Awards and Reviews
Awards and Reviews
Awards (Partial List)
Dozens of awards and reviews will be added... eventually.
L.A. Times review of The Best Christmas Pageant Ever - December 2008 "An ample helping of holiday warmth infuses "The Best Christmas Pageant Ever." Barbara Robinson's stage adaptation of her sweetly raucous children's book receives a spiky, appealing reading at Knightsbridge Theatre."
L.A. Times review of The Grapes of Wrath - November 2008 "Timely urgency drives a committed Knightsbridge Theatre revival of Frank Galati's epic 1988 stage adaptation."
ENTERTAINMENT - LIVE STAGE Cyrano de Bergerac by Mary E. Montoro
The staff and company members at the Knightsbridge Theatre know how to give a great time to its patrons. For example, the innkeeper (the amusing Ken Hugo) completes in a formal getup, announces whoever comes in and is cheered on by the people inside. It’s hard to miss aspiring poet/genius pastry chef Ragueneau (wonderfully played by John Eddings) offering samples of his tasty treats. The entertainment begins early with the feminine town drunk Lydia (the charming and hysterical Amanda Vermillion). She loves her wine and loves a good and funny story. Hint! Hint! After Lydia seats you, makes sure it’s the right seat, the show begins.
In the Hôtel Burgundy in Paris, everyone in the theater is awaiting for great actor Monsieur Montfleury (John Doing). Everyone except for nobleman turned soldier Cyrano de Bergerac. He has banished the French actor from performing for a month. Montfleury proceeds to share his thespian skills when Cyrano loudly interrupts and threatens him. He uses his fancy sword skills to get his point across, which in this case is, “Leave while you still can.” The grand entertainer chooses to ignore Cyrano and proceeds to make fun of Cyrano’s oversized nose. Not the most brilliant idea. Cyrano doesn’t get mad.
He insults his own nose and those jabs are far superior that anyone else can say. In the background is the new and very handsome cadet and soon-to-be new friend to de Bergerac is Christian de Neuvillette, (Benny Briseno). They are both in love with the beautiful and sweet-natured Roxanne (the compelling Kristina Mitchell). Roxanne is Cyrano’s distant cousin and has been in love with her forever. Now, here comes Christian with his great looks, bold swagger and a decent size nose. He is a wonderful soldier but lacks the eloquence of de Bergerac.
Cyrano decides to put aside his feelings and help the hapless cadet. Soon, a favor becomes a quagmire of deceit and misunderstanding. Two men vying for the love of one woman. Not an unfamiliar story, but, this one is told with care without being condensing. Much love to Joseph P. Statchura, who played the titular role with gusto and humor. Statchura also adapted Rostand’s work and directed the production. Stachura was absolutely mesmerizing to see. He can be cavalier, sympathetic and ready to battle all at once. His Cyrano was charming, expressive and a bad ass.
An excellent production executed perfectly well. You will laugh and laugh and more laugh until your sides ache from so much joy.
Cyrano de Bergerac runs until Sunday, March 18, Friday and Saturday at 8 p.m. and Sunday at 3 p.m., at the Knightsbridge Theatre Tickets are available at www.knightsbridgetheatre.com or by phone at (323) 667-0955
"GODSPELL" - WAY MORE FUN THAN CHURCH
By Mike Buzzelli 06/08/2009
Halleluiah! It’s the gospel according to Stephen Schwartz at the Knightsbridge Theatre in the slightly updated version of Godspell.
A rockin’ sexy Jesus (Sterling Sulieman), with the aid of John the Baptist (Rene Guerrero), appears to his new disciples, Zach, Kelly, Jason, Maria, Talo, Cloie, Tracy, and Jenny (Yes, they sound more like multi-ethnic Mouseketeers than disciples, but whatever) to preach the word of God. They act out parables from the bible with music, corny jokes and slapstick. It’s a rock opera about loving one another, a Sunday afternoon message for a Saturday night.
John the Baptist announces His arrival in song with “Prepare Ye,” a church favorite. The cast sings and dances all evening until Judas (Guerrero again) betrays his friend, and Jesus must face his inevitable fate. Spoiler Alert: Jesus dies on a cross, but comes back to life three days later. He really only sticks around for one more closing song, but it’s a much more hopeful, uplifting ending. Godspell is a musical extravaganza. It’s a big production for a small theatre, but it works due to the talent and exuberant cast of cute young actors. Each of the cast members gets a moment to shine; Zach Bandler beat-boxes, Maria Lee works the room with a sultry dance, Cloie Wyatt Taylor gyrates, Jason B. Hightower gets some good laughs, Talo Silveyra, Tracy Thomas, Kelly Boczek are all highlighted, but the showstopper is Jenny Weaver’s rendition of the show’s most famous number, “Day by Day.” It’s an emotional moment. There are several moments of powerful emotion; conductor and keyboard player Jan Roper and the band play “On the Willows,” as Jesus wipes away the tears of his disciples before his execution. It’s a Kleenex grabber. One caveat about the show: If you’re a Christian, Godspell can be a moving experience, but if you subscribe to another religion, or none at all, it may not be the show for you. The jokes will seem cornier, and the music will seem cloying. Way too much attention is given to hell (a concept that I don’t even think many Christians still believe in). There’s a mixed message when Maria slinks through the audience in a cabaret number, but then is chastised for her overt sexuality. It’s a scintillating scene that judges the audience for enjoying it (maybe there can’t be a show about Christianity without hypocrisy). Director Chuck McCollum does a fair job. Special attention must be paid to choreographer Allison Bibicoff for orchestrating all the action on such a small space. It is way more fun than church, and, if you miss the part where they pass around the collection plate, you can always donate to the theatre.
- Mike Buzzelli
Photos courtesy of the production
(Godspell runs from June 6 to July 7 at the Knightsbridge Theatre)
A FLEA IN HER EAR
By Cynthia Citron
For The Santa Monica Daily Press
And AIRSLA.org (radio/podcast)
First of all, let me acknowledge that I am not a fan of
French farce. But if that format appeals to you, you won’t find a
finer rendition than that of the talented ensemble currently
presenting Georges Feydeau’s classic “A Flea in Her Ear” at the
Knightsbridge Theatre in L.A. (I don’t know what the title means,
either, unless it’s a polite Belle Époque version of “a bug up her
ass.”)
Director Julie Sanchez, who adapted this current version,
puts her cast of 14 through all the traditional aspects of farce: a
mistaken premise, a jump to the wrong conclusion, mistaken identity,
coincidence, and mayhem. Everyone chasing everyone else, a lot of
screaming and slamming doors, near misses, extraneous eccentric
characters, and more than a hint of forbidden sexuality. Everything
but a pie in the face.
It was written in 1907, so they didn’t refer to the malady as
E.D., but that is the basis of the problem between Victor Emmanuel
Chandebise (Timothy Polzin) and his wife, Raymonde (Shaina Vorspan).
She jumps to the conclusion that he must be having an affair, and with
the help of her friend Lucienne (Karyn O’Bryant) devises a plan to
catch him at it. Since Victor Emmanuel would recognize her
handwriting, she persuades Lucienne, posing as an unknown admirer, to
write a note setting up a rendezvous with him at the local “fun
palace” hotel. Victor Emmanuel, flattered but unwilling, convinces
his best friend, Tournel (Bradley Upton), that the note was meant for
him, and Tournel happily dashes off to the Hotel Coq d’Or anticipating
an assignation with Raymonde, whom he has been persistently trying to
seduce.
When Victor Emmanuel proudly shows off the amorous letter to
his friend Don Carlos, Lucienne’s husband, the hot-blooded Spaniard
recognizes his wife’s handwriting, assumes she is having an affair,
and becomes apoplectic. He, too, rushes off to the Hotel Coq d’Or.
With a gun.
Also rendezvousing at the hotel is Victor Emmanuel’s nephew,
Camille (Paul Miailovich), who has a speech impediment that makes him
unable to verbalize consonants. He is there with Antoinette
(Mitzella), the parlor maid who is the wife of Etienne (Ehrin Marlow),
the obsequious major domo of the Chandebise household.
Wait, we’re not done yet. We have to introduce Poche, the
drunken porter at the hotel, who is the spitting image of Victor
Emmanuel. Even Raymonde thinks Poche is Victor Emmanuel, suddenly
gone mad. And then there is Poche’s brutal boss, Ferraillon (John
Paul De Leonardis), the manager of the hotel, who spends his time
delivering kicks to the rear ends of both Poche and Victor Emmanuel.
He also defends the honor of the hotel by declaring, “Only married
couples come here!” To which his wife replies, “Of course, just not
at the same time.”
You wouldn’t think that 90 minutes (plus two 15-minute
intermissions) would be enough time to work out all the confusion, but
in the end sanity prevails. Sort of. Nobody gets killed, and none of
the actors barrels into one another as they dash, screaming, around
the hotel set. A set, by the way, that couldn’t be tackier. Perhaps
set designer John Paul De Leonardis was hampered by budget, but the
unfortunate mix of colors and drapes makes the set look like something
a bunch of kids might have rigged up in their family’s garage.
Moreover, the set representing the Chandebise living room is equally
inelegant. Instead of a sofa there is a huge red velvet chaise
longue, a cheap wooden desk and nearly empty sideboard, and a series
of white columns with royal blue capitals. Minimalism, at the very
least.
Feydeau, who lived from 1862 to 1921, is recognized as one of
the leading French playwrights of his era, and his work is considered
the predecessor of surrealist theater, the Dada movement, and theater
of the absurd. You can see this example of his most popular play, “A
Flea in Her Ear” at the Knightsbridge Theater
GREATER TUNA
On a whim, I decided to go see "Greater Tuna" at the Knightsbridge on Saturday. To be honest, I wasn't expecting too much as I've never seen the play before but knew that only two actors were supposed to play at least a dozen different characters. But almost immediately, I was blown away. The performances are absolutely sensational. Whether an actors is playing a man and woman a kid or a dog, I was completely convinced that he was 110% into that character. And the transitions between costume changes, maybe 10 seconds max, made it all the more impressive. I kept expecting someone to accidentally slip into the wrong voice or accent when making a quick change, but not once did a notice such thing. And overall, the show is hilarious. I was literally crying in my seat, I was laughing so hard. There were some obvious additions to the script in order to incorporate a homecoming for George W. into the show, and they worked beautifully. And finally, I have to say I was slightly hesitant to go simply because in today's economy, $20 for live theatre just isn't in my budget anymore. But this one was absolutely worth it. Because in today's economy, I needed a couple hours to just laugh and have a good time - forget about everything around me. And come my next paycheck, I'll probably go see it again!
Review by Jonathan Lee"
'22'
There’s small theater and then there’s intimate theater. For its current production, The Knightsbridge Theatre has taped off its normal 99 seats and gathered about 25 folding chairs around the stage, pulling the audience so close they almost feel part of the action. Which is, I guess, the point. What’s more, the company makes an inspired choice not to pass out programs until after the play is over, so as to further make audience members feel like participants, rather than mere observers.
As for the play itself, Twenty Two is an original one-act by new playwright Julia Morizawa about her personal struggles with drugs, or, as it is described, “a young woman’s cathartic downfall into cocaine addiction.” Now a recovering addict, Morizawa uses theater as part of her own recovery and also to inspire others.
She also stars as the primary character, Leila, whom we first encounter as she anxiously awaits her drug buddy Danny (played by Matthew Black) to come back with another “8-ball,” which they proceed to inhale within a few minutes of his arrival. They are joined by their mutual friend Eric (Raymond Donahue) and Leila’s BFF Zoe (Shaina Vorspan), who are more than happy to join in. I must admit that at this point, the idea of recreational drug use seemed rather appealing.
However, that feeling soon dissipated. As the play continues, Leila and her friends continue to ingest whatever they can get her hands on in a futile attempt to keep ahead of the inevitable crash. Together, they partake when they are happy so as to sustain their mood and when they are hurting in order to dull the pain. Either way, their lives are totally preoccupied with drugs, as they’re either selling it, using it or thinking about how to get some more. In fact, there was so much simulated drug use during the course of this play, I left the theater with a real case of the munchies. (That joke would have been a lot funnier except for the fact that most of the drugs ingested were actually appetite inhibitors.)
All along, Leila recognizes the insanity of the downward spiral in which she is caught. She is ashamed of what she is willing to do for a fix, even as she is doing it, be it pulling tricks in the parking lot or licking remnants off the inside of a plastic baggie. It is brutally honest and astonishingly realistic.
They say the invention of the camera led to the development and proliferation of impressionism and abstract art forms. After all, if the best an artist can hope to achieve can already be done by a machine, why bother to compete with that? Theater (and later motion pictures), on the other hand, never really faced this predicament. In fact, if anything, the trend in acting has been towards becoming more realistic.
Well, if art is supposed to imitate life, Twenty Two has accomplished its mission. The characters are totally believable, the dialogue is as natural as it gets and the acting overall is amazingly realistic. James Adam Patterson in particular gives an incredibly believable performance as Sol (pronounced, appropriately, “Soul”), the cool, smarmy, quick-tempered drug dealer, the kind of undesirable that drugs can apparently bring into your life. Despite the harshness of the character, Patterson gives a surprisingly nuanced portrayal.
As a snapshot of the playwright’s life at 22 (which I am assuming is the meaning of the title) or as a mirror on the daily existence of all-too-many addicts in this country, Twenty Two works. It doesn’t attempt to really answer any deeper questions: “How did she fall into that trap to begin with?” “Is it just a physical addiction, or do drugs fill a bigger hole?” “How does she pull herself out?” “What happens to her friends?” “Do they join her in sobriety or at least support her in her journey?” Perhaps the answers to those questions will have to wait until Twenty-Three.
Twenty-Two was directed by Raymond Donahey and co-produced by Morizawa and Shaina Vorspan. Joseph P. Stachura. was executive producer.
Twenty Two is performed Fridays and Saturdays at 8 p.m. through January 30, 2010.
The Knightsbridge Theatre is located at 1944 Riverside Drive, 3 blocks east of Glendale Blvd., where the 2 and 5 freeways meet.
Tickets are $10. No one under the age of 18 will be admitted due to adult themes such as language, drug use, partial nudity, sexual behavior and some violence.
Reservations online at www.knightsbridgetheatre.com or by phone at 323-667-0955. Information and a short mockumentary are available at www.twentytwo-play.com.
MARAT/SADE
The First Sexual Revolution
LA Opas
Review by Joseph Mailander
Walking in: how can you not like a production where the members of the
audience, rather than the players, are caged? The first set direction
lends an extra S&M layer to Marat/Sade at the Knightsbridge Theatre
(weekends including Friday through Feb. 17), and that should be enough
to get you going; even before the patients assemble onstage for their
first snarling ensemble, the audience has been rhymed and primed for a
refreshingly educated cocktail of history, philosophy, and plain ol'
dirty fun.
Marat/Sade is a play within a play, and a Brecht-Weil-ian musical
within all that; set in 1808 but really in 1793, it's the euro 1776,
complete with unabashed euro-nakedness. The company does not so much
come to life as climax for over two straight hours; and this may be
one of those rare productions, in fact, where all the bit players all
match and even outshine the principles.
David Stifel as the chronically psoriatic (and worse---history
diagnoses his skin condition in retrospect as scrofula, really nasty
stuff) Marat is a soldier; he's humourless enough as Marat, and very
nearly as soullessly sanctimonious too. The historical man who as a
humanitarian doctor was made a revolutionary martyr both by propaganda
and paintings is more than troublesome figure, and Stifel is fully in
tune with the vast historical shortcomings, ranting when simple
declarations would be enough, reflecting perplexity at the fact that
there is any Jacobin opposition at all.
Dealt the winning hand, Bart McCarthy as the Marquis de Sade fairly
waltzes with confidence and amiable certitude, even when being
whipped; you'd expect no less from the man for whom even sadism is
mere eponymy. McCarthy's nonchalance through the Reign of Terror's
asylum sideshow is engagingly insufferable; he could be Seinfeld's J.
Peterman, walking through the ashes of 9/11 with a winning grin.
But it's all the players who really shine and contort and expose and
sing and slam and spank their way through the magnificently orgiastic
choreography of Christina Howard. The women in loosely cut asylum
robes and the men in---damn, I forgot to look at the men---form a
phalanx of flesh worthy of any carnival, political or quasi-religious
or otherwise. Standing in stark contrast to them is Marat's assassin,
Courtney Loggins, as Charlotte Corday, the perplexed political virgin
who must decide whether to submit to one of the two tensions of the
time, revolution or copulation; one suspects that the world just might
be better off with the choice she makes, even if her character is not.
Everyone's notable---everyone---but put a follow spot on the two
heralds, Kevin Meoak and Maria Olsen, who service the play as a
yin-yang jestering chorus in fleur-de-lys jackets and who slap out
their couplets with a kind of supercharged dangerous malice that might
even put some west coast rappers to shame. But that's the way director
Jamil Chokachi has handled everyone: like ticking time bombs that can
detonate at any time.
Marat/Sade has a touch one of LA's most beloved historical romps,
Tamara, in it too, at least this production does: you engage some of
the characters as you walk in. The music and singing are similarly
resourceful and even sumptuous. As is the production itself: there are
no less than 25 people on stage through most of the performance.
Marat/Sade is at Knightsbridge Theatre through next weekend, today,
Friday Feb 15, Saturday Feb 16, and Sunday Feb 17.
LA Weekly
NEW REVIEW GO 'TWELFTH NIGHT' marks the worthy launch of this theater's 18th season. With its multilayered plot, theatrical high jinks, silly sweetness and romance, Twelfth Night is one of the Bard's most popular works. With a nod to the traditional yuletide celebration after which the play is named, director J.C. Gafford's production features music, caroling, dancing and revelry. The setting of Illyria is here re-created as a large, raised platform, surrounded by a table set for a feast, kegs and some old boxes. Though not especially picturesque, it has a certain rustic appeal, and changes in scenes are smoothly handled by a member of the troupe with hand-painted placards. Kristina Mitchell does a fine turn as Viola, the main character in this romp of romance and mistaken identity, who is shipwrecked and separated from her twin brother, Sebastian (Jackson Thompson), on a different part of Illyria. She goes in disguise as a boy named Cesario, employed by the lovesick Duke Orsino (Jim Kohn), who uses her to court (on his behalf) his beloved but less-than-requiting Lady Olivia (Amy Clites). But Viola has herself fallen for her employer, the Duke, while his would-be mistress, Lady Olivia, finds herself smitten with the "boy" Viola is impersonating. The unraveling of this romantic knot makes for lively comedy under Gafford's smart direction, with uniformly good performances. Seth Margolies is a riot as the bumbling Sir Toby Belch. Casey E. Lewis, who puts one in mind of Stan Laurel, is equally funny as the comically foiled Malvolio, while Jason Rowland provides tons of laughs as the fool, Feste. Knightsbridge Theater,
Dozens of awards and reviews will be added... eventually.
- Las Vegas Film Festival, Redemption, Golden Ace Award, Excellence in Film making, 2011
Winner - "Redemption" (Feature Film) - Los Angeles Movie Awards, Redemption, Honorable Mention, 2011
Honorable Mention - "Redemption" (Feature Film) - Almeria Western Film Festival, Spain Redemption, Official Selection, 2011
REDEMPTION was chosen to compete with TRUE GRIT, BLACKTHORN and many others in the this 2011 Film Festival. - Drama Logue Awards, BEST DIRECTOR, Much Ado About Nothing , 1995
- Drama Logue Awards, BEST PRODUCER, The Two Gentlemen of Verona, 1997
- Gold Crown Awards, Outstanding Theatre , 1998
- Pasadena Weekly Awards Winner, Best Live Theatre in Los Angeles, 1996
- Drama Logue Awards, Best Actor, Lenny in Of Mice and Men, 1994
- Back Stage West Garland Award, PRODUCER, Rosencrantz and Guildenstern are Dead, 1995
- Back Stage West Garland Award, Actor, Hamlet, 1995
- Back Stage West Garland Award, Actor, Heathcliff in Wuthering Heights, 1995
L.A. Times review of The Best Christmas Pageant Ever - December 2008 "An ample helping of holiday warmth infuses "The Best Christmas Pageant Ever." Barbara Robinson's stage adaptation of her sweetly raucous children's book receives a spiky, appealing reading at Knightsbridge Theatre."
L.A. Times review of The Grapes of Wrath - November 2008 "Timely urgency drives a committed Knightsbridge Theatre revival of Frank Galati's epic 1988 stage adaptation."
ENTERTAINMENT - LIVE STAGE Cyrano de Bergerac by Mary E. Montoro
The staff and company members at the Knightsbridge Theatre know how to give a great time to its patrons. For example, the innkeeper (the amusing Ken Hugo) completes in a formal getup, announces whoever comes in and is cheered on by the people inside. It’s hard to miss aspiring poet/genius pastry chef Ragueneau (wonderfully played by John Eddings) offering samples of his tasty treats. The entertainment begins early with the feminine town drunk Lydia (the charming and hysterical Amanda Vermillion). She loves her wine and loves a good and funny story. Hint! Hint! After Lydia seats you, makes sure it’s the right seat, the show begins.
In the Hôtel Burgundy in Paris, everyone in the theater is awaiting for great actor Monsieur Montfleury (John Doing). Everyone except for nobleman turned soldier Cyrano de Bergerac. He has banished the French actor from performing for a month. Montfleury proceeds to share his thespian skills when Cyrano loudly interrupts and threatens him. He uses his fancy sword skills to get his point across, which in this case is, “Leave while you still can.” The grand entertainer chooses to ignore Cyrano and proceeds to make fun of Cyrano’s oversized nose. Not the most brilliant idea. Cyrano doesn’t get mad.
He insults his own nose and those jabs are far superior that anyone else can say. In the background is the new and very handsome cadet and soon-to-be new friend to de Bergerac is Christian de Neuvillette, (Benny Briseno). They are both in love with the beautiful and sweet-natured Roxanne (the compelling Kristina Mitchell). Roxanne is Cyrano’s distant cousin and has been in love with her forever. Now, here comes Christian with his great looks, bold swagger and a decent size nose. He is a wonderful soldier but lacks the eloquence of de Bergerac.
Cyrano decides to put aside his feelings and help the hapless cadet. Soon, a favor becomes a quagmire of deceit and misunderstanding. Two men vying for the love of one woman. Not an unfamiliar story, but, this one is told with care without being condensing. Much love to Joseph P. Statchura, who played the titular role with gusto and humor. Statchura also adapted Rostand’s work and directed the production. Stachura was absolutely mesmerizing to see. He can be cavalier, sympathetic and ready to battle all at once. His Cyrano was charming, expressive and a bad ass.
An excellent production executed perfectly well. You will laugh and laugh and more laugh until your sides ache from so much joy.
Cyrano de Bergerac runs until Sunday, March 18, Friday and Saturday at 8 p.m. and Sunday at 3 p.m., at the Knightsbridge Theatre Tickets are available at www.knightsbridgetheatre.com or by phone at (323) 667-0955
"GODSPELL" - WAY MORE FUN THAN CHURCH
By Mike Buzzelli 06/08/2009
Halleluiah! It’s the gospel according to Stephen Schwartz at the Knightsbridge Theatre in the slightly updated version of Godspell.
A rockin’ sexy Jesus (Sterling Sulieman), with the aid of John the Baptist (Rene Guerrero), appears to his new disciples, Zach, Kelly, Jason, Maria, Talo, Cloie, Tracy, and Jenny (Yes, they sound more like multi-ethnic Mouseketeers than disciples, but whatever) to preach the word of God. They act out parables from the bible with music, corny jokes and slapstick. It’s a rock opera about loving one another, a Sunday afternoon message for a Saturday night.
John the Baptist announces His arrival in song with “Prepare Ye,” a church favorite. The cast sings and dances all evening until Judas (Guerrero again) betrays his friend, and Jesus must face his inevitable fate. Spoiler Alert: Jesus dies on a cross, but comes back to life three days later. He really only sticks around for one more closing song, but it’s a much more hopeful, uplifting ending. Godspell is a musical extravaganza. It’s a big production for a small theatre, but it works due to the talent and exuberant cast of cute young actors. Each of the cast members gets a moment to shine; Zach Bandler beat-boxes, Maria Lee works the room with a sultry dance, Cloie Wyatt Taylor gyrates, Jason B. Hightower gets some good laughs, Talo Silveyra, Tracy Thomas, Kelly Boczek are all highlighted, but the showstopper is Jenny Weaver’s rendition of the show’s most famous number, “Day by Day.” It’s an emotional moment. There are several moments of powerful emotion; conductor and keyboard player Jan Roper and the band play “On the Willows,” as Jesus wipes away the tears of his disciples before his execution. It’s a Kleenex grabber. One caveat about the show: If you’re a Christian, Godspell can be a moving experience, but if you subscribe to another religion, or none at all, it may not be the show for you. The jokes will seem cornier, and the music will seem cloying. Way too much attention is given to hell (a concept that I don’t even think many Christians still believe in). There’s a mixed message when Maria slinks through the audience in a cabaret number, but then is chastised for her overt sexuality. It’s a scintillating scene that judges the audience for enjoying it (maybe there can’t be a show about Christianity without hypocrisy). Director Chuck McCollum does a fair job. Special attention must be paid to choreographer Allison Bibicoff for orchestrating all the action on such a small space. It is way more fun than church, and, if you miss the part where they pass around the collection plate, you can always donate to the theatre.
- Mike Buzzelli
Photos courtesy of the production
(Godspell runs from June 6 to July 7 at the Knightsbridge Theatre)
A FLEA IN HER EAR
By Cynthia Citron
For The Santa Monica Daily Press
And AIRSLA.org (radio/podcast)
First of all, let me acknowledge that I am not a fan of
French farce. But if that format appeals to you, you won’t find a
finer rendition than that of the talented ensemble currently
presenting Georges Feydeau’s classic “A Flea in Her Ear” at the
Knightsbridge Theatre in L.A. (I don’t know what the title means,
either, unless it’s a polite Belle Époque version of “a bug up her
ass.”)
Director Julie Sanchez, who adapted this current version,
puts her cast of 14 through all the traditional aspects of farce: a
mistaken premise, a jump to the wrong conclusion, mistaken identity,
coincidence, and mayhem. Everyone chasing everyone else, a lot of
screaming and slamming doors, near misses, extraneous eccentric
characters, and more than a hint of forbidden sexuality. Everything
but a pie in the face.
It was written in 1907, so they didn’t refer to the malady as
E.D., but that is the basis of the problem between Victor Emmanuel
Chandebise (Timothy Polzin) and his wife, Raymonde (Shaina Vorspan).
She jumps to the conclusion that he must be having an affair, and with
the help of her friend Lucienne (Karyn O’Bryant) devises a plan to
catch him at it. Since Victor Emmanuel would recognize her
handwriting, she persuades Lucienne, posing as an unknown admirer, to
write a note setting up a rendezvous with him at the local “fun
palace” hotel. Victor Emmanuel, flattered but unwilling, convinces
his best friend, Tournel (Bradley Upton), that the note was meant for
him, and Tournel happily dashes off to the Hotel Coq d’Or anticipating
an assignation with Raymonde, whom he has been persistently trying to
seduce.
When Victor Emmanuel proudly shows off the amorous letter to
his friend Don Carlos, Lucienne’s husband, the hot-blooded Spaniard
recognizes his wife’s handwriting, assumes she is having an affair,
and becomes apoplectic. He, too, rushes off to the Hotel Coq d’Or.
With a gun.
Also rendezvousing at the hotel is Victor Emmanuel’s nephew,
Camille (Paul Miailovich), who has a speech impediment that makes him
unable to verbalize consonants. He is there with Antoinette
(Mitzella), the parlor maid who is the wife of Etienne (Ehrin Marlow),
the obsequious major domo of the Chandebise household.
Wait, we’re not done yet. We have to introduce Poche, the
drunken porter at the hotel, who is the spitting image of Victor
Emmanuel. Even Raymonde thinks Poche is Victor Emmanuel, suddenly
gone mad. And then there is Poche’s brutal boss, Ferraillon (John
Paul De Leonardis), the manager of the hotel, who spends his time
delivering kicks to the rear ends of both Poche and Victor Emmanuel.
He also defends the honor of the hotel by declaring, “Only married
couples come here!” To which his wife replies, “Of course, just not
at the same time.”
You wouldn’t think that 90 minutes (plus two 15-minute
intermissions) would be enough time to work out all the confusion, but
in the end sanity prevails. Sort of. Nobody gets killed, and none of
the actors barrels into one another as they dash, screaming, around
the hotel set. A set, by the way, that couldn’t be tackier. Perhaps
set designer John Paul De Leonardis was hampered by budget, but the
unfortunate mix of colors and drapes makes the set look like something
a bunch of kids might have rigged up in their family’s garage.
Moreover, the set representing the Chandebise living room is equally
inelegant. Instead of a sofa there is a huge red velvet chaise
longue, a cheap wooden desk and nearly empty sideboard, and a series
of white columns with royal blue capitals. Minimalism, at the very
least.
Feydeau, who lived from 1862 to 1921, is recognized as one of
the leading French playwrights of his era, and his work is considered
the predecessor of surrealist theater, the Dada movement, and theater
of the absurd. You can see this example of his most popular play, “A
Flea in Her Ear” at the Knightsbridge Theater
GREATER TUNA
On a whim, I decided to go see "Greater Tuna" at the Knightsbridge on Saturday. To be honest, I wasn't expecting too much as I've never seen the play before but knew that only two actors were supposed to play at least a dozen different characters. But almost immediately, I was blown away. The performances are absolutely sensational. Whether an actors is playing a man and woman a kid or a dog, I was completely convinced that he was 110% into that character. And the transitions between costume changes, maybe 10 seconds max, made it all the more impressive. I kept expecting someone to accidentally slip into the wrong voice or accent when making a quick change, but not once did a notice such thing. And overall, the show is hilarious. I was literally crying in my seat, I was laughing so hard. There were some obvious additions to the script in order to incorporate a homecoming for George W. into the show, and they worked beautifully. And finally, I have to say I was slightly hesitant to go simply because in today's economy, $20 for live theatre just isn't in my budget anymore. But this one was absolutely worth it. Because in today's economy, I needed a couple hours to just laugh and have a good time - forget about everything around me. And come my next paycheck, I'll probably go see it again!
Review by Jonathan Lee"
'22'
There’s small theater and then there’s intimate theater. For its current production, The Knightsbridge Theatre has taped off its normal 99 seats and gathered about 25 folding chairs around the stage, pulling the audience so close they almost feel part of the action. Which is, I guess, the point. What’s more, the company makes an inspired choice not to pass out programs until after the play is over, so as to further make audience members feel like participants, rather than mere observers.
As for the play itself, Twenty Two is an original one-act by new playwright Julia Morizawa about her personal struggles with drugs, or, as it is described, “a young woman’s cathartic downfall into cocaine addiction.” Now a recovering addict, Morizawa uses theater as part of her own recovery and also to inspire others.
She also stars as the primary character, Leila, whom we first encounter as she anxiously awaits her drug buddy Danny (played by Matthew Black) to come back with another “8-ball,” which they proceed to inhale within a few minutes of his arrival. They are joined by their mutual friend Eric (Raymond Donahue) and Leila’s BFF Zoe (Shaina Vorspan), who are more than happy to join in. I must admit that at this point, the idea of recreational drug use seemed rather appealing.
However, that feeling soon dissipated. As the play continues, Leila and her friends continue to ingest whatever they can get her hands on in a futile attempt to keep ahead of the inevitable crash. Together, they partake when they are happy so as to sustain their mood and when they are hurting in order to dull the pain. Either way, their lives are totally preoccupied with drugs, as they’re either selling it, using it or thinking about how to get some more. In fact, there was so much simulated drug use during the course of this play, I left the theater with a real case of the munchies. (That joke would have been a lot funnier except for the fact that most of the drugs ingested were actually appetite inhibitors.)
All along, Leila recognizes the insanity of the downward spiral in which she is caught. She is ashamed of what she is willing to do for a fix, even as she is doing it, be it pulling tricks in the parking lot or licking remnants off the inside of a plastic baggie. It is brutally honest and astonishingly realistic.
They say the invention of the camera led to the development and proliferation of impressionism and abstract art forms. After all, if the best an artist can hope to achieve can already be done by a machine, why bother to compete with that? Theater (and later motion pictures), on the other hand, never really faced this predicament. In fact, if anything, the trend in acting has been towards becoming more realistic.
Well, if art is supposed to imitate life, Twenty Two has accomplished its mission. The characters are totally believable, the dialogue is as natural as it gets and the acting overall is amazingly realistic. James Adam Patterson in particular gives an incredibly believable performance as Sol (pronounced, appropriately, “Soul”), the cool, smarmy, quick-tempered drug dealer, the kind of undesirable that drugs can apparently bring into your life. Despite the harshness of the character, Patterson gives a surprisingly nuanced portrayal.
As a snapshot of the playwright’s life at 22 (which I am assuming is the meaning of the title) or as a mirror on the daily existence of all-too-many addicts in this country, Twenty Two works. It doesn’t attempt to really answer any deeper questions: “How did she fall into that trap to begin with?” “Is it just a physical addiction, or do drugs fill a bigger hole?” “How does she pull herself out?” “What happens to her friends?” “Do they join her in sobriety or at least support her in her journey?” Perhaps the answers to those questions will have to wait until Twenty-Three.
Twenty-Two was directed by Raymond Donahey and co-produced by Morizawa and Shaina Vorspan. Joseph P. Stachura. was executive producer.
Twenty Two is performed Fridays and Saturdays at 8 p.m. through January 30, 2010.
The Knightsbridge Theatre is located at 1944 Riverside Drive, 3 blocks east of Glendale Blvd., where the 2 and 5 freeways meet.
Tickets are $10. No one under the age of 18 will be admitted due to adult themes such as language, drug use, partial nudity, sexual behavior and some violence.
Reservations online at www.knightsbridgetheatre.com or by phone at 323-667-0955. Information and a short mockumentary are available at www.twentytwo-play.com.
MARAT/SADE
The First Sexual Revolution
LA Opas
Review by Joseph Mailander
Walking in: how can you not like a production where the members of the
audience, rather than the players, are caged? The first set direction
lends an extra S&M layer to Marat/Sade at the Knightsbridge Theatre
(weekends including Friday through Feb. 17), and that should be enough
to get you going; even before the patients assemble onstage for their
first snarling ensemble, the audience has been rhymed and primed for a
refreshingly educated cocktail of history, philosophy, and plain ol'
dirty fun.
Marat/Sade is a play within a play, and a Brecht-Weil-ian musical
within all that; set in 1808 but really in 1793, it's the euro 1776,
complete with unabashed euro-nakedness. The company does not so much
come to life as climax for over two straight hours; and this may be
one of those rare productions, in fact, where all the bit players all
match and even outshine the principles.
David Stifel as the chronically psoriatic (and worse---history
diagnoses his skin condition in retrospect as scrofula, really nasty
stuff) Marat is a soldier; he's humourless enough as Marat, and very
nearly as soullessly sanctimonious too. The historical man who as a
humanitarian doctor was made a revolutionary martyr both by propaganda
and paintings is more than troublesome figure, and Stifel is fully in
tune with the vast historical shortcomings, ranting when simple
declarations would be enough, reflecting perplexity at the fact that
there is any Jacobin opposition at all.
Dealt the winning hand, Bart McCarthy as the Marquis de Sade fairly
waltzes with confidence and amiable certitude, even when being
whipped; you'd expect no less from the man for whom even sadism is
mere eponymy. McCarthy's nonchalance through the Reign of Terror's
asylum sideshow is engagingly insufferable; he could be Seinfeld's J.
Peterman, walking through the ashes of 9/11 with a winning grin.
But it's all the players who really shine and contort and expose and
sing and slam and spank their way through the magnificently orgiastic
choreography of Christina Howard. The women in loosely cut asylum
robes and the men in---damn, I forgot to look at the men---form a
phalanx of flesh worthy of any carnival, political or quasi-religious
or otherwise. Standing in stark contrast to them is Marat's assassin,
Courtney Loggins, as Charlotte Corday, the perplexed political virgin
who must decide whether to submit to one of the two tensions of the
time, revolution or copulation; one suspects that the world just might
be better off with the choice she makes, even if her character is not.
Everyone's notable---everyone---but put a follow spot on the two
heralds, Kevin Meoak and Maria Olsen, who service the play as a
yin-yang jestering chorus in fleur-de-lys jackets and who slap out
their couplets with a kind of supercharged dangerous malice that might
even put some west coast rappers to shame. But that's the way director
Jamil Chokachi has handled everyone: like ticking time bombs that can
detonate at any time.
Marat/Sade has a touch one of LA's most beloved historical romps,
Tamara, in it too, at least this production does: you engage some of
the characters as you walk in. The music and singing are similarly
resourceful and even sumptuous. As is the production itself: there are
no less than 25 people on stage through most of the performance.
Marat/Sade is at Knightsbridge Theatre through next weekend, today,
Friday Feb 15, Saturday Feb 16, and Sunday Feb 17.
LA Weekly
NEW REVIEW GO 'TWELFTH NIGHT' marks the worthy launch of this theater's 18th season. With its multilayered plot, theatrical high jinks, silly sweetness and romance, Twelfth Night is one of the Bard's most popular works. With a nod to the traditional yuletide celebration after which the play is named, director J.C. Gafford's production features music, caroling, dancing and revelry. The setting of Illyria is here re-created as a large, raised platform, surrounded by a table set for a feast, kegs and some old boxes. Though not especially picturesque, it has a certain rustic appeal, and changes in scenes are smoothly handled by a member of the troupe with hand-painted placards. Kristina Mitchell does a fine turn as Viola, the main character in this romp of romance and mistaken identity, who is shipwrecked and separated from her twin brother, Sebastian (Jackson Thompson), on a different part of Illyria. She goes in disguise as a boy named Cesario, employed by the lovesick Duke Orsino (Jim Kohn), who uses her to court (on his behalf) his beloved but less-than-requiting Lady Olivia (Amy Clites). But Viola has herself fallen for her employer, the Duke, while his would-be mistress, Lady Olivia, finds herself smitten with the "boy" Viola is impersonating. The unraveling of this romantic knot makes for lively comedy under Gafford's smart direction, with uniformly good performances. Seth Margolies is a riot as the bumbling Sir Toby Belch. Casey E. Lewis, who puts one in mind of Stan Laurel, is equally funny as the comically foiled Malvolio, while Jason Rowland provides tons of laughs as the fool, Feste. Knightsbridge Theater,
