3rd Rush 80’s Edition was the nostalgic shock we all needed, providing necessary laughter to a city which had been down in recent weeks. From the opening cords on Leif’s guitar the mood of the crowd rose through the clouds, lifted up on the kinship fostered by so much awesome music!
Six songs take us on a much needed lighthearted journey back to a simpler more rockin’ time. Sebastian coerced the muses to apply pressure to Rush creativity. The intense pressure worked and each piece of 3rd Rush stands alone a unique pillar supporting the overall mandate to make the audience laugh, make us happy.
From go a force flows, the dark theatre is hit with a wave of that rebellious energy from the 80’s, the audience instantly awoken by the cords of Take Me On sit up ready for what’s to come. The lights come up and you’re pulled into a scene so familiar you can’t resist the pull. From here on, these are scenes of life, they happened, somewhere, in some from. The writers all taped into the zeitgeist of our collective lives.
Building on this collective nostalgia 3rd Rush weaves a sense of community, a connection to those around you. 3rd Rush is simply put, good theatre, it accomplishes what Sebastian set out to do and so much more. It made the audience happy, but showed us how connected we are despite our myriad of differences.
Andy Shultz took Dead Man’s Party literally, showing us the what ifs of a world with enough magic for crazy exes to wield. The dead shall rise, and complain about it… in humorous ways (I’m smiling remembering as I write this). Jahel Caldera is infinitely mutable, becoming whatever his directors need of him. This time Jahel intensely acted almost entirely in the background, adding the right amount of depth to shape the world, while not distracting from the central drama unfolding. His interactions with John Lewandowski and Anastasia Elfman serve to build and shape the drama serving as the needed foundation to show the full nature of the world and Anastasia’s character.
From the dead returning, to one’s hens coming home to roost The Great Wisconsin Orgy of ’88 is a fun and poignant piece. David Kaufman has an interesting stage presence; he both goes with the flow and becomes the boulder or bend in the river that changes the flow in unforeseen yet logical directions. This is the second time I’ve seen him on stage and his portrayal of a regular hedonistic man was so real that for all his faults you kinda hope more people had his virtues. If David hit this one out of the park, it’s because Ian Heath set him up with a strong character and a complex gordian knot of emotions to work through with Meghan Lewis, who herself brought that complexity to the drama.
Coming to the end of 3rd Rush the placement of the final two pieces cemented to notion that this is the every day, these dramas unfolding on stage could be any of our lives or those of our friends. We all know a few people who practice voodoo and witchcraft, they might not be able to call down lightning and raise the dead, but they’re out there.
Forever’s Gonna Start Tonight with Steven Alloway playing that friend we know who can never sleep and reads a lot of Anne Rice, you know the one. The silly happenings that unfold leave you happy and ready for the final piece.
Flash Gordon: The Musical-The Play comes in in a Flash, shocking you into alertness for the big finish. Everything in life is big and moving fast, while we’re simply trying to live our lives, work our jobs, maybe do something meaningful. FG-The Play follows the dance ensemble, behind the scenes and through their odd interpretive dance as Hawkmen, living trees, spaceships and who on earth know. There are layers to FG-The Play, life has layers, there is what we do to earn a living and what we want to be doing. It’s frustrating, it’s annoying, but sometimes you get to have fun with it. Pumping the audience with energy in the end to tie together the communal energies 3rd Rush was putting out from the start.
3rd Rush 80’s Edition Side B a Force of Nature Production ran at the Eclectic Company Theatre Friday 3rd-Sunday 5th.
For more information on Force of Nature visit: http://www.FONProductions.com
Burning Gods’ only know what, for laughter and art, Hyenas is a good representation of the wonderful insanity Zombie Joe’s is producing as they push creativity outside the black box.
Brandon Slezak and David Dickens are crafting some amazingly odd out of the box worlds on stage at Zombie Joe’s Underground, Hyenas had me tilting my brain sideways to see the world refracted through whatever dark prism Dickens and Slezak have been viewing the world through. Not only does this make for good theatre, it was quite fun pondering the weirdly intricate world presented through time jumps on stage. Though Dickens would caution it’s best not to ponder his world too deeply for your sanity.
The dark tones of both story and set were an ever present weight, aided by a sound design which was full of depth and form. Between the atmosphere projected from the ensemble, the enveloping sound, and the velvety dark lighting, you’re left cocooned in this surreal mad house of a world. A mad house where the patients have taken over it seems. It’s quite the ride, I type grinning ear to ear remembering, this roller coaster through a laughing farce.
Hyenas An American Farce razorbacks through its surreal landscape, focusing your attention on each wonderfully twisted scene long enough for your psyche to draw in closer for a better view, only to pull the wheel hard right jolting your focus off its last center leaving you adrift ready to grasp onto the center of the next scene. Each scene leaves you craving further exploration while giving you just enough to drive the narrative forward.
The pace is fast, and eager, ever building. An ever building, or ever changing pace needs consistent energy throughout the ensemble, or the delivery can become muddled, static on the line. Each part of Hyenas was executed well unto itself, but there was a lack of harmony in the energies of the players. It was a thoroughly enjoyable ride, but it could be even more captivating, and brilliantly mind numbing if there was coherence in the energy of the cast. A few ensemble scenes felt as lost as Martin (Ian Michaels) was supposed to feel on his wild journey. Ian drove forward those scenes, finding the thread and bringing the audience along on the journey.
Brandon Slezak is pushing the bounds of what has been tried at ZJU, Hyenas use of sound, light and props wove depth into the infinitely mutable stage at ZJU. To carve out the depth built up on stage; Brandon gives his chief tools, his ensemble, new claws, and clubs to beat a path for to pull the audience through. The use of motion on stage, overly exaggerated mannerisms, pulpy body effects for fight and kill scenes, it’s beautifully macabre and Zombie Joe’s at its most fun.
Hyenas An American Farce runs at Zombie Joe’s Underground, Fidays & Saturdays 8:30pm through February 25th
All Photos Credit: Zombie Joe’s Underground
For more information please visit: www.zombiejoes.com
Connectivity, we are all living the same or nearly the same macro lives in this city of dreamers, and the symbolism which hammered this lesson home? Effing Los Angeles TRAFFIC that’s ‘traffic’ as in the four letter word we all hate so much!
The moment you walk into the theatre you’re enveloped in the whimsy of Wonder City The Visceral City Project. From the parking ticket you’ll likely receive to the interactive preshow set, everything about Wonder City tells you you’re in for a happy pleasant evening.
Dreams, Wonder City is a collection of the stories of Los Angeles, in a city of dreamers Wonder City puts the every day on stage and magnifies it, lifts up the common allowing everyone to see how connected, how alike we are. As I said, the show starts with Los Angeles traffic, each player is both vehicle and driver making their way through the clogged and congested arteries. Through the passing, stop and go, cutting off, makeup applying; you see behind two thousand pounds of metal glass and plastic are people, people markedly akin to ourselves.
As the Traffic piece comes to an end, you see the start of threads which can be interpreted by the audience. Wonder City is the type of Play where five people can come up with six or seven different opinions on the interweaving of the subtle story throughout; which is Los Angeles at its core. We all live the same macro events, but how we react becomes a personal experience. Wonder City is a sonderous journey which serves to remind us; that while we experience our individual story, so is everyone else around us.
The players were aided in the painting of this immersive dream by two characters. One character was the unseen, charmingly local, nostalgic and whimsical sound design by Roger K. Weiss. The other character is Los Angeles Herself. Unheard, grand yet tangible; the scenic designs of Meg Cunningham bring to life the Los Angeles we are familiar with of old dreams. With the talented ensemble the living sound, props, scenic set, and blocking, a dream as grand as Los Angeles is put forth on stage, and it makes you feel at home.
Wonder City is a breath of fresh air in a world that presently seems all too polluted. It’s a clean rain to revitalize the spirits of the City of Angeles. Every member of the ensemble deserves mentioning equally, which is why aside from the sound and set I held back on names. The pieces are too grand to be described, and each weaves through Wonder City with nearly equal weight. Wonder City is a collection of dream Venn bubbles overlapping, passing through one another. Each piece can be connected to others, and interpreted in more than one way, and the ensemble weaved this dream beautifully. To pick apart any of the threads would leave one quickly in knots. Sit back, breathe the fresh air, and enjoy Wonder City.
Wonder City Directed by Ashley Steed appears as part of Company Creation Festival, at Son of Semele Theater January 18th through February 12th.
For more information visit sonofsemele.org
Ashley Steed, Christina Bryan, Meg Cunningham,Roger K. Weiss, Mate Motzenbacker, Alexander Freer, Joe Shea, Mark Hein, Stacey Jack, Christian Pretice, Melissa R. Randel, Flor San Roman, Eric Trules,
As I drove down, I was saddened for the need of protest shows; the whole audience was somber at the onset, reflecting my general tone. Fortunately our fires were stoked by the passions and fury on stage.
The spirit of dissent is alive and well in the world. Which is a very good thing; I was afraid we’d made so many gains in such short order that we were going soft & complacent. I am glad for the spark start of our vital essence to progress towards equality.
Anti-Inauguration Night: a variety show to benefit Planned Parenthood what better way to christen Eclectic Theatre as the new home of True Focus Theater! The fires of determination were kindled and great billows of anger breathed icy wrath into the flames. Before the end of the first piece the audience was alive and ready for an energetic evening. Sally Sincere doing an ASL strip tease was just the magic spark needed to get us fired up.
This nearly all female variety show, shows a wide breadth of diverse women, each finding unique ways to express their pains, anger, frustrations, fears, etc… The eve before the Women’s March AIN was the perfect primer to get everyone ready to fight for change, fight to keep our rights!
Issaic came on stage, after Sally Sincere had finished teasing the crowd, and delivered a powerful spoken word. There was a repeated line that resonated so strongly it needs to be shared. “I will not go quietly into this inauguration night.”~Issaic
The Eclectic Theatre was standing room only on January 20th, thankfully there was room for me to sit on a step. Just after Women Matter, there was a scene so powerful I had to sit down. I’ve lived through hell, and this show was able to show the audience that that hell still exists for women across the nation. Yet we get up every morning hide our pains and keep going.
If this is the caliber of what we can expect from True Focus Theater at their new home, then the theatre audience in the Los Angeles area is about to be rocked with powerful pieces that can shake you, raise you up, lay you low showing you truth. True Focus Theater lived up to their name, there was more Truth on that stage than we’ve injected from the doublespeak and doublethink miasmic fog which is creeping through society.
Anti-inauguration day was the best medicine to get through such a horrible day. I look forward to seeing what True Focus Theater will do with their new stage.
Miss Cate has chosen a deliciously dark & enchantingly enthralling venue to display the hypnotic dance skills of her talented girls.
Upon entering The Vampire Lounge & tasting room, I was fortunate enough to spy the lovely Miss Cate entertaining guests at the bar, one of her girls, coat cloaked, came up to her and spoke with her. As Miss Cate smiled and laughed I was overtaken with the impression the Vampire Lounge materialized around her, and the lovely ladies of Cabaret le Fey. Such is the tone set by the alchemical concoction catalyzed by the perfect sound accompaniment, picked to enhance the night by Vanessa Cate.
The world needs whimsy & beauty; kicking off 2017 with a David Bowie inspired cabaret is a great way to raise the whimsy to eleven.
Everything about the night blended together into a fine evening out, and a better Thursday night in winter I can’t think than wine and talented women dancing beautifully. I began with an obligatory red wine, Miss Cate having told me I could put my fate in the hands of the sommelier, and proceeded upstairs again on the recommendation of Miss Cate. As the leader of Cabaret le Fey, she knows her venue well. There were box seats pushed up next to the railing giving a balcony view akin to a theatre purpose built for cabaret.
If you want to be closer to the action, the bar is the perfect place, the dancers are as close as life with the stage being a perfectly framed corner, the dancers tantalizing & teasing the passersby through a large pane window. Set in the corner wall from the window is a gorgeous mirror affording a second angle of the dark angels tempting our more interesting thoughts to the surface.
The whole evening as I said was accompanied by music picked purposefully by Miss Cate to drive our emotions forward through the theme of the evening, which mirrored 2016 using David Bowie and the roller coaster of the past year. The dancers drew us visually through the sway of rise and fall, fast and slow. As if the music and dancing weren’t magick enough Miss Cate admitted that she used the darkest sorcery to fog up the window for the first time ever, or at least during a show. She was forced to admit her witchery after I’d commented that the venue seemed to further evolve its enchantments.
I look forward to the next bi-monthly installment of Cabaret le Fey, with rumors of vampires flitting through the Vampire lounge, I hope to position myself across the mirror at the bar. I’ll need to closely see if the dancers gracing the stage have reflections or not.
If you’re looking to do something fun, eclectic and witness something stunningly beautiful, you should consider stopping by Cabaret le Fey, every other week on Thursdays. It’s the perfect week night relaxing entertainment.
Cabaret le Fey runs every other Thursday at Vampire Lounge & tasting room from 9p to 12a
For more information please visit:
A wisp of startled breath tickled a grin unto my face moments after curtain, a smile that didn’t go away until I woke for work the following day.
*Warning* *Health Advisory* A Very Die Hard Christmas is the funniest Christmas musical I’ve seen. Multiple times throughout I was silently gasping for breath, unable to stop laughing. I can’t even be coy with the start of this review, simply overt and direct. Go buy your tickets, Link, I’ll wait. Good, now back to the review…
Theatre Unleashed distilled the essence of the Holiday movie/special: concentrated it, then added their biting wit and sarcastic regard for modern social politeness, damn good improve, covered it all in holiday magic and laughter. The entire audience was laughing from start to finish, to the point where I knew several unique laughter styles. Feeling the entire audience laughing along with you, it was impossible not to be moved into feeling magic was real.
The improve and interaction with the audience… if the acting, direction, and lyrics hadn’t been among the best comedy I’ve seen, the immersive pulled in feeling from the fourth wall breaches would have made this show amazing. Sarcastic asides, hinted inside jokes, this feeling of being in the know. The audience wasn’t just watching, they were experiencing, and we were invited to be along for the ride.
Though never directly opposed Robby DeVillex and Josef Knauber were dueling for ownership of the stage. Separate categories though; Josef owned the stage through the strength of his sarcastically dark portrayal of Hans Gruber. Robby was the everyman, five of them to be precise, two of them anthropomorphized puppets. Each character was perfectly delineated, even when bouncing between three characters in one scene. You’re left wondering if Robby did some dark ritual to channel Dead Pool with his improvisation and fourth wall sundering (thanks for the ultra close air kiss darlin’).
Wade F. Wilson, you need to be cast in the eventual reboot, Demand Gregory Crafts be part of it, because a dark comedy take of Die Hard needs to be a thing the world sees.
You have to see A Very Die Hard Christmas, the only thing I could do here is poorly relate the grandeur and joy I felt literally through the night until the following morning and through work even. Every aspect of the show: the wit, songs, satire, improvisation, set use and direction, every single aspect was on point. All building to an ending that felt like Christmas magic was happening on stage.
A Very Die Hard Christmas is up there with memories of watching Die Hard with Pa at Christmas, I felt like he was there with me, and like he would have laughed with me the whole way though.
That’s the Christmas Magic I felt and I’ve been avoiding writing for a week because of how powerful that was, and what I’m going through in my life. I’m sorry for the delay in this review, but thank you, because I’ve felt like my Pa was back with me this last week and I needed that more than any other time.
I know that last paragraph isn’t entirely professional, but this show was powerful and brought Christmas Magic to life to someone who game up on Christmas Magic long ago. The Theatre is powerful, and this time it really got to me…
Zombie Joe’s starts the audience on their ear’s and whisks them away from there in this Dark Sci-fi take on The Tempest.
Opening upon a starship bridge in distress any one could tell this won’t be an average night of Shakespeare; any regular to Zombie Joe’s knows they’re in for an above average off the, black, wall Shakespeare experience.
Jana Wimer (director) must have found some long forgotten weave of spell in the text; the transition from clear Mediterranean blue to the endless night sky was seamless and beautifully executed. Using her magics, and cast, three separate plots weave in and out, moving you from scene to scene at the right time, building then carrying the audience’s emotions and rapt attention along the way.
The starkly visible, and beautifully executed, change in setting & tone serve to highlight just how good a Shakespeare company ZJU is. It’s easy to lose things in the watching when you are familiar with them, you can’t do that with this version of The Tempest. It’s too good not to watch entirely enthralled, the alien setting, in the hands of Jana’s cast, becomes normalized in that surreal way where the more you change something the more it becomes the same. Shakespeare is infinitely adaptable because he captures an essence of humanity in his works. Jana has shown that she can reflect that essence back through varied prisms and filters. Like so many beautiful illusions, I wonder what she’ll produce next.
Speaking of illusions, shine a rainbow on Miss Vanessa Cate and Ferdinand becomes gender bent, deliciously gender bent. The moment Ferdinand is alone on the shores of some alien world, you can tell Miss Cate is enjoying her role entirely. A performer has this energy when they really like a role, and without words, body language alone you can tell this is one of those roles. The whole cast had this palpable energy, a weight upon the senses. It makes it easy to become lost in their spell.
Jonica Patella as Caliban with Stephano played by Jason Britt made me want to see the misadventures of Caliban and Stephano. The longer they are on stage together, the more I wanted to see what was going to happen with them. Jason plays rogues and those who walk the left handed paths as if he’s a villainous rogue by day it seems. The puckish energy Jonica brought, had this gleeful retributive merriment in Caliban’s motives, simply fun to watch.
The show is dotted with these sci-fi pop culture references and allusions, as a nerd, it’s as close to total sci-fi fan service as you can get. Elif Savas as Ariel has my favorite sci-fi reference, which I won’t give away, but it is beautiful to the ear. Elif also rounds out the trio of actresses who simply blew me away scene after scene. Vanessa, Jonica, and Elif’s performances are breathtaking, and powerful. These three ladies impart a physical presence to The Tempest; the stage and house lifted from the globe by their energies.
I have been slowly returning to the theatre after being away, and The Tempest was a great night out, I smiled the whole way home thinking of what unfolded on stage. Only Zombie Joe’s can have an ending leaving me silent at first, waiting for other patrons and critics to confirm the different ending. The problem, I liked it so much, and had been led there with perfectly built suspense, I doubted my own memory as to whether or not that was supposed to happen. There was a temporary spanner in my memory works, placed no doubt by Jana using one of Prospero’s tools of illusion…
The Tempest runs Fri @8:30 & Sun @7pm through Dec. 18th at Zombie Joe’s Underground Theatre in North Hollywood.
For more information please visit http://www.zombiejoes.com