Wednesday, April 9, 2014

Altar Boyz book by Kevin Del Aguila, Music and Lyrics by Gary Adler & Michael Patrick Walker, Conceived by Marc Kessler & Kevin Davenport, Orchestrations by Doug Katsaros & Lynne Shankel

L - R Michael Michael Marchak, Jason Chacon, Tyler Vess, Craig McEldowney, Photo: James Esposito 


By Joe Straw

Altar Boyz book by Kevin Del Aguila, music and lyrics by Gary Adler & Michael Patrick Walker, conceived by Marc Kessler & Kevin Davenport and directed by Kristin Towers-Rowles is now playing at the Chromolume Theatre through May 11, 2014.

The Chromolume Theatre at the Attic sounds a bit confusing. The Attic is basically the same space at 5429 Washington Boulevard. And to reacquaint you, this space is a very small black box venue, approximately 69 seats.

You can compare The Altar Boyz to ‘N Sync, or an earlier version The Backstreet Boys and/or New Kids on the Block, but The Altar Boyz are fine standing on their own merits.  

So let’s not make that comparison. Because where Jesus is concerned, The Altar Boyz are the real deal, second to none in the life of Christian Boy Bands.   Word is that a higher up has got a special place for them when things come to a harmonious end and they enter the pearly gates.  And it’s right next to the van.  

Altar Boyz is a crowd pleaser and, on this particular night, the Christians were having the time of their lives, as are the others who ventured out to see this nocturnal boy band fest.  Anyone who enjoys a little religion, with his or her entertainment, will enjoy the boyz in this show.  

Only there’s a slight problem, these are not really boyz, they are men, well into their, well let’s not go there.  Suffice it to say, they are not teenagers, and life has added a few extra pounds to their teenage frames.  But what they lack in youth, they’ve gained in experience and the ability to control an audience in support their church. 

I didn’t quite get where the proceeds of their performance were going. To God? Or the van?

Truth be told, the boyz are down on their luck. Once they commanded spaces up to the hundreds and now its come to this, a small theatre on Washington.  But that’s a challenge they’ve come to accept, because when the night is done, they will blow the Christian roof off of this venue.

Kevin Del Aguila’s book tells us the Boyz have to convert their audience.  Because, let’s be frank, this group (yours included) ain’t feeling it, so says the Boyz’ soul sensor monitor which says that 69 people just ain’t gettin’ God’s groove.

So, if it’s the telling of their story to make you come over, then that’s what they got to do.

Be that as it may, Matthew (Craig McEldowney), Mark (Michael Marchak), Luke (Jason Chacon), and Juan (Joey Acuna), put on a hell of a show (maybe a bad choice of words given the theme) to convince their audience to believe.  And by the end, they make it their objective to convert all, even if it takes the last ounce of beaded sweat pouring off their bodies and souls, to prove their point.  

The Bible has a lot of stories and so do our boyz. Matthew is a virgin, and will remain a virgin until he is married.  Mark is gay and really wants Matthew to give up this virgin thing, with him. Luke has changed his life around but still carries his street thug mentality under his tight cap.    And Juan is an orphan who wants to find his mother and father.  Abraham (Tyler Vess) is a Jew just to add one more to their religious base.

Kristin Towers-Rowles, the director, does a tremendous job defining the objectives of the characters so the audience gets a clear understanding of this musical endeavor.  The Music and Lyrics by Gary Adler & Michael Patrick Walker are very clever with a slight bash on religious thought and fanaticism. There was a moment when we seemed to head into Billy Graham territory but suddenly the show comes back to good clean religious fun as it was meant to be. The choreography by Samantha Marie is fun and keeps thing moving in a delightful direction. All in all, this is a very good outing.

The Boyz lean in the direction that says that even though were a Christian Boy Band, we’re going to give it everything we got, until God is got.

And while we are on the subject of making life changes, I have some thoughts.

This is a small venue and the actors/singers had mics and even then the words did not overcome the volume of the four-piece band. Musical director Richard Berent hasn’t found the correct satisfying levels.  Not a big problem – fixed with only a minor adjustment. The other members of the band are Joe Lawrence, synthesizer, John Harvey on drums and George “Drew” DeRieux on guitar.

L - R Jason Chacon, Michael Marchak, Craig McEldowney, Tyler Vess, Joey Acuna Photo: James Esposito 


Craig McEldowney plays Matthew, a man who won’t give “it” up until he is married. He appears to be the leader of the group and has a very nice solo number with a woman from the audience that was a big Christian crowd pleaser.

Michael Marchak is Mark, the very openly gay character on stage who would love to privately pray with a member of the band.  Marchak fits the boy-band mold with a wide-eyed expression and the ability to sing and dance with finesse and grace.   

Jason Chacon is Luke, the tough guy in the group who wants you to believe even if he has to force the religion down your throat.  It’s something that the other members of the band don’t like, given their peaceful devotion. Chacon has a very nice speaking voice but loses a little when he sings.  He has a lot of very funny moments.

Joey Acuna plays Juan, a man who was left on someone’s doorsteps, when he was a tiny baby. His one dream is to find his parents, that they will come to one of his performances, and they will lovingly reunite.  So, his dream is to find his parents but when the plan doesn’t work out, his dream becomes a physical nightmare that he must overcome. He does this in grand style and wonderfully executed. 

Tyler Vess is Abraham and keeps the ball rolling, does a nice job, but we never really get a sense of his character, aside from the menorah here, and the Star of David there. Still he has a good look and a nice voice.

Other members of the cast who did not perform on this night were Holland Noel, Kyle Shepard, Justin P. James, Charles Martinez, and Charles Martinez.

Dance Music and Additional Arrangements by Lynne Shankel.

Other members of this crew are as follows:

Scenic Design - Daniel Ingram
Lighting Design – Craig Batory
Costume Design – Wes Jenkins
Sound Design – James Esposito
Stage Manager – Lauren J. Peters
Assistant Stage Manager – Alysha Bermudez
Press Representative – Ken Werther Publicity

Run! Run!  Don't think, take a Unitarian Universalist and let them do the religious thinking for the both of you. 

FOR TICKETS:


CHROMOLUME THEATRE
AT THE ATTIC
5429 W. WASHINGTON BOULEVARD
LOS ANGELES 90016


Saturday, April 5, 2014

The Memorandum by Václav Havel

L - R - Yael Berkovich, Bart Petty - Photos: Mitch Goldstrom


By Joe Straw

The Santa Monica Rep presents The Memorandum by Václav Havel, directed by Jen Bloom, and now playing at the Miles Memorial Playhouse through April 20th, 2014. 

This is small theatre at its best.  The acting is superb and the direction by Jen Bloom provides a glimpse into a style of acting that dares to takes us into the absurdist reality of Václav Havel’s farcical black comedy.  In short, the night was sublime and the concentration from the performers on this night was spot on.  

Memorandum

To:  Mr. Gross

From: The Chairman

Date:  Your very future

Subject Matter:  Confidential

Mr. Gross, the memorandum provided to you, sitting on your desk this morning, and on your personal tablet is a cruel but deliberate attempt to solidify your standing in the company.  Your objective is to translate the memo, written in another language, and take corrective action immediately upon the completion of the translation.   Your job depends on it.

We will be watching you today.


Watching and enjoying the endeavors of human beings necessitates providing you with my observations of existence in the office.  

Before anyone arrives, the work morning starts with music, a dedicated drumbeat followed by synthesized instruments providing more layers to a beat of a working environment.  

Workers enter, checking in one at a time, a “ping”, and entry. Automatic time clocks, in a futuristic setting, suggests, upon entry, an effective way to manage information. Well done.  Each worker has a prescribed plexi-glass pad, similar to the old fashion iPads used back in the twenty teens. Signatures require a thumbprint on the pad to authenticate.  

These workers are extremely hungry and have a negotiated and segregate time to eat, every 15 minutes or so, or until the needs arrive to have a food source that would increase productivity. A #hash tag projected on the office wall presents the quantity of food available in which a worker is instructed to buy all of those items except one. A slightly colored, off white, offensive looking milk in a bottle with a plastic cup is the preferred office drink of choice.

The boss enters last, Josef Gross (Bart Petty), carrying with him, something that looks like a fire extinguisher. It is this container for which he is recognized as the boss. Company policy.  The orange rectangle on his green fake tie would also appear to make him a negotiated hierarchy of the company and a person of recognition.

On Mr. Gross’s desk is a tablet, the memorandum, untranslatable because it is in another language.

Mr. Gross does his job effectively despite arrangements around the office, no rules, that prevents him from buying another “mail book” that his deputy Jan Ballas (Barbara Urich) desperately needs. She, cleverly disguised, appears at first glance to be a rules follower.   

But things have changed this morning. Unbeknownst to Mr. Gross, Jan, the deputy, has introduced a new office language to streamline the effectiveness of communications in the office.  That new language is Ptydepe pronounced, puh-TIE-duh-pee.

The new language has taken over, procedures are in place, classes have started, and everyone is eager to learn, but there is a slight problem. And we’ll let them sort it out.

This version of The Memorandum by writer Václav Havel is set sometime in the near future and wonderfully displayed in all its glory by director Jen Bloom. The play was written in 1965 by the former President of The Czech Republic with the help of his brother, Ivan M. Havel.

The futuristic setting by Sean T. Cawelti at Miles Memorial Playhouse gives us an elongated thrust stage that runs the length of the auditorium.  Each office is compartmentalized with a transparent strip indicating office separations. The audience is sitting on either side of the stage. At times the viewing can be cumbersome, when the actors are facing in the opposite direction, but those times are minimal.

Barbara Urich, Bart Petty 


Bart Petty paints a very disparaging picture of Josef Gross, a man running near the end of his employment at this company.  He either has to learn the language, get on board or face elimination.  Despite his intelligence, this humanist is running out of steam.  And in that final life grab, he must seize control of the company in the way life has taught him and then rejoice in his victories.  Petty paints a very nice portrait of a man loosing control.

Barbara Urich is the very conniving Jan Ballas and plays her perfectly.  Suited impeccably with grey bland office attire, garish accessories, black shoes, open toed, and bright red nail polish.  She walks demurely, catlike, sucking on a candy pop, waiting patiently to strike. Ballas lines up all her arguments effectively to control the office but lacks the experience to ultimately take control. Urich plays this character supremely and in the end it is a character one comes to loathe.  Still, it is a fascinating portrayal by an actor with unimpeachable skills.  

Yael Berkovich is exceptional as Ms. (Mary) Lear, the brilliant, savant, and nightmarish teacher of Ptydepe.  Waggling and gaggling on stage, scarf in hand, an introspective yet outgoing teacher, instructing the hand picked brilliant employees to a new language. Listening to Berkovich recite the inscrutable language of Ptydepe with the words projected on the screen behind her was quite amazing. On the other end of the scale Berkovick does a remarkable turn as Pillar, a silent sycophant waiting to strike at the most convenient moment, but it is a moment that costs her dearly.

Bill Charlton plays Otto Stroll, Head of the Translation Center. Stroll is impeccably garbed and appears to posses a tremendous amount of power. He uses that power, or language, to manipulate others around him.  By appearances he has a complete grasp of the language that was only implemented only a few short hours ago.  Nicely done.

Burl Moseley, Tania Getty


Burl Moseley plays Alex Savant a university professor and Ptydepist who thinks more of himself than the company he keeps. He appears to speak Ptydepe fluently and says that his knowledge of the language is like having a Ph.D. although no one calls him doctor. Moseley brings an English accent to the role to accentuate the characters’ self-importance.  Also, Moseley is an exceptional actor who listens and reacts with impeccable timing.  

Tania Getty is Helena a woman who is after her own heart. She is someone who seeks recognition but is socially inept in her endeavors. She appears to have things under control but lacks the ability to control down to the minute detail. She is that one staff person the other employees know but haven’t a clue as to what she does.  Getty brings a nice practicality to the character.

Sara Mayer plays Maria the secretary of the translation and has a very nice quality about her. The character is also a humanist and sympathizes with those around her.  Unfortunately, this leads to tragic results.  Mayer plays the character with an innocent charm and does well with the role.

Ewan Chung plays Hans a character that does his best to stay out of the way, gather food, and performs task that no one is wiling to do.  Chung's performance has charm and he is comfortable on stage.  But one suspects, in order to add to the role, he needs a stronger and creative objective so we know exactly his conflict and where he is going.

David Evan Stolworthy does an exceptional job as Thumb, the good student that is willing to please.  Thumb is an exceptional student of Ptydepe, a man who takes the language and understands and recognizes the meaning immediately.  Unfortunately he is not perfect and that leads to his shattered nerves and his demise in the eyes of the master. Stolworthy also plays George, a man hidden, below the office watching every move of the office workers.

Jen Bloom, the director, does an exceptional job with this play.  One item that caught my attention was the relationship of Maria, the secretary, to the various camps.  At some point she has to switch sides, knowing full well her actions will get her into trouble.  But once we see her betrayal there’s hardly an emotional reaction from the consequence of her action.   She slips away with a few words without even an emotional nod from her boss, Mr. Gross, who easily lets her go now that his job is secured.  Also, it would appear that someone else is controlling the strings of the company, someone we haven’t seen.  If the memorandum is authentic, that somebody is watching and having the time of his or her life.  

Others member of the delightful crew are as follows:

Stage Manager – Adrienne Johnson-Lister
Assistant Stage Manager – Princella Baker, Jr.
Production/Projection Design – Sean T. Cawelti
Costume Design – Maddie Keller
Lighting Design – Mike Stone
Assistant Costume – Princella Baker, Jr.
Assistant Lighting – Joh Mulhern
Props Mistresses – Ann Marie Tullo
Sound Design – Andy Mitton
Fight Choreography – Jesse Holland
Graphic Design – Brandon Roosa
Publicity – Phil Sokoloff
Tech Consultant & Production Photography – Mitch Goldstrom
Program Layout/Design – Yael Berkovich

Artistic Director/Producer – Eric Bloom
Producer – Bart Petty
Producer – Ann Marie Tullo
Producer – Sarah Gurfield

Santa Monica Rep is now a 501(c) (3) company.   All donations are tax deductible and welcomed.  

RESERVATIONS: (213) 268-1454.
ONLINE TICKETING: www.santamonicarep.org
FACEBOOK Santa Monica Rep
TWITTER @santamonicarep


Run! Run!  And take someone from Ernst & Young, LLC.  They will identify with this production.

Sunday, March 30, 2014

L. A. Deli by Sam Bobrick



By Joe Straw

“He had mixed feelings about dying, of course. He wanted to know where he was going and what the accommodations would be like. To play it safe, he wanted to order room service early in case he arrived hungry. He was hoping for deli food, and by that, he meant real deli food, the kind he grew up eating in New York. And a nice bowl of chicken soup couldn't hurt.” 



While working for a large independent film company, I had the pleasure of meeting a number of above-the-line talent, famous and infamous.  And for some odd reason, they liked to come by my office to pick up their check.  Go figure.  

Once, a writer who I had never met, out-of-the-blue invited me to lunch at a deli in Beverly Hills.  Why anyone would want to have lunch with me is a mystery, but I reluctantly agreed.  Truth be told, I have a problem sitting next to a complete stranger, a successful writer at that, whose prosaic waste is gratified with an enormous paycheck.  

Naytheless, before I went to lunch, I thought I’d better read his script.

Reading his script was a monstrous effort.  I started losing interest somewhere, about, well, if I remember correctly, page two, and by the 109th page, I noticed my nails had started to grow long and twist. The tasty tidbits in this screenplay were as rare as malodorous white truffles.

And speaking of smells, I got wind, from the story department that the project was in turnaround. They weren’t going any further, and the possibility of a production date, pre or otherwise, were now a figment of someone’s overzealous imagination.  So it was just lunch, no commitments, but as I walked into the deli, having that information, I felt uncomfortable. 

The writer and I exchanged pleasantries and then he asked me about the script.  I said I enjoyed the read, looking at my newly clipped fingernails, and pointed out some of the good things in his screenplay.  

“So they’re going ahead with this?”

At this point, I’m having a hard time holding on to my truthful self. 

“Why is it so hot in here?” I asked.

These are uncomfortable moments because truth is a precious commodity in this business, and something I value, but not something people want.  It’s the flattery that drives the dreams that feeds the wants; I want it, you want it, he, she, it wants it – and isn’t that just grand.    

One thing about Los Angeles delis:  they give you lots of food.  There’s so much food you are obligated to feed yourself so as not to utter one morsel of truth before you suddenly find it’s time to end the meeting.    

L.A Deli by Sam Bobrick and directed by Walter Painter is now playing at the Marilyn Monroe Theatre through April 27, 2014 in West Hollywood.

Let’s not mince words.  Sam Bobrick’s new comedy is solid, lively, fast paced, and filled with so much truth it hurts. Anyone who has worked in the industry, lived and breathed the industry, or even knows someone who knows someone that enjoys the heartwarming stories of despicable characters will love this show. This is a comedy with a lot of heart, about people who have no heart.  And, isn’t that what comedy is all about?

L.A. Deli is a series of twelve sketches set in deli in Los Angeles.  Jeffery P. Eisenmann, Set Designer, has given us a set so wonderfully imagined and executed I worried it might overpower the acting on stage.

Nope.  Walter Painter, the director, keeps things lively on stage.  Painter works with six actors that are playing twenty-eight different characters.  Quickly they move in and out changing personas and or slightly changing their costumes to change characters.  Painter does yeoman’s work, keeping it all together, and magnificently moves the show from one sketch to another.  How are they going to do the deli foodstuff, with all that food? Painter makes it an obstacle easily overcome.   

The twelve sketches are tied together by the one person working in the deli, Kathleen (Gail Matthius), who puts up with the going on of all who enter and leave. But there’s something she might want to add to tie those scenes together.

I’ll get to that later.

“The Pitch”  

One can look at The Pitch a couple of different ways. David (Scott Kruse), a writer, is pitching his idea to J.B. (Phil Proctor), a movie studio boss, without the Louis B humph. David thinks he’s got a great script and, as he is pitching, J.B. proceeds to change everything.  And by the time the pitch is over, each person is telling his own story. Typically, writers say too much without getting to the substantial meat. What’s interesting about “The Pitch” is David, the writer, is saying nothing that we haven’t seen or heard a thousand times. J.B. has every right to throw out his ideas.  After all, despite the non-existent humph, he is the movie studio boss. Also, this is a very clever piece written by Bobrick who has the actors telling different stories at the same time and also having those same characters, playing out the roles, and living in different worlds.  



“The Actor & The Agent”   

Agent Ted (Jeffrey Landman), a man who will not bullsh*t anyone, is out to get a young, up and coming, slightly goofy talent, Jimmy (Scott Kruse).  Ted takes him under his wing and treats him like family because “I got to follow my heart.” But as soon as Jimmy excuses to himself to go to the bathroom, Ted calls his boss and tells him that he signed the talent hocking the old “ I’m your family” spiel.  Another agent, Stu (Phil Proctor), in the deli listening, moves in and tells Ted that Jimmy’s last three films stink, stank, stunk.  Then things suddenly change in their “family” relationship.

“The Big Lie”

The Big Lie is a sketch about Babette (Darrin Revitz) and Harry (Phil Proctor), a happily married couple.  Opps, I forgot, only one is happily married, Babette wants a divorce because Harry lied to her and that lie has destroyed their marriage.  All before the Matzo ball soup arrives.

“The Funeral”

The Funeral finds two studio people coming together to speak about their boss who has recently been laid to rest. Brian (Jeffrey Landman) and Marty (Scott Kruse) question why his earthly demise was so sudden.  “There was three minutes of applause lowering him into the ground.”  You can take that either way.  

“The Agent’s Wife”

Ginger (Darrin Revitz), the agents wife, and Paul (Scott Kruse), the writer, get together at the deli to toss around ideas for Ginger’s inane screenplay “Jane and the Beanstalk” starring Sandra Bullock or Oprah Winfrey.  Ginger has access to Sandra.  Well, they don’t actually know each other, but they go to the same place to get their teeth done. And it’s not beneath Ginger to cram the screenplay into Sandra’s bag.  For Paul it is a meeting in hell.


“The Contract”

The Contract is an interesting sketch about Lewis (Phil Proctor) who wants to get “rid” of his wife of thirty years and finds just the right person to do it, hitman Edward (Jeffrey Landman).  Love makes strange bedfellows of assassins.  Lewis explains he wants to marry his assistant, and over a tuna on rye and a cup of coffee they discuss the intricacies of the operation until something changes. Unfortunately, someone got to Edward first.



“Forever Young”

Forever Young was probably the funniest scene of the night.  It is the story of a once successful and very youthful looking actress, Debbie (Rachel Boller).  Oddly enough Debbie has a thoughtful and caring agent Michael (Jeffrey Landman). (Okay, now we’re testing credulity.)  Michael honestly tells her that she has got to stop with the plastic surgeries or they will kill her.  Her skin is pulled too tight, and her organs are not where they are supposed to be. That Debbie is not young is evident when her adult grandson Josh (Scott Kruse) greets her.  And last but not least, coming out of the bathroom is her co-star from her Lassie days, Peter (Phil Proctor). This was by far the funniest scene of the night and the timing was impeccable.   



“The X’s”

Tina (Rachel Boller) and Diane (Darrin Revitz) get together to talk about there ex-husbands and compare notes.  Unfortunately there’s been so many, some with the same names, they get all confused.  

“The Team”

Arnie (Scott Kruse) and Jerry (Jeffrey Landman) are a writing team.  Arnie is the hard worker while Jerry is the slacker and Arnie has had it. Arnie says it’s the end and this forces Jerry to get down on his hand and knees to get him to take him back. But, there’s a lesson to be learned here before you tell your partner off, before you get things off your chest.  It’s better to keep things close to home when you’re dealing with Hollywood people.  



“The Firing”

The firing is a nice sketch about an older movie boss, Tom (Phil Proctor) on his way out and being fired by his successor Nancy (Rachel Boller).  It’s not a pretty picture of age losing out to economics with a very funny twist at the end.

“After the Screening”

Sid (Jeffrey Landman) and Al (Scott Kruse) decide what they are going to do after their movie get low marks during a screening. The cards do show a hopeful sign “Worst movie ever!!!” That fact that someone wrote that means he cares.

“The Waitress”

The Waitress was another one of my favorites.  It gives Kathleen (Gail Matthius), the waitress, a chance to shine. After working a long day in the deli, she falls asleep at a table when a man, Bob (Phil Proctor), who hasn’t seen her in many years, wakes her.  He’s in town from back east, has found out where she works, and wants to see her. Bob is her former husband, who she left without so much as a goodbye to him and their two beautiful kids in search of pursuing a dream in Hollywood. When she left, she was young and beautiful, enjoyed the promise of success before everything stopped, and now she finds herself years later, alone, slinging corned beef and blintzes to obnoxious deli patrons.

There is a lot of sincerity in the work from Gail Matthius.  Kathleen is a character with a lot of heart and her reality is there’s no future for her in the entertainment business.  Still she performs her job with grand dignity.  At this point in her life the character Kathleen must be looking for her husband or her kids to come through the deli door to see her and she must regard each patron as that life to tie the twelve sketches together. But all in all, this is very good work.

Rachel Boller as Debbie in “Forever Young” does an incredible job keeping everything up and tight. It’s a very funny scene but one in which Debbie should still be strongly vying for the ingénue roles. Boller’s role in “The Firing” is right on cue and shows us her ability to completely change characters. Very nice work.

Scott Kruse does some very amusing work in seven different roles.  Each character is slightly different than the other.  The character Jimmy in “The Actors & The Agent” was one of my favorites as an insecure, green, and orphaned actor trying to find his way in the Hollywood jungle.  His attenuated body sipping on a soft drink and soaking in the flattery is like watching the lamb before the slaughter.  Kruse’s character work was exquisite.  

Jeffrey Landman also has some marvelous moments in six different roles. The characters didn’t appear to be all that different from each other but physically he fits all the roles.  Landman has a strong voice and adding another layer to his characters wouldn’t hurt. For example, the Ted character in “The Actor and & The Agent”, we need to see where his being duped is coming from, when, in his ghastly amiability; he is in actually conning the actor. Also, as Brian, in “The Funeral”, needs more of an emotional stake. Edward, in “The Contract”, should give his condolences to his counterpart before departing.  Little quibbles for work that is very fine.  

Phil Proctor is a workhorse of an actor and does an incredible job in the seven characters he portrays on stage. His work in “The Contract” and “Forever Young” is very satisfying, funny, and extremely enjoyable.

Darrin Revitz plays three roles and does some really good character work.  Babette in “The Big Lie” is a fine role but you have to wonder how smart the character is when she doesn’t know the age of her husband.  Ginger is another ditsy character in “The Agents Wife” that doesn’t really have a strong objective. And Diane in “The Xs” gives us another glimpse into the life of the absurd.  Finding the strength of these characters and their objective would only add to some very fine work.

Susan Huckle, Perry Lambert, Lyndsi Larose, David McCharen, and Matthew Wrather are alternates that I did not see perform on this night but will be performing on Friday April 11th at 8:00pm and Saturday April 12th at 3:00pm.

The reality of going into a deli in Los Angeles is that you cannot go into one without seeing someone of color, behind the counter, on the floor, sweeping, mopping, serving, etc. Not one person of color in this cast or alternates by Casting Director Michael Donovan.  It is slightly discouraging to see this in this day and age. But despite the barren aridity of color and my delicate raillery, it is still a remarkable cast giving their all.

Racquel Lehrman, Theatre Planners is the Producer and has done a fantastic job. Victoria Watson, Theatre Planners is the Associate Producer.

Michael Gend lends his voice as the Lighting Designer.

Michael Mullen is the Costume Designer.

Chris Moscatiello is responsible for the Sound Design.

Ken Werther Publicity was responsible for the Public Relations.

Natalya Zernitskaya is the Assistant Stage Manager and Liana Dillaway is the Production Stage Manager.

Richie Ferris was the Casting Assistant.

Kiff Scholl did the wonderful Graphic Design.

Lawrence Grossman was the Music Supervisor.

Run!  Run! And while you’re at it take someone who flatters you whether they mean it or not.  And then hop on over to Canter’s Deli and try their hot potato knish.

For tickets:  www.plays411.com/ladeli

323-960-7738