this production makes the situations more plausible because of Parks’s crisp staging and the spectacular comedic chops of this cast.
The play takes place in the Manhattan apartment of two men: starving musicians Jon and Leslie. Jon has finally found work for their band. In Weehawken. At a bar mitzvah. The following October. In the meantime, Jon has been saving money by preparing his own, and Leslie’s, taxes. He has saved them further money by filing as husband and wife. They’re being audited. In two hours. Jon swiftly persuades Leslie to cross-dress and pretend they’re married.
In the blink of an eye, Leslie grows petulant. Meanwhile, Jon’s idea of feminizing the apartment is to accessorize with throw pillows and antimacassars, making it look as if their great-grandmother lives there.
Jeffrey Cannata is an extremely gracious actor. Playing Jon, this solid scene partner lets the storm swirl around his character rather than grabbing attention. So as Jon’s panic and desperation gradually increase, the audience buys into the story.
David Herbelin, meanwhile, is thoroughly physically invested in Leslie. By the time Leslie gets into a dress, heels and wig (costumes by Christina Bayer), Herbelin is into female mode, starting with a simpering grin. As Leslie gets tenser, Herbelin’s brow furrows ever deeper, and his shoulders creep up around his ears, nearly touching the bouncy copper curls of his god-awful wig.
Adding other farcical elements, Jon’s girlfriend Kate has the warmies for Leslie. But she sticks by Jon, even helping to dress Leslie. Playing Kate, Shannon Fitzpatrick is half Herbelin’s size, ensuring laughs when he squeezes into her once-dainty dresses. Leslie, smitten with Kate, has been ignoring his girlfriend Connie. Elaine Hayhurst brings the Jersey Shore to the stage as she plays the lovelorn lass.
The playwriting device of an invasive landlord lets doors get slammed and window ledges get utilized. Kevin Paul plays him with a deep well of chutzpah. Naturally, Jon’s mom happens by from Chicago in the midst of all this. Playing her, Diane Vincent starts as an average concerned mother. But as the scotch flows, she becomes pratfallingly tipsy, then passing-out drunken, melting over much of the sofa. None of this affects Vincent’s ability to deliver a punch line.
And now for the I.R.S. portion of the evening. Bryan Dobson plays agent Floyd Spinner, who’s clean-cut, bespectacled, and garbed in a starchy suit and tie. But after several schooners of scotch, Spinner’s true, vibrant colors come out as Dobson ratchets up the comedy. Dobson’s old-time shtick is polished to a gleam, and still he makes it seem fresh and immediate and totally tailored to the character.
Even the interstitial music adds to the humor of this show. Cue “Ladies’ Night” and “Taxman,” and the audience is dancing in its seats. Cue “Macho Man” for the curtain call, and the cast is dancing during the bows. Cue theater this good, and everyone is beaming on the walk back to the car.
Jan. 24–Feb. 8.
27570 Norris Center Dr., Rolling Hills Estates. Free parking. Fri-Sat 8pm, Sun 2pm. Running time 2 hours, including intermission.
$25–55. (310) 544-0403, ext. 221.
Time Stands Still
Secret Rose Theatre
Reviewed by Julio Martinez
Nik Isbelle, Aidan Bristow, Presciliana Esparolini, and Troy Ruptash
Photo by Dan Warner Photography
Donald Margolies’s sojourn within the lives of two conflicted battlefield journalists, who are attempting to readjust their lives and relationship now that they are separated from the foreign conflicts that originally drew them together, is given a deeply involving up-close-and-intimate outing at Secret Rose Theatre in NoHo.
The play’s title aptly applies to the emotion-rending events that battered the body of photographer Sarah (Presciliana Esparolini) and crippled the psyche of her journalist lover James (Aidan Bristow). Sensitively guided by helmer Vicky Jenson, Esparolini and Bristow offer a finely detailed, emotionally compelling pas de deux as Sarah and James attempt to achieve a level of post-war-zone compatibility as a “normal” couple living in a Brooklyn flat.
Margolies doesn’t supply any feel-good resolutions to the conflicts he sets up. He supplies only struggles, leading to arbitrary decisions. This is a good thing because Sarah and James eventually come at each other with raw nerve-endings and naked souls. Esparolini’s Sarah is combative, fighting the limitations of her bomb-blasted limbs, the sometimes claustrophobic needs of the man she loves, and her own sense that she is not appreciated professionally. Yet she projects a loving soul who truly wants to please James and keep him safe.
Bristow offers an effective portrait of a much more emotionally closeted writer who finally hit a wall of battlefield horror that he could not get past. Now he is slowly coming to terms with a changing agenda about how he wants to live the rest of his life. Bristow’s James seems to bloom as he only too gladly settles into the insignificant everyday pleasures of civilian life.
Supplying well-timed point and counterpoint to this saga are the journalists’ middle-aged editor and longtime friend Richard (Troy Ruptash) and his much younger girlfriend Mandy (Nik Isbelle). This is not an infusion of equals. There is no free-flowing intellectual/aesthetic discourse amongst this quartet. Helmer Jenson admirably achieves a balance among competing agendas and blatant contentiousness, smoothly moving the action forward, solidifying the reality that these four are deeply committed to one another.
Ruptash’s Richard, who at one time had a relationship with Sarah, projects a believable amalgam of heartfelt concern for and editorial detachment from the often demanding Sarah/James duo. Isbelle’s comedically gifted outing as Mandy provides welcome relief, as she undercuts Sarah’s and James’s journalistic highhandedness, telling them people don’t want to read all their “bummer” pieces.
Complementing the proceedings is the original music underscoring of music director Craig Richey. Tim Paclado’s setting certainly realizes the space limitations of an average Brooklyn apartment, but also causes occasional awkward stage movement.
January 21, 2015
17–Feb 8.11246 Magnolia Blvd. Handicap accessible; street parking
available. Fri-Sat 8pm, Sun 2pm & 7pm. Running time 1 hour and 50
minutes, including intermission. $30. (323)
Jack Lemmon Returns
Reviewed by Jonas Schwartz
Two-time Oscar winner Jack Lemmon has always been at the top echelon of acting talent. A gifted comedian (he represented Billy Wilder’s personification of the everyman in The Apartment and Irma La Douce) and modern tragedian (his alcoholic characters in Days of Wine and Roses and Save the Tiger are Shakespearean in scope) demonstrate a tremendous range. His son Chris Lemmon’s one-man show toasts his father’s accomplishments and delves into their complicated relationship.
Utilizing conversations with Chris Lemmon as well as Chris’s memoir, A Twist of Lemmon: A Tribute to My Father, author-director Hershey Felder follows Jack’s early life with a stern father and flamboyant mother (she was the model for Daphne in Some Like It Hot), his first amateur performances, college life at Harvard, and his career. Lemmon shares his father’s good moments and low points, which sometimes occurred at the same time: The night Lemmon won his first Oscar for Mister Roberts in 1956, he abandoned his first wife at the ceremony to leave for after-parties, signaling the end of their marriage. Jacks’ alcoholism and personal parallels to his characters in Days of Wine and Roses and Save the Tiger are disclosed.
The best reason to recommend Jack Lemmon Returns is Chris’s winning personality. He imitates his father’s voice adroitly and changes his normal expressions to evolve into Jack. He captures Jack’s cadence, humor, and nervous tics. Chris stares directly into audience members’ eyes, creating a sense of intimacy. He plays piano with style, a skill he learned from his father. Director Felder should have relied on footage of Jack’s best scenes instead of having Chris enact them. Because these moments and Jack’s talent are ingrained in the audience’s memory, it comes off as a peculiar choice.
Felder’s script doesn’t delve as deeply as it should have done. The timelines are unclear, leaving the audience confused. Chris mentions Jack’s alcoholism while discussing the death of Jack’s best friend Walter Matthau, but it’s uncertain if Jack admitted and treated his alcoholism at that time only (12 months before Jack died) or if he came to grips with the disease earlier in life and Felder chose to draw the parallels at that point in the script. The relationship between Chris and Jack also could have used fleshing out. The show tells good stories of Chris’s youth and Jack’s abortive attempts to spend time with him; but then nothing mentioned about their interactions during many years.
Also, because the crux of the story involves their relationship, it would have been intriguing to hear from Chris how the addition of a half-sister positively or negatively affected him. Did he see his father be more attentive to her than he had been to Chris, or did he repeat patterns? As Felder has done in his own works, he focuses on Jack’s films and peppers those times with anecdotes instead of painting a full picture of the man.
Despite script issues, Jack Lemmon Returns is a loving but complicated portrait of a revered man told by the son who obviously adored him. Chris Lemmon not only exposes new dimensions of an American legend but also reveals himself to be a charismatic stage presence.
January 12, 2015
7–25. 1310 11th St.See Broad Stage website for schedule. Running time 1
hour 45 minutes, no intermission. $54-175. (310) 434-3200.
The following have generously supported ArtsInLA.com....
Up & Running Arts Management and Consultants
Tell them you read about it on ArtsInLA.com
...and contact us at info@ArtsInLA.com!
...or tweet us at @ArtsInLAcom (no dot)!
Reviewed by Dany Margolies
Amanda Blake Davis and Robyn Norris
Sometimes theater is about humankind’s greatest achievers. Sometimes it’s about supremely tragic figures. And sometimes, as with this show, it’s about the rest of us.
A group of Second City’s fine performers went off piste and conducted a social experiment. After Robyn’s (Robyn Norris) friend posted a profile on a dating site and asked Robyn to check it over, Robyn set up an account to access the site. Robyn created the outlandish profile of an admittedly “crazy-insane person” she named TracyLovesCats. A shockingly large number of men—and women—responded, begging for various forms of contact with “Tracy.”
Norris’s fellow troupe members Chris Alvarado, Rob Belushi, Amanda Blake Davis, Kate Duffy, and Bob Ladewig joined in, posting outrageous profiles no one could possibly think were anything other than a joke. These performers’ “sketch” show, Undateable, re-enacts verbatim the heartfelt responses by real, everyday people to these perverse personals.
So, even though Rob (Belushi) pushed the intimacy-phobic envelope with DoorSlamEric, women think Eric is dateable. And although PioneerInABox (Kate Duffy) gets busted (she claims to function as if in the 1860s, yet she’s online), she manages to lure interest. Even Amanda’s (Blake Davis) age-questionable Old4U75 appeals to a prospective beau.
The show, a fascinating concept, is well-structured and is imaginatively directed by Frank Caeti. It is also, of course, hilarious, though a strong strain of sympathy runs through it. And even though the show has been running for months, the performers have fresh energy. These performers are more interested in telling their story than in “being funny,” so the laughs come from the audience’s self-recognition and not from any obnoxious stage-hogging shenanigans.
The troupe sings and dances—and not badly—to enhance several of their “scientific” points about romantic behavior. A few minutes of improv at the end of the show reflect the performers’ well-honed chops.
Locational cautions: The venue is in Hollywood where street parking has a two-hour limit, metered until midnight on Fridays. The show is a mere one hour, but it undoubtedly will start a few minutes late. In addition, the theater is upstairs, and the site has no elevator. But if you’re swift and spry, head on up there for a dose of reality. It will probably provide you with more than several hearty belly laughs. It might also make you weep for mankind.
August 19, 2013
Sage Awards 2014
Buyer & Cellar, Center Theatre Group at Mark Taper Forum
Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court
Henry V, Pacific Resident Theatre
Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court
The Curse of Oedipus, The Antaeus Company
Mickey Birnbaum, Backyard, The Echo Theater Company at Atwater Village Theatre
Sheila Callaghan, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court
Scott Carter, The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord, NoHo Arts Center and Geffen Playhouse
Kenneth Cavander, The Curse of Oedipus, The Antaeus Company
Greg Pierce, Slowgirl, Geffen Playhouse
Marja-Lewis Ryan, One in the Chamber, 6140 Productions & Lounge Theatre at Lounge Theatre
Tommy Smith, Firemen, The Echo Theater Company at Atwater Village Theatre
Aaron Posner, Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court
Troubadour Theater Company, Abbamemnon, Troubadour Theater Company at Falcon Theatre
Matt Almos, Brendan Milburn and Burglars of Hamm, The Behavior of Broadus, Sacred Fools Theater Company and Burglars of Hamm at Sacred Fools Theater
Guillermo Cienfuegos, Henry V, Pacific Resident Theater
Jessica Kubzansky, Everything You Touch, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court
Robin Larsen, A Delicate Balance, Odyssey Theatre
Michael Michetti, Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court
Marcus Choi, Beijing Spring, East West Players at the David Henry Hwang Theater
Julie Hall, The Mystery of Edwin Drood, Actors Co-op at the Crossley Theatre
Spencer Liff, Spring Awakening, Deaf West Theatre in association with The Forest of Arden, at Inner City Arts
Jake Anthony, The Mystery of Edwin Drood, Actors Co-op at the Crossley Theatre
Eric Heinly, The Snow QUEEN, Troubadour Theater Company at Falcon Theatre
David O, Floyd Collins, La Mirada Theatre for the Performing Arts
John O’Neill, Harmony, Center Theatre Group, Ahmanson Theatre
Jared Stein, Spring Awakening, Deaf West Theatre in association with The Forest of Arden, at Inner City Arts
Tom Buderwitz, A Delicate Balance, Odyssey Theatre
Melissa Ficociello, The Last Act of Lilka Kadison, Falcon Theatre, Abbie Phillips and Jan Kallish in association with Lookingglass Theatre Company, at the Falcon Theatre
Stephen Gifford, Backyard, The Echo Theater Company at Atwater Village Theatre
Andrew Hammer, Broomstick, Fountain Theatre
Jeff McLaughlin, Pray to Ball, Skylight Theatre
Leigh Allen, A Delicate Balance, Odyssey Theatre
Francois-Pierre Couture, The Curse of Oedipus, The Antaeus Company
Guido Girardi, Beijing Spring, East West Players at the David Henry Hwang Theater
Lisa D. Katz, Floyd Collins, La Mirada Theatre for the Performing Arts
Luke Moyer, The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord, NoHo Arts Center and Geffen Playhouse
Gregg Barnes, Kinky Boots, Pantages Theatre
Jenny Foldenauer, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court
Sharon McGunigle, The Snow QUEEN, Troubadour Theater Company at Falcon Theatre
Peter Bayne, Broomstick, Fountain Theatre
Richard Woodbury, Slowgirl, Geffen Playhouse
PERFORMANCE IN A PLAY
Brooke Adams, Happy Days, The Theatre @ Boston Court
Hugo Armstrong, Backyard, The Echo Theater Company at Atwater Village Theatre
Rae Gray, Slowgirl, Geffen Playhouse
O-Lan Jones, A Delicate Balance, Odyssey Theatre
Eric Lange, The Country House, Geffen Playhouse
Abigail Marks, Top Girls, Antaeus Theatre Company
Kristine Nielsen, Vanya and Sonia and Masha and Spike, Center Theatre Group at Mark Taper Forum
Ann Noble, The Goat or, Who Is Sylvia?, Los Angeles LGBT Center at The Davidson/Valentini Theatre at the Los Angeles LGBT Center’s Village at Ed Gould Plaza
Jaimi Paige, Venus in Fur, South Coast Repertory
William Petersen, Slowgirl, Geffen Playhouse
David Selby, A Delicate Balance, Odyssey Theatre
Susan Sullivan, A Delicate Balance, Odyssey Theatre
Kirsten Vangsness, Everything You Touch, The Theatre @ Boston Court and Rattlestick Playwrights Theater at The Theatre @ Boston Court
Paul Witten, The Goat or, Who Is Sylvia?, Los Angeles LGBT Center at The Davidson/Valentini Theatre at the Los Angeles LGBT Center’s Village at Ed Gould Plaza
Jacqueline Wright, Backyard, The Echo Theater Company at Atwater Village Theatre
PERFORMANCE IN A MUSICAL
Carter Calvert, Always…Patsy Cline, El Portal Theater
Larry Raben, The Drowsy Chaperone, Norris Center for the Performing Arts/Palos Verdes Performing Arts at Norris Theatre
Jeff Skowron, The Producers, 3-D Theatricals, Plummer Auditorium and Redondo Beach Performing Arts Center
Kyle Taylor Parker, Kinky Boots, Pantages Theatre
Peter Allen Vogt, The Mystery of Edwin Drood, Actors Co-op at the Crossley Theatre
Stuart Ward, Once, Pantages Theatre and Segerstrom Stage
Mark Whitten, Floyd Collins, La Mirada Theatre for the Performing Arts
Kris Andersson, Dixie’s Tupperware Party, Geffen Playhouse
Annette Bening, Ruth Draper’s Monologues, Geffen Playhouse
Barry McGovern, I’ll Go On, Center Theatre Group at Kirk Douglas Theatre
Christopher Plummer, A Word or Two, Center Theatre Group at Ahmanson Theatre
Michael Urie, Buyer & Cellar, Center Theatre Group at Mark Taper Forum
One in the Chamber, 6140 Productions & Lounge Theatre at Lounge Theatre: Kelli Anderson, Robert Bella, Alec Frasier, Fenix Isabella, Emily Peck, and Heidi Sulzman
Stupid Fucking Bird, The Theatre @ Boston Court and Circle X Theatre Company at The Theatre @ Boston Court: Will Bradley, Arye Gross, Charlotte Gulezian, Zarah Mahler, Matthew Floyd Miller, Amy Pietz, and Adam Silver
The voting critics of ArtsInLA.com: Travis Michael Holder, Dany Margolies, Julio Martinez, Dink O’Neal, Jonas Schwartz, Bob Verini, and Neal Weaver
January 5, 2015
for theater in 2013
Who says critics don’t like
anything? Our theater critics chose their tops of 2013, from best
production through best fight choreography, and the crossover among our
choices gave rise to a surprisingly large list.
And so we have decided to inaugurate our Sage Awards—named for the
obvious reference to the wisdom we hope for, but also for the plant that
covers the Los Angeles area, as we do.
Congratulations to the Sage Award winners, and we hope to share more great theater in 2014.
Ah, Wilderness!, Actors Co-op
El Grande de Coca Cola, Ruskin Group Theatre
Matthew Bourne’s Sleeping Beauty, Ahmanson Theatre
One Night in Miami…, Rogue Machine
Our Class, Son of Semele Ensemble at Atwater Village Theatre
Pericles, Prince of Tyre, A Noise Within
The Laramie Project: Ten Years Later, L.A. Gay & Lesbian Center’s Davidson/Valentini Theatre
The Nether, Kirk Douglas Theatre
The Scottsboro Boys, Ahmanson Theatre
We Are Proud to Present a Presentation About the Herero of
Namibia, Formerly Known as Southwest Africa, From the German
Sudwestafrika, Between the Years 1884–1915, Matrix Theatre
Jennifer Haley, The Nether, Kirk Douglas Theatre
Bruce Norris, A Parallelogram, Mark Taper Forum
Kemp Powers, One Night in Miami…, Rogue Machine
Christopher Shinn, Dying City, Rogue Machine
Jackie Sibblies Drury, We Are Proud to Present a Presentation
About the Herero of Namibia, Formerly Known as Southwest Africa From the
German Sudwestafrika, Between the Years 1884–1915, Matrix Theatre
David Ives, The Liar, Antaeus Company
Nancy Keystone, Alcestis, The Theatre @ Boston Court
Jessica Kubzansky, R II, The Theatre @ Boston Court
Joe Iconis, The Black Suits, Kirk Douglas Theatre
John Kander and Fred Ebb, The Scottsboro Boys, Ahmanson Theatre
Matthew McCray, Our Class, Son of Semele Ensemble at Atwater Village Theatre
Michael Peretzian, Dying City, Rogue Machine
Julia Rodriguez-Elliott, Pericles, Prince of Tyre, A Noise Within
Ken Sawyer, The Laramie Project: 10 Years Later, L.A. Gay & Lesbian Center’s Davidson/Valentini Theatre
Dennis Castellano, The Fantasticks, South Coast Repertory
Eric Heinly, A Midsummer Saturday Night’s Fever Dream, Troubadour Theater Company at Falcon Theatre
Ross Seligman, One Night With Janis Joplin, Pasadena Playhouse
Robyn Wallace, Bloody Bloody Andrew Jackson, Chance Theater
Rob Ashford, Evita, Pantages Theatre
Matthew Bourne, Matthew Bourne’s Sleeping Beauty, Ahmanson Theatre
Lee Martino, Nuttin’ but Hutton, NoHo Arts Center
Arlene Phillips, The Wizard of Oz, Pantages Theatre
Susan Stroman, The Scottsboro Boys, Ahmanson Theatre
Kelly Todd, Bloody Bloody Andrew Jackson, Chance Theater
Ken Merckx, Pericles, Prince of Tyre, A Noise Within
Adrian W. Jones, The Nether, Kirk Douglas Theatre
Keith Mitchell, Billy & Ray, Falcon Theatre
Allen Moyer, Parfumerie, Wallis Annenberg Center for the Performing Arts
Jeanine A. Ringer, Pericles, Prince of Tyre, A Noise Within
Thomas A. Walsh, Annapurna, Odyssey Theatre Ensemble and Evidence Room, at Odyssey Theatre
Ken Booth, Pericles, Prince of Tyre, A Noise Within
Paule Constable, Matthew Bourne’s Sleeping Beauty, Ahmanson Theatre
Christopher Kuhl, The Nether, Kirk Douglas Theatre
David Lander, Parfumerie, Wallis Annenberg Center for the Performing Arts
Justin Townsend, One Night With Janis Joplin, Pasadena Playhouse
Angela Balogh Calin, Pericles, Prince of Tyre, A Noise Within
Lez Brotherston, Matthew Bourne’s Sleeping Beauty, Ahmanson Theatre
Michael Krass, Parfumerie, Wallis Annenberg Center for the Performing Arts
Jonathan Snipes, Wait Until Dark, Geffen Playhouse
PERFORMANCE IN A (PRIMARILY) STRAIGHT PLAY
Mark Bramhall (grandfather), Walking the Tightrope, 24th STreet Theatre
Phil Crowley (Nat Miller, father), Ah, Wilderness!, Actors Co-Op
Jason Dechert (young Pericles and pandar), Pericles, Prince of Tyre, A Noise Within
Arye Gross (Mr. Sipos), Parfumerie, Wallis Annenberg Center
Robert Lesser (lawyer/Greek chorus), A View From the Bridge, Pacific Resident Theater
Dakin Matthews (Doyle), The Nether, Kirk Douglas Theatre
Seth Numrich (Eli), Slipping, Rattlestick Playwrights Theater at Lillian Theatre
Deborah Strang (narrator), Pericles, Prince of Tyre, A Noise Within
Paige Lindsey White (Esme the granddaughter), Walking the Tightrope, 24th STreet Theatre
PERFORMANCE IN A (PRIMARILY) MUSICAL PRODUCTION
Sabrina Elayne Carten (Blues Singer), One Night With Janis Joplin, Pasadena Playhouse
Nate Dendy (The Mute), The Fantasticks, South Coast Repertory
Mary Bridget Davies (Janis), One Night With Janis Joplin, Pasadena Playhouse
Jamie McKnight (Scarecrow), The Wizard of Oz, Pantages Theatre
Josh Young (Che), Evita, Pantages Theatre
Lorenzo Pisoni, Humor Abuse, Mark Taper Forum
The Katrina Comedy Fest, Bayou Playhouse and Flambeaux Productions at Lounge Theatre: Peggy Blow, Deidrie Henry, Travis Michael Holder***, Judy Jean Berns, L. Trey Wilson, and Jan Munroe
One Night in Miami…, Rogue Machine: Giovanni Adams, Kevin Daniels, Jason Delane, Matt Jones, Ty Jones, Jason E. Kelley, Burl Moseley, and Jah Shams
Our Class, Son of Semele Ensemble at Atwater Village Theatre: Melina
Bielefelt, Sharyn Gabriel, Matt Kirkwood, Michael Nehring, Gary Patent,
Gavin Peretti, Sarah Roseberg, Kiff Scholl, Dan Via, and Alexander
The Laramie Project: Ten Years Later, L.A. Gay & Lesbian Center’s Davidson/Valentini Theatre: Johanna
Chase, Paul Haitkin, Michael Hanson, Elizabeth Herron, Carl J. Johnson,
Che Landon, Ed F. Martin, Ann Noble, Dylan Seaton, Christine Sloane,
and Paul Witten
The Scottsboro Boys, Ahmanson Theatre: Gilbert
L. Bailey II, David Bazemore, Ayanna Berkshire, Shavey Brown,
Christopher James Culberson, Joshua Henry, Trent Armand Kendall, Max
Kumangai, Hal Linden, JC Montgomery, Justin Prescott, Clinton Roane,
Cedric Sanders, Deandre Sevon, Christian Dante White, and C. Kelly
We Are Proud to Present a Presentation About the Herero of
Namibia, Formerly Known as Southwest Africa, From the German
Sudwestafrika, Between the Years 1884–1915, Matrix Theatre: Daniel Bess, Julanne Chidi Hill, Joe Holt, Phil LaMarr, Rebecca Mozo, and John Sloan
***Travis Michael Holder reviews for ArtsInLA.com. He did not nominate himself, nor did he nominate his show.
The voting theater critics of ArtsInLA.com: Travis Michael Holder, Dany
Margolies, Julio Martinez, Dink O’Neal, Melinda Schupmann, and Bob
January 5, 2014