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Call Ingrid at (310) 377-7680

- A rare theatrical treat
- Excellent, must see
- A good show, not great
- Not a must see
- Mediocre, but better than no theater at all
No Stars - Do something else or stay home

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THE SPACE BETWEEN

If you haven’t been to one of the At-Home Salon evenings, created by the JWT (Jewish Women’s Theatre), put that on your immediate bucket list. Talk about intimate theatre! These are usually held in someone’s exquisite living room filled with folding chairs and if you were any closer to the actors, you’d be “on stage” with them. Come early and enjoy complimentary refreshments such as dessert, fruit and cheese, cookies etc.

Around a half dozen performers clad in black, script in hand, at which they occasionally sneak a glance, read short stories, skillfully written and acted out. The subjects are varied and many. A few have Jewish themes, some are very funny, others are sad and moving. Many are about love, friendship and family and all are concerned with our humanity and Weltanschauung, a high falutin’ German word, meaning our take on life and the world around us.

The Space Between brings us a dozen stories with intermittent musical interludes by Guitarist/Vocalist, Jesse Macht. The other performers are, in alphabetical order: Michael Hanson, Zoe Lillian, Donnabella Mortel and Kyla Schoer. The audience favorite is, without a doubt, the touching vignette called The Second Best, written by Julie Meyerson Brown, about a young girl ((Zoe Lillian) who, guided by her grandmother (the outstanding Kyla Schoer) must visit her terminally ill mom (Donnabella Mortel) in the hospital, And, for laughs, Sigi Gradwohl’s My Friends Tied but I Did Knot, performed by the “always a bridesmaid but never a bride” Zoë Lillian.

The Space Between, presented by The Jewish Women’s Theatre is scheduled to be in Santa Monica on June 21, in West Hollywood on June 22 and in Westwood on June 25, 2017. $10, Brown Paper Tickets, (310) 315-1400 or www.jewishwomenstheatre.org.

NEXT UP: A world premiere solo performance, “Annie Korzen Famous Actress” at The Braid, JWT’s home base at 2912 Colorado Avenue in Santa Monica, from July 8 to 13, 2017. (310) 315-1400.

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre-theater suggestion

The Arts District in DTLA has a new tenant, CAFÉ GRATITUDE, whose Larchmont location is the Holy Grail for Vegans, Vegetarians and ordinary folks who are curious to see how the other half eats. The place is large, white and airy, in the motif of a very clean kitchen. If you’re catching a performance, come before 6 pm and take advantage of the Happy Hour prices, A very fine California Chardonnay is available for $6 per glass and appetizers are only $5. On the regular menu you’ll find soups, salads, wraps etc., all with cutesy sobriquets. A main course, the stuffed phyllo, is the size of a baseball, chock-full of veggies, good flavor but slightly starchy texture, $16. Same price for the soul food plate. Tempeh (not my passion), greens on the tough side plus rice and beans, the night’s weakest dish. I ordered from the Happy Hour menu and hit the jackpot. A cup of curried dal, absolutely wonderful, like a thick, rich, yellow lentil soup, $4 plus the buffalo roasted cauliflower, $5, a big portion deliciously covered in adobe sauce, tingling but not searingly spicy. It didn’t even need the cashew aioli dip nor the celery sticks, which someone in the kitchen forgot to de-string which ended up on my plate, like a pile of used dental floss. Desserts sound scrumptious but the fruit cobbler topped with ice cream, made with not quite ripe, tart apricots, was far from orgasmic and cost $12.The little chocolate ball (from the vitrine), specifically the brazil nut ganache, is a dream but the price, $5.50, is a nightmare. We looked around the room and didn’t see anybody especially healthy or good looking, so tomorrow it’s back to meat, eggs, cheese and my motto “I’ll eat anything that doesn’t eat me”

Café Gratitude, Arts District, 300 S. Santa Fe Avenue, DTLA 90013 Beer & Wine. Convenient two hour free parking (with validation) in the center of Santa Fe Plaza lot. (213) 929-5580.



LES BLANCS by Lorraine Hansberry

We have come to expect great things from Rogue Machine Theatre and they do not disappoint us with LES BLANCS, a powerful piece of theatre, indeed. Lorraine Hansberry, the legendary author A Raisin in the Sun, has written this story decades ago yet, regrettably, it’s timely and relevant even today.

Set in an unnamed African country, it depicts, with brutal honesty, the topic of Apartheid, the struggle for equality and the price paid for independence. Africa is no longer colonized but has progress been made? Under European rule nobody starved nor died of plague-like diseases and one never saw photos of babies with extended bellies. An interesting program note from Director Gregg T. Daniel informs us that Hansberry, who died at the much too young age of thirty-four of cancer, never saw the play performed. In fact, she didn’t even get to finish it but her husband, Robert Nemiroff, edited the final draft. He pulled no punches either, in portraying the whites (Les Blancs) with their cruel , militaristic, iron fist and Les Noirs (the blacks) in all their murderous savagery. The story s fascinating but what makes is so unique, is the amazing performance it is afforded here, under the direction of Mr. Daniel. The ramshackle looking set (by Stephanie Kerley Schwartz) cleverly morphs into a missionary hospital, a hotel frontage and a dwelling, with the flicks of the wrist. A lone drummer (Jelani Blunt) beats a rhythm that grows in intensity, joined by a remarkably authentic African dancer (Shari Gardner), both of whom make intermittent appearances. The large cast is headed by the charismatic Desean Kevin Terry as Tshembe Matoseh, a tall, attractive man who lives in London and seems fully Europeanized and who has come home for his father’s funeral. He has a brother, Abioseh (Matt Orduño) who is now a Catholic priest and a half brother, a boy of mixed race, Eric (Aric Floyd). The mission’s hospital is run by Dr. Willy DeKoven (Joel Swetow) and a beautiful blonde physician, Dr. Marta Gotterling (Fiona Hardingham). Also at work there is Peter (Amir Abdullah) a type of gofer. He is particularly watchable because, on he job, he is subservient and cowering but, in private, he stands tall, imposing and is a dangerous radical.

Into this milieu comes an American journalist, Charles Morris (Joel McBeth), a liberal white man, anxious to tell the story of this conflict and determined to make friends, starting with the impenetrable Matoseh. He has an eye for the pretty, young doctor, one of the Christian missionaries who came to this dark continent purely for humanitarian and unselfish reasons, Hardingham affects an odd accent for the part. Australian? Afrikaans? Most affecting is Anne Gee Byrd as Madame Neilsen, the old, blind wife of the head of the mission (unseen). She commands our attention with every word and has a mesmerizing stage presence. Also impressive is Bill Brochtrup in the role of Major Rice, whose unenviable task is to keep order and discipline in dangerous situations, The entire cast is praiseworthy and Hansberry has given most of them their shining moment on stage, even Jonathan R. Sims as a ferocious warrior and the various villagers and soldiers all do their bit to create this spellbinding tale, A Los Angeles premiere and an absolute “must see”, with music and sound by Jeff Gardner, choreographed by Joyce Guy.

Rogue Machine at the MET Theatre,1089 N. Oxford Avenue, Los Angeles 90029. Saturday & Monday at 8 pm, Sunday 3 pm. $40 (855585-5185 or www.roguemachinetheatre.com Tight street parking. Ends 7/3/17

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pretheater suggestion

Dinner before the show? No problem! Park near the theatre and walk (less than five minutes) a block and a half east to the North and South ramps of the 101 Hollywood Freeway. There, on the corner, in a yellow building, is KAVKAZ, a Russian restaurant. It’s spotless, the size of your garage, maybe smaller, with five tables, glass topped, with good china and white napkins decoratively folded into gleaming glassware and the Russian dishes are delectable. Could you ask for more? Yes, friendly service and reasonable prices. The most expensive entrée is $16.99 for filet mignon kebab. They have salads from around the world, Greece, Russia, Armenia etc. about $5 each. The appetizer you must order is the eggplant caviar, $4.99. Chopped eggplant, onions, bell peppers, tomatoes and more, a popular dish in many countries. The French know it as ratatouille, the Austrians, melanzani, the Israelis hatsillim but the Russkies who call it paklahzhana , do it best. It comes with paper-thin lavosh. There are all sorts of kabobs, chicken, beef, lamb, mostly $10.99. You’ll like the big, marinated chunks of lean pork kebab or the lula kebab of ground chicken (also beef or lamb), two skewers, each dish with choice of rice or home fries plus salad on the same plate. Everything comes topped with mild onion rings and the tomatoes in that salad taste just moments ago picked off the vine. The dressing is a lovely vinaigrette but my advice is, save your empty appetizer dish and transfer the salad onto it because the dressing tends to seep into the crisp potatoes, making them as limp as a nervous bridegroom. Water comes in a bottle for $1 but you can bring your own wine, no corkage fee. Incidentally, Kavkaz stands for the Caucasian mountain range between the Black and Caspian Seas. Now here is a Russian connection of which we can all approve!

Restaurant Kavkaz, 5341 Santa Monica Blvd, at Serrano, East Hollywood 90029 Open daily until 8 pm, BYOB. Street parking. There are two spaces in the front, difficult to get in and especially, out of. (323) 464-2224.



SEPARATE TABLES by By Terence Rattigan

This Terence Rattigan double bill is combined into one story about the guests in a genteel, residential hotel in Bournemouth, England. The wigs by Judy Lewin and Michele Young’s costumes are in the authentic style of the period and Jeff G. Rack’s ingenious revolving sets almost exude a slightly musky odor. It opens in the dining room, with most of the residents sitting at “separate tables” and being waited on by the chatterbox Doreen (Suzan Solomon), whose probably very funny lines are almost inaudible, due to her exaggerated Cockney accent which must have escaped the much admired Director Jules Aaron’s discerning ear. We meet two, immaculately evening-attired women, elderly but still attractive, Lady Gladys Mathison (Mariko Van Kampen), a gentle soul whose late husband attended Oxford. The Brits brag about their education, Oxford being the Valhalla, almost as much as our local USC grads, Mrs. Railton-Bell (Mona Lee Wylde), a dragon lady so far still in cocoon. Also in attendance, Mrs. Meacham (Michele Schultz) a tough cookie with a no-nonsense attitude, a young couple, Charles and Jean Stratton (Caleb Slavens and Melissa Collins) and an old fogey, Mr. Fowler (john Wallace Combs).

The hotel is run by the angelic Manager, Mrs. Cooper (Diana Angelina), a kind-hearted lady with a sweet disposition, who is in a low-key romance with Mr. Malcolm (not his real name), a dynamic man with a checkered, striped and polka-dotted past. Unfortunately for Mrs. Cooper, the unexpected arrival, from London, of his ex-wife, a slightly fading but still very glamorous model, Mrs. Shankland (Susan Priver), causes a stir in the hearts and loins of these two former lovers

The second act brings the play to life, with the appearance of “Major” Pollack (David Hunt Stafford), Theatre 40’s genial Artistic/Managing Director/Producer, a portly gentleman who poses as a retired, high-ranking officer and has to face the consequences of an unseemly behavioral incident. He has befriended Sybil (Roslyn Cohn), the plain, timid daughter of the volatile Railton-Bell, a sweet but troubled spinster. She’s thirty-three, with no prospects, an age considered over the bridal hill, in that era. Their relationship is the most touching aspect of the play and their sensitive portrayal of these two characters will add one more to your unforgettable theatre memories.

Theatre 40, Reuben Cordova Theatre, 241 , Moreno Dive, off Little Santa Monica Boulevard on the Campus of Beverly Hills High School, Beverly Hills 90212. $30. Thursday – Saturday 8 pm, Sunday 2 pm. Free parking in building garage, theatre level, (310) 364-0535 or www.theatre40.org ends 6/18

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s preheater suggestion

The last time we ate at RONI’S on Little Santa Monica, it was so awful, I vowed never to set food in there again. But, the good news is, it has changed hands and menu. Let me say, it’s not going to be he most exciting gastronomic experience of the week but the food is simple, wholesome, American and reasonable. The highest priced entrée is $19.50 for chimichurri steak. There are salads, soups, sandwiches etc. You can have the chicken piccata or the smokey flavored meat loaf for around $15., with fresh veggies, one with linguine, the meatloaf with nice, lumpy mashed potatoes and gravy. The best part is, it’s only a two minute drive to Theatre 40. Service is pleasant but you better allow ample time, they’re no getting any speeding tickets here.

RONI’S, 9011 Little Santa Monica Blvd., Beverly Hills, Ca 90212. Wine and beer. Breakfast, lunch and dinner. Street parking. (310) 772-0044.



THE MONSTER BUILDER by Amy Freed

This play hasn’t decided what it wants to be. Is it a satyrical send-up of the architectural profession? Is it a fairy tale based on an ancient German legend? Is it a horror story? All of the above? None of the above? You figure it out.

Gregor Zabrovski (Danny Scheie) is a famous, or should we say, infamous, architect. We’re in his new home at water’s edge, in a white, spacious, cold, modernistic room (sans chairs). A party is in progress. Gregor’s young paramour, Tamsin (Annie Abrams) has invited her former room mate, Rita (Susannah Schulman Rogers) and her husband, Dieter (Aubrey Deeker) to toast the new glass house. The latter two are up and coming architects, struggling to get a foothold in their profession and in awe of Gregor’s international fame. It soon becomes obvious that the old boy has his eye on the attractive Rita and he tries to lure her into working with him while he is not above usurping their important pending commission, for himself. He is a thoroughly despicable and insufferable egomaniac. He doesn’t just talk, he proclaims and has a habit of turning up the volume of every third word. He is in a love-hate relationship with Tamsin, that it, he makes love to her but she definitely hates him. Amy Freed, a well regarded playwright, whose portrait hangs in the lobby bar alongside such over luminaries as August Wilson and Beth Henley, has written a highly technical work, difficult for the layman to follow. (Reading some of the program material in advance, helps).

The one * is for the production values, always world class at SCR. Exquisitely detailed sets (by Tom Buderwitz), glide on and off the stage as soothly as though virgin olive-oiled. Director Art Manke works well with the game cast. The diabolical Scheie is indefatigable as the bloviating builder of the title. His live-in, the acrobatic Abrams, in addition to being very pretty, has a grip on the girl who’s no brainiac, but is a little bit smarter than Gregor thinks she is. The team of the architectural firm called The Third Place, the sharp Schulman Rogers, an SCR regular and Deeker, handle their parts very well, even though Deeker has the unenviable assignment of playing a husband about to be betrayed at any moment. Colette Kilroy and Gareth Williams, as the wealthy Pandermints, prospective clients, ready to spring for the restoration of a historical boat house, are amusing. She continuously flaunts her high society background and he, a millionaire, looks as though he shops at Goodwill. Angela Balogh Colin gets credit for the costumes, Rodolfo Ortega for sound design . This outrageous, over the top story, author Freed’s specialty, may appeal to some folks, as for me, all I could muster at the end was polite applause.

South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa 92628.Tuesday & Wednesday 7:30 pm, Thursday & Friday 8 pm, Saturday 2:30 and 8 pm, Sunday 2:30 & 7:30 pm. $30 - $79. (714) 708-5555 or www.scr.org ends 6/4/17

REVIEW BY INGRID WILMOT



ACTUALLY by Anna Ziegler

This provocative “he said, she said” exercise will spark differences of opinion on a subject currently and consistently in the news, namely sexual assault. Was it or wasn’t it?

The play begins and ends with two chairs on an empty stage, with only the lighting (by Lap Chi Cho) to designate the encounter between the two students intimately involved for one night and the hearing that follows its consequences, The evening that starts out with fun and games (2 truths, 1 lie) and to much booze, ends badly but is one of the weakest cases of “rape” as even the most militant feminist would agree. Or would she? You can render your own verdict n the way home.

Tom (Jerry MacKinnon) is a tall, personable black man. Amber (Samantha Ressler) is white, skinny and mousey but with a certain quirky appeal. The audience becomes the confidant for their diverse stories, We hear all abut their families, their past, their weaknesses and their triumphs, as it were.. Ziegler’s dialogue captures the current vernacular of the young with the constant “I’m like, he’s like”…..

MacKinnon is thoroughly immersed in the role of Tom, a likable guy with a kaleidoscopic personality. H loves the music of Mozart. He adores his mother, But, he spends his evenings relentlessly pursuing women for casual, meaningless sex. On the other hand, Ressler’s Amber has a serious inferiority complex, not without cause, one might add. She sounds like the typical Valley Girl, not like a Princeton co-ed and ends every sentence with a question mark. Mercifully missing: awesome/amazing. Fortunately, their revelations, accusations and conversations are fascinating, often steeped in self-analysis, frequently funny and flawlessly delivered, under the direction of Tyne Rafaeli. All three, with impressive credentials, are making their Geffen Playhouse debut. Actually is a co-world premiere with the Williamstown Theatre Festival and is reminiscent of David Mamet’s hit play of a few decades ago, “Oleanna”.

Geffen Playhouse, Audrey Skirball Theatre, 10886 Le Conte Avenue, Westwood, CA 90024. Tuesday – Friday 8 pm, Saturday 3 and 8 pm, Sunday 2 and 7 pm. $60 - $82. No intermission. Underground parking in adjoining garage $7, at Palazzo Garage on Glendon, in the Trader Joe’s Building, $5, take a ticket at the Concierge desk. (310 208-5454 or www.geffenplayhouse.org ends 6/11

REVIEW BY INGRID WILMOT



KISS by Guillermo Calderón

In my press packet was a big print sheet: SPOILER ALERT, asking me not to disclose details of the plot of Kiss, to sustain the surprise element of the piece. This should be the credo of every critic. Too often, the entire synopsis, the best lines, even the denouement appears in the review. Instead of piquing the audience’s interest, the result being “why bother going?” Needless to say, I will heed the plea.

The action takes place in Damascus, Syria, in 2015 in an ornate living room, beautifully furnished in Middle-Eastern Moderne. Four friends (Kristin Couture. Kevin Matthew Reyes, Max Lloyd Jones and Natali Anna) gather to watch a soap opera on TV, a popular form of socializing in that country, torn by war under an oppressive regime. Author Calderón is from Chile which has had its share of dictatorship and political upheaval and his play reflects some of that struggle.

Award winning Director Bart DeLorenzo, esteemed for his tenure at the Evidence Room Theatre, works with a young cast whose passion and emotions keep us at attention but I found this play too gimmicky. For example, we are not handed a program until AFTER the show, although there’s really nothing in it that would spoil the effect. Kiss begins as a quasi love triangle and ends up as something else entirely, with spectacular sound effects (uncredited) and lighting by Katelan Braymer. A clever Skype projection, featuring an interview with a female playwright (Cynthis Yelle) who, via a hokey interpreter (Nagham Wehbe) enlightens us as to what “kiss” really stands for. Yes, theatre is an art form which, we hope, will triumph over repression, fear and even bloodshed. So, perhaps you will like this West Coast premiere better than I did.

Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles 90025. Friday & Saturday 8 pm, Sunday 2 pm (Wednesday 8 pm 5/17 only) (Thursday 8 pm 5/25 only). $25-34. No intermission.Parking in front $4. 310-477-2055 or www.odysseytheatre.com ends 6/18

REVIEW BY INGRID WILMOT



MY MOTHER’S ITALIAN MY FATHER IS JEWISH & I’M IN THERAPY by Steve Solomon

You were expecting, maybe the whole Italian clan and a dozen Jewish family members? Me, too, But, guess what? His is a one-man show, a stand-up comedy routine actually. But you won’t be disappointed. Before you leave, you will have met Brooklyn-born author Solomon’s parents, grandparents, in-laws, uncles and aunts, as impersonated by Peter J. Fogel. He mimics their expressions, copies their voices, is a master of sound effects and generally keeps the audience in stitches. He peppers his monologue with new and old jokes but he doesn’t just rattle them off. Instead, he cleverly incorporates them into the narrative so that even if you know the punchline, you’ll still chuckle at his delivery. Did I mention he also plays the piano?

Fogel covers every subject under the chuppah – mixed marriage, kosher households, old age etc, The dialogue is never vulgar (you can bring Grandma Rose) and moves along at a good clip, as directed by Andy Rogow. Fogel frequently makes eye contact with his audience and is so personable, you want to take him home to hear some more of his funny stuff. Also. this show is suitable for all ethnicities. Need a good laugh right now? Nuf said!

The Colony Theatre, 555N. Third Street, Burbank 91502. Wednesday 8 pm, Thursday 8 & 3 pm. Friday & Saturday 3 & 8 pm, Sunday 3 pm. $45 - $65. Free parking in Town Center Mall, theatre level. (855)448-7469 or www.Playhouse info.com ends 6/25/17

REVIEW BY INGRID WILMOT

Note: The front of Town Center Mall is being remodeled and is a mess. The Food Court is closed. On our evening San Fernando Road was closed to automobile traffic. We parked at the theatre, went down to street level, outside the Macy exit, within a few steps is California Pizza Kitchen, where we ended up.

BALLETOMANES, ALERT! If You are a devotee of dance, you will recall Matthew Bourne’s all-male Swan Lake, which played to full houses at the Ahmanson a few years ago. Now, something of a discovery, three ballets under the title MATTHEW BOURNE’S EARLY ADVENTURES choreographed B.S.L. (before Swan Lake) is having its American premiere in Beverly Hills from May 12 -21 The Wallis Annenberg Center for the Performing Arts. 9390 N. Santa Monica Blvd. Beverly Hills, 90210 (310)746-4000 or www.TheWallis.org/Bourne



PURE CONFIDENCE by Carlyle Brown

Even if you care zilch about horse racing, you’ll be intrigued by this fairytale-like story of Simon Cato, the legendary, black jockey whose performance on the race track was of championship caliber and whose life was the stuff of fiction.

We are in Kentucky Bluegrass country, a mural of which curves around the stage (set by Tom Buderwitz, projections by Nick Santiago), with the sound of Camptown Races in the air. Simon (Armond Edward Dorsey), wearing the traditional winner’s wreath of roses, is all bluster and pride, having won a small fortune for his current master, Colonel Johnson (William Salyers). He makes no secret of his burning desire to buy his freedom from the man who hires him out, the despicable George Dewitt (Eamon Hunt). It’s jarring for today’s audiences to hear the N-word bandied about so blatantly but we must remember, this is the Deep South in the eighteen hundreds and that’s how the white folks spoke, as they lorded it over their slaves. The Colonel’s wife, Mattie (Deborah Puette), whose regal bearing belies her tender heart, has her “own girl”, named Caroline (Tamarra Graham), who catches Simon’s eye. He is not more determined than ever to earn enough to buy freedom for both of them. The first act ends just as the Civil War breaks out.

Act II plays on a different turf. It’s a decade later and everything has changed, including the career of Cato, who was injured in the war, He works at a hotel in Saratoga, ironically, the city of his former track triumphs. Hunt now plays the equally obnoxious desk clerk but again a racist. A New York City reporter, Tom Roland (Dylan John Seaton), whom we saw as an auctioneer in Act I, is on the trail of the once famous jockey, ostensibly for an interview. You’ll have to see for yourself what comes next.

The talented Director, Marya Mazor, gets to work with a splendid cast, expertly costumed by Mylette Nora and voice coached by Adam Michael Rose, to assure that everyone’s Southern drawl is as authentic as a frosty Mint Julep. Dorsey, who seems a little too hefty to be one of those diminutive jockey we are used to seeing, makes up for that shortcoming by playing the cocky “colored boy” to the hilt. His love object, the demure Graham, shines in her one dramatic scene. The Colonel, Salyers, as a gentleman of the Old South possesses the proper dignity and gravitas for the part and his sympathetic wife, the tall, slender Puette, lends warmth and elegance to Miss Mattie. Hunt and Seaton, in dual roles, display their versatility portraying men of different appearance and accents convincingly. This West Coast premiere leaves us with the good feeling that, while we are not yet perfect, conditions have come a long way since the Civil War era. Now let’s work on our current civil war problems.

Lower Depths Theatre Ensemble at Sacred Fools Black Box Theatre, 1076 Lillian Way, off Santa Monica Blvd., just west of Vine, Los Angeles 90038. Tight street parking. Friday& Saturday 8pm, Sunday2 pm. (323)960-7745 or www.lower-depth.com/on-stage ends 5/14

REVIEW BY INGRID WILMOT



THE ORIGINALIST John Strand

This historically pertinent drama pays homage to the man described as “the most polarizing figure in American political life” - until now. Antonin Scalia, Justice of the Supreme Court until his death in 2016, was easily the most colorful person in this illustrious position and he comes to life on the Playhouse stage, warts and all. Edward Gero, a Shakespearean trained actor with a resonant voice and majestic bearing, inhabits the role like a second skin. He’s sharp of tongue with a twinkle in his eye. The first sound emanating from is throat is the brindisi (drinking song) from the first act of Verdi’s La Traviata and he confesses that, since he didn’t become an opera singer, he “performs” on the bench. He is the most conservative of conservatives, hates liberals, is against gays, abortion, alternative action and gun control, in short the only thing I could share with this so-called “monster”, is his love of opera. Incidentally, he and Justice Ruth Bader-Ginsberg, who is diametrically opposed to his politics, used to go on opera dates together. We too learn to overlook his flaws and love him on stage. His wit fluctuates between self-aggrandizing and self-deprecating. Strand’s dialogue is exceptionally well researched, superbly written and humorous, yet can sting like a tarantula but with less of the deadly poison.

Scalia hires a new law clerk, the irrepressible Cat (Jade Wheeler), a young, black woman with impeccable credentials (Harvard Law School) and he meets his match. She’s super smart and sassy, always respectful but not cowering. Her politics are ultra liberal and they go at it without a safety net. She can take it as well as dish it out. Wheeler masters this difficult part with expertise and rattles off dates, facts and historical trivia, never missing a beat - or a line. Not to be overlooked is the short but effective appearance of Brett Mack, as Brad, a brown-nosing, obnoxious law clerk and the object of Cat’s wrath and ridicule. What you will see here is an intellectual and ideological sparring match that will stimulate and entertain you. The smart, simple set design is by Misha Kochman, which allows the production to ebb and flow effortlessly, under the letter-perfect direction of Molly Smith, who also directed its opening at the Arena Stage in Washington D.C. This must have had quite an impact on the denizens of our nation’s Capital. Costume design is by Joseph P. Salasovich, sound and lighting by Eric Shimelonis and Colin K. Bills, respectively.

Pasadena Playhouse, 39 S. El Molino, Pasadena 91101. Tuesday - Friday 8 pm, Saturday 4 & 8pm, Sunday 2 pm. (dark 4/25 with one added Sunday performance on April 30th at 7 pm) No intermission. $25 - $115. Paid parking lots nearby $3 - $5. or street parking. (626)356-7529 or www.PasadenaPlayhouse.com ends 5/7/17

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre-theater suggestion

In the same building as the Pasadena Playhouse, is RED WHITE + BLUEZZ which has lasted longer than any of the dozen or so restaurant occupying this wonderfully convenient location. It’s basically a haven for jazz enthusiasts, an attractive, large, rectangular room with windows looking out on the Playhouse’s courtyard. There’s a bar featuring custom blended cocktails and wine starts out at $7 per glass. I expected a strict New Orleans style menu but they have salads, soups and entrees from $21 (chicken) to $39 (rib eye). They smartly added Tapas, the ideal pre-theatre fare, not cheap but exquisite, some showing genuine Spanish influence. I can recommend the Moroccan chicken, little rounds of boneless meat, with skin-on potatoes and harissa aioli, spicy but not lethal, $10. The grilled octopus is served on toasted french bread slices, $14 and shrimp Pil Pil comes in a garlic and Spanish paprika sauce, same price, all appetizingly presented. These three were sufficiently satiating but you may want to share a dessert, to end on a sweet note, as should everything in life. We fluctuated between the banana bread pudding and the flourless chocolate cake and the latter won. Ridiculously priced at $12, I can tell you, it was worth it. A slender strip of heaven, flanked by a mound of real whipped cream with raspberries and a scoop of ice cream. It disappeared slowly like a beautiful sunset, as we savored every bite. Next time we’ll get one each!

Red White + Bluezz, 37 S. El Molino Avenue, Pasadena 91101. (626) 792-4441. Full bar, entertainment, dinners nightly, weekend brunch. Closed Monday.



BUILDING THE WALL by Robert Schenkkan

This world premiere could have been written this morning. The brilliant Pulitzer Prize winning Schenkken feels the pulse of the nation in every line of this powerful play that will send shivers up and down your spine. The Wall of the title is not the U.S/Mexican border but more like the wall of distrust and hate we are starting to build around ourselves.

The setting is a prison visiting room. A young black woman, Gloria (Judith Moreland) faces Rick (Bo Foxworth), a stocky man in orange prison garb. Is she a reporter? A parole board member? She turns out to be a history professor, aware of the heinous crime committed by this solitary confined inmate. While satisfying her own curiosity, she is giving him the chance to air his side of the story, provided he will be completely honest about what happened to put him behind bars. And, it’s not going to be revealed here.

Schenkkan, who wrote the legendary Kentucky Cycle and the outstanding script for Hacksaw Ridge, pulls no punches. It becomes immediately clear where his political sympathies lie. His protagonist is a portrait of a Trump voter - a middle-aged Texan of limited education, an Army brat who spent his “career” in low paying jobs (think security guard). He denies he is a racist but blames immigrants for all of America’s ills. Regrettably, this ordinary guy is thrust into a position of authority, in way over his head and unable to deal with the truly devastating - but not unimaginable - situation in the not too distant future.

Foxworth gives the most emotional portrayal I have ever witnessed and is absolutely magnificent. Director Michael Michetti has us in the palm of his hand so that ninety minutes fly by and end up as a call to arms, with discussions following on Saturday nights. Moreland is credible as a concerned academic and her performance is on the mark but she does not project well and when she turns her back on us side-seaters, is not always as audible as we would wish. Note: spring the extra five bucks for a seat in the center section (see below). Meanwhile, be prepared to be moved to action!

Fountain Theatre, 5060 Fountain Avenue at Normandy, Los Angeles 90029. Saturday, and Monday 8 pm, Sunday 2 pm. $35 (center) $30 (side), $25 seniors (side only), $20 students. Monday night, pay what you can. No intermission. Adjoining parking lot $5.(323)663-1525 or www.Fountain Theatre.com ends 5/21/17

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre-theater suggestion

It’s always a bit risky to indulge in a buffet dinner pre-theatre, since overstuffing yourself may induce you to doze off as soon as the houselights dim. Luckily, the play currently at the Fountain is so stimulating, you’ll never even close one eye.

KING BUFFET is one of those big, Asian owned and staffed halls, with about a 70/30% Asian clientele, always a good sign. The menu is mostly Chinese but you have a sushi-french fries-teriyaki mashup as your choice. Buffetsmanship is an art that should be practiced prodigiously. First, you walk around the entire display to check out what is being offered. (only then do you start discriminately selecting). Personally, I think those skinny crab legs aren’t worth the mess. Salads are nice but one can easily toss them at home (except for the seaweed salad which is yummy and very healthy). Soups are great but they tend to fill you up from the start. If you can’t do without, ladle them up at the end, like they do in China at big banquets. Start with sushi, sashimi and chilled items. The Chinese entrees are uniformly good: chicken in different preparations, black pepper squid, Chinese longbeans, broccoli beef etc., etc. The coconut shrimp are too sugary but can be fixed up with a generous dousing of soy sauce (at table). Seafood scampi is mixed with what looks like faux crab but turns out to be a doughy dumpling (give it a miss) but the shrimp taste fine. For dessert, they have ice cream and better than average petits fours, judging by the one that looks like opera cake, with many layers and chocolate topping, also in orange squares. I did not see any fresh fruit. Now, for the best part - it’s only a six minute drive to the Fountain Theatre and prices are reasonable, $18 for adults, $16.20 for seniors.

King Buffet, 1375 N. Western Avenue, at Fountain, Los Angeles 90027. No alcohol. Open 11 am - 3:30 pm for weekday lunch, Saturday and Sunday, dinner from 11 am to 9:30 pm. Free parking in adjoining lot. (323)468-9398.



CAT’S PAW William Mastrosimone

Mastrosimone is the author of a number of very successful plays, two of which have a special place in my theatre memory, namely The Woolgatherer and Extremities. Therefore, I knew Cat’s Paw would live up to expectations. With a stroke of prescience, the playwright created this story in 1986, so pertinent to todays ecological crises, it’s uncanny. He revised it in 2011 with an updated kick in the guts and that is what you will see.

A Washington D.C. warehouse stocked with deadly weapons and explosives (set by David Potts), serves as the headquarters of a radical group, so-called eco-warriors, whose activities are tantamount to domestic terrorism. The head man, the militant Victor, (Sean McHugh), has taken a hostage, David Darling (Vito Viscuso), a minor executive of the Environmental Protection Agency, whom he keeps under strict house arrest. This poor guy is beyond subservient, cowers at every harsh word and is completely intimidated. Victor has an accomplice named Cathy, (Ivy Beech), an idealistic young woman who is determined to “make the world a better place”, by force, if necessary. Oddly enough, Victor has consented to have Darling interviewed on television. Picked for the job is a dynamic reporter, Jessica Lyons (Deborah Marlowe), a type of Barbara Walters but with claws and macho balls (not the Passover specialty). Watching her dance around the acceptable and/or forbidden questions, is something to behold. Directed with vital force by Stephen Rothman and impressive sound effects by Adam R. Macias, the tale spins like a modern suspense novel and reverberates with the threat of global water pollution etc.

McHugh brings an imposing, menacing presence to the villainous leader. Beech is touching as a misguided, young idealist, ready to sacrifice herself for the cause. Viscuso is ideally cast as a hostage on the verge of succumbing to the Copenhagen Syndrome and the intense Marlow commands the stage unequivocally, with every move. This is a riveting work, with a headline grabbing subject and somewhat bitter food for thought. Well done!

Crossley Theatre, Actors Co-Op, 1760 N. Gower Street, Hollywood 90028, on the Campus of the First Presbyterian Church of Hollywood. Friday & Saturday 8 pm, Sunday 2:30 pm. Saturday April 8th, at 2:30 pm. (dark Easter weekend, 4/14- 4/16) $30, seniors $25, students $20. No intermission. Free parking in lot opposite the Theatre.(323) 462-8460 or www.ActorsCo-op.org ends 4/30/17

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre-theater suggestion

If you don’t mind a bit of a walk, you can park in the theatre lot, head for Gower, turn right, walk up to Franklin, take another right to #5925, a restaurant called BIRDS. I made it in 13 minutes, in heels. It’s right next to the popular Upright Citizens Brigade and therefore very crowded and, of course, noisy. On a brick wall is a huge photo of Alfred Hitchcock with, what else, two big birds. The reigning one here, is rotisserie chicken and they do it justice, the high ticket, $15.50 for a half (white meat). They also have salads, wraps, sandwiches, appetizers, soups and wings, burgers and more. Wine by the glass starts at $5.50. The selection is limited but you’ll find something you like to drink and there are cocktails, as well.

Are you also tired of chicken breasts? You can have a delicious bargain of a dinner, $8.95 for dark meat, lavosh, choice of a dip (interesting ones, some spicy) plus one side. They have mac’n cheese, black beans, brown rice, mashed potatoes etc. I recommend the garbanzo bean salad, top notch, with bits of tomato, bell pepper, onions and sliced olives in an excellent vinaigrette. My chickie must have had a large thigh problem (lucky for me). A really meaty piece with crisp skin, some of which I peeled off and dipped into my artichoke aioli because my chicken needed no adornment, it was so nice and moist. Service is friendly but what they should bring you is a finger bowl or, at least, a Wet Nap because this birdie needs to be picked up and chewed to the bone.

Birds, 5925 Franklin,Hollywood 90028. Breakfast, lunch, dinner, Saturday & Sunday brunch. Full bar. Valet parking $7. No reservation except for large parties. (323)465-0175.



PUNK ROCK by Simon Stephens

First off, please don’t let the title deter you. This 70s-style music is only heard on the sound track between scenes. This show is not a nascent Broadway musical. It’s a dark, stark look at contemporary youth in the U.K. and takes place in the library of a prep school (set by John Iacovelli). Not for the faint of heart, this ferocious piece of theatre is both frightening and enlightening, inspired by an event in America, which captured headlines around the world and is the dormant but ever present fear of every parent of a school-age child.

The bunch of seventeen year olds you are about to meet are fairly typical of today’s adolescents. They are hormonally overloaded, peer pressured, self absorbed, yet bothered by the current global imperfections whose weight and fate they seem to carry on their shoulders. Americans believe the Brits are more civil and better mannered but these kids are cruel, rude, their language is in the gutter, in other words, just like ours. When one of them reaches the breaking point, it’s easy to empathize. It’s tough to be young, nowadays.

The cast is exemplary. Zachary Grant as William is a boy who feigns superiority to hide his insecurities. He woos the new student, Lilly (Raven Scott), a wisp of a black girl who is worldly and self-assured. She favors the handsome jock, Nicholas (Nicholas Marini). The girls are Cissy (Miranda Wynne) an attractive but shallow blonde and Tanya (Story Slaughter) who is the butt of insults by Bennett (the dreadlocked Jacob Gibson), an intolerable bully. He also mercilessly needles the smart, introverted, pessimistic Chadwick (Kenney Selvey). Mark Daneri appears briefly as Dr. Harvey. Sound and lighting are credited to Christopher Moscatiello and Brian Gale, respectively. Without disclosing any more of the story, I want to say that it is artistically and directorially (by Lisa James) impeccable. As an ensemble,the talented, young actors are amazing. Once they slow down, they manage their English accents almost flawlessly, although a few misplaced cockney inflections creep in, now and then. The plot is brilliantly delineated by author Stephens, who was once a schoolteacher and utilizes his experience to give the work pertinence and authenticity. This juicy drama, a Los Angeles premiere, is an experience you’ll long remember and is highly recommended.

Odyssey Theatre, 2055 S. Sepulveda Blvd, West Los Angeles 90025. Friday & Saturday 8 pm, Sunday 2 pm. Additional performances Wednesday 4/12 and 5/3, Thursday 4/27 only. $25 - $34. Parking in front lot, $4. No intermission. (310)477-2055 or www.OdysseyTheatre.com ends 5/14/17

REVIEW BY INGRID WILMOT



THE GUN by Justin Yoffe

This play has a lot to say and says it well. But it’s only a one-acter, an appetizer that leaves us yearning for the main course. Contrary to some recent, overly long shows, this one is actually too short. We want to know what happened to the principal characters after their life lessons. If Yoffe writes a second act, I’d like to come back .

Meanwhile, three people, the tightly wound Mike (John Colella), an alpha male dissatisfied with his job, his lovely wife Ellen (Austin Highsmith Garces), who feels used and yearns for a more meaningful marriage and their good friend Steve (the athletic Josh Drennen), an aspiring actor, weary of fruitless auditions while career success seems out of reach, enliven the stage. Their fate is affected by a coincidence, one that would be endorsed by the NRA - Steve finds a gun in a trash can. Just holding it and aiming it empowers him to the point where the testosterone rush gives him the brass balls that have eluded him so far. From a personal point of view, I wish the trigger, so to speak, that sets off the gist of the story, namely, that we must find the courage to change the unsatisfactory elements that sour our days and do it, while there’s still time to “get a life”, were something other than a firearm.

The dialogue borders on the didactic but is redeemed by the skilled performers and the deft direction by Dave Florek, which gives this world premiere the flow and impetus it enjoys. Lighting design is by Edward Salas, set by Hillary Bauman. which is rather spartan but well served, with seamless scene changes from an apartment, to a theatre stage, a street and a bar, all done by the accomplished actors. Mouchette van Heldsdingen is convincing as a casting director, Hamilton Matthews personifies a homeless man camping out on the sidewalk and L. Emille a sympathetic bartender.

Ruskin Group Theatre, 3000 Airport Avenue, Santa Monica Airport, 90405. Friday & Saturday 8 pm, Sunday 2 pm (dark 4/14 - 4/16 and 4/29. $25, seniors, students and Guild members $20. Free parking in front. (310)397-3244 or www.ruskingrouptheatre.com ends 4/30/17

REVIEW BY INGRID WILMOT



PLASTICITY by Alex Lyra & Robert McCaskill

This unusual piece of theatre, rooted in neuroscience, is one of the most imaginative stage offering you’ll ever see. It’s world’s premiere mounted by a group of award nominees and winning artists. Co-author and star Alex Lyras, Director and co-author Robert McCaskill, editor Peter Chakos, with music and sound effects by Ken Rich, Matt Richter’s lighting and Corwin Evans’ projected video images in ever changing, stimulating succession. It’s primarily a one-man show but is multi-faceted, dealing with a man whose twin brother is hospitalized in a coma. His relatives, physicians and assorted characters are all portrayed by Lyras. In the future, terms like “brain dead” and “pulling the plug”, may change your attitude, once you’ve seen the secrets of the human brain in all its complicated wonder of self-regeneration.

As you enter, the theatre is dark and foreboding, with a scrim reflecting something like smoke curls and a back screen with patterns viewed through, perhaps, a medical microscope. Technologically, the show reaches new heights with its visual props, along with Lyras’ interpretation of numerous characters.He affects the genuine accent of an Indian doctor, an Italian attorney, wears glasses as the psychoanalyst and a gown and stethoscope as a male nurse. I did have problems identifying some of the others for lack of distinguishing vocal inflection and appearance and found some of them, for example, the open-mic performer, irrelevant. The intermission- less performance is almost overwhelming, as told in four parts and many, many days (I stopped counting at 84). If you’re in the mood for light hearted entertainment, look elsewhere but the audience, on my night, was ecstatic.

Hudson Guild Theatre, 6539 Santa Monica Blvd., Los Angeles 90038. Friday, Saturday and Monday 8 pm, Sunday 7 pm. $30. No intermission. Street parking. (323) 960-7787 or www.plasticitytheplay.com ends 4/10/17

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre theater suggestion

Located in the Hudson Theatre Complex, is the previously reviewed EAT THIS CAFE. It has no competition for pre-theatre, casual dining convenience. The menu is limited to sandwiches, soup, salads, wraps and other simple but healthful fare. Service, by the lone waitress-cashier-order taker was exasperatingly s-l-o-w on my last visit, so this is to advise you to allow lots of time. EAT THIS CAFE, 6547 Santa Monica Blvd. at Hudson, Los Angeles 90038. Breakfast, lunch and dinner, Saturday & Sunday brunch. Beer & wine. No reservations. Street parking. (323) 999-2003.

EXTENDED: Richard Pryor’s daughter,Rain Pryor’s ***show, FRIED CHICKEN & LATKES at the Braid in Santa Monica (see previous review for details), has been selling out and is extended until June. Don’t miss it, because I can assure you, Rain will shine!



FAMILY ONLY by Darryl Vineyard

Here’s another chapter in the ever popular dysfunctional family saga. This bunch lives in L.A. and we get to meet them at a housewarming party thrown by Will (Frank Gargarossa) and his goody-goody wife, Nicki (Riley Rae Baker). Will has a good job and glows with pride over his new home in Sherman Oaks, with a swimming pool! If only the family would rejoice with him. Will is the kind of guy who forever seeks the approval of his father,(Roger Kent Cruz) a man perennially out of luck and a frustrated inventor who schemes and dreams of striking it rich. His second wife, Brenda (Sheila Shaw) is loyal and loving. His daughter Andrea, on the other hand, is an ogre without a single redeeming character trait but is performed very well by the buxom Anne Leyden. This is one of the most despicable females created by a playwright and, other than not plotting murder, makes Lady Macbeth look like Mother Teresa. One can only hope she was not inspired by one of the author’s actual acquaintances. Andrea has a ten year old daughter, Cleo, equally unbearable, a spoiled brat whom we mercifully, never see. The most likable member of this conflicted family is Grandma Amanda (Dianne Travis), a feisty, old lady who has survived three husbands and doesn’t mince words. Aside from the fact that this world premiere desperately needs tightening, Director Arden Teresa Lewis does the best with the talent at hand. Set design is by Jeff G. Rack, lighting and sound by Yancey Durham and Paolo Greco, respectively.

Theatre West, 3333 Cahuenga Blvd. West, Los Angeles 90068. Friday & Saturday 8 pm, Sunday 2 pm. $20, seniors $15, students under 25, $5. Free parking across the street.(323)851-7977 or www.theatrewest.org ends 3/19

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s suggestions

PLEASE NOTE: The California Canteen space is still empty and the nearby Marketplace does not serve dinner on Saturday night. The place to dine before the show is the previously reviewed MERCADO, just one block away and within easy parking and walking distance. The food is authentic Spanish and very good, with matching service. 3413 Cahuenga Blvd. West, Los Angeles 90068. Reservations imperative on weekends (323) 512-2500.



FRIED CHICKEN & LATKES Written & directed by Rain Pryor

If you ever were and perhaps, still are, a fan of the late Richard Pryor, I got a treat for you! His daughter Rain, is performing her one-woman show at The Braid, the showcase for Jewish Women’s Theatre, in Santa Monica. They’ve been serving up mega feel good hits, better than chicken soup.

Rain was born in 1969 to a Jewish mother, a go-go dancer, and the famous black comedian, Richard Pryor (fried chicken and latkes, get it? ). One grandma was a typical bubba, the other the madam of a whorehouse. With a background like that, you just know this is going to be interesting. Rain is a tall, handsome woman who bears a slight resemblance to her dad but has light skin and a Jewish soul. She observes the Sabbath, pops out Yiddish expression in an apropos and entertaining manner and has a side-splitting gift for mimicry. She tells her story with humor and honesty, even giving us a few minutes of her father’s stand-up shtik, complete with facial expressions and his unique voice.

Growing up in “liberal” Beverly Hills in the Seventies, which wasn’t so liberal then, she took some racial taunts but it didn’t dampen her spirits. She was a spunky kid and is an even spunkier grown woman. We’re all skeptical of many an offspring thrust into show biz merely by the grace of a famous parent’s name (you know who they are) but Rain certainly has talent locked into her DNA. Even if you’re not Jewish you’ll love her but if you are, you’ll want her as a personal friend to liven up a bridge party or to make a Seder dinner seem less long before the afikoman.

The Braid, Jewish Women’s Theatre, 2912 Colorado Blvd., Santa Monica 90404. Thursday & Saturday 8 pm, Sunday 2 pm. $40. Free parking in front, (800) 838-3006 or www.jewishwomenstheatre.org ends 3/30

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre-theater suggestion

NOTE: The previously reviewed, charming LE PETIT CAFE, shares the parking lot with the theatre and it’s not only convenient for dining before the show but serves excellent French food. Closed on Sunday, however. (310)829-6792.



THE ABDUCTION FROM THE SERAGLIO by Wolfgang Amadeus Mozart

”Mozart 4 Laffs” is what they’re doing at the Music Center. It would be the ideal vehicle for newbies to opera,since it’s pure fun, nobody dies and the music is gorgeous. Never having been in favor of updating the original, changing locations, modernizing costumes etc. Why muck with perfection? Mozart operas are perfection. I came to scoff and ended up applauding like crazy. This Abduction is an absolute delight, Wolfie, who had a sense of humor, would adore it!

Instead of in a Turkish harem, it takes place in the Twenties , during the Constantinople to Paris trip, on the legendary Orient Express. Everybody is aboard, the Pasha (Hamish Linklater),his harem,his servants,headed by his major demo,the wicked Osmin (Morris Robinson), two Spaniards, Pedrillo (Benton Ryan), employed as the Pasha’s valet, an abducted woman, the lovely Konstanze (Sally Matthews) and her maid Blonde (So Young Park), who’s crazy about Pedrillo and the last passenger to arrive,Belmonte (Joel Preto), who passes himself off as an architect, the Pasha’s pet profession, who is actually out to rescue his beloved Konstanze.

The genius who designed the set, Allen Moyer, should take a curtain bow. It’s one of the most impressive in recent memory, with lighting by Paul Palazzo. The direction is flawless, as well. American Director James Robinson grabs every opportunity to bring out the wit and charm of the work. The stage is alive with talent. Morris Robinson,who did not start singing seriously until thirty years of age, is a basso profondo and a kick to behold and to hear. He looks like he could be a eunuch but he’s hot for the maid. Everybody else it slender and good looking, a new era of opera singers, who prove you don’t have to look like the usual caricature in a horned helmet, to succeed in this career. Linklater is tall, elegant and vocally accomplished. This generous Pasha knows how to woo a girl, why on earth does Konstanze turn him down? The latter possesses a powerful voice which sounded shrill and forced in ActI but she warmed up later and elicited clarion tones. Ryan is in his first “big role”, an alumnus of the Domingo-Coburn-Stein Young Artists Program. He has his acting chops but could use a little more fortissimo. Puerto Rican tenor, Prieto is also very attractive, sings passionately, with a stunning legato and admirable breath control. As the maid Blonde (they could have given her a blonde wig) Park the spirited Korean soprano exhibits not only a perky personality but also a beautiful voice. The facility with which she sings, betrays the skill and talent this difficult role requires. Watch her, she’ll be snapped up by one of the European opera houses before too long. James Conlon conducts the always reliable orchestra and our thanks go to whomever decided to let every melodious, hummable aria be sung in the original German but the speaking parts translated into English. The only improvement would have been to show us these as supertitles also, since it would take classically trained stage actors to project beyond the Grand Tier. The text has been colloquially updated by members of the Houston Grand Opera, a good thing because translating it literally would, as the Viennese might say, sound geschwollen (pompous ) . The whole thing is so clever and funny, please try to catch the last few performances. You won’t regret it.

The Music Center, Dorothy Chandler Pavilion, 135 N. Grand Avenue, Los Angeles 90012. $19 - $209. February 16, 7:30 pm, February 12 & 19, 2 pm. (213) 972-8001 or www.laopera.org

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid’s pre theater suggestion

The most convenient pre-curtain dining has always been at KENDALL’S BRASSERIE, in the Dorothy Chandler building but aren’t we all tired of that menu? Here’s good news: Chef Jean-Pierre Bosc, late of the charming, French restaurant Mimosa on Melrose Avenue, is now in charge of the kitchen. The new menu has some retro favorites, I can’t wait to try the cassoulet. Meanwhile, I can recommend the skate wing, beautifully done with capers and almonds, moist as the dew and generously portioned. You’ll have to deal with a few bones, but it’s worth it. Also exquisite is the salmon, perfectly prepared, which, to quote my friend, Tina,“melts in your mouth”. Prices are no bargain, starting in the thirty dollar range. Park in the Music Center garage, since we’re having such a rainy winter.

Kendall’s Brassserie, 135 N. Grand Avenue, Los Angele 90012. (213) 972-7322 (reservations imperative), Full bar.



FUGU by Steven G. Simon & Howard Teichman

This compelling work is based on a true, little known event that occurred in November 1941, just before the bombing of Pearl Harbor. In a humanitarian gesture, the Japanese Consul in Lithuania, Chiune Sugihara, issued visas for Kobe, Japan, to 6,000 Jews, thus saving them from the gas chambers. His heirs claim that he also granted visas to European Jews from Germany, Austria, Czechoslovakia etc, to emigrate to Shanghai, China. This can be disputed by the fact that Shanghai was an open port at that time, consequently 16,000 refugees arrived there in the late Thirties, none of them with visas. It should be noted that it was the last resort, since America demanded an affidavit, preferably from a relative, vouching that no one will pose a burden to the Government. For England, one needed firm employment, Switzerland required a substantial amount of Franks in a Swiss bank. Israel did not yet exist. In Vienna, there was a rash of visas sold, to places like Bolivia and Ceylon(now Sri Lanka) but all proved to be fraudulent. (There’s always going to be someone taking advantage of the disadvantaged).The playwrights, Simon and Teichman, have done an excellent job researching the historical accuracy, presenting vintage photographs and documents, via projections. They keep us in suspense as we become privy to the machinations of diplomacy.

The Japanese Minister of Foreign Affairs, Colonel Yohiro Yassue (Ryan Moriarty), is hosting a Sabbath dinner in his home (set by Kurtis Bedford), for the head of the Jewish Community, which has settled and prospered in Kobe, Dr. Avram Kaufman (Warren Davis), his pretty daughter Sarah (Rosie Moss) and the local Rabbi, Shlomo Shapira (Peter Altschuler). The dinner party is to introduce their Fugu Plan, an attempt to persuade the good doctor to journey to America as Japan's Goodwill Ambassador, to meet with prominent and influential Jews in Washington and Hollywood, to emphasize the splendid hospitality the Kobe Jews have enjoyed, courtesy of the "benevolent” Japanese. This, they believe, will avoid the ravages of war and any bloodshed by the two nations. Unfortunately, we know how that turned out… By the way, a fugu is an edible blowfish, an exquisite aphrodisiac when skillfully prepared but a deadly morsel otherwise.

West Coast Jewish Theatre's Artistic Director, co-playwright and producer, Howard Teichman, directs a first class cast. Adding some love interest to spice up the story. Colonel Yassue has a young assistant, Satruzo Kotsuji (Scott Keiji Takeda), a serious minded, cute guy, who has spent time in Palestine, is a maven of Jewish history and speaks Yiddish with a droll Japanese accent. No wonder Sarah falls head over heels in love with him and he, too, is totally smitten, at first sight. Moriarty is impressive as a man of honor, has an imposing persona and a resonant voice. The Rebbe, (Altschuler), is adorable and spouts amusing rabbinical homilies. Marcel Libera plays the stout Captain Matsuoka, who puffs up like a blowfish and arouses our immediate ire. Even more vile is the sinister Nazi, Colonel Josef Messenger, a.k.a. the Butcher of Warsaw, (the perfectly cast David Preston), who is out for Jewish blood and threatens Yassue with the wrath of his German allies in Berlin. Moss is a delight as the rebellious young girl and the matronly Mrs. Davich (Bryan Weiss) is on stage for comic relief. She's the ultimate yenta and anticipates coming to America to find husband #4. The show is framed by two solo dancers, one Japanese (Kaz Matura) and a young Hassidic, (Matt Gottlieb), which adds more time to a rather lengthy production. However, the play, a world premiere, is intense and very well done, leaving us with a feel-good ending which may be apocryphal but adds a final dose of drama, so, in Shakespeare's words, the Play's the Thing and this play is a very good thing. Sound by Bill Froggatt, costumes by Shon Le Blanc, lighting by Ellen Monocroussos and the fine casting by Raul Clayton Staggs.

West Coast Jewish Theatre at Pico Playhouse, 10508 W. Pico Blvd, Los Angeles 90064. Friday & Saturday 8 pm, Sunday 3 pm. $40, seniors $37.50, students $25. Street parking (323)821-2449 or http://www.wcjt.org ends 3/19

REVIEW BY INGRID WILMOT



THE FOUND DOG RIBBON DANCE by Dominic Finocchiaro

The Echo Theatre Company opens its 2017 season with a quirky offering that explores our need for human contact in these techno-saturated times. It's actually about a lost dog (Daniel Hagen), found by a kind, young woman, Norma (Amanda Saunders), who is determined to find its rightful owner. This ploy allows the playwright's imagination to conjure up assorted personages, some odd, some pushy, some needy but none, as it were, dull.

The stage is a spacious apartment (set almost in the round by Kirk Wilson), with the most prominent piece of furniture, a big bed, Norma's workplace. But it's not what you think. She has a relatively unknown, new age career that no college curriculum is offering - yet. She's a professional cuddler! You need a nice hug? A head in your lap? A foot tickle? She's your gal! It's all strictly platonic, nothing more. Her clients include a horny, grabby, would-be Lothario (Eric Gutierrez), a taciturn, elderly gentleman (Gregory Itzin), a teenage girl with beaucoup problems (Clarissa Thibeaux), embarrassed by anything remotely sensual,and a handsome, but nasty Asian man (West Liang). Equally intriguing are the folks who recently lost their dog and have come to claim him. First off, a brash, irritating kid on a skateboard (Gabriel Notarangelo), then a volatile mom (the terrific Julie Dretzin) who definitely needs a hug or a Valium, preferably both.

Saunders is a thirtyish, slender, natural looker with a pleasant voice and gentle demeanor. However, she's basically lonely and in need of a good cuddle herself. On a trip to buy coffee, she befriends Norm (Steven Strobel), the clerk, not high powered enough to be called barista. He's a little weird but charming in his own way, he loves the music of Whitney Houston and keeps hanging around, playing with the doggie. His shy approach appeals to Norma and we can only hope these two loners can break down their personal prison walls. A world premier and a true original, under the sharp direction of Alana Dietze.

Echo Theatre Company, Atwater Village Theatre, 3269 Casitas Avenue, Los Angeles 90039. (Enlist your GPS) Friday Saturday and Monday, 8 pm. Sunday 4 pm. No intermission. $34, Mondays $20. Tight street and adjacent lot parking. (310) 307-3763 or The Echo Theater Company ends 2/26

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid's pre-theater suggestions

A note about the previously reviewed MOMED, the Mediterranean restaurant about a hundred yards south of the Atwater Crossing Complex. You'll note the following changes: Instead of the funky, bare bones place it once was, Momed is now glamorously refurbished, romantic and especially stunning at night, with flaming torches in wrought iron cages all around the large room.There are also overhead heaters to keep you snug. The next thing you'll notice is that the prices have been up ticked exponentially. Cocktails are abundant and wine,by the glass starts at $11. A bowl of chicken soup, albeit very good, which any grandma would gladly claim as her cure-all, costs $9.50 (this is not a misprint). For more frugal theatre goers, may I suggest ordering some exotic dips, really tasty, with warm buns. There's eggplant, tzatziki, ikra, avocado hummus and more. Choice of three $16.50, Momed is unbeatable for convenience and one-time parking. Momed, 3245 Casitas Avenue, Los Angeles 90039 (323)522-3488.

E.J. MOLLOY'S

If you find yourself in Long Beach, perhaps for one of the varied shows given by the CARPENTER PERFORMING ARTS CENTER, the lovely venue of CalState University, let me tell you about E.J. MOLLOY'S, a Brewpub about five minutes away. It occupies the space once belonging to Long Beach's oldest seafood restaurant, Fish Tale. We sort of fell into it, looking for the latter. It's a convivial sports bar, with more televisions than servers. But there's someone in the kitchen who know how to cook! Prices are a blessing, also. Dinners include soup (this night lentil with ham and New England clam chowder) or salad. Not your basic toss of greens but spruced up with cauliflower and broccoli florets, carrots, tomatoes etc. Their generous slice of salmon comes with lots of farm-fresh roasted veggies, $19. Shepherd's pie overflows with ground meat and brown gravy over mashed potatoes that tastes of home, $12. Same price for lean, chunky slices of corned beef and cabbage (it'll be St. Paddy's Day soon), with the same good mashers and green cabbage. I would have preferred that it be cooked with the corned beef and taken on some smoky flavor but that's a minor quibble.There are nightly blackboard specials you might want to try. On our first visit we had a pork dish and couldn't wait to come back. Service is obliging and friendly but way understaffed. Allow lots of time if you want to make your curtain.

E.J.Molloys's, 5566 E.Britton Drive, Long Beach90815. Full bar. Parking in Shopping Center. Reservations for 6 or more, only. (562) 694-8771.



LATE COMPANY by Jordan Tannahill

Judging by its title, one would expect a frothy comedy about late arriving dinner guests, cracking jokes about the overcooked roast and limp salad greens. But that's not what awaits you here. This is a powerful story, involving two families, which will grab your heart like a vice and affect every fibre of your being. It is beautifully written, exceptionally well cast, impeccably directed by Theatre 40's Resident Director Bruce Grey and flawlessly acted.

The time is the present,the location Toronto, Canada, in the dining room of a prominent politician, Michael Shaun-Hastings (Grinnell Morris) and his wife, Debora (Ann Hearn). The table is elegantly appointed, with gleaming silverware,a floral centerpiece and glowing candles (set by Jeff G. Rack). The expected company is slightly overdue but the tension in he room has nothing to do with it. The tardy couple, the Dermots, Bill (Todd Johnson) and Tamara (Jennifer Lynn Davis), have brought along their teenage son, Curtis (Baker Chase Powell), who looks like he'd prefer to be at least five hundred miles away. It would probably be best if you were to stop reading right now and be surprised at the drama that unfolds in the next ninety minutes but, if you really want to know ''what it's about ?'' , let's try and be as vague about plot development as possible, or - skip the next paragraph.

Michael and Debora are grieving for their son, Joel, whose suicide followed a period of merciless bullying by his high school peers. They cruelly mocked his lifestyle, his flamboyant demeanor and his attempt at comedic performances on social media. His classmate, Curtis, was the chief instigator of the harassment and both parents have come together to try for closure and forgiveness. Is it going to happen? By all means, see for yourself.

The cast is nothing short of inspired. They're all terrific but most impressive is Powell, a youngster with uncanny talent. He's the typical sullen, yet sensitive kid, in a role that fits him like a pair of jeans. Not to disparage the adults, because as the dead boy's high-strung mom, Hearn is riveting. She's a creative artist with deep resentment against the fate that has befallen her, that of a mother surviving an only child. Morris, the father, is hurt but visibly calmer and more diplomatic, as befits a public officeholder. Davis, as protective of her young as a lioness, gives a potent performance and Johnson, Curtis' short-tempered dad with a bit of a redneck attitude, is letter perfect. Costume design is by Michèle Young, lighting by Ric Zimmerman, sound by ''Sloe'' Slawinski. Tannahill is a prize-winning, up and coming Canadian playwright, who drew from his own youthful experiences. Late Company is having its American premiere at Theatre 40 and is a theatrical tour de force. A must see!

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, off Little Santa Monica, Beverly Hills 90212, on the campus of Beverly Hills High School. Thursday - Saturday 8 pm, Sunday 2 pm. $30 No intermission. Free parking in the building on the theatre level. (310)364-1535 or www.theatre49.org ends 2/19

REVIEW BY INGRID WILMOT



PICK OF THE VINE

They did it again! For fifteen years, LITTLE FISH THEATRE has picked the best short plays, submitted from all over the country, for their PICK OF THE VINE. Every playwright wants his work to be included but only nine qualified by offering the sweetest theatrical grapes. You'll marvel at the ability of these eight actors,in alphabetical order: Holly Baker-Kreiswirth, Geraldine Fuentes, Brendan Gill, Rodney Rincon, Don Schlossman, Olivia Schlueter-Corey, Jessica Winward and Bill Wolski, under uniformly excellent direction, transform themselves from one character into a completely different one in rapid succession, never losing their focus. It's not all fun and games, this year. There are some think pieces, a couple of heavyweights and one downer but all worth experiencing .

I DON'T KNOW By James McLindon, directed by Madeleine Drake. A tough drill sergeant (Rincon), gets scolded by his marching troops (Baker-Kreisworth, Gill, Schlueter-Corey and Wolski)for a traditional but politically incorrect cadence.

SANTA DOESN'T LIVE HERE ANYMORE By Patrick Gabridge, directed by Gigi Fusco Meese. An elderly couple, (Fuentes and Rincon), have raised a son (Brendan Gill).who at thirty, still believes in Santa Claus.. and other lies.

WHEELCHAIR By Scott Mullen, directed by Richard Perloff. A roguish dude (Wolli), is in for a surprise from a determined, wheelchair-bound, young lady (Schlueter-Corey). A very black comedy, extremely well done.

THE WAY IT REALLY, TRULY, ALMOST WAS By Brendan Healy, directed by Elissa Anne Polansky. A depressing bit, set in a hospital room,where a comatose patient Baker-Kreiswirth) and her visiting spouse (Schlossman), reminisce, hovering between truth and fantasy.

THE HOLY GRILL By Gary Shaffer, directed by Madeleine Drake. One of my favorites, which has a young couple (Winward and Wolski) about to get married, face an interrogation from an unexpected source (Schlossman and Rincon), with Fuentes.

THICK GNAT HANDS By Erin Mallon, directed by Elissa Anne Polansky Is there something funny about two guys (Schlossman and Wolski) hooked up to a dialysis machine? You bet,when one of them is an intolerable windbag!

SCREAMING By Stephen Peirick, directed by Richard Perloff. A gripping piece about a distraught, sleep-deprived, new mother (Jessica Winward) at her wit's end over her constantly screaming infant. Wolski is her solicitous husband. This stunning play will send shivers down your spine.

A VERY SHORT PLAY ABOUT THE VERY SHORT PRESIDENCY OF WILLIAM HENRY HARRISON By Jonathan Yukich, directed by Gigi Fusco Meese. The ailing Harrison's limited presidency is enacted with amazing realism by Rincon, with the help of his faithful assistant (Schlossman). Truly hilarious!

A WOMB WITH A VIEW By Rich Orloff, directed by Richard Perloff. Ai birthing, as seen through the eyes of the embryo (Baker-Kreiswirth), who'd rather stay where she is-and who can blame her? Aided by the medical and technical staff, consisting of Fuentes, Gill, Schlueter-Corey and Winward. They leave us laughing!

Little Fish Theatre, 777 Centre Street near 8th, San Pedro (0731. Friday & Saturday 8 pm, Sunday 1/22 & 29 at 2 pm, Thursday 1/26, 2/2 and 2/9 at 8 pm. $27, seniors 60 and over $25. Parking lot in rear, enter via the alley. (310)512-6030 or The Little Fish Theatre ends 2/11

REVIEW BY INGRID WILMOT



THE ROOMMATE by Jen Silverman

A roommate can be a girl's best friend. They can divvy up expenses, borrow each other's accessories, take turns doing chores and dish the dirt on dating. But this exquisite play is not about your average roommate situation. Thank heavens!

Set in a neat, little house in Iowa (design by John Iacovelli, lighting by Brian Gale), Sharon (Linda Gehringer), a sturdy, middle-aged blonde, is a lonely empty-nester and decides to share her home with a woman named Robyn (Tessa Aubergonois), sight unseen, background unknown. This makes for an amusing combination and the naive Sharon, at first a little leery, soon become totally fascinated by the worldly New Yorker. I'll tell you only that this is a gal with a Past, I mean with a Capital P. Even though her activities aren't exactly above board, Sharon elevates her to a role model. So, here we have a frumpy, meat and potatoes Midwesterner, living with a lesbian vegan, a team that serves up an hour and forty minutes of uninterrupted delight.

Interspersed with genuinely poignant moments, are hilarious verbal exchanges about motherhood, men, marijuana, telephone scams, online dating and so much more. Jen Silverman has written a play that every actress over forty would love to have in her repertoire. Gehringer, a tall, talkative woman blessed with a gorgeous head of hair, is most impressive and fun to watch. The petite Aubergonoi, the real life daughter of eminent actor Rene Aubergonois, is perfect as the brittle, adventurous sophisticate, ready to embark on a simpler lifestyle. SCR's co-founder, Martin Benson's expert touch, guides these two phenomenal actresses with a proven, directorial hand. Don't miss this West Coast premiere.

SOUTH COAST REPERTORY, JULIANNE ARGYROS STAGE 655 Town Center Dr. Costa Mesa 92628 (Part of the Segerstrom Center Of The Arts). Tues-Sat 7:45 pm, Sat/Sun 2pm,dark Mondays and the evening of Jan 22nd. No intermission. Tickets from 22$.Parking $10 in near by garage off Anton Blvd. (714)708-5555 ends 1/22/17

REVIEW BY INGRID WILMOT

THE DINING SCENE, Ingrid's South Bay suggestion:

If an event brings you to the Carson area, you'll want to know a good place to eat. Put THE HOUSE OF SEAFOOD on your Bucket List. Located in the midst of a busy shopping center (IKEA is close by the restaurant, which is on a corner opposite LA Fitness), the place is pleasant but not flossy, with very fine food, fresh fish, good service and easy prices. Take the cioppino (please do). It has a hefty portion of Alaskan crab, unfortunately without any cracker or digger, so we doggie bagged it, lots of shrimp, mussels and fresh fish, in a light, tomato-infused broth, topped with toasted slices of ciabatta, for $14.99. We've all paid more for much less. There's a yummy shrimp pomodoro pasta dish, with big daddy-size crustaceans over al dente angel hair, enlivened with garlic and basil, a pleasure for $13.99 (with chicken, $11.99). Grill items include tilapia $10.99, barramundi $13.99, crab stuffed salmon $15.99 and more. For a change of venue, you can order Mexican entrees plus fried specialties, a rib eye $18.99 and all manner of Cajun type steamed seafood, from $10.99 (for clams), crab, shrimp etc., in custom toned sauces from mild to dripping-sweat spicy, with optional extras like corn, Andouille sausage, potatoes, rice or zucchini, from $1.50 to $5.50. On my night they had a special going: a glass of wine $4.50, the second one 99 cents. If you have room, their tiramisu is a winner $4.99 and big enough to share. This is the sort of serendipitous find that you wish were in your neighborhood.

The House of Seafood, 940 E. Dominguez Street, near Avalon Blvd., Carson 90746. Beer and wine. Easy parking in Shopping Center lot. (310)965-9799.



A BEAUTIFUL DAY IN NOVEMBER ON THE BANKS OF THE GREATEST OF THE GREAT LAKES by Kate Benson

This bit of seasonal nonsense will appeal to people with a sense of whimsy, to those who've sweated over table settings and seating, cooking methods and, most of all, to devotees of spectator sports and the announcers who provide play-by-play accounts of the action on the field. If you qualify for any of the above and have just read one of the longest sentences in the world, go and see the quirky play with just about the longest title, ever. As soon as family and friends arrive, the announcing team (Christopher Neiman and Kjai Block), who later double as "the twins" who speak only in unison, goes to work. They preside over a set consisting of a looooong table and ten chairs. Their commentary is akin to broadcasting a football game, baseball game or, in hushed tones, a golf tournament. Clever at first, this becomes a little tiresome as the evening wears on. The fine cast, however, seems to really be enjoying themselves. They've all been given silly names like the two hostesses, Cherry Pie (Tegan Ashton Cohan) and Trifle (Debbie Jaffe), who spend an inordinate amount of time adjusting the holiday table. Cheesecake (Sarah Lilly) appears to be in charge but has lost her sense of smell and is constantly hassled by her blind mother, Snap Dragon (Judith Ann Levitt). GrandDada (John MacKane) is on the verge o f dementia and doesn't hear too well, either. Cheesecake's daughter, Gumbo (Nicole Gabriella Scipione), perennially late, is a clumsy oof who screws up whatever project she tackles. David Bickford and Rebecca Knight appear in various roles, all well performed.

Director Laramie Dennis' assignment is not an easy one. Since we don't see any of the dishes, can't smell the turkey baking, get no glimpse of the festive board, she has to make sure the ensemble, via facial expressions and body language, convinces us that there's something cooking here. The sound design is by Marc Antonio Pritchett. The ending is as macabre as the play is, shall we say, very odd?

Theatre of Note, 1517 N.Cahuenga Blvd, just north of Sunset, Hollywood 90028. Thursday - Saturday 8 pm, Sunday 7 pm. No intermission. Public parking $6, on the same side of the street, halfway between Sunset and Selma. (323) 856-8611 or Theatre Of Note ends 12/10/16

REVIEW BY INGRID WILMOT

THE DINING SCENE, Ingrid's Pre-theatre Suggestion:

DESPERATION TIME: If you've been caught in the worse than usual holiday traffic and have no time for a real dinner, note that right across from the Theatre of Note, at a so-called wine bar and coffee shop, DEMITASSE, you can snack on a plate of charcuterie (so-so), three small slices of cheese (excellent), some toasted bread and sip a glass or two of fine wine, for $43. No bargain but, at least, your stomach won't growl during the performance (it happens....) They have no olives, pickles or other suitable condiments, not even mustard. Instead they give you honey (???!!!) and a cube of quince jelly. I would have had a cup of their touted coffee but no decent dessert was available. Can you believe, they have three other locations (Little Tokyo, Wilshire and Santa Monica). As I said, if you're desperate.....

Demitasse, 1542 N. Cahuenga Blvd., Hollywood 90028.



WAITING FOR GRACE by Sharon Sharth

Life is complicated for Grace (Sharon Sharth), a volatile redhead who is always looking for the right word and the right man. She'll tell you all about it, in this amusing, semi-autobiographical play, all the more interesting because the titular heroine is performed by the author herself.

The story unfolds on an almost bare stage (set by Pete Hickok, lighting by Denny Jackson, sound by David D. Marling, costumes by Michael Mullen) and doesn't need elaborate scenery. Sharth is totally honest and each of us gets an earful of her triumphs and disappointments as though we were her new BFF. She keeps dating an assortment of losers (portrayed by Jeff LeBeau and Bob Telford) with moral support from friendly Lily Knight and a gruff psychologist, Pamela Dunlap, in multiple and dual roles, respectively. Her dilemma will strike a familiar note among women of a certain age. Remember when the feminist movement dictated that "homemaker" was a dirty word and "career" is what we must embrace for true fulfillment? Sounds good but Grace's biological clock is not only ticking, it's about to detonate. She's desperate for marriage and motherhood, not necessarily in that order. Her squabbling parents (Dunlap and Telford) don't provide the role models for a union made in heaven but they give us unlimited chuckles. Even after she meets the ideal man, David (Todd Babcock), there's anxiety, a nervous rash, laryngitis, money problems and complications. But, as they say, true love never runs smoothly and if it did, we wouldn't have a play that's as enjoyable and funny as this one.

Sharth is wonderful as the charming neurotic, who grabs our attention as we silently cheer for her. Babcock is exceedingly handsome and perfectly cast, but has a habit of frequently lowering his voice to a whisper. The seasoned ensemble in multiple capacities is first class and Director Lee Costello never allows a dull moment to creep onto this stage. The play's script has won a number of awards but this Odyssey production is a world premiere. It ends soon so don't wait too long for Grace!

Odyssey Theatre, 2055 S. Sepulveda Blvd., near Olympic, West Los Angeles, 90025. Thursday, Friday & Saturday, 8pm, Sunday 2 pm. $35. Parking (paid) in front or on the street. (323)960-7788 or Plays 411 ends 12/11

REVIEW BY INGRID WILMOT

THE DINING SCENE Ingrid's Dining Suggestion:

GOOD BYE AND GOOOD LUCK: Almost around the corner (on Sawtelle) is 2117, one of my favorite restaurants, which I hoped to recommend before the show. Alas, Chef Hidayo Mitsuno, whose specialty is "Japonais" cuisine, that is he's a Japanese chef trained in French cuisine, is closing here and opening a new place in Japan. He's open until the middle of January, at 2117 Sawtelle Blvd. West Los Angeles 90025 (310) 477-1617. Parking is a pain in the butt but we'll miss his cooking. Ave Adque Vale! (Latin for hail and farewell!)



ICEBERGS by Alene Smith

On stage is A stunning, contemporary living room (designed by Anthony T. Fearing), in the hills off L.A.'s hip Silverlake District. It's all the more eye-popping because "Icebergs" evoke visions of an adventure story, a Polar expedition, perhaps. The title however, is relevant. The attractive, thirty-ish homeowners, Calder (Nate Corddry) and his wife, Abigail (Jennifer Mudge) both work in the Industry. He's a filmmaker involved in a project set in the Arctic, a true tale gleaned from a book. In the opening scene, he's on the phone with his agent, brainstorming how to raise the funds, the solution being, to cast a well known star for the movie to be a blockbuster or, at least a financial success. Calder's ambition is to consequently receive some important directorial assignments. The hook is that Abigail, a talented actress, would like the starring role but realizes the practical aspects of this deal making. This much of the plot is evident early on and I will not spoil your enjoyment of this stimulating, entertaining piece, by giving more away.

The astute director, Randall Arney, has a cast made in heaven. The brilliant Smith has created characters so distinctive and appealingly fleshed out, we soon feel we actually know these people. Calder is a man totally involved in his art but he has character and his values are in the right place. As Abigail, Mudge is lovely, intense, a "concerned citizen" and when she tells the story of her good friend Molly's current romantic interest, she positively sparkles and could light up the auditorium. Our Molly (Rebecca Henderson) has a commanding stage presence. She's a lawyer with an interesting sideline. A tall woman with a boyish haircut, she's quick with a quip, slightly sarcastic but a straight shooter. She tells it like it is and she tells it very well. Even Calder's agent, Nicky (Lucas Near-Verbrugghe), is not the typical, obnoxious member of his profession. He's actually quite likeable and plays him with an insouciance all his own. Last but not least, is Calder's college friend, Reed (Keith Powell), visiting L.A. from Missouri. He's a black man, a paleontologist, attending a scientific convention. He's an educated, charming, fun-loving fellow, hoping to have a good time in the Big City, away from home. You'll admire him most in his poignant soliloquy about what it means to be an African-American in an enviable professorial position, even today. Icebergs, a world premiere, is a passionate play of the moment and could have been written yesterday, pertinent in every aspect. It addresses global warming and the earth's ecological problems by incorporating them into the smart dialogue. Don't miss it!

Geffen Playhouse, 10866 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 PM, Sunday 2 and 7 pm. Tickets from $43 -$90. No intermission (forget that second cup of coffee). Parking in adjoining underground garage $7, in Palazzo Garage, next to Trader Joe's, 1010 Glendon Avenue, $4. Get your ticket validated at the desk just left of entrance. (310) 208-5454 or The Geffen Playhouse ends 12/18

REVIEW BY INGRID WILMOT



A VERY SPECIAL HOLIDAY SPECIAL by Mark Harvey Levine

In the style of Pick Of The Vine, Little Fish's greatest hit, they present us with the gift of laughter. Eight short plays by their favorite contributor, that are a "must see". As Levine writes in his program notes, as a Jewish boy growing up in Philadelphia, he was always a little jealous that Christmas was such a big deal and nobody gave a hoot for Hanukkah. Providing equal time for the two joyful holidays, everyone who loves to celebrate in ecumenical fashion, will enjoy - and how! -this truly very special holiday offering.

OY VEY MARIA, starring Madeleine Drake, Daniel Tennant, Amanda Kerr, Susie McCarthy James Rice, Margaret Schugt and Bill Wolski. Setting the mood with the opening scene, an absolute laff riot, we are in a manger with Baby Jesus and his parents, who couldn't find room at the Inn, you know. Madeleine Drake is unforgettable as Mary's Jewish mother.

THE LIGHT, with Drake, Rice, Tennant, Wolski, McCarthy, Karr and Schugt. So, this is how they managed the miracle of the light that had only a day's worth of oil but burned for eight days! Could we adopt this energy-saving method right now?

I'LL BE HOME FOR BRISKET, with Karr, McCarthy, Rice, Schugt, Tennant and Wolski. This is the tale of the very first Santa Claus, perfectly portrayed by the versatile Wolski.

A VERY SPECIAL HANUKKAH SPECIAL, with Drake, Karr ,McCarthy, Schugt, Tennant and Wolski. A man named Murray Baum (Rice) spins the dreidle and makes a wish, in this delightful Hanukkah story.

OH TANNENBAUM, with Margaret Schugt and James Rice. Act II opens with a taking Christmas tree (Schugl) and you'll never guess what this tree tells the man of the house (Rice), a duo you'll cheer like crazy for.

BEST PRESENT EVER, with Karr, McCarthy and Wolski. How to enjoy Christmas with your pets, is given a heartwarming interpretation by the trio of the pixie-ish Karr, the randy Wolski and the cuddly McCarthy.

YOU BETTER WATCH OUT, with Drake, Karr, McCarthy, Rice, Schugt and Tennant. A home invasion by vigilantes, who insist that there MUST be a tree, tinsel etc. but it all ends on a Happy Holiday note.

LES MISERABELVES, with Drake, Karr, McCarthy, Rice, Schugt, Tennant And Wolski. The fabulous finale, Little Fish and Levine's interpretation of Les Miz, is truly amazing in that we discover that this troupe not only acts extremely well but they can sing, too! There are some great voices here and Tennant can float a falsetto worthy of an operatic countertenor. It's narrated by Rice in his best Maurice Chevalier accent.

Direction by Holly Baker-Kreiswirth is flawless. The costumes by Diane Mann and the props by Madeleine Drake, are inspired, Levine's clever blending of popular Christmas carols into the hilarious dialogue, is a continuous source of amusement. If you don't catch this show, you are depriving yourself of the best holiday present, this year.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday & Saturday 8 pm, Thursday 12/8 and 12/15 at 8 pm, Sunday 11/20,27 and 12/11 at 2 pm.$27, seniors $25. Parking lot in back, enter via the alley. (310) 512-6030, text (424) 226-6030 The Little Fish Theatre ends 12/17

REVIEW BY INGRID WILMOT


THE YENTAS WEAR RED HATS by Art Shulman

Art Shulman has written some excellent plays, The Rabbi and the Shiksah as well as Rebecca's Gamble, come to mind, but this is not one of them. Perhaps it was opening night jitters or the majority of the cast was under-rehearsed but even Shulman, the playwright himself, seemed frequently unsure of his lines as though he forgot what he wrote. Kaz Matamura's direction is another point of contention. Why do the women face the audience while conversing with one another? Shift the furniture around, Sir!

The story takes place in Coach Craig's (Shulman) living room (set by Chris Winfield). He is planning to present awards to his winning team of basketball players, the Yentas, members of the Women Over 60 Basketball League (lots of synchronized cheering) He is also romantically pursuing the team captain, Tess (Ellen Bienenfeld), who is playing hard to get. Her co-captain, Becky (Nancy Kramer) seems to be involved with Mary Margaret (Sue Molenda), a former nun. We also have the grandmotherly Anne (Anita Barcia), the flirtatious Janice (Carol Anne Seflinger). a somewhat over-ripe hot tomato, who could be the poster child for "Sex After Social Security". A neighbor, Rabbi Jake (J. Kent Inasy) is, in Craig's opinion, his rival for the love of Tess. The ladies now form a new group, a Chapter of the Red Hats (outrageous costumes by Liz Nankin) and, of course, devise a new cheer: gimme an R, gimme an E, gimme a D, gimme an H, gimme an A, gimme a T gimme an S. Shulman does have some funny one-liners (hence the lone star) and everyone tries hard for laughs. Perhaps things will jell further into the run. But the screeching too often gets unbearably loud, at which time the Coach blows his, even shriller, beloved whistle so that one would give a kingdom for ear plugs. Forgive me for being politically incorrect but most of the players would be more believable as Champions of the Food Court and how many times must we watch these post menopausal cheerleaders strut their stuff? Gimme a B-R-E-A-K!

Secret Rose Theatre, 11246 Magnolia Blvd., NOHO, 1 1/2 blocks west of Lankershim 91601. Friday and Saturday 8 pm, Sunday 2 pm. $24, seniors $18. Street parking. (818) 285-8699 or The Yentas Wear Red Hats ends 12/18/16

REVIEW BY INGRID WILMOT

THE DINING SCENEIngrid's pre-theater suggestion

JARIN THAI

If your idea of a pleasant evening out includes dinner and a show with one-stop parking, you'll happily head to JARIN, which is just across the street from the Secret Rose Theatre. We re so lucky in SoCal, that the Thai food here is generally wonderful and a lot better, and less oily, than in Thailand, I can tell you. This is a sweet, little spot with about a dozen bare, but gleaming wood, tables and a mirrored wall that give it a trompe l'oeil effect of a larger space. There are some Thai travel posters and on a used brick wall hangs an elaborate work of art, depicting glittering elephants - that's your "atmosphere". Food and service are upper class, prices in the lower echelon.

They have popular appetizers, ribs, wings and a satay of beef or chicken from $6.95. Salads start at $7.95 for papaya to $11.95 for salmon with everything from the garden. One, with grilled shrimp is a dollar more. A few old Chinese faves are sprinkled throughout the menu for timid eaters. For us, no Thai dinner is complete without Pad Woonsen, glass noodles tossed with your choice of meat, shrimp, tofu or veggies, $8.95. Entrees come with white or brown rice but when you get those tasty, slippery, transparent noodles, you don't really need extra starch. Among the main dishes is Prik King, which my late colleague, Stanley Ralph Ross used to say, was named for his agent. Green beans and bell peppers in red curry sauce, choice of meat, $9.95 and Mongolian beef (or your choice), with green onions and bamboo shoots, $8.95. This time around, we tried the tilapia in green curry sauce (red, yellow or panang are options). The small fillets are whole, very fresh and delicate tasting, the sauce with a hint of sweetness, loaded with crisp broccoli, carrots and greens, $10.95. If you're a lover of eggplant, their spicy eggplant is cut into large chunks, again mingled with broccoli and carrots and also onions. It has a tingle of spice but no explosions, $8.95. The only drawback here is that they have no license and you can't BYOB. You may have to settle for Thai tea or coffee for two bucks but it makes up for it with the convenient location, quality and value. I'll drink to that, with water if absolutely necessary!

JARIN, 11255 Magnolia Blvd. NOHO 91601. Monday - Saturday 10:30 am to 9:30 pm, Sunday noon to 9 pm (closed the last Sunday of the month). No alcohol. Street parking. (818)763-8767.



GOING...GOING...GONE! by Ken Levine

The World Series are just about a memory and how come the Dodgers lost to the Cubs??? There's always next year, right? Meanwhile, baseball fever still rises at the Hudson Theatre Guild in this entertaining confection. If you've ever wondered what the hell goes on in that press box, you'll soon see and the stage is set up to look exactly as we imagine it (designed by Gary Lee Reed). We meet Dennis (David Gabich) as the new Official Scorekeeper. He pops pills to stay calm and to take his mind off his pain-in-the-ass wife. Plus he is in the nerve wracking process of bidding on a new house in Mar Vista. Mason (Dennis Pearson) is the sports writer for the L.A. Times, which is struggling for readership. He is an attractive African-American with a worldly attitude and a sharp sense of humor. Then we have Big Jim Tabler (Troy Metcalf), a four hundred pound teddy bear, acerbic, hot-tempered, basically lonely and a far cry from the poplar "good-natured fat man" type. But he can also make us laugh. He writes for a website and scoffs at the old-fashioned print media guys. Into this milieu comes a substitute for the regular female reporter, named Shana (Annie Abrams), a gorgeous, young woman, very pleasant and smart who, as expected, causes quite a stir in the press box, particularly in the heart - and other parts - of the nebbishe Dennis. She plays a woman whose job, as a sort of roving interviewer, leads to her involvement with one of the star sports personalities. She's a savvy professional but vulnerable, not a brittle ball breaker. She charms the audience as well as her colleagues.

Andrew Barnicle, hand picked by the author to direct this witty world premiere, he scores a home run with the help of his outstanding team of players. We get to know them intimately during a marathon seventeen innings, between the Dodgers and the San Francisco Giants. Playwright Levine has written what he knows best. He's not only a passionate lover of baseball but was himself a sportscaster (Dodger Talk on L.A. Radio Network,ESPN, Fox Sports). He is an Emmy-winning TV writer/director/announcer/blogger. His dialogue smacks of authenticity and is uproariously funny. Even if you're not into spectator sports, you'll relish this show. And if you're a baseball fan, well......I only wish they'd let us bring our beer and peanuts.

Hudson Guild Theatre, 6534 Santa Monica Blvd., Los Angeles 90038. Friday & Saturday 8 pm, Sunday 3 pm. $30. No intermission. Paid parking lot at the corner of Hudson and Santa Monica Blvd. (323) 960-5521 or Plays 411 extended to 11/20/16

REVIEW BY INGRID WILMOT

WELCOME BACK! One of he biggest hits at the Fountain Theatre in Hollywood was BAKERSFIELD MIST. Which has, since then, had successful runs all over the world. It's back with the original cast, from November 16 to December 12. Don't miss it! 5060 Fountain Ave., Hollywood 90029. Friday, Saturday and Monday 8 pm, Sunday 2 pm (323) 663-1525 or www.FountainTheatre.com



BUYER & CELLAR by Jonathan Tolins

Pure delight, amusing whimsy and a generous helping of charm, make playwright Tolins' and actor Jai Rodriguez collaboration a genuine treat at Garry Marshall's beautiful Falcon Theatre. Barbra Streisand's book, "My Passion for Design", a vanity work found on coffee tables largely unread, inspired the author to invent an unusual job for Alex More (Rodriguez), a gay, young, unemployed actor. He becomes the lone custodian of a mini-shopping mall in the basement of Streisand's Malibu home, complete with yoghurt and popcorn machines, which we never see but can almost smell. It houses her collection of memorabilia, antiques and precious tchotchkes.

Besides the presence of talented, likeable Rodriguez, the production is visually enhanced by an almost magical set and projections (designed by Adam Flemming), exquisite lighting (Nick McCord) and sound (Robert Arthur Ramirez), which contribute to the illusion that this could all very well be real. Rodriguez' gift for mimicry is top notch. Whenever the legendary diva visits her subterranean domain to chat or shop, he impersonates her mannerisms, the Brooklynese inflection in her voice, the way she brushes the hair off her face - the only thing he doesn't do is sing, although he hoofs a little. He also briefly imitates her brusque assistant, Sharon, her handsome hubby, James Brolin and his own Jewish boyfriend, Barry. He tells us of his encounters in a sweet, gossipy manner, treating the audience like his dear friends and making us chuckle in appreciation. His face is familiar to viewers of TV's Queer Eye and Tolins has penned many successful works, including Twilight of the Golds, for stage and screen. If this is a figment of his vivid imagination, so what! It could be true and if Streisand ever opens her shops to the public, my credit card is at the ready.

Falcon Theatre, 4252 Riverside Drive, Burbank 91505. Wednesday - Saturday 8 pm, Sunday 4 pm. No intermission. $30 - $45. Parking lot -free. ( 818) 955-8101 or The Falcon Theatre ends 11/6/16.

REVIEW BY INGRID WILMOT



THE MODEL APARTMENT by Donald Margulies

The word that best describes this, Donald Margulies' early work, is .....bizarre. It plays in many short, blackout scenes at a model apartment (stylish set by Tom Budewitz), at a luxury condo complex in Florida, in the late Eighties. An older couple, Lola (Marilyn Fox) and Max (Michael Montell) have bought a unit but it's not move in-ready yet. They've been given the key to this show place which is perfect cosmetically but sadly lacking in practicality. They seem like a devoted pair who have left the cold New York winters for the promise of Florida sunshine and idyllic lifestyle. Not surprisingly, this isn't about to happen. They say "you can't get away from your problems because they'll follow you no matter where you go". You'll soon see what that means. Meanwhile, let me tell you that Max and Lola are Holocaust survivors. They have an adult daughter, Debbie (Annika Marks), a singularly unattractive, overweight and mentally unstable girl. She has a new boyfriend, Neil (Giovanni Adams), who is also a few sandwiches short of a picnic. When they these two feel the urge, they blatantly get right to it, privacy being the least of their concerns. One can only utter a silent prayer that they don't procreate!

The only reason to see this play is for the beautifully defined and acted performances, under the direction of Marya Mazor. Marks in particular, is brilliant in a difficult and demanding role. In a tour de force, she also plays the lovely, young Deborah, a figure that dominates Max' eerie dreams and memories, while Puccini's aria 'Il bel sognio' (beautiful dream) from the opera La Rondine , is heard in the background. He softly sings Yiddish songs to Deborah, his voice filled with love and longing. Max is not a happy man and Montell plays him with admirable sensibility. Fox, a veteran actress who is also the Artistic Director of the well regarded Pacific Resident Theatre in Venice, is always excellent. Here she's the good hearted, Jewish mother, using a slightly nasal inflection, who's only occasionally annoying but always in character. Adams, the simpleton boyfriend, doesn't have a lot to say but his facial expressions and body language are right on. The expert sound and lighting are by Lindsay Jones and Brian Gale, respectively. Having seen almost ten of the talented Margolies' plays, I must confess that this is my least favorite.

Geffen Playhouse, Audrey Skirball Kenis Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm. $60 - $76. Parking at Palazzo Garage, next to Trader Joe's, 1010 Glendon Avenue, $4. Get your ticket validated at the theatre's desk, just left of entrance. (310) 208-5454 or The Geffen Playhouse ends 11/30

REVIEW BY INGRID WILMOT



" SHIPWRECKED!" AN ENTERTAINMENT - THE AMAZING ADVENTURES OF LOUIS DE ROUGEMONT (as told by Himself) by Donald Margulies

Donald Margulies is a much awarded playwright and rightly so (the Pulitzer, two OBIEs, L.A. Drama Critics and Ovation etc. etc. If you're a theatre regular, you've undoubtedly applauded many of his works: Sight Unseen, Dinner with Friends, God of Vengeance and more. This play, with the longest title in history, demands three unusually gifted actors and ICT's got'em.

The stage is bare at first, when a limping, old man introduces himself as the explorer Louis de Rougemont (Jud Williford), who tells wondrous tales, aided (and how!) by two others, the beautiful Laurine Price and the hilarious Nick Ley. Soon it all comes to life with projections on a set designed by Tesshi Nakagawa, highly imaginative props by the Briles Family, amusing costumes by Kim DeShazo, exciting sounds by Dave Mickey, lighting design by Donna Ruzika and most importantly, expert direction by Luke Yankee, a man who understands the magic of theatre and wields his wand to astonishing effect. As Louis recites chapter after chapter of his adventures on the storm-tossed sea, on a deserted island, in the Australian Outback among the Aborigines, you see his "assistants" provide sound effects and transforms themselves into almost thirty different characters, including a doggie named Bruno whom you'll want to take home. These two are incredible and almost overshadow the marvelous performance by Williford. But not quite. He is a fascinating raconteur, limber as a gymnast and irrepressibly enthusiastic.

Act II is a bit of a let down because, as hour hero rises to fame and fortune in 18th Century England, after publishing his best-selling memoirs, the National Geographic Society starts debunking his life story, not unlike puncturing a colorful balloon. We believe him - why can't they? "Shipwrecked!" is truly an Entertainment with a Capital E and should be on your "must see" list. You can bring your smart teen or even your Aunt Tillie, she'll love it (it's squeaky clean)!

"Shipwrecked" An Entertainment - The Amazing Adventures of Louis De Rougemont (as told by Himself) International City Theatre, Beverly O'Neill Theatre, Long Beach Performing Arts Center, 330 E. Seaside Way, Long Beach, 90802. Thursday - Saturday 8 pm, Sunday 2 pm. $47 - $49, children - 18 years of age, $25. Parking in garage on Seaside Way (well marked). (562) 436-4810 or The International City Theatre ends 11/6/16

REVIEW BY INGRID WILMOT



HOW TO LOVE A REPUBLICAN by Jerry Mayer

It's safe to call Jerry Mayer Santa Monica Playhouse's resident playwright, since he's given us great stuff there: Aspirin & Elephants, Almost Perfect, Two Across and more. Guess what- he has not lost his rib-tickling touch! This work is totally timely but will still be pertinent long after the 2016 Election is over. It takes place mostly in the McCoy residence in Beverly Hills. I have to say, the furnishings look a little shabby, even if it were in Beverly Hills Adjacent. But, the set is serviceable (by James Cooper), shifting to various locations, courtesy of Cooper's lighting skills and the ever changing projections by Fritz Davis, which are priceless. Who knew politics could be so funny?

We first meet Margie McCoy (Elizabeth Ellson), dictating her diary and fretting over her parents' Tim and Ruth's (Dan Gilvezan and Rachel Galper) tumultuous marriage. He's a staunch Republican, she's a liberal Democrat. He's Catholic, she's Jewish. But it's not the different religions that divide them. On the contrary, she's taught him lots of cute, Yiddish expressions, which he pronounces perfectly and uses appropriately. No, it's their politics that seriously alienate them and even wreak havoc with their sex life. Fully aware of their antagonism, Margie therefore hates politics and smartly avoids siding with either of their parties. Much to mom's delight, she brings home her new boyfriend, Lenny Klein (Adam Mondschein), a full fledged Democrat, running for the current Republican Congressional seat, against the incumbent Mark Bliss (Matthew Wrather), Margie's other prospective suitor, thanks to scheming dad. This scenario is rampant with clever dialogue, dozens of zingers (a Mayer specialty) and consistently fine acting. Director Chris DeCarlo who, with his wife, Evelyn Rudie, owns this little treasure box of a theatre, guides his likeable cast through lots of short, socko scenes, with éclat. Ellison keeps us guessing about the romantic denouement in a spirited manner. Gilvezan, the hard-nosed Republican, has a twinkle in his eye and a soft spot for his "little girl". Galper is not the usual yenta of a Jewish mother but an attractive, clever woman who knows how to get what she's after. Mondschein, as the Jewish Democrat, is her choice for the ideal son-in-law. When he makes his entrance, he looks more like a hirsute slob, but he soon wins us over with his personality, amusing body language and witty delivery. His balding rival, Wrather, is no Adonis either but he's quite charming (for a Republican) and very straightforward and truthful (for a politician). How To Love a Republican should become a classic like Dickens' A Christmas Carol every holiday season and be revived for every election for the next hundreds of years, so that Mayer's grand and great grandchildren can collect the royalties. Meanwhile, it's yours to love and enjoy right now!

Santa Monica Playhouse, Main Stage, 1211 4th Street near Wilshire Blvd., Santa Monica 90401. Saturday 7 pm, Sunday 3 pm $29.50. Seniors, students and Military $22.50. Parking in City Lot #1 across the street. (310) 394-9779 or The Santa Monica Playhouse ends 12/18/16.

REVIEW BY INGRID WILMOT



WHAT THE NIGHT IS FOR by Michael Weller

Can an old flame be rekindled or will the embers quickly lose their glow? That is the question hanging over the stage in What the Night is for at the Little Fish. A two-header that unites former lovers, meeting again after about a decade. It happens in a luxurious hotel room (exquisite set by Mitch Rossander). A table gleams with champagne flutes and two dinners sous cloche, the prominent bed looks inviting... Melinda (Stephanie Schulz) has invited Adam (Andrew Oliveri) to her room for, perhaps some reminiscing about old times. They are now both successful professionally if not martially, which becomes pretty clear early on. We also learn that they had a torrid affair in New York City, which neither has forgotten. We wonder, was it a relationship or just a one night stand? Between the free flowing bubbly and the romantic setting, the events become fairly predictable - or do they?

Playwright Weller has created two characters who are difficult to embrace. They are both still marred to others but it's not the morality of the story that's off-putting. It's that their personalities are not exactly endearing. He's ambivalent about his family, the type that wants his cake and eat it too, to float an old adage. She's neurotic, with a temperament that borders on hysteria and becomes unhinged as the long night wears on (fine performance by Schulz, unequivocally). The direction by Branda Lock is above reproach. Schulz appears severe and uptight at first, until she literally lets down her hair, looks sexy in spandex and could seduce a monk. He is equally attractive, well built, carries the torch unabashedly without a speck of guilt and is a persuasive suitor. A fascinating pair, too bad they don't quite reach our hearts.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90231. Wed & Thursday 8 pm, Sunday 2 pm. $27 Entrance and parking in back, via the alley. (310) 512-6030 or The Little Fish Theatre

REVIEW BY INGRID WILMOT



MORAL IMPERERATIVE by Samuel Warren Joseph

Have you ever wanted to kill someone? The schoolyard bully? A vicious boss? Your mother-in-law? Just planning a murder can be stimulating, even therapeutic. Executing it, is another matter altogether.

We are somewhere in New England, at Briarton, a prestigious college which is undergoing a leadership transition. Professor Seth Colby (Martin Thompson) and his wife, Mary (Susan Dement), a doctor and also his colleague, are entertaining Robert Salenger (Ken Kamlet) and his wife, Karen (Kyoko Okazaki in their home (handsome set by Jeff G. Rack). What we glean from the intellectual banter is, that a fellow faculty member, Oscar Bryant (David Hunt Stafford), has been chosen by the Board of Trustees to be the new President of Briarton. This does not sit well with the ambitious Seth and his protégée Robert, who consider Oscar to be a monster, an evil, despicable man whose plans include ruinous changes, such as the elimination of tenure for the teaching staff. What starts out jokingly as a whim to off the new appointee, becomes a serious possibility after much discussion and several rounds of drinks.

Playwright Joseph has so overloaded the plot that we expect it to start rattling like a pressure cooker about to explode but it certainly holds our interest. Thompson, as the scheming Seth, cuts a fine figure and possesses an impressive, sonorous voice. Damant projects the warmth and wisdom of a loyal wife. Kamlet stumbled over his lines a bit, during the first act but warmed up and found his footing in his big, emotional scene, performing convincingly even though the part seems to call for a younger man. Okazaki is perfectly cast as hit little Japanese wifey, turned irrevocably pious after some sorrowful circumstances. Stafford, Theatre 40's beloved Artistic Director as the onerous Oscar, has a scene of Shakespearean proportions. He's riveting. Just watch the blood rise to his head! Brandee Steger amuses as a sassy police detective, a regular Chatty Cathy. Directorially, Howard Storm has the action flowing smoothly and the actors in fine form in this world premiere. I would suggest, however, that the cocktail cart be relocated, so that the other half of the audience can witness the important deed that takes place there. And, by the way, when a woman leaves her husband, she carries more than just her handbag. The sound design by "Sloe" Slawinski, the costumes by Michelle Young and lighting by Ric Zimmerman uphold the high standards of this classy, little theatre.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, Beverly Hills, 90212. Thursday - Saturday 8 pm, Sunday 2pm, Monday 8 pm. $30. Free parking in building garage adjoining the theatre. (310) 364-0535 or Theatre 40 ends 10/17/16

REVIEW BY INGRID WILMOT



BARBECUE by Robert O'Hara

This play is a lot of fun but difficult to review. The pleasure it provides is not only in the fine cast and direction, de rigueur for the Geffen, but in it's many surprises, an important part of the theatrical experience. The color scheme is black and white, that is to say, the diverse actors are truly interchangeable.

It opens in a public park's shabby gazebo, with a picnic table and benches (set by Sibyl Wickersheimer). A family, consisting of a brother, James T (Travis Johns) and three sisters, Lillie Anne (Frances Fisher), Adlean (Dale Dickey) and Marie (Elyse Mirto) await the arrival of their black sheep, crack head sibling, Barbara (Rebecca Wisocky) whom they've nicknamed Zippidy Boom, a druggie and boozer extraordinaire. They have conspired to perform an intervention, to get Barbara into rehab. Calling the kettle black, this bunch ain't no saints, neither - to put it into their vernacular. To describe them as low class seems like flattery. Their trailer trash vocabulary and outrageous outfits define them. (Cheers for costume designer Kara Harmon). Spoiler alert: In order to continue, I must give away a surprise. We have a blackout and in Scene II, what do we see? A replicated group of picnickers - except all these people are black! James T is now Omar J. Dorsey, Yvette Cason is the bossy Lillie Anne, Heather Alicia Simms is Marie, in identical getup and cornrow hairdo, Adean with her cigarette and cane is Kimberly Hebert Gregory and, on my night, the versatile Cherise Booth eventually became Barbara. The story takes place in Middle America and is told in unusual sequence but it all works out. Director Colman Domingo, who has collaborated with author O'Hara previously, has captured the work's humor, originality and element of the unexpected to perfection, including the uniformly excellent cast's typical manner of speech and 'tude. This is one juicy BBQ you won't want to miss.

Geffen Playhouse, Gil Cates Theatre, 10886 Le Conte Avenue, Westwood 90024 Tuesday - Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm. $43-$84 (310) 208-5454 or The Geffen Playhouse. Parking in adjoining underground garage $7, in Palazzo Garage, next to Trader Joe's, 1010 Glendon, $4. Walk through the alley; show your theatre ticket at the exit booth, no need to stand in line at the validation machine. Ends 10/16

REVIEW BY INGRID WILMOT



CAPTAIN OF THE BIBLE QUIZ TEAM by Tom Jacobson

If you're feeling guilty about missing church on several Sundays, see THE CAPTAIN OF THE BIBLE QUIZ TEAM and you'll pay for all your sins, sitting through an endless sermon. Just kidding, just kidding! Actually, this is a well acted, one-person "show" which, however, brought to mind an unforgettable line uttered by the late, great character actor, Peter Ustinov as Nero. Said he: 'Too much religion is bad for the liver" and this, folks, is a lot of religion.

The idea is splendid, i.e. performing in various churches around the Southland, at different times. Furthermore, the starring role of the Pastor is shared by four diverse actors, two men and two women (Wayne Tyrone Carr, Mark Jacobson, Deborah Puette, who can currently be seen at the Sacred Fools Theatre in Hollywood (review on Will Call) and Amielynn Abellera, who played the freshly minted Pastor on my afternoon. She has an endearing manner, a lovely smile and showed off her emotional range to great advantage, as Landry Sorenson, the adopted daughter of the Pastor of the Kandota Church in Minnesota. Due to his serious illness, she flies in from L.A. to sub as temporary Pastor. She has an odd, one-sided relationship with her father, is self conscious and somewhat timid. But, as she stands at the pulpit and preaches seven (count 'em, seven) Sunday sermons, her voice is strong and clear and her opinions, as she expresses her and her little flock's objections to the stand on sexuality, taken by the powerful ELCA (Evangelical Lutheran Church in America) are admirable. The piece is thoughtfully written, if overly lengthy, but what it lacks is humor. A few light-hearted lines sprinkled throughout the eighty minutes, would certainly have brightened this Biblical tome. It is charmingly set in a cute, little church in West Los Angeles (no scenery needed), directed by Michael Michetti, with organist Barbara Browning.

Rogue Machine at Lutheran Church of the Master, 10931 Santa Monica Blvd, between Westwood and Sepulveda Blvds., West Los Angeles, 90025. Free parking in adjoining lot. $34.99. Saturday 3 pm, Sunday 3 and 7 pm. No intermission. (585-5185) or Rogue Machine Theatre For additional locations and times The Captain of The Bible Quiz Team ends 10/3/16

REVIEW BY INGRID WILMOT



PARALLEL LIVES by Mo Gaffney and Kathy Najimi

An utterly delightful show, which displays the talents of the two performers, Crista Flanagan and Alice Hunter as well as the wit and savvy of the authors. Directed with just the right touch of whimsy by Jenny Sullivan, it takes us on a non-stop succession of vignettes with a minimum of clever props, designed by Warren Casey. Each woman impersonates either sex, young, old and in-between, which makes their audience believe they're seeing an ensemble rather than just this dynamite duo.

On a stage that resembles a galaxy from outer space (set by Trefoni Michael Rizzi, lighting by Pablo Santiago, sound by John Zalewski and costumes by Alex Jaeger), it begins with two majestically winged angels in the process of creating absolutely everything and making fun of it. Nothing is sacred here. They take on the nuns in a convent, the vagaries of the confessional, a Tampax spoof, a support group for the mothers of Disney characters, like Snow White's and Bambi's moms and many more. You'll love the two elderly ladies in the health food restaurant and the scene in a Country Western bar. Hell, you'll love everything! Some of the material is a bit dated; the piece was written thirty years ago. For example, as explained in your Footlights program, the E-Ticket Ride at Disneyland is long gone but the humor is timeless and universal. The late, great Garry Marshall left us a wonderful legacy when he built this beautiful theatre. If he's watching from above, he's having a good laugh right along with us, you can bet on that!

Falcon Theatre, 4252 Riverside Drive, Burbank 91505. Wednesday -Saturday 8 pm, Sunday 4 pm. $37 - $45, students $30. Free parking lot. (818) 955-8101 or The Falcon Theatre ends 9/18/16

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid's pre theater suggestion

Only four blocks from the Falcon is an Argentinean restaurant called MALBEC, after their famous red wine. The place is dark and cozy, built in sort of a semi-round with a correspondingly shaped bar and a sidewalk patio. Fresh bread and chimichurri appear at once. Chimichurri is the Argentinean version of Italian pesto, a green mixture of parsley, garlic, oregano, vinegar and oil and so tasty, if ever there is something you don't like, cover it with chimichurri and it'll be delicious. Wine by the glass from $9, from an eclectic selection. A look at the menu tells you that dinners are a little pricey, but tempting. However, the Falcon has a deal with them, so ask the box office for the Malbec discount card and get $10 of you bill, if it exceeds $50 (no sweat). Salads go from $9.95 - $13.95, soups from $7.95 to $17.95, appetizers $8.95 (empanadas) to $18.95 (sweetbreads). See what I mean? Pasta starts at only $18.95 but why order pasta at an Argentinean place? Instead, venture into something exciting like the Napolitano, a kaleidoscopic arrangement of a breaded tenderloin (or chicken breast), topped with ham and mozzarella, surrounded by mashed potatoes, broccoli, yellow squash, carrots and turnips, a bargain for $22.95 and not just a pretty picture. Beef is king in that country, so you might try their entraña, a skirt steak with char-grilled red and yellow peppers and a tomato half. This is no filet mignon and can be chewy but ordered medium rare and accompanied by a sharp knife, it's A-OK. Lavish it with chimichurri, spooned only from the bottom or you'll have an oil field, $25.95. Feeling flush? They have various more luxurious beef cuts. Service is O.K. By O.K., I mean our waitress was pleasant enough but never once come back to check if everything was fine or I would have asked for more chimichurri - I can never get enough of that stuff. There's a chocolate ganache on the dessert menu that has "next time" written all over it....

Malbec, 10151 Riverside Drive, Toluca Lake 91602. Full bar. Easy street parking. (Additional locations in Pasadena and Santa Monica). (818) 762-4860



PLEASE DON'T ASK ABOUT BECKET by Wendy Graf

Please don't let the title of this exquisite work confuse you. It has nothing to do with the classic Becket of history but is a contemporary play, very much of the moment, about a well to do, showbiz-connected, Los Angeles family and their struggle with their son, one of those charming losers who are always supposed to "turn their life around" but can't seem to get their &%?! together.

The story spans several decades and opens as young Emily (Rachel Seiferth) and her twin brother, Becket (Hunter Garner), romp on a playground, busy with children's games. The set (by Evan A. Bartoletti) is beyond minimal but your - and our talented playwright's imagination - bring it to life in many different guises, without ever moving a prop. Emily adores Becket and lives in his shadow. He is handsome, charismatic and a child of privilege, whose parents, Rob (Rob Nagle) and Grace Diamond (Deborah Puette), repeatedly have to bail him out of disastrous situations. This kid doesn't just get into hot water, it's more like a permanently boiling kettle. Emily, a little mouseburger of a girl but smart and level headed, supports him to exhaustion, and is forced to neglect her own life, being busy shoring up that of her nogoodnik bro.

The play will resonate especially with parents, even those who have never had to choose tough love over indulgence. Nagle as the father faces a dilemma that has no solution. Puette, the mom, is, sadly, too lenient and multi-forgiving but, she's a mother, after all, deluded and ever hopeful. The youngsters are mesmerizing. Seiferth's narration has us truly spellbound. Garner is an incorrigible weakling, yet we root for him and understand how, in spite of his shortcomings, his twin ends up missing him like a severed body part. Kiff Scholl's insightful direction does justice to Graf's enthralling writing, her sympathetic yet complex characters and unforced, smart dialogue. Wendell C. Carmichael designed the costumes, Kelley Finn, the lighting. My one gripe is that the smoking in this small theatre, permeates the room unpleasantly. They easily simulate telephone conversations, why not simulate smoking? But don't let that deter you from seeing this memorable world premiere.

Sacred Fools Black Box Theatre, 6322 Santa Monica Blvd., one block east of Vine, corner of Lillian Way, Los Angeles 90038. Thursday - Saturday 8 pm, Sunday 3 pm, Monday, 6/29 only, 8 pm(dark 8/26) . $25. No intermission. Tight street parking. (323) 850-7745Plays411 ends 9/18

Review by INGRID WILMOT

THE DINING SCENE:INGRID'S PRE THEATER DINING SUGGESTION

BIRCH

In the very heart of Hollywood and easily the classiest place on the block, BIRCH sits like a graceful tree with, hopefully, deep and permanent roots. A sleek place with a very prominent bar (they're heavily into cocktails, here) but you might want to check out their quiet, little patio while our evenings are mild and pleasant. Out of an ugly alley, they've managed to create a cute space and the good servers do not neglect you out there. They feature a $49 prix fixe dinner, something to consider on a non-theatre night. The Sacred Fools Theatre is about a ten minute drive, the Theatre of Note is across the street, Among the array of appetizers and small plates, three of which make an ideal pre-curtain repast for two, I can recommend their chicken liver mousse, silken with a thin gelée topping, a cornichon, a caperberry and three slices of toast, in a word, divine, for $14. The gazpacho is presented in an unusual manner. On a rimmed plate, sit a half dozen shrimp decorated with crisp, fried dill, radish etc., before the pretty pink, creamy, chilled soup is poured around them, $12. We also ordered the mushroom tart, which could double a decadent breakfast item. Bedded into a mille feuille "muffin", are rich, wild mushrooms, crunchy prosciutto slices, Hollandaise type sauce, a fried egg and whatever Chef Brendan Collin feels in the mood to add, $17. There you have it. Should you want an entrée all to yourself, they have gnocchi $20, lobster Bolognese $26, Indian style chicken strips with rice $23 and a pork shank for $35. Wine by the glass from $12. If you're looking for more of a bargain, you have to come on Sunday for their famous Roast at Birch, $24, beginning at noon. Could be roast beef and Yorkshire pudding but call for details or log on to birchlosangeles.com.

Birch, 1634 N. Cahuenga Blvd., Hollywood 90028. Open daily for dinner from 6 pm, Sunday from 5 pm. Full bar. Valet parking $10. (323) 960-3369.



THE HOW AND THE WHY by Sarah Treem

This riveting psychological drama is so brilliantly written, its author might possess a Master's Degree in any given scientific subject. Yet, the language is not so high falutin' that you scratch your head, wondering what the hell it's all about. It is an illuminating character study of two women, connected yet estranged.

The scene is an office (set by Phil Buono) where Zelda (Mary Wickliffe) sits at her desk, busy with paperwork. A tall, slender, pale, much younger woman, Rachel (Natalie Beisner) approaches timidly, obviously ill at ease. The silence and tension are thicker than Thule fog but once they communicate, it becomes clear that they share a history. At the moment, however, the question is whether Rachel's hypothesis, based on novel biological findings, will receive a hearing before the Board of which Zelda is an influential member. Rachel is currently a student at NYU, whose revolutionary theories on the how and the why of female sexual functions, conception, menstruation and menopause, can be accepted as valid. Guys - don't be put off by all this estrogen-heavy discussion. What makes this play worth seeing for everyone is the chemistry (or lack thereof), of two women of science, their backgrounds and our glimpse into their personal lives. The charismatic Wickliffe seems at once softly feminine but also a combative fighter for her own difficult climb to achieve academic equality and fame. Beisner's expressive face lays bare her emotional range. At first tentative, then forceful and determined, with a rapid-fire delivery in a multi-faceted portrayal. When her eyes fill with tears, she breaks our hearts as well. Danielle Ozymandias' expert directional touch is evident throughout this fascinating story and the proscenium staging gives us an unobstructed view of the performers' moods, frowns, smiles and everything in between. A cerebral theatrical experience that commands your attention and does not disappoint.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Wednesday 8/24 and 31, Thursday 8/18 and 26 and 9/1. S27, seniors $25. Parking lot and entrance via the alley. (310) 512-6030 or The Little Fish Theatre ends 9/1/16

Review by INGRID WILMOT



RAPURE, BLISTER, BURN by Gina Gionfriddo

The genius Sigmund Freud - or was it Einstein -asked, "What Do Women Want?" but did not come up with an answer. RAPTURE, BLISTER, BURN doesn't either but is a wonderful example of two women who each want what the other has. Catherine (Suzanne Dean) is a brilliant career woman, author, lecturer and teacher but she's alone, albeit with an adorable mother, Alice (Mary- Margaret Lewis), who is supportive but recovering from a heart attack. On the other hand, Gwen (Christine Morrell), Cathy's former roommate, is married to Don (Patrick Rafferty), Cathy's boyfriend at one time and has two children, fourteen and four. (The space between them speaks volumes). She in turn, craves the glamour and excitement of a career in the Big Apple. She's miserable with Don, who's a flake, drinks excessively and is addicted to porn. If this sounds soap operatic, don't you believe it. This is a yeasty, thought provoking work with dialogue that's both witty and pithy. It explores a myriad of themes and variations like a melodious symphony: women's lib, sexual fantasies, horror movies, generational differences etc., without pontificating.

The cast, under the capable direction of Mark Piatelli, is flawless. Dean as Catherine, is accomplished yet vulnerable. Morrell, the prudish, frustrated housewife, is torn between motherhood and feminine empowerment, while the battle between Betty Friedan and Phyllis Schlafly still divides the female population and "having it all" remains an unattainable goal. Lewis, as the old fashioned mom incarnate, has an understanding heart and an irrepressible persona plus that rare quality, a mother who knows when to let up. You'd think that that slacker of a husband would be altogether loathsome but playwright Gionfriddo has given him delicious lines and Rafferty imbues the role with believable, personal charm. He fesses up to his weaknesses and one tends to forgive him as one would a naughty but endearing puppy.

The most interesting character on stage belongs to Kimmy Shields' Avery, whom we first meet as the married couple's babysitter. Tall and boyish (for a few minutes, I actually thought this was a guy), in a role that could have been written for her. She's got a smart mouth but is a realist who tells it like she sees it. Furthermore, the advice she constantly dishes out, actually makes sense and she doesn't have a neurotic bone in her body. The New York-based playwright is given short shrift in the program, in fact, no shrift at all but you'll be interested to know that Rapture, Blister, Burn was a 2012 Pulitzer Prize Finalist and you may have seen some of the episodes she wrote for television's Law & Order and House of Cards. Set design is by Phil Buono, costumes by Marlee Delia, lighting by Stacey Abrams and projections by Nicolas Dean-Levy. By the way, don't we first burn and then blister? At any rate, you won't want to miss this stimulating production.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90732. Friday & Saturday at 8 pm, Sunday at 2 pm only on August 26th. $27, seniors $25. Free parking (enter via the alley to the rear of the theatre) (310) 512-6030 or The Little Fish Theatre ends 9/3/16

REVIEW BY INGRID WILMOT

AL FRESCO FUN: When it's summer in L.A., all roads lead to the Hollywood Hills and the FORD THEATRE, Located opposite the Hollywood Bowl, this is a miniature version of the world famous venue but more intimate and charming. It has been completely refurbished this year and awaits your patronage. The audience-pleasing repertoire is as diverse as our population. This month, the Gay Men's Chorus perfo9rms on the 20th at 10 am. Most evening performances start at 8 pm. The Jewish Symphony plays on the 21st, bluegrass fills the air on Sunday the 28th. On September 3rd, is Mozart's delightful opera, Abduction from the Seraglio by the Pacific Opera Project. Mariachi music on the 25th, the Angel City Jazz Festival on October 2nd. KCRW's Afro Funk happens on October 15th, etc., etc. For info, check below.

Ford Theatre, 2580 Cahuenga Blvd. East, Hollywood 90068 Call for details (32303673 or www.FordTheatres.org Paid, stacked parking lot. A new structure would have been a most welcome improvement. Maybe next year????

INGRID WILMOT



BREATH OF SPRING by Peter Coke

Crime and comedy among the varicose vein set proves to mix well at Theatre 40. In a genteel boarding house (set by Jeff G. Rack, spot-on, as usual), in jolly old England, things are going splendidly but lack excitement for its proprietor, Dame Beatrice Appleby (the venerable Melinda DeKay), her worldly, ex-con maid Lily (Alison Blanchard), Miss Nanette Perry (Flora Plumb), a hard as nails vocal coach, retired Brigadier Bertie Rains, (the stiff upper lipped Lary Ohlson), the timid Hattie Hatfield (Jean Kauffman) and the aristocratic Lady Alice Miller (Katherine Henryk), the lodgers. More or less inadvertently, they pull an illicit switch involving a precious fur stole of grey Breath of Spring mink. Their adrenalin rush, as they plan to clandestinely return it, is so exhilarating, they embark on a life of crime, purloining expensive furs. They steal from the rich but do give to the poor.

The story takes place in 1960, a time when nobody gave a thought about the animals which provided them and fur was proudly worn by every elegant woman who could afford one or had a husband or lover to present one. Costume designer, Michèle Young,must have scoured every thrift shop in town to procure the "loot" here.

There's a rollicking entr'acte between the first and second scene of Act II, by the spunky maid (Blanchard) and Joshua Olkowski, who later appears as a detective (with bobby, Richard Carner}. But the fun really starts when Scotland Yard gets wind of the thievery and comes to investigate this mysterious crime spree. Everybody pulls the "old folks: card to the amusement of the audience. Ohlson who ran the operation with military discipline almost loses his cool and Kauffman is hysterical being hysterical. Bruce Gray has his actors perfectly attuned to their roles and their British accents are not exaggerated, as is often the case. If the plot seems familiar, you may have seen the classic film Make Mine Mink, starring the toothy Terry Thomas. Nevertheless, this play comes like a breath of spring during our scorching summer.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, off Little Santa Monica, Beverly Hills 90212, on the campus of Beverly Hills High School. Thursday - Saturday 8 pm, Sunday 2 pm $30. Free parking in adjoining garage in the same building. (310)364-0535 or Theatre 40 ends 8/21/16

REVIEW BY INGRID WILMOT



RIGHT LEFT WITH HEELS by Sebastian Majewski

City Garage at Bergamot Station is known and admired for its eclectic repertoire. With this production, they may have gone slightly ûber-eclectic. Written by a much awarded Polish playwright, it is cynical, stridently political and difficult to follow. I found it uninvolving and needlessly repetitive but, to its credit, cleverly staged and marvelously acted by two young women to whom the above two stars exclusively belong. The story is "narrated" by a pair of shoes made of human skin, especially for Josef Goebbels' wife, by the doomed prisoners in Auschwitz. We've heard of soap from cadavers as well as lamp shades of human skin but the shoes' origin (which may be apocryphal), is a horror heretofore unknown.

On the stage is a cage-like, metal contraption (set, lighting and video by Producer Charles A. Duncombe) and two red chairs, soon to be occupied by the blonde Alexa Yeames and the brunette Lindsay Plake, who voice the stories of the pumps' various owners chronologically. Note: Read the program notes "About the Text" by Eva Sobolevski, if you want to follow their progression more clearly. In red dresses over black slips (costumes by Josephine Poisot), the sassy girls cavort, sing, dance, fuss with their hair, mimic and grimace tirelessly for ninety minutes, directed and choreographed by Frederique Michel, City Garage's Artistic Director who dedicates the production to her uncle and grandfather who perished in Auschwitz. Right Left With Heels has been surrounded by controversy, including withdrawn funding from the local Polish Consul who was, perhaps, expecting a love letter to Poland. But, after all, this is history, ugly and unvarnished.

City Garage, Bergamot Station, Building 11 (close to Cloverfield), 2525 Michigan Avenue, Santa Monica 90404. Friday and Saturday 8 pm, Sunday 3 pm. $25, seniors and students $20. Sundays, pay what you can, at the door only. No intermission. Free parking in compound. (310) 453-9939 or City Garage ends 8/14/16

REVIEW BY INGRID WILMOT



RECORDED IN HOLLYWOOD music and lyrics by Andy Cooper, book by Matt Donnelly & Jamelle Dolphin

This show premiered at the 99-seat Lillian Theatre in Hollywood last year. It was so successful, it won high praise from the local media and a number of "by popular demand" extensions. Now, New York producer Lou Spisto's magic touch has transformed the piece into a full-fledged, Broadway-worthy musical, with a 6-piece band on stage, twenty-one performers, new songs and sizzling dance numbers.

It's a true L.A. story, encompassing ten years, 1948 to 1958, when one man, black entrepreneur John Dolphin, nurtured the nascent L.A. music scene into prominence, with his record store in South Central (he was unable to rent anywhere else in those days) but he called it "Dolphin of Hollywood", anyway. It attracted fledgling singers and artists who became big names and, above all, a mixed race crowd happily partying and dancing together. This irritated the cops on the block, who mercilessly harassed the owner (what's new?) and eventually closed the place down. There's much more to this story, of course, which you must discover for yourself.

The well integrated cast, directed by Denise Dowse, is headed by veteran actor Stu James, as "Lovin" John Dolphin, a man who, if he had to carry his ego behind him, would have to rent the Forum. But, in order to survive and realize his dream, needed brass balls - and he had 'em. He fell in love with one of his employees, Ruth (Jenna Gillespie), a tall and slender woman of accomplishment and, together, they built the country's most famous record store, giving jobs and fame to singers like Sam Cooke (Thomas Hobson), Jesse Belwin (Wilkie Ferguson III) but always discouraging the eager Percy (Eric B. Anthony), a man with a high voice and happy feet. The music blends multiple genres, early rock 'n roll, rhythm & blues, gospel, male and female quartets with their then de rigueur synchronized movements and more. There are love songs, soulful ballads and even a rousing civil rights inspired march that electrifies the audience. The dance numbers are snappy and toe tapping, with booty-shaking choreography by Cassie Crump. The diverse ensemble exudes energy and you will notice that the "chorus girls" are not the usual Size 2 nymphs but come in all shapes and sizes, I mean, something to hold onto in case of earthquake. Costumes and varied and imaginative, designed by Mylette Nora and wig expert Aishah Williams is kept very busy. This is a true, bigger than life, story of a man of flawed but unique character who, by rights, should be better known than Barry Gordy of Motown, whose fame he preceded and of whom Angelenos should be especially proud.

Kirk Douglas Theatre, 9820 Washington Blvd., Culver City 90232. Thursday - Saturday 8 pm, Saturday 2 & 8 pm, Sunday 2 & 7 pm. $39 - $59. Free parking underground Culver City City Hall, enter on Duquesne, just south of Culver Blvd. (213) 972-4488 or Recorded in Hollywood ends 8/7/16

Review by INGRID WILMOT

THE DINING SCENE: dining suggestions

MEET IN PARIS

This French bistro's primary asset is location, location, location! Only separated by an alley from the Kirk Douglas Theatre and it's just across the street from where you're parked (City Hall's underground garage). The place is Gallic cute, filled to the brim book shelves and wine bottles lined up in front of the exhibition kitchen. The tiny, white tile floor reverberates sound like an echo, making it just about the noisiest restaurant in Culver City Next time I'm sitting on the sidewalk patio and so should you, if conversation plays a role in your dining enjoyment. You also won't find many bargains here. So, what's good about it, you ask. The food is excellent and service better and friendlier than in Paris. And, of course, there's the location. Their specialty is moules frites, seventeen different styles of mussels with generously portioned, crisp shoestring potatoes, around twenty bucks for the small size. They come in little pots whose cover doubles as receptacle for the shells. (On Tuesday and Wednesday, it's all you can eat with eight different sauces for $29.95). The truffle-mushroom version is terrific, in a creamy sauce flavored with leeks and magic. You'll be happy they supply a spoon and crusty French bread. Mussels not your thing? Hors d'oevres start at $10 (escargots) and there's bouillabaisse, coq au vin, boeuf Bourguignonne and all your French favorites $27 - $29. I recommend the duck confit, a good looking leg in a winner's circle of Brussels sprouts with a sprinkling of lardons (três Francais), in a heady, dark sauce smacking of red wine and, perhaps, a splash of red wine vinegar, very, very good, $27. Wine goes from $9 per glass, desserts $8 - $10.

9727 Culver City Blvd., Culver City 90232. Open daily. Full bar. Not going to the theatre? Park free for two hours, one block east on Cardiff. (310) 815-8222

Review by INGRID WILMOT



OLIVE AND THE BITTER HERBS by Charles Busch

There's a clever dictionary out, called "Yiddish for Yankees", listing every Jewish expression ever coined. Next to the translation of Yenta (an annoying woman with a big mouth), thee should be the likeness of Olive, the titular heroine of this play. Our Olive (Gail Bernardi), an elderly actress and former star of an old sausage commercial, inhabits a comfy, lived-in looking New York apartment (set by Tony Pereslete).with no visible Jewish artifacts but a prominent, gilt-edged mirror (more about that, later). The only time her ratchet mouth doesn't emit insults or complaints, is when it's closed (not often). Her only friend is Wendy (Alison Mattiza) who also works in show business and has just been offered a new job in Hollywood. You'll be amused at the typical New York rant about L.A. - and they don't even touch upon all the nose and boob jobs. Olive is feuding with her neighbors, Robert (Ken McFarlane) and Trey (Daniel Kruger), a gay couple, whom she, nevertheless,, invites to an impromptu Passover Seder, with ingredients mostly procured by the affable McFarlane. Another invitee is Sylvan (Martin Feldman, who is visiting in the building. He's a Jewish man, portly but not without charm. Could a mature romance be in the offing?

This is a holiday meal no one will ever forget, brittle as the matzo and bitter as the traditional herbs but funny as hell. The cast is directed with a knowledgeable hand by Kirk Larson, costumes designed by Elizabeth Summerer. As the self-centered Olive, Bernardi is brutally honest, her sharp teeth solidly sunk into the role. McFarland and Kruger contribute lots of fun, especially the latter as a Sir Swishyness himself. Somebody will probably kvetch about stereotypes and political incorrectness but the rest of us, who have a sense of humor, don't give a damn. The playwright (not a word about him in the program), happens to be an openly gay man, multi-award winner and Tony nominee. We certainly feel for Mattiza's Wendy, a singe lady somewhat past her prime, trying to befriend the embittered Olive and we wish Feldman lots of luck, trying to tame this shrew. There's quite a bit of nonsense about the aforementioned magic mirror, which affords glimpses of a peripatetic man named Howard, which eventually shrinks the six degrees of separation in a surprising way. Olive and the Bitter Herbs may be a theatrical trifle but it's a sweet and tasty one and loaded with laughs. Embraced by the community, the Kentwood Players have been performing six plays a year for sixty-five years at the Westchester Playhouse and we wish them broken legs well into the future.

Westchester Playhouse, 8301 Hindry Avenue, Westchester 90045. Friday and Saturday 8 pm, Sunday 2 pm. $25, seniors $23. Parking lot plus easy street parking. Reservations by phone Wednesday - Saturday (310) 645-5156 or The Kentwood Players ends 8/13/16

REVIEW BY INGRID WILMOT



THE PAGEANT OF THE MASTERS

The question that audience members at THE PAGEANT OF THE MASTERS in Laguna Beach, ask annually is "How do the geniuses behind this spectacular show (specifically Challis Davy), come up with new ideas every single year, to keep it fresh, innovative and exciting?" And, this summer's event is no exception. In addition to the tableaux vivants (living pictures), posed by local volunteers, who create images of stirring intricacy and beauty, as well as sculpture, photography, video etc., there are myriads of surprises, none of which shall be revealed here but they await your enjoyment and amazement.

This year's theme, "Partners", celebrates, among others, the likes of Lewis & Clark, Gertrude Stein and Alice B Toklas, the Wright Brothers and dance partners Fred Astaire and Ginger Rogers. Dance, in fact, is the highlight of this production and it's beautiful to behold. The show opens with a stunning image, Adam and Eve in the Garden of Eden, followed by a live, hot tango number. The second act begins with a fiesta, honoring the tempestuous relationship of artists Frida Kahlo and Diego Rivera and closes with the solemn, traditional Da Vinci masterpiece, The Last Supper. Richard Doyle reprises his informative narration and a live orchestra, which sounded a little tinny this year, supplies wonderful music, not the usual original compositions but exquisite classical pieces, perfectly suited to the images on stage and all around the Irvine Bowl.

Your ticket admits you to the Festival of Arts, an exhibit of the works of local artists, unbelievably fabulous and multi-faceted, which makes us wish we were millionaires so we could go on a buying spree. The season is filled with special events: Rising Star Music Series begin Tuesday July 12, 5:30 - 7:30 pm; art lecture series Wednesdays, noon to 1 pm; Art, Jazz, Wine & Chocolate, every Thursday from 5:30 to 7 pm, $20; Sunday Concert on the Green 1 - 2:30 pm; Family Art Day on Saturday July 16, 12 noon - 3 pm, a Fashion Show 1 to 4 pm August 13; Books & Brunch on Sunday 7/24 and 8/21 $75 and Sunday Afternoon in the Park With Music, 2 - 4 pm. Most of these are free with Festival admission. A gala Fundraiser is scheduled for August 27th $50 - $230, with a Cabaret performance and the Pageant.

Pageant of the Masters and Festival of Arts, Irvine Bowl, 650 Laguna Canyon Road, Laguna Beach 92661. Performances nightly at 8:30 pm. ($15 - $230) (includes unlimited admission to the Fine Art Show, daily at 10 am - 11:30 pm.) Separate Festival of Arts tickets available from $8 - $12, seniors $5 to $8. (949) 494-1145. For the evening shows, bring a warm wrap, a seat cushion and binoculars, both available for rent on the premises. Pricey parking in lots all around. Free shuttle from a well marked lot on Laguna Canyon Road. Info and tickets (800) 487-3378. Or The Pageant Of The Masters ends 8/31/16.

Quickie dining suggestion: The prices at 230 FOREST RESTAURANT have risen like yeast dough, since my last visit. However, their food is first class and the location convenient to the Festival (about a ten minute walk, depending on what kind of shoes you are wearing). There is food available on the Festival grounds but scoring a table is akin to winning the Lottery. So, if you want a tasty bite before the show, let me suggest their mustard rubbed lamb chops, from the Appetizer section, $16. Three small but delicious chops, tender as a lover's touch, with a garnish of sliced cucumbers, carrots, mint yoghurt and sprinkled with feta cheese. Nice service and ambience.

230 Forest Restaurant, 239 Forest Avenue, Laguna Beach 92651. Full bar. (949) 494-2545.

REVIEWS BY INGRID WILMOT



BIG SKY by Alexandra Gersten-Vassilaros

One of the reasons dysfunctional families have become so popular in plays and movies, might be that they make our own folks seem almost angelic. Take Jack (Jon Tenney) and Jen (Jennifer Westfeldt), a good-looking, well to do couple whose marriage is in deep doo-doo. They are currently on an all expense-paid semi-vacation in Aspen, where Jack is interviewing for a lucrative, new job. The place is gorgeous (set by Derek McLane), a luxurious condo in the midst of Colorado's winter wonderland. Jen finds volunteering at a hospice more satisfying (in every way), than sharing any intimacy with her husband and his powder keg of a temper. Their daughter, Tess (Emily Robinson), is an unbearable brat. Jen still refers to her as "our little girl", meanwhile, this 17-year old is having hot sex with a Native American porter named Catoni (Big Sky), whose Indian customs shticks fascinates her. The only appealing personage on this stage is Jonathan (Arnie Burton), a gay family friend, an older guy whom Jack has invited along. He's a pot-smoking freeloader without any visible means of support but everybody loves him, comes to him for solace and trusts him with their innermost secrets.

Act II brings on a fierce blizzard (sound by Jon Gottlieb), with power outages and other inconveniences but the weather out there is mild compared to the storm that rages within the walls. Things come to a head - and to blows - but allow the considerable acting skills of the capable cast to come full throttle. It saves the show, which is otherwise sabotaged by highly unlikable characters. Burton, of course, is adorable. He has earthy but comical dialogue and the best lines tat his command. Tenney plays a self-absorbed, overly ambitious Wall Street type, who juggles his personal finances to keep up with the proverbial Jones'. Westfeldt's Jen is an utter failure as a coddling mother and turns positively glacial in response to her husband's awkward advances. Robinson, given to endless hysterical outbursts, is the epitome of a rebellious teenager at a stage all too familiar to parents of every generation. John Rando his directed the cast's excellent performances in this amusing world premiere that stimulates the mind but fails to touch our hearts.

Geffen Playhouse, Gil Cates Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm. $43 - $82. Parking in adjoining underground garage $7. In Palazzo Garage, 1010 Glendon Avenue, next to Trader Joe's, $4 but must show your ticket upon leaving. (310) 208-5454 or The Geffen Playhouse ends 7/17/6

REVIEW BY INGRID WILMOT



VANYA AND SONIA AND MASHA AND SPIKE by Christopher Durang

Anton Chekhov, the famous Russian author's favorite characters are generally the bored aristocracy in their suburban dachas, somewhere in the lovely countryside, bemoaning their empty lives, unrequited loves, aimless existence - pick any or all of the above and you have a successful classic. Christopher Durang, lover of the quirky, connoisseur of human foibles and master of the comic slices of life, has placed his actors in a contemporary farmhouse in bucolic Bucks County, Pennsylvania (very Chekhovian), where Vanya (Stephen Rockwell), a slightly past middle age nebbish, lives with his adopted sister Sonia (Jennifer Parsons), rent free, thanks to the generosity of their sister Masha, (the o gorgeous, redhead Leslie Stevens), a successful actress (films, TV, whatever). She arrives for the weekend with her toy boy Spike (Connor McRaith) in tow. Strictly for laughs but very effective in the part, is their cleaning lady Cassandra (Murielle Zucker) a mysterious creature of psychic powers, a weird sense of the dramatic and a practitioner of voodoo.

The unforgettable weekend holds surprises, funny situations and some life lessons, too.. The sad sack Vanya, gives us a rundown of his favorite era, the Fifties. The mousy Sonia dons a royal blue sequined number for a party (great costumes by Kim DeShazo) and transforms herself into a one- night glamorpuss. Masha, the sexy star, is fabulous as a woman who realizes that youth is fleeting and who captivates her young stud only until he lays eyes on Anna (Emily Goss), an ingénue longing for fame on the stage. Splendidly directed by Mary Jo DuPrey, this is a non-stop, entertaining parody with a perfect cast. You don't even have to know how to spell Chekhov, to enjoy it. Vanya and Sonia and Masha and Spike which garnered a well-deserved Tony for Best Play of 2013, has maintained its relevancy and solar plexus punch since then and onto the distant future.

International City Theatre, Long Beach Performing Arts Center, 330 E. Ocean Blvd., Long Beach 90802. Friday and Saturday 8 pm, Sunday at 2 pm. $47 - $49 (562) 436-4610 or The International City Theatre Paid parking in garage across the plaza (same side) ends 7/3/16

REVIEW BY INGRID WILMOT



A THORN IN THE FAMILY PAW by Garry Michael Kluger

This saga follows the Goodman Family through several decades (1945 - 1992). World War II just ended and young Eddie Goodman has returned to his pregnant, little wife, Susie (Katie Adler). It's their third wedding anniversary but only the first they're spending together. All is bliss and kisses.

In the following scene, the couple is now older (played by George Tovar and Julia Silverman, respectively). They have been married twenty-seven years, have a single, twenty-three year old daughter, Samantha (Heather Alyse Becker) and a younger son, Jamie (Ian Lerch). Things have changed by the time the couple celebrate their thirty-eighth anniversary and to write a more detailed review would do an injustice both to the playwright and the audience. Suffice it to say, there are enough plot devices for three plays. I mean, you have generational differences, a death, sexual orientation revelations, a separation, a life threatening illness etc. (not necessarily in that order) - a long sit. But you won't be bored. Arden Teresa Lewis directs the action toward a smooth tempo, with non-intrusive scene changes and convincing performances. Jeff G. Rack's set displays a vintage home with a red velvet couch and matching chair with a head doily, very 1945 and the costumes, also designed by the versatile director, Lewis, are authentic in every detail, young Susie even wears a slip, de rigueur in the forties. The appearance of Jamie as a teen is then completely altered in 1980, merely by doffing his stocking cap. Lewis is also heard as a radio announcer, along with playwright Kluger. The latter has smartly chosen background sounds of the popular melodies of every era. The story concludes on the fiftieth anniversary and re-introduces Katie Adler as granddaughter Emily, again a clever transformation thanks to wig stylist Lisa Fabio. What you will like best about this world premiere is that this family is not the usual vulgar, dysfunctional bunch but a civilized group with yes, different views and problems (lots of those) but who would never think of resorting to violence. Praise be!

Theatre West, 3333 Cahuenga Blvd. West, Los Angeles 90068 (opposite Universal City. Friday & Saturday 8 pm, Sunday 2 pm. $20, seniors $15, students under 25, $5. Free parking in lot across the street. (323) 851-7977 or Theatre West ends 6/26

AUDIENCE ALERT: The excellent production of THE LEATHER APRON CLUB, previously reviewed, is returning to Theatre West this summer, from July 15th to July 31st. This is a political thriller you should not miss. Tickets: (323) 851-7977 or Theatre West

Review by Ingrid Wilmot

THE DINING SCENE, Ingrid's dining suggestion:

GC MARKETPLACE

Now that the old standby, California Canteen is shuttered, the good news is that a sharp, new place called GC MARKETPLACE, is only about a hundred yard walk from Theatre West, for a one time parking, dinner and show, experience. It's a big, white, airy hall, with marble-topped tables and glass vitrines laden with edibles positioned around the room. There's a dessert counter, a fancy cheese display, salad, juices, wine and beer, coffee etc. Go ahead and take an exploratory look around. As befits a "culinary boutique" (their sobriquet), the menu is interesting and international in concept Wine by the glass starts at $10 for a Napa Valley Sauvignon Blanc or an ever better Austrian Gruener Veltliner, truly first class. Should you arrive during the Happy Hours of 3 - 6 pm, a glass of their house wine or beer will only cost you $6. You can start with a slice of quiche $9.50, or soup, from $6 (tomato basil cream) to $7.50 (for lobster bisque). Salad choices include tuna Nicoise, Thai beef and Chinese chicken $10 & $12. Sandwiches, pizza and pasta are all between $10.50 and $12. We loved the slice of lamb, no fat, no grizzle no bones, scented with rosemary and discretely garlicked, topped with pickled onions and also the grilled Atlantic, miso glazed, salmon, $12 each. The latter comes with a big mound of baby greens, slivered carrots and beanprouts and generous enough to share with your companion. It had a sweet dressing which was promptly neutralized by a sprinkling of soy sauce (my remedy for too sweet savories) and a few drops on the salmon didn't hurt, either. The reasonable entrée prices allowed for some dessert indulgences, namely an oatmeal raisin cookie (for him) $2.25 and a slice of chocolate mousse cake with blackberries, for me, $4.50, both yum! A cup of coffee is $2.55.smiling service and the close proximity to the theatre make this a win-win experience. Try it soon.

GC Marketplace, 3315 Cahuenga Blvd. West, Los Angeles 90068.Breakfast, lunch and dinner weekday, plus Saturday brunch and dinner. Closed Sunday. Catering services. Beer and wine. (323) 465-5269



GRUESOME PLAYGROUND INJURIES by Rajiv Joseph

In spite of its title, this is not about kids fighting over the swing set. Instead, it's a charming love story, over thirty years in development, like a complicated movie project. Kayleen (Sara Rae Foster) and Doug (Jeff Ward), meet on a playground when they are eight years old. She's earnest and opinionated even then. He's a typical boy, rambunctious and accident-prone. In fact, the play contains a running gag of how many times that fellow can hurt himself. We follow their lives, switching between their teens, twenties and thirties, watching them mature in different ways. Sidebar projections (designed by Dustin Reno) keep us apprised of their current age and a center screen features different images, sometimes totally unrelated but a good supplement to the spare but serviceable set (by J.R. Bruce).

Performances are exquisite. Foster's Kayleen hides a multitude of problems, both mental and physical. Ward's ebullient acting matches his personality. We know from the get-go that they have feelings for one another but years of intermittent separations and life's vagaries keep romance at bay. Joseph's dialogue is uncanny in its nuances, authentic as expressed by the youngsters, poignant and often funny in later years. Director John Hindman's expert eye and ear serve the actors well. They are completely believable and so natural, one forgets that they are on a stage. My only gripe is that the program contains bios for the stage manager, prop master, sound and lighting designers etc. - even their excellent press rep, Lucy Pollak, gets a paragraph but not even one word about the award-winning, talented playwright, Rajiv Joseph? A shame!

Hudson Backstage Theatre, 6539 Santa Monica Bvd., Los Angeles 90038. Friday & Saturday 8 pm, Sunday 3 pm. $25. No intermission. Valet parking lot across the street on Hudson $7. (323)960-7773 or Plays 411 Ends 6/26/16

REVIEW BY INGRID WILMOT

THE DINING SCENE: Ingrid's pre-theater suggestion

EAT THIS CAFÉ

This spot is Casual, with a capital C. You order at the counter, the menu is limited (no real "dinner" selections) and, clearly, no money was spent hiring an interior decorator. The good part? It's really convenient, the theatre is around the corner (one time parking, hurrah!) The food is fresh and tasty and service cheerful and obliging. They have salads (Southwestern Caesar, beet, kale etc. $12.50 sandwiches (roast beef, corned beef Reuben, turkey club etc.), same price, plus home made soups, $6. I can speak enthusiastically about their vegan black bean soup. I asked for some chopped onion on top, a trick I learned in Puerto Rico, which makes the good soup even better. It comes in a deep bowl, big enough to share, plus a French roll. Their Happy Hour, 4 to 7:30 pm, features a very nice chicken quesadilla with salsa, sour cream and freshly sliced avocado for only $8 and a glass of beer or wine for $4. A new item, chicken Cobb salad wrap with baby greens and home made potato chips, is chockfull of chicken cubes, hard cooked egg, bacon, tomatoes, avocado and more, would make the original Brown Derby tip its hat. It comes in two sundried tomato wraps, thick as an elephant trunk, a delight for $15. For dessert, we polished off a caramel apple bar and a lemon square, both very good, $2.50 each. For atmosphere, there's mellow background music from the thirties and forties. Definitely recommended for a pleasant bite before the show.

Eat This Café, 6547 Santa Monica Boulevard at Hudson, Los Angeles 90038. Breakfast lunch & dinner, Saturday and Sunday brunch. Beer and wine. Street parking. (323) 999-2003.



BLOOD FROM A STONE by Tommy Nohilly

This is a family drama with humor and suspense you won't want to miss. It makes the House of Usher seem more like The Little House on the Prairie. Set in a run-down home in Connecticut (designed by Pete Hickok), resonating with foul language and filled with hatred of Shakespearean proportions. Margaret (Joanne Baron) the mother, and Bill (Gareth Williams) the father, are in perennial battle mode and it appears likely that somebody may get sped to an early grave, any minute. Utterly fascinating! Travis, (Chad Brannon), the elder son, comes to say goodbye to the folks before venturing out to California to begin a new life. You can't blame him for wanting to escape this environment, in spite of his torrid affair with a sexy, married neighbor (Jossara Jinaro). The outstanding Baron (mom) a nurse, has a soft spot for Travis and for her cat, Coco but she swears at and downgrades her old man mercilessly. She suffers from a bad hip and could make a fortune on the Weather Channel accurately predicting rain, whenever it aches. Williams (dad) is occasionally spacey but mostly vicious, destructive, screaming at top volume and a bigot, too. He's enrolled in anger management classes, which obviously aren't working. The man is absolutely mesmerizing. We also have kid brother Matt (Ryan Lahetta), a no-goodnik with an abominable personal life, who lies, steals, cheats and gambles and Lahetta smartly plays him as a dumb but sympathetic rogue. There's also a sister, Sarah (Frankie Ingrassia), who must have been conceived in a rare moment of harmony. She's happily married with children, and supplies some breaths of fresh air for this tumultuous household. The cast performs magnificently, under the adroit direction of Thomas C Dunn. Sound is created by Aaron Lyons, costumes by Mia Rabinowitz. The energy that emanates from the stage fills the theatre like a throbbing heartbeat. Go, see this West Coast premiere, you'll be swept away!

Electric Lodge, 1416 Electric Avenue, Venice, CA 90291. Thursday - Saturday 8 pm, Sunday 2 pm. $30. Free parking in adjoining lot, also complimentary valet parking. (323 960-7788 or Plays 411 ends 5/22

REVIEW BY INGRID WILMOT

THE DINING SCENE Ingrid's dining suggestion:

THE ROSE CAFÉ

One of Venice's landmark establishments, THE ROSE CAFÉ, which has occupied the corner of Rose and Main for over three decades, has undergone a facelift to rival that of some of Hollywood's veteran stars. Prices have risen exponentially and they now have a celebrity chef, Jason Nerone. There are several dining areas in this, now huge, complex. The main room for which they take reservations, is for big spenders. For the rest of us, my suggestion is to alight on one of their patios, our weather being what it is, knock wood. Here they feature a casual menu, not cheap, either. Try to score a chair, the slatted, wooden benches are hard on the tush after a while, unless you carry your own upholstery, like J-Lo. They always have fresh oysters and for $15 you can get meatballs or grilled asparagus with a duck egg, plus shareables : pizza from $19, hanger steak $31 or spaghetti, from $18. We ordered three small plates, always perfect for pre-theatre. The Electric Lodge is only a few minutes' drive. The salmon tartare was stupendous, interesting texture supplied by ground pine nuts and pickled mustard seeds, $15. It comes with crème fraiche, which it doesn't need and a crunchy baguette. Their chicken liver mousse is satin smooth, also with a baguette and a garniture of cherry conserves, which it definitely doesn't need. (I saved it for a last bite dessert). We also shared an order of curry fries, crisp and generous but, frankly, the curry seasoning escaped me. These came with the Greek yoghurt dip tsatsiki and ketchup, $5. They do fancy cocktails, have a good selection of beers as well as house pours of unusual wines, from $12 per glass for a Cachazo Carrasvinas Rueda, similar to a Sauvignon Blanc. Service is terrific, you won't even mind the extra 3% they tack onto the bill for employees' health insurance and you will have worked up one helluva appetite, looking for parking. Don't get ripped off at one of those $20 Public Parking lots.

The Rose Café, 220 Rose Avenue, Venice CA 90291. Breakfast, lunch and dinner daily, Sunday only until 6 pm. Full bar. Valet or street (tight) parking. (310) 399-0711



DRY LAND by Ruby Rae Spiegel

This is a story about female friendship and a convincing plea for the legalizing and facilitating of abortions. If that subject offends you, or if you are squeamish about watching graphic bloodshed, this play is not for you. But the remarkable fact about Dry Land, is that you are unlikely to have ever seen performances by two young actresses better, or even equal to what transpires on this stage.

Amy (Teagan Rose) and Ester (Connor Kelly-Eiding) are on a high school swim team. Their entire interaction takes place in the locker room (set by Amanda Knehans). The first half hour is spent watching Ester punch Amy in the stomach (her request) and we can all figure out that this is Amy's hope t o thus end her unwanted pregnancy. She's a beautiful Florida High School student, with shaky morals, who'll go for anything for a few thrills, the kind of girl your parents didn't want you to associate with, remember? The shy, boyish Ester is the diametrical opposite. A champion swimmer, a girl with character and heart, a loyal friend, who is attracted to the pretty blonde in ways that are not quite made clear. She has a short, amusing interlude with a boy (Ben Horwitz). Jenny Soo, a swim teammate, makes a couple of unnecessary appearances. I found the prevailing inane teen-talk tiresome and only occasionally funny. Take Away three words: "cool", "like" and the F-bomb and there'd be no dialogue at all. But, maybe that's just me. The acting and the direction by Alana Dietze are exceptional and the lurid scene of the miscarriage is realistic, horrifying but necessary to impact the story. Daniel Hagen plays the stoic janitor who has to clean up the mess. Don't say you weren't warned.

Echo Theatre Company, Atwater Theatre Complex, 3269 Casitas Avenue, Los Angeles 90039. Friday and Saturday 8 pm, Sunday 4 & 7 pm until May 15, no Sunday performances after that date. No intermission. Tight parking in Atwater Xing Lot, a block south of the theatre and on the street. (310) 307-3753 or The Echo Theatre Company ends 5/28/16

REVIEW BY INGRID WILMOT



THE LEATHER APRON CLUB by Charlie Mount

This gripping, political thriller takes place in Virginia, two month after 9/11. We're in a comfortable, period-style furnished living room with a prominent portrait of Benjamin Franklin (set by the peripatetic Jeff G. Rack). The ironic rendering of Woody Guthrie's "This Land is Your Land" is followed by a loud thunderclap (the weather is appropriately threatening, with sound by Charlie Mount, lighting by Yancey Dunham). This house serves as the headquarters of the Leather Apron Club, a secret organization of powerful, old men, led by the one with "the biggest balls", as described by one of the members, who happens to be the only woman, Grace Keebler (Ashley Taylor). These are men of enormous influence, previously employed by NASA and various Government agencies, well versed in science, astrophysics, medicine etc., who have controlled historic world events for a long, long time (they take credit for the moon landing and responsibility for the A-Bomb).

The vociferous Colonel Hart (Yancey Dunham) is a warmonger, ready to bomb Saudi Arabia for its purported role in the September 11th carnage. Elliot Blake (Alan Schack) drinks heavily to drown out any scruples he may be harboring. Kent Garfield's (Roger Kent Cruz) mild demeanor hides a devious character and Dr. Edward Reed (Don Moss) the Club's cash cow, suffers, among other things, from the pangs of a guilty conscience. He is the sponsor of a new, young member, James Avery (Adam Conger), more about him, later. They have as their pawn, State Senator Emily Fox (Karen Ragan-George), a religious zealot who could be brewmaster of the Tea Party and whom they are grooming for President of the United States. Not to be overlooked is the personage of Artie Stein (Anthony Bettelle), a liberal cable access TV host, whom nobody take seriously, especially when he bellows the truth about the Leather Apron Club.

As excellent as the above ensemble performs, the show belongs to Conger, who bears a slight resemblance to a young Michael Douglas, as a brilliant, media expert. The group desperately needs him to energize and update its manipulations. He is repelled at first, but being an idealist, he hopes to persuade the Club to invest in cures for AIDS, cancer etc. Not to mention the fact that the hard-hosed Grace turns on some long dormant feminine charm and uses her considerable sex appeal to seal the deal, so to speak. That's as much as you need to know in advance, to become emotionally involved with this marvelously acted play, both written and directed by Charlie Mount. Its startling revelations will leave you breathless and though it lasts over two hours, you won't want it to end. A world premiere, highly recommended.

Theatre West, 3333 Cahuenga Blvd. West, Los Angeles 90068 Across from Universal Studios. Friday & Saturday 8 pm, Sunday 2 pm $20, seniors $15. Free parking in lot across the street. (323)851-7977 or Theatre West ends 5/15/16

REVIEW BY INGRID WILMOT

THE DINING SCENE Ingrid's Dining Suggestion:

Are you up for some upscale Mexican food? Try MERCADO. If you don't want to settle on their covered sidewalk patio, head for the room right of entrance. It has some interesting art and semi-sectioned booths for people who want to enjoy some conversation while dining out. Service here is exceptionally friendly as well as efficient and the food is top notch. However, if you compare the prices with your neighborhood Mexi joint, you'll be sticker shocked. A glass of wine starts at $12. I didn't even look at the cocktail menu. Veggie sides are $5. Entrées go from $24 (carnitas) to $26 (carne asada), No kidding! The smart choice, especially if you're headed for Theatre West, which is nearby, is to share some small plates. I can vouch for Dos Gringos tacos al pastor (chopped pork), two small ones but great flavor and a little spicy, $12 and the Cahuenga cucumber salad, which is a colorful heap of sliced cukes, fried parsley, cilantro, Oaxaca cheese, red onions, avocado, corn, salsa and tomatoes, splendidly but, at the same time, lightly dressed in a complementing vinaigrette, a knock-out, $11. This is one of three Mercados, its siblings are in Hollywood and Santa Monica. Yxta Cocina Mexicana is in DTLA, Maradentro, seafood-centric restaurants are located in Studio City and Brentwood, all parented by the Cocinas y Calaveros Group. Have you noticed, everything seems to be Multiple Locations these days? Where have all the mama-papa places gone?

Mercado, 3413 Cahunga Boulevard West, Los Angeles 90068 Across from Universal City. Full Bar. Parking in adjoining lot $5. (323) 512-2500



TABLE MANNERS by Alan Ayckbourn

We're in a well kept home in the English countryside (set design by Chris Bayries), where Annie (Maire-Rose Pike) has been tending to her (unseen) mother. She has planned, what the Brits call a "dirty weekend" with her brother-in-law, Norman. Her sister, Sarah (Holly Baker-Kreiswirth), a busybody T.O.B. (Take Over Broad) and self-appointed matchmaker, is determined t hook her up with Tom (Joel Bryant), a dimwitted Scotsman who, being a veterinarian, mercifully does not treat people.

Baker-Kreiswirth has stepped out of her director's shoes after successfully guiding the recent Ethan Clayton, Domestic Tranquility etc. and handed them over to not one, but two directors, David Graham and Stephanie Coltrin, who keep the pace brisk and the cast on its toes. Here she plays the insufferable, bossy Sarah, with arms crossed and a rapid-fire delivery. Her husband Reg (co-director Graham), refuses to let her henpecking affect his good humor nor his not-so-stiff, mustachio'd upper lip. Pike's frumpy Annie is the kind of girl who'd settle for Tom and even Dick or Harry if they gave her more than the time of day. Bryant, in his LFT debut as the clueless, would-be boyfriend, has a patent on the befuddled expression and awkward stance.

In Act II, we finally get a look at the notorious Norman (the always reliable Don Schlossman), an obnoxious, bumbling windbag who fancies himself a Lothario, ready to proposition any convenient female. His wife, Ruth (Kimberley Patterson) is a successful career woman with a tongue like a sword - a ballbreaker extraordinaire. She makes a hilarious entrance, severely myopic but too vain to wear glasses and maintains a formidable stage presence thereafter. Alan Ayckbourn is a famous playwright (not one word about him in the program), who is a master of British farce. His characters are true originals, slightly eccentric and always amusing.. Looking for a frothy, springtime diversion? Here it is!

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday & Saturday 8 pm, Saturday 2 pm on May 14th only (Talkback). $27, seniors $25. Parking in back, enter via the alley. (310) 512-6030 or The Little Fish Theatre ends 5/21

REVIEW BY INGRID WILMOT

DINING SUGGESTION: BEACH CITY GRILL

When the popular BEACH CITY GRILL closed last fall, loud moans could be heard throughout San Pedro. But, a new owner, Stewart Smith stepped in, smartly retaining the former, Larry Hodgson, a award-winning pastry chef, to keep us supplied with his magical desserts $7. The Grill has been spruced up while still retaining it slightly funky, languid beach-y atmosphere we've grown to love. The menu is almost identical, featuring Cajun, Caribbean and Cuban specialties among the regular fare. Prices have remained fairly stable but the service has suffered. Our waitress with a dog collar and charcoaled eyes, had a diamond between her nostrils that looked disappetizingly like she needed to blow her nose. Need I say more? Yes! Instead of checking on the customers' needs, she kept sitting down and playing with her phone, which was, undoubtedly, smarter than she is. (Must be family - no one else would hire this girl). But back to the good edibles. If the whiteboard lists tilapia with lime and jalapeno sauce, go for it, $14.99. Shrimp Beach City is another winner, in a light, tomato-white wine and garlic sauce with mushrooms and rice $15.90. Thai shrimp, on the other hand, would only taste fine over ice cream (much too sugary). For a tropical treat, the Jamaican jerk chicken (spicy), shrimp and andouille combo is exciting $18.99, as is the Cuban roast pork (when they don't overcook it).

Beach City Grill, 376 W. 6th Street, San Pedro 90731. Breakfast, lunch and dinner (closed Sunday and Monday)Street parking BYOB (no corkage) 310 833-6345. NOTE: They have a dinner/theatre package deal with the wonderful, nearby Little Fish Theatre on Centre and 8th, for $45. Dessert is extra but worth it.

PLEASE NOTE; Ingrid Wilmot's DINING SCENE will make an occasional appearance on willcall.org, frequently within walking distance or a short drive away from the theatre and once in a while, a special restaurant recommendation for memorable dining. All reviews are done anonymously and paid for. Bon Appetit!



STAGE KISS by Sarah Ruhl

Consider this your all access theatre pass, taking you from audition to the final bow. Stage Kiss is proof of what many have suspected, namely, that the action back stage of often more exciting that what takes pace in front of the curtain. Ruhl's play within a play would benefit greatly from some judicious trimming and vacillates between hilarious and downright silly. But it does explain how actors might feel about making love with a total stranger or kissing an old flame and finding that it still flickers.

The inimitable Glenne Headly pays a somewhat shortchanged on talent actress, desperate to land a gig, who is united with a former lover (Barry Del Sherman), a fellow actor. She's currently married to the world's most patient and understanding husband (Stephen Caffrey) and works with an unusually amiable, Milquetoast-y director (Tim Bagley), whose guidance consists of "use your instincts". The cast, under the expert direction of Bart DeLorenzo, performs admirably. Melody Butiu does double duty as an actress as well as the real life, live-in girlfriend of our leading man. Emily James assumed three different roles but is most effective as Headly's ferocious, loud mouthed, teen-age daughter. The busiest man on stage is Matthew Scott Montgomery, whether as a butler, a doctor, a pimp or Kevin, the perennial, all-purpose understudy. He is blessed with a face that can appear goofy without even trying and is the source of merriment throughout the show. The set is first class, from an austere back stage area to a tacky apartment, designed by David Kay Mickelsen plus an uncredited supply of wigs.

Geffen Playhouse, Gil Cates Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm. $43 - 82 (310) 208-5454 or The Geffen Playhouse ends 5/15.

NOTE: Parking, for $4 is available at Palazzo Garage, 1010 Glendon Avenue, next to Trader Joe's. You DO NOT have to go to the Pay Station if you have your ticker stub. Just show it to the attendant at the exit, after the show.

THE DINING SCENE

THE BOILING CRAB

With fifteen other locations throughout California and one in Las Vegas, THE BOILING CRAB is now beached in Westwood. A huge, casual pace with TV wall décor, butcher paper tablecloths and a no-reservation policy, it nevertheless looks busy and successful. They outfit you with a bib but need bigger and more absorbent napkins. Instead of the little wet naps with the bill, a finger bowl would not be amiss and a wine selection wouldn't hurt, either. Prices are mostly by the pound. For example our King crab, which we shared, cost $40.You have a choice of four flavored sauces and degree of spice you can tolerate, from mild to mouth on fire. They have oysters, crawfish, lobster etc. (market price), which usually means not cheap, plus baskets of fried catfish, hot wings, calamari etc., from $9 (chicken tenders) to $11 (fried shrimp) and extras, such as Cajun fries $4 and gumbo $7 a cup. Was struggling with that crab worth it? It's debatable. Would I do it again? Certainly not pre-theatre, even though it's fairly close to the Geffen. The metal tool they provide would be more suitable for walnuts because the shells were soft enough to bend but didn't crack. If our good waiter hadn't come to the rescue, I'd still be there, locked in combat. Service is really outstanding and I have to say that the quality is superior and as good as the best, fresh Alaskan crab I have ever tasted. Still.......

The Boiling Crab, 10875 Kinross Avenue, corner of Glendon, Westwood 90024. Weekdays 3 - 10 pm, Saturday & Sunday noon to 10 pm. Street parking. No wine but BYOB, $10 corkage. (310) 208-4888 (no reservations).

REVIEWS BY INGRID WILMOT



A GAMBLER'S GUIDE TO DYING by Gary McNair

Before the start of this show, you can watch the 1985 World Cup Soccer Finals, between England and West Germany on the big screen TV which, in addition to a chair and a faux window, comprises the set (by Sara Figoten Wilson, lighting by Mike Reilly). But soon the room is filled with the giant presence of a diminutive Scotsman (Maury Sterling) who, as Narrator, regales us with stories, mostly about his grandfather, a man who would bet on his own life - and did. Soccer betting in Scotland apparently is big time. A lot of money is at stake but the winner must correctly guess the outcome of no less than twenty games, to score a bundle.

Directed by the uber-talented Paul Linke, himself a master of the one-person show (Time Flies When You're Alive), Sterling's energetic performance is fun to watch. A native Californian, his Scottish burr sounds authentic but is perfectly understandable. It helps to check out the Glossary in your Footlights program, so you know where the Gorbals are and that a wham bar is something to eat, even if you don't give a jobby about soccer, in general. Sterling moves like a human dynamo, is limber and acrobatic, his blue eyes flash like strobe lights and his arsenal of both male and female voices is impressive. Fans of television will recognize him as "Max" on Homeland. This Los Angeles premiere has a nice sprinkling of humor and we could do without the woman in the second row who acted just like a shill and laughed loudly at absolutely EVERYTHING.

Ruskin Group Theatre, 3000 Airport Drive (inside Santa Monica Airport), Santa Monica 90405. Friday & Saturday 8 pm, Sunday 2 pm. $25, students, seniors and Guild members $20. Free parking in front. (310)397-3244 or The Ruskin Theatre ends 4/17/16

REVIEW BY INGRIS WILMOT



BLOOD Conceived and directed by Robert Allan Ackerman

This riveting political thriller is based on actual facts, the exportation of HIV tainted American blood to Japan in 1983 and the subsequent cover-up of the scandal by the Japanese authorities, which was eventually exposed by an American journalist, Jules Davis (the excellent Alexa Hamilton). Much is made of the non-confrontational Japanese nature and implications connected with the deadly AIDS virus. While that may be true, the real criminal here is greed, equally shared by the government and the pharmaceutical companies.

What makes this play a "must see" event is how brilliantly it is staged and performed. The clever song parodies and dances are never intrusive but a welcome diversion from the serious situations. The Chaplinesque/Gilbert & Sullivan numbers, with melodies "borrowed" from The Mikado, are ingenious. The large cast functions with the precision of Swiss clockworks and the actors double up into speaking roles with professional ease. A slinky singer/dancer (Taishin Takibayashi) introduces the story, which is narrated by several performers. A lawyer, Yoji Kurosawa (Sohee Park), of Korean extraction, has hidden his true nationality in light of Japan's legendary xenophobia and provides invaluable help to Jules in bringing the sordid facts to light. Doctor Kazama, the grand villain of this piece, is played by Toshi Toda with the fervor of the Grand Poobah in Gilbert & Sullivan's Mikado but not to be laughed at. Takuma Anzai multi-tasks perfectly as Ken Osawa, Jules' tragic former college friend and he stands out in the hilarious ensemble caricatures of the Ministers of Japan. Kazumi Aihara shines as the nurse who reluctantly witnessed the dirty deeds. Miho Ando's remarkable acting turn as eleven year old Kayo, stricken with AIDS and proclaimed doomed, will be remembered long after her final curtain bow. Saki Miata is touching as the mother. Besides all the ensemble members: Mika Santoh, Ash Ashina, Anthony Gros, Takaaki Hirakawa, Michael Joseph and Daryl L. Padilla, what makes Blood so successful, are the original music and songs by Nick Ackerman and Chris Cister, the lighting by Donny Jackson, set and costume design by Dona Granata, sound by Joseph "Sloe" Slawinski and projections by Hana S Kim, with piano accompaniment by Michael Farrell. But most of all, the enlightened conception and theatrical staging by the illustrious Robert Allan Ackerman, an undisputed genius.

The Complex (Ruby Theater), 6476 Santa Monica Blvd., Hollywood 90038. Friday & Saturday 8 pm, Sunday 3 pm. $25 - $30. Street parking. (323) 960-7745 or Plays 411 ends 4/17/16

REVIEW AND DINING SUGGESTION BY INGRID WILMOT

DINING SUGGESTION

BAROO

If you are one of those people who love to dress for dinner, bask in flattering lighting and sip fine wine in elegant surroundings - good for you! But you can stop reading right now. BAROO is for adventurous foodies who are totally unafraid of trying weird stuff because that's what is served here. The room is a little bigger than your walk-in closet. There are a few stools at a counter left of entrance and over on the right a communal table with eight uncomfortable chairs. The menu is on a large blackboard spanning one wall, listing about half a dozen offerings, along with detailed ingredients you've never heard of: Job's tears, tendon puff, kamus, gochuyang - anything ring a bell? We shared a ragu of faux oxtails with gremolata, kraut powder, home made fettuccine and three year old parmigiano reggiano, topped with crisp, little blossom-looking things that melt in your mouth, $15. Plus another dish called Norook, of faro grains with beet crÃ'‚Â'me, nuts and, who knows - or cares- what else, for $12. And how was everything? In a word - delicious! Portions are small and we were ready for their passion fruit tarté but it was sold out. The two Asian chefs tend to hide in the kitchen but one or the other eventually appears to take your order at the counter. They won't let you BYOB, nor did they bother to put up any signage over the door but it's in an ugly mini-mall, between a 7/11 and a hair salon.

Baroo, 5706 Santa Monica Blvd., near Wilton, Hollywood 90038, less than ten minutes from Theatre Row's Complex and Hudson Theatres. No alcohol. Parking in mini-mall lot. Lunch and dinner daily. (323) 819-4344 (they don't return calls, either).



CASA VALENTINA by Harvey Fierstein

Ever since I first saw a play by Harvey Fierstein, namely "Torch Song Trilogy", I have been an ardent admirer. That feeling is re-enforced by this fascinating story about a breed I did not know existed. I mean, we've all heard of cross-dressers and transvestites who we assumed must be gay. But, never of heterosexual men who, shall we say, play "dress-up" in women's clothing while contentedly married to the opposite sex, as is George (Rob Mammana), the Casa's proprietor, who goes by "Valentina". He runs the place with his wife and faithful helpmate, Rita (the weak-voiced Valerie Mahaffey). By the way, Mammana looks pretty hot in his cocktail dress and heels.

We are in a multi-room, two-story bungalow, a sort of B & B in the Catskills (fabulous set by Tom Buderwitz). The year is 1962. The current fashion is full skirts and small waists and watching these men don and parade about in their feminine finery, none of them limp-wristed or swishy, is entertainment already. They refer to each other a "she", they use clever hair and make-up tricks and can be so chatty (or bitchy), we almost forget they are men, even though they speak in their natural voices.

The cast is extraordinary, superbly directed by David Lee. There's Bessie (Raymond McAnally), a big mama with a matching sense of humor, the anxiety ridden Miranda (James Snyder), a first-time guest; Charlotte (Christian Clemenson) who wants to legitimize the group under a "Sorority" banner. Gloria (the tall, slender Mark Jude Sullivan) knows a thing or two about eye make-up and looks like a major babe. Amy (John Vickery) is an influential judge in real life. Most of these men make no secret of their cross-dressing hobby and we get an example of how this lifestyle affects one of their family members via Amy's drop-in daughter, Eleanor (Nike Doukas). In addition to kudos for the scintillating dialogue and hilarious as well as poignant situations created by the playwright, special mention must go to wig and make up expert Rick Geyer, casting director Jeff Greenberg and extra loud bravos to costume designer Kate Bergh. You must see it to believe how well this is done on the Playhouse stage!

Pasadena Playhouse, 39 S. El Molino Avenue, Pasadena 91101. Tuesday -Friday 8 pm, Saturday 4 & 8 pm, Sunday 2 & 7 pm. $25 - $77 with premium seating at $125. Street or paid garage parking on the corners of El Molino and Green Streets. (626) 356-7529 or The Pasadena Playhouse ends 4/10/16

REVIEW BY INGRID WILMOT

PLEASE NOTE; Ingrid Wilmot's DINING SCENE will make an occasional appearance on willcall.org, frequently within walking distance or a short drive away from the theatre and once in a while, a special restaurant recommendation for memorable dining. All reviews are done anonymously and paid for. Bon Appetit!



SEX WITH STRANGERS by Laura Eason

Under "things to do today", your first entry should be "book tickets to the Little Audrey at the Geffen". The less you know in advance about this terrific play, the more you will enjoy the peak behind the current literary scene, catnip for book lovers, manna from heaven for everyone. It opens in a fashionable B&B in rural Michigan (exquisite set, in the round, by Sibyl Wickershiner, lighting design by Josh Epstein), during a nasty winder storm. A writer, Olivia (Rebecca Pidgeon, the real life wife of playwright David Mamet). Is holed up here, proofreading her current opus. She is still smarting from the unsuccessful launch and searing critique of her last book and now considers herself a hobbyist rather than a novelist, with no publishing plans. A loud, impatient knock precedes the unexpected arrival of a young man, Ethan (Stephen Louis Grush). He's brusque, stocky and built like a construction worker, with a shaved head and about as appealing as an unripe banana. She's petite, attractive, pushing forty but doesn't look it. However, they are both professional writer and, basically speak the same language (his peppered with four letter words, typical of his generation. They Are aware of each other's work. He surprises her by actually being a fan of her previous novel. She knows and despises him from his blog "Sex with Strangers", culminating in a book of the same name under the nom de plume Ethan Strange, wherein he chronicles the conquests of fifty-two bed partners in one year if wiling, publicity-hungry girls. His current endeavor is he screenplay. She finds this stud both repugnant and intriguing. He turns out to be smart, sexy and extremely savvy about the ways of the publishing world. He's full of great ideas of how to advance Olivia's literary career, which seems to act as an aphrodisiac for the usually reserved and level-headed woman. The chemistry between them is intense and believable and tastefully demonstrated.

Act II in Olivia's lovely, library-like Chicago apartment, brings complications involving book deals, publishing maneuvers, Internet versus the traditional reading public and other fame and fortune affecting developments that shall not be revealed here. See it for yourself - you will be fascinated by the duo's superb performances, expert directing by Kimberly Senior and the provocative, intelligent writing of award-winning playwright Laura Eason.

Geffen Playhouse, Audrey Skirball Kenis Theatre, 10866 Le Conte Avenue, Westwood 90024. Wednesday -Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm $76 - $82. Parking available for $4 at Palazzo Garage, 1008 Glendon Avenue, next to Trader Joe's. Show your ticket when you leave, after the performance. (310) 208-5454 or The Geffen Playhouse ends 4/10

REVIEW BY INGRID WILMOT



DOMESTIC TRANQUILITY by Rich Orloff

Devotees of broad, very broad farce will enjoy this comedy involving a cookie-cutter suburban family of the Fifties. Eisenhower is President, the Vietnam War has not yet begun and a woman's place is in the home, where she keeps busy cooking and dusting. Yep, ladies, that's how it was.

We are in a neat and orderly home (set by Bob Manning), the eminent domain of Ethel (Shirley Hatton), the matronly mamma of teen-age Cindy (Olivia Schlueter-Corey) awaiting the arrival of husband "honey I'm home" Herbert (Don Schlossman) from the office. Suddenly, their "domestic tranquility" is interrupted, to say the least, by three escaped convicts, Lou (Bill Wolski), his younger brother Tony, (Ryan Knight) and Spot (Daniel Tennant), sneaking in, intending to use the house as a hideout until they can be transported by Lou's girlfriend.

Playwright Rich Orloff has an ear for funny dialogue and is the most popular, unknown playwright in the country, with over 1400 productions all over the world. His one-acters have been included in Little Fish Theatre's annual, very exclusive Pick of the Vine. The actors, smartly directed by Holly Baker-Kreiswirth, couldn't be better or more perfectly cast and rise above their cartoonish characters. Old man Herbert (Schlossman) blusters amusingly and makes a great Irish priest. Mamma (Hatton) is a hoot as the archetypal Hausfrau, whose sexual fantasies (if any), probably focus on Mr. Clean. Daughter Cindy (Schlueter-Corey), a high school girl whose adolescent libido suddenly kicks in, is spot on. But the trio of escapees are the audience favorites. Lou (the talented, versatile Wolski), as a low-life with a Noo Yawk accent, is positively mesmerizing, not to mention his stint as a "nurse". His kid bro, the handsome Knight, steals Cindy's heart eight out of her training bra, and ours, as well. As for the rotund Tennant, as the almost mute Spot, his facial expressions speak volumes without uttering a word. Home invasion is no joke - except when it takes place on the stage of Little Fish Theatre, where you'll roar with laughter until your sides ache.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday & Saturday 8 pm, Sunday, 3/20 at 2 pm. $27, seniors $25. Parking in adjoining lot, enter via the alley. (310) 512-6030The Little Fish Theatre Ends 4/2

NEW: Dinner/Theatre Package available at Beach City Grill, 376- 6th Street, San Pedro, two hours prior to curtain, $45 plus tax and tip. Interesting menu, choice of soup or salad and one of four entrees but don't leave without dessert by their award-winning pastry chef. BYOB (no corkage), a five-minute drive from Little Fish. More dining information (310) 833-6345.

REVIEW BY INGRID WILMOT



JACK AND JILL by Jane Martin

The vagaries of love and romance are explored, dissected and demonstrated in this two-header. Against the backdrop of a New York skyline (fine projection work by Fritz Davis). Our protagonists meet at the Public Library, battle-scarred but not discouraged by one failed marriage each plus numerous affairs. Jack (Robert Standley), polishes his best pick-up lines and manages to get the attention and strike a chord with Jill (Tanna Frederick). They act like two nervous cats, trying to connect. Their attraction is undeniable and they proceed to tread the rocky road to romantic love bare-footed, so to speak. Not surprisingly, their relationship ultimately sours and they split. Two years later, after a chance airport encounter, they're back in the ring, determined, once again, to make it work. Unless the actors break the fourth wall and address the audience, a lot of the play's dialogue seems to have been written in half sentences. Frederick, so good in Henry Jaglom's "Train to Zankopane", recently at the Edgemar, mugs her way through the character of a woman who could be described as "difficult". Truth is, she's messed up, neurotic and generally unlikable. Standley fares a little better. Although successful in his professional like, he struggles with insecurities and self-doubt but his affection for Jill seems genuine and straightforward. Thanks to the direction by Jack Heller, aided by an all-purpose set (by James Cooper) and the aforementioned projections, the fluidity of the story keeps the pace. Fangyuan Liu designed the exquisite wardrobe for Ms. Frederick.

Santa Monica Playhouse, Main Stage. 1211 - 4th Street, Santa Monica 90401. Friday and Saturday 8 pm, Sunday 3 pm. $20 - $25. Public Parking Structure across the street. (323) 960-1055 or Plays 411 ends 3/27

REVIEW BY INGRID WILMOT



MY SISTER by Janet Schlapkohl

Nazi Germany's anti-Semitic atrocities have been well documented. We are also aware of their incarceration and attempted extinction of gypsies and homosexuals. Lesser known is their initial extermination of the disabled and infirm. Unflattering images of the so-called master race were not tolerated.

This is a story set in the Thirties. Hitler's ascension to power has begun, the propaganda machine is oiled and Berlin's naughty cabaret songs will soon be replaced by the sound of goosesteps and the cries of the victims. Magda (Emily Hinkler) and Matilde (Elizabeth Hinkler), (real life twin sisters), live in a shabby Berlin flat (set by Pete Hickok). The comely Magda dreams of stardom and sings in seedy nightclub, while Matilde, severely crippled by cerebral palsy, stays home with only a shortwave radio for company. She is, however, the brainier of the two and writes all the material her twin performs. The play takes some getting used to. There's entirely too much screeching in the opening scene and the constant interjection of the German word ja is altogether annoying. Furthermore, Elizabeth's heavy accent, her slight speech impediment and shrill tone, make her difficult to understand, particularly in the first fifteen or twenty minutes. But the story grows on you, steeps into your gut and improves steadily, as we become absorbed in their precarious existence, not to mention their exceptional performances. This is some of the best acting you'll ever see. Emily has a good voice and convincing stage presence. Her soft side, as she mothers and cares for her disabled sibling is heartwarming. Elizabeth's grotesque deformity and her difficulty performing even the simplest task, is heartbreaking. The prescience of what fate may await them in the political climate of the times hovers over the proceedings like a black cloud. Co-directed by Paul David Story and Odyssey's Artistic Director Ron Sossi, this is a moving and superbly acted piece of theatre, with live piano accompaniment by Musical Director Barbara Rottman plus expert sound design by Christopher Moscatiello.

Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles 90025 Wednesday 2/34 at 8 pm only; Thursday 2/11, 18 and 3/3 at 8 pm only; Friday and Saturday 8 pm, Sunday 2 pm. No intermission. $25 - $34. Parking in front $4. (310) 477-2055 or The Odyssey Theatre ends 3/6/16

REVIEW BY INGRID WILMOT



TWO SISTERS by Gail Louw

Friends squabble, lovers and married couples do but nobody squabbles like two old Jewish ladies! We are in Israel, in an attractive apartment (set by master designed Jeff G. Rack), located in a Kibbutz. Two elderly women exchange unpleasantries the morning after Edith's (Leda Siskind) seventy-fifth birthday party. Their arguments are timeless but you know it must take place twenty years ago, when "crap" and "damn" were considered vulgar four-letter words. Rika (Sharron Shayne), age seventy-one, is visiting from the U.S., dotes on her granddaughter (whom we never see) and hopes to take her back home to attend NYU.

Along with memories stored up for decades, they air resentments and jealousies, sprinkled with affection for one another. Rika has always been and still is, the prettier one but the brittle Edith's life combines toughness with contentment. Their verbal sparring touches on youthful indiscretions, sibling rivalry, flirtation, sex and more, in often very funny dialogue and their acting skills are exemplary. Rika is teary and emotional. Edith is acerbic, political and a Sabra in attitude if not by birth. As refugees from Nazi Germany, Siskind's accent fluctuates but she's never out of character. Admirably directed by Stewart J. Zully, this American premiere holds our interest and elicits our empathy as well as some chuckles.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, off Little Santa Monica, Beverly Hills 90212 on the campus of Beverly Hills High school. Thursday -Saturday 8 pm, Sunday 2 pm. $30. No intermission. Free parking in building garage adjoining the theatre entrance. (310) 364-0535 or Theatre 40 ends 2/21/16

REVIEW BY INGRID WILMOT



FOREVER HOUSE by Tony Abatemarco

This in-depth, theatrical study of a young, gay couple buying their first house, their "forever house", is told from the viewpoint of a gay playwright, director and actor of impeccable credentials and reputation, Tony Abatemarco. An almost empty living room with that "just moved in" look (set by John Iacovelli), has the lovers, Ben (James Liebman) and Jack (Michael Rubenstone) dizzy with anticipation, planning and decorating while occasionally pondering their commitment to each other as well as to a thirty-year mortgage. In pops one of their neighbors, Gloria (Elyse Mirto), the busybody president of the Earthly Delights Homeowners Association. Her veiled comments leave no doubt about how she feels living in close proximity to people different from the usual suburbanites. However, a visit from their tippling real estate agent, Bill (the hysterical Joel Swetow), is a comic delight. In their nesting fervor, the boys make plans for a possible adoption. Ben is the calm level-headed one, the diametric opposite of Jack, a man with issues by the bucketful, He hears strange noises, thinks the house is haunted and is so tightly wound, we fear for his sanity. And, he does not handle disappointment very well.

In Act II, we meet Mrs. Grossman, Dale Raoul) Jack's stereotypical Jewish mother who can be a bit annoying but is also quite funny. She treats Ben with sincere affection and confides details about Jack's problematic childhood. We also make the acquaintance of a neighboring couple, Pete and Francine (the excellent Swetow and Mirto, in dual roles), devout Christians whom the boys welcome into their home during an emergency (sound and lighting by Peter Bayne and Jeff McLaughlin, respectively, video by Nicholas Santiawgeo, costumes by Terri A. Lewis).

What we glean from Forever House is, that aside from the fact gay couples will probably have to deal with a few ignorant bigots, they are not so different from heterosexual ones. They bicker, they fight, they kiss, they make up. They contemplate starting a family and endure adoption complications. Director Elizabeth Swain is fortunate to have an extraordinary cast that is both convincing and affecting. The play is well worth seeing except too long. Personally, I could have done without the video sequence through Gayland. But, maybe that's just me.

Skylight Theatre Complex, 1816 1/2 N. Vermont Avenue, Los Angeles 90027. Fridays 8:30 pm, Saturdays 8 pm, Sundays 3 pm. $30 - $34. Street parking. (213) 761-7061 or The Skylight Theatre ends 2/28

REVIEW BY INGRID WILMOT



AWAKE AND SING! by Clifford Odets

Sometimes old chestnuts are the tastiest. A case in point, Clifford Odets' AWAKE AND SING! was written in the thirties. It was produced by the Odyssey twenty years ago, directed by Elina de Santos and starring Marilyn Fox. Interestingly, these two artists return for an encore in their same capacities. Running to full houses since the end of September 2015, and so well received, it has been extended once again (see below).

The brilliant Odets, associated with mega hits such as Golden Boy, Waiting for Lefty etc., relies on his own background to bring to life the story of a Jewish family living in the Bronx, under the yoke of the Great Depression. The year is 1934, the Berger Family home is modest and authentic (set by Pete Hickok), replete with vintage radio and an RCA Victor phonograph, whence the unmistakable voice of Enrico Caruso emanates. This music and his books are the only joy in life for Papa Joseph (the venerable Allan Miller). His daughter, Bessie (Marilyn Fox), an insufferable control freak, who orders him to his room as though he were a naughty schoolboy also mercilessly picks on her son, Ralph (James Morozini), for not being the successful wage earner she had envisioned. She torments her daughter, Hennie (Melissa Paladino) who is only in her twenties but whom she considers an old maid and desperately tries to marry her off. Her hen-pecked husband, Myron (Robert Lesser) is completely emasculated by this ogre of a woman. Only her brother, the wealthy Uncle Morty (Richard Fancy), is in her good graces, having made a fortune in the shmatta business and she brown-noses him ad nauseum. She is fairly civil towards Sam Feinschriber (Jeff Marlow), Hennie's sad sack of a husband, in gratitude for rescuing the family's good name. Also living in this home is a boarder, Moe Axelrod (Jason Huber), an obnoxious bookie who, to his credit, takes no guff from the acid-tongued Bessie. Dennis Madden, who also was in the 1998 Odyssey production, plays Schlosser, the building's janitor.

This constantly fascinating play revolving around the era's financial difficulties is outstanding individually and collectively. Ingeniously directed by de Santos, it features a superb cast. The amazing Fox makes Mommy Dearest seem positively angelic. Morozini, excellent as an angry, young man in love, is fuelled by his dreams and the ardor of youth. Paladino is unforgettable as a young woman mired in a loveless marriage to the shlub Sam (Marlow), who plays a recent émigré trying to find happiness and who is truly sympathetic. The brash Huber, a World War I handicapped vet who carries the torch for Hennie, is a constant source of amusement. Fancy, in the thankless role of the rich uncle earns our admiration if not our affection. Lesser, a man who longs for riches via a big lottery or raffle win, probably never buys a ticket. He's pathetic as a husband still in love with his shrewish wife, alas, he should be putting duct tape over her mouth. Allan Miller, a renowned actor and director, as the old leftist who loves opera and Karl Marx, breaks our heart as victim of verbal elder abuse. Incidentally, the title comes from the scriptures "Awake and sing, you that dwell in the dust" Isaiah 26:19. Only two more weeks left to catch this masterpiece.

Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles 90025. Friday and Saturday 8 pm, Sunday 2 pm. $15 - $34. Two (!) intermissions. Parking in front $4. (310)477-2055 or The Odyssey Theatre Ends 1/31/16

REVIEW BY INGRID WILMOT



PICK OF THE VINE 2016

Back in the saddle after the holiday hiatus, there's no better task than reviewing Little Fish Theatre's PICK OF THE VINE. Culled from hundreds of submissions of short plays by playwrights across the country, are the ten chosen ones, presented by nine fine actors on a small stage with just a desk, a bench, a few props and tons and tons of talent.

ENCOUNTER AT A HOT DOG STAND By Monica Lewis, directed by Cylan Brown Watch how a young dude hits on a woman who is pushing fifty (the inimitable Amanda Karr) With Bryson Jones Allman, Brendan Gill and Kathryn Farren.

HOW NICE OF YOU TO ASK By Rich Ruben, directed by Cylan Brown A rolling-in-the-aisles funny situation of a young man (Bryson Jones Allman) conducting a sex survey, interviewing a spunky grandma (the fabulous Geraldine Fuentes). Cheers!

SMALL TALK By David MacGregor, directed by Branda Lock The art of making small talk can't be taught, it all depends on the company. The dedicated couples counselor is the versatile Annie Vest, with Kathryn Farren, Brendan Gill and Patrick Rafferty.

CANCELLED By M. Rowan Meyer, directed by Branda Lock In this touching vignette, a gay couple's dream of adoption ends in disappointment. With Bryson Jones Allman and Patrick Rafferty.

THE WIGGLE ROOM By George D. Morgan, directed by Madeline Drake Set at Cape Canaveral on the fateful morning of the Challenger launch, we are privy to a conference call between the engineering team and NASA officials. With Bryson Jones Allman, Patrick Rafferty, Perry Shields, David Kieran and Brendan Gill.

ACT II

THE TEMP By Steve Emily, directed by James Rice The sudden death of a temporary worker affects his office colleagues in very different ways, in this humorous example of human nature. With Perry Shields, Geraldine Fuentes and Amanda Karr.

WHAT YOU DON'T KNOW By Mora V. Harris, directed by Cylan Brown Two sanitation workers (Kathryn Farren and Geraldine Fuentes) fret over how to deal with the roadkill they are obliged to remove.

TEN PICNICS By Mark Harvey Levine, directed by Madeleine Drake The prolific Levine has frequently been represented in a Pick of the Vine. This one chronicles the life of a boy growing up and is cleverly done but not quite up to his usual high standards. With Annie Vest, Kathryn Farren and Bryson Jones Allman.

RESTON By L. Robert Westeen, directed by James Rice In an absolutely hilarious example of a top vintage grape pick, a couple (the hysterical Amanda Karr) and her harried spouse (Perry Shields) go through the agony of choosing the best pre-school for their son, involving the hapless Director (David Kieran). Raise your glass for a special toast!

BINGED THERE, DONE THAT By Ken Preuss, directed by James Rice The final offering is a goofy account about a couple (Annie Vest and Perry Shields) and their perplexed son (Patrick Rafferty), who seem to pattern their lives after a TV soap opera. This is mostly sediment, not worth sipping...

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731.Thurday - Saturday 8 pm, Sunday 1/17 2 pm. $27, seniors $25. Free parking in adjoining lot, enter via the alley. (310) 512-6030 or The Little Fish Theatre ends 2/13

REVIEW BY INGRID WILMOT



PERFECT TIMING by Kristi Kane

This scintillating, sophisticated comedy channels Noel Coward in style and wit. It takes place in England, according to the Footlights program, before the advent of cell phones and the Internet. It's a world where people dress for dinner, nobody uses vulgar language and among upper class Brits, good manners don't have to be taught, they're inbred. Cornelia Thorndike (Helen Anker) is an art critic, currently romantically involved with the debonair Alex (Martin Thompson), a sharp dresser and perfect English gentleman. But, wouldn't you know it, she's swept off her feet by the balls-y Gerrard (Shawn Savage), a macho, free-spirited artist, quite dashing but a bit on the proletarian side. Cornelia has a secretary, Vivianna (the willowy Christine Joëlle), who doubles as best friend/housekeeper and all around good egg.

The Thorndike residence is an elegantly designed salon (by Jeff G. Rack), with a lovely dining area fronted by a parlor with a chaise lounge and divan, tastefully lit by Ric Zimmerman. The constant entrances and exits introduce the talented cast of characters, ably directed by Bruce Gray. We have Gerrard's "art patron", a petite French woman named Lulu (the cute Aly Fainbarg), who has some very comical lines, most of which are blurred by her exaggerated French accent. Laura (Susan Kaidanow), daughter of a Texas oil baron, Foxworth (Dennis Gersten), a prospective suitor and a farmer, Joseph (Thomas Webb), Vivianna's childhood sweetie. The performer to watch is Anker. She moves with grace, has a well modulated voice and fits the role of Cornelia like the stunning, unlimited wardrobe she parades (costumes by Michèle Young). This is the "perfect timing" for this amusing play befitting the holiday mood, as merry and bright as we all deserve. Chin, chin!

Theatre 40, Reuben Cordova Theatre, on the campus of Beverly Hills High School, 421 S. Moreno Drive, off Little Santa Monica Blvd., Beverly Hills 90212. Thursday - Saturday 8 pm, Sunday 2 pm, Wednesday December 15 only, 8pm. $30 Free parking in building garage. (310) 364-0535 or Theatre 40 ends 12/21/15

REVIEW BY INGRID WILMOT



A GOOD FAMILY by Marja-Lewis Ryan

How to ruin a perfectly lovely Christmas Eve, could be the subtitle of this absorbing drama, a holiday show that won't have you whistling "It's the Happiest Time of the Year". Extremely well done, it's the story of a family in Missouri, not dysfunctional, on the contrary, good, solid folks whose holiday get-together becomes a mash-up of joy and stress. It starts out jolly enough in the Sutton Family home, festively decorated with a Pretty tree and presents galore. The mom, (Heidi Sulzman), enters humming Christmas carols, decked out in a Christmas sweater and snowball earrings. She and her husband Matthew (John K. Linton), have a teen-age daughter, Lacy (Kelli Anderson) living at home. Two other siblings, Kerry (Lindsey Haun), a pistol of a corporate lawyer and their college-age son, Jack (Alec Frazier) arrive in a "home for the holidays" mood. Barely fifteen minutes into the play, Jack gets a call from the police with the shocking news that a co-ed has accused him of rape. This controversial subject, now frequently in the news, is explored on its effect on the Sutton Family. Will it tear them apart or bring them closer together?

Poignantly directed by the playwright herself, we are completely drawn in by the exceptional Sulzman as the devastated mother who insists that her "little boy" is guiltless. Frazier, a pale, young man with a natural worried expression, is ideally cast. He's a decent sort, who loves his kitty-cat Chicken, whom we, unfortunately, don't get to see, and when he says he's innocent, we believe him. Linton's father figure is restrained but sincere. The most colorful personality turns out to be Haus, a party girl with a potty mouth, in sexy platform boots and décolleté. When asked to help her brother out of his dilemma, she's reluctant at first but soon, in an almost symbolic gesture, smartly knots up her long hair and gets down to business, transforming herself into the tough professional she portrays. She and Sulzman add the spark and spice needed for this bitter-sweet Christmas punch. Done on stage in real time, the audience shares the anxiety of this Good Family in a most involving story, a world premiere bound to succeed.

The Lounge Theatre, 6201 Santa Monica Blvd., Hollywood 90038. Thursday 12/3, 10 and 18; Friday 12/4. 11 and 19; Saturday 12/6, 13 and 20 at 8 pm. Sunday 12/6, 13 and 20 at 2 and 7 pm. No intermission. $25. Street parking. (800) 836-3006 or Brown Paper Tickets ends 12/20/15

REVIEWBY INGRID WILMOT



TIMESHARE by Steve B. Green

This satirical world premiere takes us behind the scenes of a high pressure sales office (beautiful set by Marco DeLeon, lighting by Yancey Dunham, costumes uncredited but laudable). It's hard to avoid flinching while witnessing the unloading of a product that sounds s glamorous "see the world while staying at five star hotels", via timeshare investments, which often end up as expensive millstones.

Written and directed by Steve B. Green, it pulls no punches about the unsavory sales technique used. It opens with Tom (the excellent Tony Pauletto), in front of the men's room mirror, giving himself one of many pep talks to bolster his confidence as a new "professional salesman", spurred on by the manager, Frank (the amazing John Mullich), who whips up enthusiasm like a maniacal football coach in the locker room. Most of the staff, Jack (Kerr Lordygan), Mike (Travis Quentin), with the exception of Christine (Sarmarie Klein), seem desperate to close deals that are a tough sell, to customers who come mainly for the bait, s free flat screen TV and have to endure a seventy-five minute "presentation". The cast is remarkable. Mullich is an insufferable bully with a Hitler moustache, who makes an Army drill sergeant seem gentle and loving. Lordygan is an obnoxious womanizer using big words he can't pronounce. He would like to bed Christine (Klein), the office hottie with a 42-20-34 bod, who knows how to use it. She's the star salesperson and has a thing for Tom (Pauletto), our fine leading man. He's an unsuccessful writer with integrity and ambition but he just isn't cut out for the job, needy as he might be. Also on the sales force is big Mikey (Quentin), a former jock who couldn't sell a life raft to a drowning man.

The fun begins when the assorted prospects arrive. The first pair to sit through the sales pitch are two nasties, Martin (Gerard Marzilli) and Maria (Victoria Yvonne Martinez). She is rude and he incessantly plays with his Smartphone. Next come Ira (David Datz), a middle-aged man with a pushy wife, Melanie (Randi Tahara, on my night), a regular Dragon Lady. They are followed by Tiffany (Alyssa LeBlanc), a single mom who can barely afford to pay her rent. The next pair of prospective buyers are Bart (Zachary Davidson), a low life and his loudmouth of a girlfriend Amy (Madelyn Heyman) and finally, an older couple, Neil (Paul Messinger), who is mad at the world, with a violent temper and a voice loud enough to crack mirrors, accompanied by his demure, little wifey, Gretchen (the inimitable Marbry Steward). Their arrival changes the equation and turns the second act into a suspenseful drama. You will agree, the play is well written, quite humorous, with adroitly defined characters but it badly needs trimming. It would be difficult to suggest which of the employees or the prospects we could do without because they are all really fine actors but, as we know, circumcision sounds very painful but pays off in the end. Incidentally, my former tennis partner still makes a good living helping people divest themselves of their timeshares.

The Eclectic Theatre Company Theatre, 5312 Laurel Canyon Blvd., (between Magnolia and Chandler) Valley Village 91607. Friday & Saturday 8 pm, Sunday 2 pm. $18 Open seating. Street parking. (818)508-3993 or The Eclectic Theatre Company ends 12/13/15.

REVIEW BY INGRID WILMOT



ETHAN CLAYMORE by Norm Foster

A simply delightful show, with a tinge of holiday spirit but none of the saccharin aftertaste of so many Christmas stories. Norm Foster is always good for a laugh but this is a different genre for him, a touching but, or course, funny tale of human nature and relationships. It takes pace in a small town home in rural Canada (set by Aaron Francis), where Ethan (Michael McCollum an egg farmer with 2,000 lazy hens, struggles to make ends meet. He still mourns the death of his wife five years ago and has become a recluse. He receives a surprise visit from the ghost of his nasty brother, Martin (Bill Wolski), recently deceased, a guy who turns out to be a better man dead than when alive. He also has a kindly neighbor, Douglas (Rodney Rincon), who is determined to fix him up with the new schoolteacher, Teresa (Tara Donovan), a young lady who is by no means a shy violet but more of a forget-me-not. She turns up on Ethan's doorstep under various pretexts and is clearly smitten with the shy widower.

In the title role, McCollum is not given much of a chance to display emotional range but is always in character, Wolski, however, expertly directed by Holly Baker Kreiswirth (his real life spouse), is dynamite. This play should be called MARTIN Claymore! He's devilishly wicked but adorable as a trickster ghost, with assistance from Kreiswirth's sound and Christopher Singleton's lighting design and delivers a stellar performance, he has heavy competition from Rincon as the friendly old neighbor with a heart of gold and a perennial thirst. He almost, repeat, almost steals the scene each time he comes barging in, not to be slighted is Donovan's charming Teresa, a smart girl who has learned her life lessons and puts them t good use. In short, Little Fish presents it, Foster wrote it, Kreiswirth directs it and Wolski is in it - that's really all you need to know before ordering your tickets at once.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday & Saturday 8 pm, Sunday November 22 and 29, December 6 at 2 pm; Thursday 12/10 and 17 at 8 pm, $27, seniors $25, (310) 512-6030 or The Little Fish Theatre Parking lot in rear, enter via the alley. Ends 12/10/15

REVIEW BY INGRID WILMOT



ROMANCE.COM by Hindi Brooks

This cute, little one-actor is light as a soufflé, penned by the late Hindi Brooks, one of the Southland's favorite playwrights. It is being performed all over America as well as in various languages in Europe, because the online quest for love and companionship has become universal. It tells the truth about computer dating, while those who prevaricate about their attributes, frequently do not.

Nora (Marcia Rodd), a grandmother, four years a widow, is lonely and vegetates at home with nothing to do. Her enterprising granddaughter, Terry (Olivia Henry), a busy accountant who, in order to get her bubbe out of the rut, buys her a computer. At first resentful, to say the least, she soon gets into the groove when she discovers a chat room with a message from a "young man", looking for a date. The sender is Benny (Bart Braverman), who hangs out at Flinkman's deli and is also in the market for romance. He's an alter cocker with a paunch who'll never see sixty again but that doesn't stop him from searching for a hot, young chick. He pretends to be a twenty-eight year old stud who's into all manner of sports, from volleyball to skydiving. He is aided an abetted by Don ((Michael J. Silver), a likeable, attractive deli man and aspiring actor. Dazzled by the prospect, Nora proceeds to tell a few lies of her own, including her age, of course.

Meanwhile, her granddaughter, a lovely girl who hides her good looks behind big glasses and a severe hairdo, is being ardently courted by Ira (Joseph Michael Harris) , a fine physical specimen and a health nut who works out vigorously. But Nora dislikes him, she calls him Mr. Zucchini among other things, and fears that, if those two get married, Ira won't let her live with them. That's all you need to know, except that the performances are flawless, splendidly directed by Howard Teichman, West Coast Jewish Theatre's Artistic Director. He warms up the audience with a few, well-chosen Jewish jokes. Kurtis Bedford designed the smart, triple sectioned set, Ellen Monoeroussos the lighting, Jackie Gudge the costumes and Bill Froggett the sound. This is sit-com style entertainment that doesn't need a phony laugh track.

West Coast Jewish Theatre at Pico Playhouse, 10508 W. Pico Blvd., Los Angeles 90064. Thursday - Saturday 8 pm, Sunday 3 pm. No intermission. Street parking. $35, students $25. (323) 821-2449 or The West Coast Jewish Theatre ends 11/29

REVIEW BY INGRID WILMOT



NEED TO KNOW by Jonathan Caren

Based upon the intriguing concept that we are no longer able to guard our privacy due to the intrusive technical devices, which, with a few clicks inform our friends and enemies who we are, what we are, what we do - and did. But not yet what we are about to do. The Internet affects our lives but, as this story proves, the most significant changes are still achieved by human contact.

Steven (on my night Jeff Lorch, alternate for Lucas Near-Verbrugghe) and Lilly (Corryn Cummins) are a not yet married couple, moving into their New York apartment (excellent set by Stephanie Kerley Schwartz). Acquiring a pair of goldfish as pets, they are an attractive, romantic couple, cheerfully nesting. Lilly is the author of a book published several years ago, Steven an artist with a temperament to match. Things become thoroughly fascinating once their neighbor, Mark (Tim Cummings), unexpectedly comes calling. He is a writer as well, an overly friendly, teddy bear of a man, with tousled hair, an awkward manner and who seems rather inept, socially. In truth, as he says, he knows a lot about many things. He is presently awaiting the publication of his novel for young adults, while Lilly is in the throes of writers' block and Steven frustrated by the vagaries of his career. Once out of sight, they all ferociously delve into Google-land, Smartphones, Facebook etc. but learn much more about one another by listening through the paper-thin wall that divides the nebbish Mark's cubicle of an apartment next door.

Director Bart DeLorenzo extracts fine work from his cast. Cummins is so natural, one tends to forget she's acting. The tall, strapping Lorch is adept at portraying a self-assured dude hiding a fragile mental constitution. The most astounding performance however, is that of Tim Cummings. The role is intricate and multi-faceted, which he handles a though it were written for him. This is a sophisticated, timely world premiere, a character study speckled with light and dark humor, which will pique your interest for one hundred straight minutes.

Rogue Machine at Theatre Theatre, 5041 Pico Blvd., west of La Brea, Los Angeles 90019. Saturday 5 pm; Sunday 7 pm; Monday 8 pm (dark 11/16) $30 - $35. No intermission. Street parking. (855) 585-5185 or The Rogue Machine Theatre ends 12/13/15.

REVIEW BY INGRID WILMOT



SAFE AT HOME: AN EVENING WITH ORSON BEAN

What's not to love about Orson Bean? The man is an absolute marvel and the sharpest octogenarian you'll ever have the pleasure to encounter. He's seen everything, done everything and, even more remarkable, he remembers it all. Young people admire him, the older one envy him. A multi-talent, he has found success on stage, screen, television, as a musician, singer and magician and is a brilliant raconteur, the reason this show is a "must see". He delves deeply into his turbulent childhood, saddled with a rather strange mother and a father who deserted the family when Owen, then called Dallas, was a teenager. He peppers his tales with delightful anecdotes, tells some funny jokes and even performs magic tricks. We learn how he earned money as an enterprising, little guy and he shares a touching story about his dog. At age twenty-two, he experiences an unexpected ovation as a stand-up comic in a New York City club and his career is launched.

On the almost bare stage (set and lighting by Norman Scott), he takes us along on the journey through the highs and lows of his life, adapted from his memoir "Safe at Home" (available on Amazon). Lovingly directed by Guillermo Cienfuegos and co-produced by Alley Mills Bean, his wife of twenty-three years, this is a fitting 30th anniversary offering from Pacific Resident Theatre, a venue that deserves its excellent reputation and with which Bean has been associated for three decades. It is also a pre-holiday treat for theatre lovers, a present that fits all, won't have to be exchanged and will stay in your memory bank forever. Our wish is that Orson retain his good health, good looks, sense of humor and positive attitude for many more years to come. Amen.

Pacific Resident Theatre, 703 Venice Blvd., Venice 90291. Thursday - Saturday 8 pm, Sunday 3 pm. $25 - $30. No intermission. Free parking in lot behind the theatre. (310) 822-8392 or The Pacific Resident Theatre ends 11/29

REVIEW BY INGRID WILMOT



CIRQUE DU SOLEIL'S "KURIOS" written & directed by Michel Laprise

The circus has come to town again, specifically to Orange County. But wait - beginning December 10th, it unfolds its giant tent at Dodger Stadium. The millions of world-wide fans of Cirque du Soleil know that this is a circus sans clowns and animals and the word best describing it, is "amazing". In front of the Big Top flutter a colorful assortment of flags, those of the countries of origin of the members of this international troupe.

Kurios features a lab-coated scientist called the Seeker (Anton Valen) from whose cabinet of curiosities emerge strange creatures in otherworldly costumes (by Philippe Guillotel), incredible special effects such as a giant hand, a contraption that resembles a huge caterpillar smoke clouds and surprises descending from the high ceiling, loud music, dancers, jugglers, tumblers and acrobats performing unique and unbelievably difficult feats. Familiar to audiences may be the fabulous four contortionists (Ayagma Tsyberova, Imin Tsydendambaeva, Lilia Zhombalova and Beyarma Zodboeva, try saying that fast). Their eel-like bodies appear to be made of rubber. In fact, most of the lithe ladies on stage look as though they haven't ingested solid food for months. You may also remember the hunky Brothers Tomanov, Vitali and Roman, who perform an aerial ballet as an almost Siamese twin duo as well as individually, perfectly synchronized and beautiful to watch. An aerialist (Anne Weissbecker) on a bicycle defies gravity. A balancing act (James Eulises Gonzalez), who should tutor all ladies teetering in their stilettos. For comic effect, there's a man conducting circus maneuvers without any visible participants and another in an attempted but thwarted romantic interlude with a woman he picks from the audience. His pantomime of a cat in its litterbox brings down the house. Tomonari "Black" Ishisuro, a master of the yo-yo, probably had a mother who told him "Blackie, put away that yo-yo and do your homework!" She should see him now.... There's a clever act using a paid of hands that seem to have a life of their own and much, much more. At the end of the performance, the entire cast takes individual bows. The technicians, choreographers, designers, lighting and rigging engineers, plus Cirque's genius creator, Guy Laliberté should, by all rights do the same. Vive Leliberté! It's a helluva show.

Kurios, Cirque du Soleil, Under the Big Top at Orange County Fair and Event Center, 88 Fair Drive Lot G, Costa Mesa 92626. Parking $10. Show times vary but always dark on Monday. Prices on weekdays from $40 - $280, weekends $52 - $290 for VIP (877) 924-7783 or The Cirque du Soleil ends 11/29/15 (at Dodger 12/10/15 to 2/7/16)

REVIEW BY INGRID WILMOT



GUARDS AT THE TAJ by Rajik Joseph

It takes a strong stomach to watch this piece, the ultimate entertainment for the Halloween season, a brew of horror, shaken and stirred with some fun. It opens in India in 1648, with a guard in full regalia (costumes by Denitsa Bliznakova). He stands immobile, a sword in his outstretched arm, as the house fills up. He is Humayanun (Raffi Barsoumian), son of an influential man but assigned to this lowliest of tasks. He is soon joined by his boyhood friend, Babur (Ramiz Monsef), something of a goof-off with a vivid imagination, who is perennially late. The two men are guarding the building of the Taj Mahal, the world's most gorgeous tomb, commissioned by Shah Jahan in memory of his favorite wife. They are ordered to remain silent but engage in amusing banter, allowing us to know their restricted world and secret ambitions. Humayanun wants desperately to impress his respected father. Babur's idea of heaven is to transfer watching over the Shah's harem. They debate, reminisce, and argue. They love the chirping of exotic birds (sound by Vincent Olivieri), they admire the beauty of nature and architecture but are forbidden to watch the erection of the edifice they are guarding. Their ruler is a merciless despot, yet they revere him and dare not defy his orders under penalty of torture and death.

Scene II demonstrates graphically how a cruel whim of their Emperor has been carried out (stunning set by Tom Buderwitz), based on tales, perhaps apocryphal, of what occurred among the workforce of thousands of laborers who spent sixteen years to create the magnificent Taj Mahal. The shockingly staged events will make you cringe but the show is worth seeing, not only for the stimulating dialogue but for the brilliant performances. Barsoumian and Monsef project intense emotion, engage in humorous interplay both verbal and physical and keep us mesmerized for ninety, uninterrupted minutes, under the astute direction of Giovanna Sardelli. Trick or treat? You'll get plenty of the latter.

Geffen Playhouse, Audrey Skirball Kenis Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 and 8 pm, Sunday 2 & 7 pm. $60 - $82. No intermission. Parking for $4 available at Palazzo Garage, 1008 Glendon Avenue, next to Trader Joe's. Show your ticket when you leave. (310) 208-5454 or The Geffen Playhouse ends 11/15

REVIEW BY INGRID WILMOT



THE DOCK BRIEF by John Mortimer

This jolly, little play takes place in a prison cell in England in 1958 (set by Norman Scott), where a droll man named Fowle (Wesley Mann), the confessed murderer of his wife, is awaiting trial. He is being represented via a dock brief (like our court appointed Public Defender) by a verbose solicitor, Mr. Morgenhall (Frank Collison) who, after a less than illustrious career, hopes to make a sensational professional comeback and is all fired up to score a favorable verdict. They concoct all manner of legal shenanigans and hilarious maneuvers while planning their strategy. Problem is, this solicitor is more adept during rehearsals than at the actual trial.

Under the spirited direction of Robert Bailey, the two actors are superb and their performance alone merits your attendance. The rubber-faced Mann, a mild mannered, milk toast-y birdseed salesman, is a clever mimic with a dozen vocal inflections and attitudes. Collison, a tall, distinguished looking man, possessor of a sonorous voice, is ideally cast as the pompous but bumbling solicitor. He has to invent a motive other than that his client off'd his spouse, because of her sharing constant, raucous laughter with another man, which is what drove him to do the dirty deed. This one acter lasts only about an hour and it pays to read the glossary of British terms in your Footlights program, in advance. But even if you don't, you'll get it and certainly enjoy it. Finally, our congratulations to Pacific Resident Theatre on its 30th anniversary. Break many a leg!

Pacific Resident Theatre, 705 1/2 Venice Blvd., Venice 90291. Thursday - Saturday 8 pm, Sunday 3 pm. No intermission. $25 - $34. Free parking in rear lot. (310) 822-8392 pr The Pacific Resident Theatre ends 11/15

REVIEW BY INGRID WILMOT



PRIVATE EYES by Stephen Dietz

This is a well acted, contemporary play, full of secrets and lies. If you love surprises, you will enjoy the verbal sparring, the unexpected developments and the twist and turns in the lives of theatre folk. It opens with an audition, the casting director, Matthew (Bill Wolski) is interviewing an actress, Lisa (Kristin Towers-Rowles), an old flame he hasn't seen in four years. Or so it seems. Without disclosing too much of the convoluted plot, you may as well know that this Lisa is involved in an extra-marital affair with her British director, Adrian (Allen Barstow). You'll also meet Matthew's shrink (Kim Estes) and a snappy, moonlighting waitress names Cory (Kyla Schoer). Scenes shift from rehearsal room to restaurant to an office space etc., with relative ease (set by Christ Beyries) and Richard Perloff directs the complicated scenario like the pro that he is. But popular playwright Dietz leads us on a merry-go-round, which leaves us constantly wondering: is this scene real or imagined, is it a nightmare or the actual story of these prevaricating characters. I found it annoying and somewhat gimmicky - but maybe you're sharper than I am. The cast is game and their performances keep us at attention. Wolski, as always, is terrific as the confused, jealous husband. Towers-Rowles shines in a difficult role and, as mentioned, if you like surprises, you'll get a plethora of them.

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Thursday 10/8 and 22; Sunday 10/11; Wednesday 10/14 and 21. $27, seniors $25. Parking lot. Enter via the alley. (310)512-6030 or The Little Fish Theatre ends 10/22

REVIEW BY INGRID WILMOT



AMERICAN FALLS by Miki Johnson

On stage is a tableau of immobile actors. Two men and a woman sit in a bar, their table laden with bottles and glasses. A large man stands behind a recliner chair, another sits in a room facing a mirror; behind him is a little boy with his back to us. One woman is seated in the front, closest to the audience and at far stage left, there's an old lady on a swing. The woman, Lisa (Andrea Grano) tells us she has committed suicide and is in limbo. Then, the big guy (Leandro Cano), regales us with his tales. He is Billy Mound of Clouds, a Native American and a man of magical powers who is attuned to his feet and able to foretell disaster by the pain in his shoes. This play warms up slower than a watched pot but hang in there, it gets more interesting as it rolls along.

It is set in a small town in Idaho called American Falls whose denizens let us into their private thoughts via monologues and interactions, to create a modern, stylized version resembling Thornton Wilder's classic Our Town. The trio at the table, Matt (Garrett Hanson), Eric (Eric Honicutt) and Maddie, on my night Beth Triffon (the play is double cast), between sips of libations, chit chat about their dreams and memories, none very intriguing, unfortunately. But the chief narrator (Cano), an avid televiewer, does keep us amused and enlightened throughout and is an accomplished raconteur. Another fascinating persona is the "ghost" of Lisa, an abused wife who found love in an extra-marital affair, beautifully rendered by Grano. The most mysterious character is Samuel (Karl Herlinger), the man staring into the mirror, the late Lisa's deceived and bitter husband. As he slowly shaves his limbs, he tells the little boy, Isaac (Tomek Adler) bluntly of the sins of his wayward mother and quite crudely, how babies are made. The stork is not mentioned by this brute but the performance is quite remarkable. His mother, Samantha (Barbara Tarbuck) doesn't mince words either, she swears like a sailor, narrates her misspent youth and unwanted pregnancies with so much gusto, coming out of this white haired, granny type's mouth, almost steals the show. This West Coast premiere is well directed by Echo Theatre's Co-producer Chris Fields, with set designed by Nina Caussa and lighting by Jesse Baldridge.

Echo Theatre Company at Atwater Village Theatre, 3269 Casitas Avenue, Atwater Village 90039 (activate your GPS for this one or dig out the old Thomas Guide). Friday & Saturday 8 pm, Sunday 4 pm on September 27th, October 4, 11 and 18 and at 7 pm on October 4, 11 and 18. No intermission. $25. Parking lot a half block from the theatre, same side. (310) 307-3753 or The Echo Theatre Company ends 10/18

REVIEW BY INGRID WILMOT



CAFÉ SOCIETY by Peter Lefcourt

This is the play for L.A.! It's running at the Odyssey, a venue one can usually count on for a good show and this is the best I've had the pleasure to review in many a year. Everything about it is so damn clever and up to date, a well as wildly entertaining. Please stop reading and get your tickets now, it's bound to be a sell-out.

The set, a perfect replica of a Starbucks (designed by Amanda Knehaus), replete with unisex restroom. The cast of characters is so typical of our town, you feel as though you know at least one of them personally. There is the struggling screenwriter, the eager. Young actress always prepared for the next audition, who faces reverse discrimination. A hot shot, insufferable financial advisor, the big time real estate lady and a disgruntled, radical youth, obsessed with global warming, world hunger, conglomerate super power and other tsuris and who is ready t do something about it. You'll relish the smart staging and direction by Terri Hanauer (the playwright's real life wife), whose eye is on every detail The menu boards above the counter become an integral part of the plot (videography by Troy Hauschild), letting us in on the smartphone calls, e-mails, lap tops etc., which constantly occupy these people. Best of all is the spot-on dialogue. Too bad Lefcourt isn't around to take a curtain call, he'd bring down the house.

The story, in addition to being hysterically funny and suspenseful, brilliantly spoofs our electronic way of life, willingly shackled to our devices. Not giving anything away, let's just say, these Starbucks customers are caught in a critical situation but through it all, in the most natural way, they go about their plugged-in, private business. For example, the cute, young actress, Kari (Chandra Lee Schwartz), who shleps along wardrobe changes to suit any and all prospective roles, never loses touch with her agent. Bob, the money man (Eric Myles Geller) stays connected to the stock market and his clients. The real estate agent, Marilyn (Susan Diol), who came in to meet an Internet arranged date, continues to make hot deals, non-stop. And the screenwriter, Jeff (Eric Wentz), switches from creating the great Russian epic (to the music of Lara's theme from Dr. Zhivago), to maybe, getting a major movie out of the extraordinary goings-on. Only the cool barista (Donathan Walters), stays in the moment, while tending to his favorite customer (Ian Patrick Williams), an old schizoid who keeps slipping into delusions of being Princess Anastasia, a member of the Czarist-era , doomed Romanoff Family. He sports a tiara and shabby finery (wonderful costumes by Jackie Gudgel), which adds to the hilarity, in a performance that, alone, is worth the price of admission. But the entire ensemble is terrific (hats off to Casting Director Michael Donovan, CSA) and makes for an up to the minute theatrical romp you won't soon forget.

Odyssey Theatre (a guest production), 2055 S. Sepulveda Blvd., West Los Angeles 90025. Friday and Saturday 8 pm, Sunday 2 pm. $25 - $30. Ninety minutes, no intermission. Parking in lot $4. (323 )960-1055. Or Plays 411 ends 10/11

REVIEW BY INGRID WILMOT



CLIMAX by Lisa Phillips Visca

A tangled web is woven in this world premiere drama about a married Malibu restaurateur, Max Madison (George Eddington III), whose involvement with another woman who, like a black spider, will stop at nothing to inject her poison into his complicated family life, which proves fatal to one of them. Jade (Rae Dawn Chong), the mistress, works at a Malibu Fertility Clinic, owned by Dr. Roth (Evelyn Rudie), as does Jade's best friend, Olivia (Jamie Gallo), who happens to be Madison's wife. The couple, already the parents of a twenty-one year old son, Jesse (Mike C. Manning), desperately try to have another child, resorting to modern fertility methods.

Co-directed by Rudie and Chris DeCarlo, husband and wife, via multiple scenes, some of which last only mere minutes and cleverly staged to shift from clinic to the Madison home and to a neighborhood bar (excellent set by Christopher Beyries, lighting by James Cooper). Eddington, as the errant husband, trying to extricate himself from the sordid affaire, is in fine form. Rudie, an acclaimed child star whose career has culminated in the joint ownership, with DeCarlo, of this jewel box of a theatre, both serving as Artistic Directors, is all business as the earnest doctor, until she reveals some personal secrets. Chong is a bit of a stretch as Jade, a queen-size femme fatale, her many layered body unflatteringly attired. The sexiest things about her are her shoes and the name of her website "climax". The poor woman is stuck in a role so unsympathetically written, one admires her courage to take it on. I mean, she's a druggie, a thief and a home wrecker who seduces men out of loneliness or boredom, take your pick. She even comes on to Manning, the Madison's young son, with both barrels - the kid doesn't have a chance. Manning is the epitome of a sullen offspring, estranged from his father and a convincing actor. Gallo, the wronged wife, is an attractive woman, glamorously dressed, when she's not in her terry bathrobe (costumes by Ashley Hayes) and consistently conveys her kaleidoscopic emotional range. Dennis Michael brings a welcome light touch as a bachelor attorney who has an assortment of girlfriends and a separate cell phone for each one. Note: the part of Olivia will be taken over by Antonia Jones from September 26 to November 1, 2015.

Santa Monica Playhouse, 1211 4th Street, Santa Monica 90401. Saturday 8 pm, Sunday 3 pm. $29.50; seniors, students, military and teachers, $24.50. Parking available across the street in City Lot #1. (310) 394-9779 or The Santa Monica Playhouse ends 11/1

REVIEW BY INGRID WILMOT



GREEN GROW THE LILACS by Lynn Riggs
Did you know that the story of this 1931 play was the inspiration for Rogers & Hammerstein's smash hit, Oklahoma! ? Neither did I. Author Riggs, himself a native Oklahoman, captures the feel and lingo of the Territory in 1900, which was not yet part of the United States, with his folksy tale about life on the range, complete with an evil villain, a romantic, young couple plus dancing and singing field hands and villagers. It has old folk songs (Skip to My Lou, My Darling, Git Along Li'l Doggie etc.) What is missing are the lilting tunes from the pen of Richard Rogers and Hammerstein's witty lyrics. One cannot fault the exuberant cast, the setting with its bucolic backdrop created by Mother Nature, nor the charming staging and smart direction by Ellen Geer, notwithstanding the cacophony of screeching female voices in Act I. And, who knew that the always fabulous Melora Marshall and Willow Geer could strum guitar and banjo, respectively and have pretty good singing voices? Yet, this old fashioned musical fails to bring the audience to its feet and is not the brilliant theatrical triumph we are accustomed to, in the magical venue that is Will Geer's Theatricum Botanicum. Nevertheless, just being there always restores our spirit and as a relaxation/elation combo, works better than a Valium with a Martini chaser.

Some of the individual performances deserve bouquets of fragrant lilacs. Jeff Wiesen as the handsome cowboy Curly, wins our heart and that of Willow Geer's Laurey, only to be parted on their wedding night by the traditional shivaree and the accusation of having murdered the wicked Jeeter (Steven B. Green). Zachary Davis is a mega kick as The Peddler. He plays him with a Slavic accent, is limber as an acrobat and owns the stage whenever he appears. Elizabeth Tobias displays talent as Ado Annie, looking for a fella (any fella). Isn't she the one who stops the show in Oklahoma!, with her ditty "I'm just a girl who can't say no"? One can't help but compare. The previously mentioned Melora Marshall is the letter-perfect, crusty Aunt Eller. She limps across the proscenium dragging her wooden leg, delivers her lines in an authentic Oakie drawl and is never out of character. The ensemble is splendid, a few play instruments, supplying live music without any amplification. Costumes are by Randy Hozian, lighting by Zach Moore. Fans of Americana in its purest musical form are well served by this production.

Will Geer's Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga 90290.Green Grow The Lilacs plays in repertory with As You Like It, To Kill a Mockingbird and August: Osage County. Remaining performances are 8/28, 8/29, 9/4, 9/5, 9/11, 9/20 and 9/26, all at 7:30pm. $27 to $39.50, children 7 - 12 $10; discounts for seniors, students, military and AEA. Bring seat cushions and a warm wrap or blanket. Parking in lot $5, free along Topanga Cyn. Blvd. (310) 455-3723 or The Theatricum Botanicum ends 9/26

REVIEW BY INGRID WILMOT



AND THE STONES WILL CRY OUT by David Graham

Three veteran actors in medieval garb (costumes by Linda Muggeridge), keep us mesmerized by an intriguing story of vanity, envy, humility and jealousy in the Seventeenth Century, sprinkled with delicious humor. It takes place in the office of the Dean of a Catholic medical school (elegant set by Chris Beyries) in Würzburg, Germany.

On one of his morning walks along the water, Dean Johann Beringer (James Rice), picks up a stone etched with a crab-like, extinct creature heretofore unknown to man. He attributes this discovery to a miracle of the Almighty. Driven by delusions of grandeur, he assumes he was chosen by Him for this miraculous discovery, therefore, immediately makes plans to publish a book on the subject, which will lead to world-wide fame. His fellow professor, Ignatius Roderick (Don Schlossman) however, is determined to debunk the "miracle" and teach the vainglorious, old tyrant a lesson or two. He is reluctantly aided and abetted by the priest Georg von Eckhart (Rodney Rincon}, long the object of Beringer's humiliations and verbal abuse. Giving away more of the plot would surely spoil a perfectly delightful theatrical experience, including the eventual role reversal.

The fine cast is brilliantly directed by Stephanie Coltran, whose sound design, courtesy of J.S, Bach, supplies the ideal mood music. Rice plays the pompous ass with a Napoleon complex, to the hilt. Schlossman, as the vengeful Ignatius, has us rooting for him up to a point, as a man of good character, frustrated by a vainglorious boss, a stellar performance. And, haven't we all had a boss like that? Last but certainly not least, audience favorite, the droll Rincon as Georg, provides comic relief with regularity, including quotes by "his good friend Godfrey Leibnitz", such as "if you love what you do, you'll never work a day in your life" and other a propos homilies. He's an absolute gem. Now a few words about the versatile David Graham. Not only is he a playwright but also a director, novelist and accomplished actor, currently performing in Shakespeare by the Sea's The Tempest. Little Fish audiences have applauded him in Under the Lintel, The Love List, Bach at Leipzig and many others. And the Stones Will Cry Out is his first full length work for the stage in its West Coast premiere here, destined for success. Break a leg!

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday and Saturday 8 pm, Sunday, August 30th, 2 pm. $27, seniors $25. Free parking in adjoining lot (enter via the alley). (310)512-3060 or The Little Fish Theatre ends 9/5

REVIEW BY INGRID WILMOT



PATTERNS by James Reach, adapted from a teleplay by Rod Serling

Take a fascinating look behind the manipulations at a large corporation in the Fifties and you'll soon realize that only a few things have changed. Secretaries, now called executive assistants, no longer take shorthand dictation or mimeograph memos, nor do telephone operators actually answer your calls because now computers inform us that "our menu has changed". But the character of the executives is still mostly questionable and office politics can get nasty.

The story takes place in the New York headquarters of Ramsey & Co. (brilliant set by Jeff G. Rack), whose President; Mr. Ramsey (Richard Hoyt Williams) rules his domain like a ruthless dictator. He has brought a young protégée, Fred Staples (Daniel Kaemon) from the Midwest who, unbeknownst to him, is to be groomed for the position of Vice President, replacing Mr. Sloane (James Schendel), an honorable but aging employee who is much admired by Staples for his ethics and compassion, two attributes sadly lacking in Mr. Ramsey's modus operandi. Eminent Director Jules Aaron runs the show with his accustomed artistic eye to detail, with expert lighting by Ric Zimmerman and authentic costumes by Michèle Young. Miller, the martinet, is perfectly despicable. Schendel, the beleaguered current VP brings a welcome humility to the role of a widowed father, financially dependent on the job, which hangs by a thread. His teen-age son, Paul (Louis Schneider) is touching in his devotion but playwright Reach has him use the expression "cool", which sixty years ago would refer only to the office thermostat. Very impressive is Kaemon in his Theatre 40 debut. Instead of the swaggering upstart, he plays it with sincere humility and an endearing, self-deprecating manner. He has an attractive, ambitious wife, Fran (Savannah Schoenecker), the model of a corporate spouse who can make or break her husband's career. Also noteworthy are the secretaries, especially Sharron Shayne as Mr. Sloan's super loyal, discreet Marge Fleming, a twenty year fixture at the firm, who keeps a protective eye on her ailing boss. Ramsey's secretary, Miss Lanier (Elain Rinehart), is professional and efficient but icy as the New York City sidewalks in January. Aygul Maksutova is Miss Hill, an up and coming roving executive in a somewhat superfluous role. Erica Larson is Ann, the office gofer and Cathy Diane Tomlin is Martha, one of the extinct species, the switchboard operator. The other Members of the Board are Mr. Gordon (David Hunt Stafford, Theatre 40's amiable Artistic/Managing Director), Mr. Smith (Jon Schroeder) and Mr. Jameson (Todd Andrew Ball). This is a yeasty play, adapted from Rod Serling's 1955 teleplay. If you are now or have ever been an ambitious hopeful, climbing the steep and slippery corporate ladder, you won't want to miss this show.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, off Little Santa Monica Blvd., on the Campus of Beverly Hills High School, Beverly Hills 90212. Thursday - Saturday 8 pm, Sunday 2 pm. $30. Free parking in building garage. (310) 364-0515 or Theatre 40 ends 8/23

REVIEW BY INGRID WILMOT



SNEAKY OLE TIME Music & Lyrics by Paul Overstreet, Book by Stephen Mazur

Country-Western fans will think they've died and gone to heaven, watching this rollicking musical comedy, with foot-stompin' tunes, set in a Tennessee honky-tonk, called Half Way Home. (Authentic set designed and constructed by Bluegrass favorite, Cliff Wagner). It's early on a midweek afternoon and the day drinkers are assembled for their libations of choice. Red (Robert Craighead), a veteran of the marriage wars, is reading his paper but never misses a chance to toss out a few acerbic remarks. Behind the bar are the soulful Janine (Amy Motta), a starry-eyed romantic and the sprightly Sheila (Nina Brissey), a rip-roaring feminist who tells it like it is - and then some. They are joined by the "new girl in training", Lexi (Nicole Olney) the archetypal dumb blonde who turns out to have an IQ of 140 and quotes famous authors, just one of the many surprises. Strutting in earlier, we met ladies' man Lucky (Ken Korpi) a fun guy with a high testosterone count and the gait of a barnyard rooster. Another regular is the Old Man (Dave Florek), whose weak bladder and provocative pronouncements garner him lots of laughs. Speaking of laughs, not to be ignored is Chip Bocik) as the affable jukebox repairman, who gets the job done at his own pace, just slow enough to get involved in the plot, loosely based on the ever provocative battle of the sexes, (book by Stephen Mazur). Suddenly the scene is focused on the arrival of young Jack (Alexander Hitzig), a fine fiddler and guitarist, who has just crashed his motorbike while on his way to Knoxville to propose to his girl, Maggie (Lara Jones).

The music and lyrics are by Nashville Songwriters Hall of Famer, Paul Overstreet, whose compositions have been performed by Alison Kraus, Tanya Tucker, Glenn Campbell and many other famous artists, accompanied by Wagner's Half Way Home Band, smartly placed in the far corner of the stage so as not to overpower the vocals. The lively direction is by Michael Myers, who gives each performer a well deserved spot in the limelight (lighting by Mike Reilly, sound by our repairman, Chip Bolcik). The dramatics are constantly interrupted by melodic songs, each pertinent to the play and never unwelcome. The talented cast members are in fine form vocally and enthusiastic dancers, too (choreography by Tor Campbell) and the familiar phrase "never a dull moment" fits like a sexy pair of jeans. Somewhere in there is a love story mixed with a bit of cosmic nonsense but the charm of this show is in the catchy songs and amusing lyrics, full of cute double entendres but never offensive. For a fun time in the theatre, the world premiere of Sneaky Ole Time is impossible to beat!

Ruskin Group Theatre, 3000 Airport Avenue, Santa Monica Airport 90405. Friday & Saturday 8 pm, Sunday 2 pm. $30, $25 for students, seniors and guild members. Free parking in front and alongside. (310) 397-3244 or The Ruskin Group Theatre ends 9/19

REVIEW BY INGRID WILMOT



THE FABULOUS LIPITONES by John Markus & Mark St. Germain

If you like barbershop quartets, you must see this play. If you appreciate clever dialogue and fine acting, you must see this play. If you are reading this.....you must see this play! It's so hilarious and entertaining, it took two writers to create it and what a great, refreshing job they did. No swearing, no dysfunctional families, no sexual predators.

The Four Lipitones from Ohio, are flush with victory from the Regional Barbershop Competition but short a man, since their lead tenor dropped dead almost mid-note. Finding a substitute looks like an insurmountable task and they're almost ready to call it quits, when serendipity raises its welcome head. While phoning their car repair shop, the singing voice of one of the garage mechanics is heard in the background. With the Nationals only two weeks away, they decide to call him over for an audition. When it turns out to be a young, turban-wearing Indian Sikh, the fun, which has already started with the first spoken lines, gets kicked up a few more notches, mixed in with a little culture shock. These fab four bickering, middle-aged men are not only accomplished actors but their voices harmonize beautifully and they're nimble-footed, as well. (Choreography by Murphy Cross, original music by Randy Courts, original lyrics by co-author Mark St. Germain). Accolades to John Racca as Howard, a man caught in a difficult marital situation; to Steve Gunderson, who plays Wally, a nerdy pharmacist who still lives with his mother and to Dennis Holland, as Phil, who owns a gym and has a redneck mentality. As for Asante Gunewardena, the idealistic Indian , Bob", he is altogether priceless! This delightful California premiere is loaded with laughs, up to date topical references and rocks under the deft direction of co-writer John Markus with costumes by Dianne K. Graebner. I repeat (for the fourth time), you must see this show!

Colony Theatre, 555 N. Third Street at Cypress, Burbank 91502. Thursday & Friday 8 pm, Saturday 3 and 8 pm, Sunday 2 pm. $29 - $53. Free parking in Burbank Town Center Mall garage structure.(818) 558-7000 or The Colony Theatre ends 8/23

REVIEW BY INGRID WILMOT



THE PORCINI TEST by Laureen Vonnegut

Because of an altercation that resulted in a minor injury, Kat (Nancy Young), a foxy blonde, married but not monogamous, is confined to house arrest (set, sound and lighting by Argent Lloyd) and forced to wear an ankle monitor. It causes her greatly exaggerated discomfort but is not the only reason for her permanent state of PMS. She's bitchy to the core, fights with the neighbors and never even cracks a faint smile. She also teeters on the fine line between a sexually liberated woman and outright promiscuity - all the while delivering a flawless performance. Direction of this world premiere is by the playwright.

Kat is visited by assorted drop-ins, girlfriends and fellow writers, Alma (Danette Garrelts), who arrives in evening attire (costumes by Leslie Bedolla) and is a reformed (?) alchy/druggie and Juliet (Tania Gonzalez), who is in a luke-warm relationship with Jonathan (Gregory Niebel), a successful TV personality. Rather unexpected is one of her one-night stands, Roberto (Garret Camilleri), a professional piano tuner who catches the fancy of the weirdly unbalanced Alma. The appearance of Kat's handsome, estranged husband, Will (Paul Keany, is not only unexpected but unwelcome and further exacerbates Kat's distemper. This is one angry chick! Seth Wayne has a few sympathetic minutes as a good-natured cop. Some of these guests confess to being inebriated but you'd hardly know it if they didn't say so, a minor point that could easily be rectified directorially. The repartee has frequent flashes of humor but there's a helluva lot going on in the estrogen-loaded atmosphere among the three catty women whose criteria for the ideal man is whether he knows what porcini (mushrooms) are. With friends like these....

, 1404 3rd Street Promenade, Santa Monica 90401. Friday & Saturday 8 pm, Sunday 7 pm. $30. Parking in one of the nearby city structures. The Promenade Playhouse ends 8/22

REVIEW BY INGRID WILMOT



THE GREAT DIVIDE by Lyle Kessler

Kessler's play about a family of three, father and two brothers, a bunch best described as between low class and no class, is fierce and funny. They live in Fishtown, Pennsylvania, often brawl and rarely bond. Dale, (Brandon Bates), the younger, in order to bring back home the prodigal Colman (Adam Haas Hunter) sends him a message of their father's death which, as Mark Twain would say, is grossly exaggerated. Dale is the sensitive one, a surreptitious writer of fables and stories, which he keeps locked in a safe in his room. Colman is a drifter who left home a decade ago, does odd jobs for a living and bears a grudge bordering on hatred towards his daddy dearest. The verbose Old Man (Richard Chaves) loves baseball more than his boys, is an opinionated rascal who belittles them every chance he gets, which is most of the time. He spouts philosophy and obscenities but coming out of his mouth, they're hilarious. For example, the only authors he respects are" Shakespeare, Dickens and those Russian mother!#%?!$s."

Into this milieu come two strangers from Colman's recent past. Lane (Kimberly Alexander, alternating with Kate Hoffman), a former lover and her brother, Noah (Mark McClain Wilson), a one-armed thug with a face straight out of mug shot row. Each of the above is, what you might call a "real character", cleverly created by the playwright and remarkably brought to life by the cast. Chaves is phenomenal as the father, a scene stealer with the best lines. Hunter convincingly portrays Colman, a man filled with resentment and wanderlust. His bro Bates, Dale the doormat, makes the best of his lonely life but leaves us with a glimmer of hope for his future. Alexander is a young woman who professes to hear fishes swim and butterflies flap their wings and who may be delusional but she goes after what she wants, full throttle. Wilson's Noah is a ne'er do well who blames his mother's bad upbringing (what else?) for his missteps and crimes, the scumbag incarnate. A sorry bunch but amusing to watch. The astute direction by David Fofi, Elephant Stagework's Artistic Director, sustains our undivided attention from start to finish. Lighting designer is David McDaniel, Elephant Stageworks is credited with the modest living room set and sound. Aaron Lyons kept busy choreographing the frequent fights. The world premiere of a testosterone-laden show, well worth seeing.

Lillian Theatre, 1036 Lillian Way (off Santa Monica Blvd. between Cahuenga and Vine), Hollywood 90038. Thursday - Saturday 8 pm, Sunday 5 pm. $25. Tight street parking. (323) 960-4429 or Plays 411 ends 8/2

REVIEW BY INGRID WILMOT



THE PAGEANT OF THE MASTERS

The masterminds behind the PAGEANT OF THE MASTERS in Laguna Beach have, yet again, given us another summer of visual and aural treats. This year's theme "The Pursuit of Happiness" demonstrates how artists throughout history, express their desire for the joys and pleasures that make life worth living and audiences will find their own happiness watching the stage of the Festival Bowl. We not only get tableaux vivants, living pictures that are posed by local volunteers but, as in the last few years, also dancing, singing full screen projections, movies and surprises, starting with the very first tableau, as the painting comes to life before our eyes. Among the highlights is a film clip showing preparations for a Victorian wedding, finally posed by over a dozen participants, beautifully done. There are exquisite bronzes, sculptures, posters and figurines. Various nationalities and cultures are represented, from French Revolutionary times to Native Americans and more.

Act Two opens with a bang - Japanese drumming followed by serene geishas in full regalia and make-up, colorful Indian dancing to rival a Bollywood production and plenty of wonderful Americana by Winslow Homer, Currier & Ives and Norman Rockwell, all accompanied by an accomplished, live orchestra and narrated by Richard Doyle, with his customary expertise and humor. Be sure to allow lots of time beforehand, to explore the stunning display of works by talented local artists in every medium: paintings, sculptures, jewelry, wood, glass and photography, daily from 10 am to 11:30 pm (early closing on 8/29). The entrance fee to THE FESTIVAL OF ARTS is included in your Pageant ticket price. Separate admission if $7 on weekdays, $10 on weekends, student & senior prides, $4 on weekdays, $6 on weekends. Free for Laguna residents, military and children under 12. (800)487-3378 or The Festival Of Arts.

Note: Additional attractions include, on Thursdays art talks and lectures 12 noon - 1 pm, Art, Jazz, Wine & Chocolate 5:30 to 7:30 pm ($15) ; Saturday Concerts on the Green, Sunday afternoon in the Park Music Series and more. A Celebrity Benefit Concert, featuring Melissa Manchester is scheduled for August 28, 2015, tickets from $40.

PAGEANT OF THE MASTERS, Irvine Bowl, 650 Laguna Canyon Road, Laguna Beach 92651. Nightly from 8:30 pm, $15 to $230. Rent or bring binoculars (a must), warm wrap or blanket and a seat cushion. (800)487-3378 or The Pageant of The Masters both Festivals end on 8/31

REVIEW BY INGRID WILMOT



ALL AMERICAN GIRL by Wendy Graf

Although this is an exceptional piece of theatre, a world premiere, directed by Anita Khanzadian, with expert sound by "Sloe" Slawinski and lighting by Carol Doehring, it may be the most difficult play to review. It goes against my personal belief from which, as a critic I am trying to divorce myself. On a dramatic scale it rates highly but I found it politically repugnant. It depicts the life of an American girl who becomes thoroughly radicalized and resorts to violence. The story will grip your guts and not let go until karma triumphs.

In scene one, we see a young woman in Muslim headdress, placing an explosive device by the statue of war heroes, in a New York City park. Told in flashbacks by the protagonist, Katie, passionately rendered by the amazing Jeanne Syquia, (alternating with Annika Marks). Annotating the current year on one of the three blackboards on stage, she is seven years old in 1996, happy and playful. Then, as a teen, while volunteering at Boston's Dorchester ghetto, she has her first encounter with impoverished, uneducated children. The effect on her is searing and she decides that her mission in life will be to help children in every way possible, a noble task that goes terribly wrong. In college, Fordham University, she falls in love with a handsome Muslim from India, marries him, embraces the Islamic faith and, like many converts, becomes, as they say, more papal than the Pope. Instead of Katie, she's now Karima, wears only full hijab and habaya (a cover-all coat dress and head and neck scarf). So far, no harm done. But she lost me completely while constructing a homemade bomb for an act of terrorism in the name of Allah and the children of the world.

Syquia's tour de force performance is the reason to see this show. She impersonates a dozen different characters so vividly via gestures, accents and expressions, we feel we're seeing a fully cast play. Her emotional range is boundless, from carefree youngster to subservient wife and mother, into a raging radical. The Koran supposedly preaches only peace and love but can one ignore the constant threat of jihad, the fearsome objectives of Islamic State and the holy war stance of Muslims in Europe and around the globe? They count among their enemies all Hindus, Americans, Israelis and "infidels" (non-believers) but would be well to remember that the Bible says, "as you sow, so shall you reap". Their garden of Allah is watered with blood and fertilized by human excrement.

InterACT Theatre Company at Lounge Theatre, 6201 Santa Monica Boulevard, (just east of Vine), Hollywood 90038. Tuesday - Saturday 8 pm, Sunday 3pm. $30. No intermission. Street parking. (818)765-8732 or The InterACT Theatre Company . ends 7/26

REVIEW BY INGRID WILMOT


OFF THE KING'S ROAD by Neil Koenigsberg

From taking the simple premise of a recently widowed gentleman who visits London, his and his late wife's favorite city, as a form of therapy, emerges a cornucopia of theatrical treats. Authored by Koenigsberg, the K of the well known Public Relations firm PMK, a man well acquainted with various forms of show biz and superbly directed by Amy Madigan, a name admired by both film and theatre lovers. It's brought to life by a cast of characters, so amusingly fleshed out when it's all put together it results in stage magic. I think you get the drift that I loved this play - and you will too.

Matt Browne (Tom Bower), the widower from Los Angeles, slightly past retirement age, has booked a week's stay at a boutique hotel, Off The King's Road (super set by Joel Daavid). He is most cordially welcomed at the reception desk, by Freddie (the adorable Michael Uribes), the world's most congenial and accommodating desk and room clerk. Matt goes about trying to recapture the good times of his memory by making a To Do List on the blackboard, which he has brought to his room. Things do not turn out in the exact order he envisioned them but then, life has a way of messing with even the best laid plans. Speaking of which, Matt has an encounter with a hooker from Zagreb which is absolutely precious. Sheena (the gorgeous Maria Zyrianova) has a body equal of that of the sexiest Victoria's Secret model and is the "whore with a heart of gold" personified. Matt is further blessed by an understanding and devoted psychiatrist back in the States, Dr. Yablonsky (Thaddeus Shafer), who is ready with good advice and encouragement at all hours of the night, a gem of a guy. Bower's turn as someone who carries his late wife's framed photo along, for sentimental albeit one-sided conversation frequently attempts to lift his spirits with the mantra, today is the beginning of the rest of my life..... Besides the excellent work of the above extolled, praise must also go to Casey Kramer as Ellen Mellman, a guest down the hall. She's a stout matron with charm to spare and very busy tending and chasing her beloved cat, while keeping an eye on the eligible American for whom she's ready and willing to share his passion for Ingmar Bergman films and other things. Thank you, Theatre Planners, for bringing to town this West Coast premiere that shows older folks still want to have fun, while giving the young something to look forward to when it's time to face, what is optimistically called The Golden Years.

Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles 90025. Friday & Saturday 8 pm, Sunday 2 pm. Friday & Sunday $25, Saturday $30. Supervised parking in front $4. (323) 960-7712 or Plays 411 ends 8/2

REVIEWED BY INGRID WILMOT



BAD JEWS by Joshua Harmon

This is a well written and superbly acted play not at all what most of us expected. If you, like me, thought it was going to be a laff riot of Jewish jokes, you're in for a bit of a let-down. It certainly has humor but is, in fact, a drama about the confrontation of two young relatives who detest one another - and not without cause.

Daphna (Molly Ephraim) is an obnoxious, little bitch, a ratchet-mouth who wears her Jewishness like a combat armor. Her diatribes are unceasing but one must admire her ability to memorize, flawlessly, the thousand words a minute she shoots out like bullets. She and her young cousin, Jonah (Raviv Ullman) are occupying a studio apartment in New York's Upper West Side (set by John Arnone), after the funeral of their beloved Poppi, the grandfather who survived the Holocaust. He left an heirloom pendant, the Hebrew letter Chai, that is coveted by Daphna who feels she is entitled to it, being the family's epitome of Judaism. Instead, it is inherited by the first-born grandson, Liam (Ari Brand), who not only missed the funeral but brings along his gentile girlfriend, Melody (Lili Fuller). It would be a disservice for a reviewer to disclose more details of the story, other than to say it's a (mostly) verbal battlefield of idealism and religion, brilliantly executed.

Smartly directed by Matt Shakman, whose four actors are so perfectly chosen, the Casting Director, Phyllis Schuringa, should take a curtain bow. Ephraim, as the mercurial Daphna, is fabulous, the queen of sarcasm and venom. You want to jump up on stage and stuff her mouth with a sock! Brand, as Liam, seems ready to perform a briss on her tongue any minute. He's so amusingly neurotic as his face flushes, his brow sweats and he practically foams at the mouth. Another excellent performance. Ullman plays Josh, something of a stoic who doesn't join in the fireworks but he does well with what the role demands. Fuller is the standard model blonde shiksa, a sweet girl who sounds like a two year old, reinforced by her singing voice. She wins our hearts and sympathy as soon as she steps into this hornets' nest. Harman has written a yeasty, stimulating play, not a comedy per se but something everybody will like and both good and bad Jews will absolutely love.

Geffen Playhouse, Gil Cates Stage. 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 & 7 pm. $39 - 79. Ninety minutes, no intermission. Parking for $4 available at Palazzo Garage, 1008 Glendon Avenue, next to Trader Joe's. Show your ticket when you leave after the show. (310) 208-5454 or The Geffen Playhouse ends 7/19

REVIEWED BY INGRID WILMOT



4000 MILES ARTICLE by Amy Herzog

Here we have a delightful story, basically about the relationship between a young man and his grandmother, told with wit and charm from the pen of talented Amy Herzog, for which she won the Best American Play in 2012 and deservedly so. Vera Joseph (Michelle Rosen) lives in a modest Greenwich Village apartment (set by Jim Crawford) and gets an unexpected visit from her grandson Leo (Dan Fagan), a self-described hippie, who has just completed a cross-country bicycle trip from the West Coast. She offers him a night's stay, which he reluctantly accepts. Needless to say, her hospitality extends to almost a month during which they develop a friendship that is both surprising and endearing. Although Vera is a nonagenarian who wears dentures and a hearing aid, she's bright and thoroughly modern in outlook, doesn't shy away from intimate subjects and takes no offense at the salty language, peppered by four-letter words, common among today's youth. Leo, in turn, feels free to confide some family history s well as details of a tragico occurrence on his road trip to New York.

Sensitively directed by Gail Bernardi, the cast of four shines during their every moment on stage. Alexandra Johnson plays Bec, Leo's former girlfriend, a global do-gooder who still has feelings for him which we suspect are mutual. Zoë Kim is hilarious aw Amanda, a Chinese-American girl he picks up one night. She prances and giggles true to type and is a source of unbridled amusement. But the show belongs to Rosen and Fagan. The former's formidable granny is a joy, she struggles for the right words, due to her advanced age, yet she always finds them and speaks her mind. Even her senior moments prove entertaining. Fagan completely captures the audience with his sympathetic personality. Tall and good looking, he gives the role a genuine warmth and gentleness, dispensing love and respect while maintaining his position on matters important to him. If there is one flaw in this fine production, it is that there are many, many blackout scene changes that sometimes interrupt the mood and could, perhaps, be eliminated or, at least shortened. We just can't wait to get back to the story, that's why!

Kentwood Players, Westchester Playhouse, 8301 Hindry Avenue, Los Angeles 90045. Friday & Saturday 8 pm, Sunday 2 pm. $20, students, seniors and Metro Pass holders $18. No intermission. Easy street parking. (310) 645-5156 or The Kentwood Players Ends 6/20

REVIEWED BY INGRID WILMOT



THE HOUSE OF YES by Wendy MacLeod

This outrageously entertaining play was first performed twenty-five years ago but hasn't lost any of its punch. It's about a fractured family which is beyond dysfunctional, rife with envy, incest and murder. But, who is going to write a fascinating story about ordinary, well-adjusted folks? Not MacLeod, a Yale School of Drama grad, who is the Artistic Director of the Kenyon Playwrights Conference and Artist in Residence at Kenyon College.

It's Thanksgiving Day at the Pascal home (sharp set by Adam Haas Hunter) and the mother (Eileen T'Kaye), her younger son Anthony (Nicholas McDonald) and daughter, nicknamed Jackie-O (Kate Maher), await the arrival of Jackie-O' twin brother, Marty (Colin McGurk), during a furious hurricane (sound by Norman Kern). The weather outside is more than matched by the storm that rages within these eccentric souls. Sparks begin to ignite when, to everyone's surprise, Marty brings along his fiancée, Lesly (Jeanne Syquia), a naïve, sweet girl who doesn't quite fit in with this wealthy, snobbish bunch. (They live near the Kennedy Compound, circa twenty years after the assassination). Lesly is made to feel decidedly unwelcome, especially by the volatile Jackie-O who, it becomes obvious right from the beginning, has a far from normal sibling relationship with her twin brother. The less you know in advance about what is about to transpire in this, shall we say, unique household, the more you will enjoy yourself. T'Kaye, as the sarcastic mom, whose tongue is dipped in venom, is superb. Son Anthony, (McDonald), a twenty-three year old simpleton going on thirteen, has an air of innocence shaken and stirred with quite a few squirts of spite, like a lethal cocktail disguised as a milkshake. He's priceless. McGurk is in total command of the conflicted character of a man torn between the illicit, carnal attraction to his sister and the desire to escape into a tranquil married life with his wholesome intended. Syquia skillfully portrays that naÃ'‚Â'•ve, small town girl.

As for Maher - she deserves a paragraph of her own. The woman is gorgeous from head to toe, has a commanding stage presence and amazes us with an incredible performance. She's stark raving mad but sounds composed and reasonable one minute, just before exploding into a volcano of fury, all the while keeping us on edge, wondering what her next unholy move will be. The entire ensemble is above average but she is outstanding!

Produced and impeccably directed by Lee Sankowich, with aptly chosen costumes by Wendell G. Carmichael. This is a theatrical feast. The dialogue is witty and sophisticated throughout, the plot a page-turner in motion and the acting world class. Hurry and visit this House of No Nos.

Zephyr Theatre, 7465 Melrose Ave., between La Brea and Fairfax, Los Angeles 90046.Friday and Saturday 8 pm, Sunday 2 pm. $25. No intermission. Tight street parking. (323) 960-5563 or Plays 411 The House Of Yes ends 6/14

REVIEWED BY INGRID WILMOT



DOUBTING THOMAS by Art Shulman

Indefatigable playwright Art Shulman (The Rabbi & the Shiksa, Rebecca's Gamble etc.) has a starring role in his latest opus. He plays a tippling bum who sleeps in the park with his cat, Midnight. He is a man with a past, which is revealed in often unexpected ways. This could be a typical Hallmark Channel offering, which is not meant in a detrimental way, about a middle-class family in dire financial straits. John (Ted Ryan) has lost his job and is behind in his mortgage, which weighs heavily on his part-time working wife, Marilyn (Nancy Van Iderstine). Their son, Dylan (Adam Simon Krist alternating with Ian Hamilton), a typical sullen teenager, is a problematic druggie who needs therapy. To their surprise, they've been left half a million dollars by John's father, who abandoned the family when John was only two years old and hasn't been heard from since. The road to this small fortune is a crooked one, however and comprises the gist of the story.

Directed by Stan Mazin, the action moves easily from the couple's apartment to the park (set by Chris Winfield) and gives the actors plenty of opportunities to display their talents. Shulman is delightful as the feisty geezer who treasures his independence and knows exactly what he wants. Ryan, the husband and father, is a man of honor but is emasculated as the non-breadwinner and frustrated by his boy's behavior. Van Iderstine has the unenviable role of the hard-nosed wife, anxious to become rich and elevate her social status - and who can blame her? Young Krist, who loves his sick kitty, Alfred, more than his immediate family, unexpectedly takes a shine to the old man. He has a terrific scene with Shulman's Thomas, exchanging stories about their pets. This is a well thought-out work, with a heartwarming denouement, which will appeal to all ages in an old-fashioned sort of way, something rare on local stages. It will be treasured by anyone weary of foul language, enigmatic plots and gratuitous violence.

Secret Rose Theatre. 1246 Magnolia Blvd., 1 1/2 blocks west of Lankershim, North Hollywood 91601. Friday & Saturday 8 pm, Sunday 2 pm. $24, seniors $ 18, students under 26, $10. Street parking. (818) 465-3213 or Doubting Thomas ends 6/21

REVIEWED BY INGRID WILMOT



THE ELLIOTS adaptation by A.J. Darby

Welcome to Austenland! If that is your milieu of choice, you'll feel right at home among the tea-sipping, impoverished aristocracy, their friends and relatives. Author A. J. Darby's passion for the literary works of Jane Austen, inspired her to transform the novel Persuasion, into a stage play named for the book's family, the Elliots.

The story works as a period romance, with love lost and found, filial loyalty, triumphs and disappointments, all with excellent costuming by Allison Gorjian. What doesn't work, is that sequences (Spring 1806 and November 1814) are so poorly delineated that if it weren't for the program listings, one wouldn't know that any passage of time has occurred. Nobody changes appearance or attire during the entire production nor from one scene to the next, leaving us somewhat confused. The cast's acting skill is beyond reproach and with authentic British accents. As the gentle Anne Elliot, Kelly Lohman is graceful and refined. Her sister, Mary (Kalen Harriman) is a drama queen extraordinaire. The third sister, acerbic Elizabeth (Emily Green), whose vocal inflection sounds a lot like that of Queen Elizabeth II's high-pitched delivery, is brutally honest and mistress of the looks that can kill. The pater familias, Sir Walter Elliot (Steve Peterson), whose main concern is finding suitable, affluent swains for his girls, is a hoot and a qualified scene-stealer. The mischievous Louisa Musgrove, (Madison Kirkpatrick) is a charmer and her sister, Henrietta (Paula Deming) makes her mark, as well. The young men are all dashing, Captain Benwick, Louisa's suitor (Jeffrey Nichols), young Charles Musgrove, (Nicklaus Von Nolde) and especially Captain Wentworth, Anne's love interest (Travis Goodman). However, the stand-out among them is Ryan Young, as the bespectacled, scripture-quoting Reverend Hayter, who injects some much needed levity into the proceedings.. The elegant, all-purpose set is designed by Karista McKinney, also directs.

Fremont Centre Theatre, a Little Candle Production, 1000 Fremont Avenue at El Centro, South Pasadena 91030. Thursday - Saturday 8 pm, Sunday 2 pm. (sold out 5/30 and 6/7) $25, students and seniors $20. Free parking behind the theatre. (866) 811-4111 or The Fremont Centre Theatre ends 6/7

REVIEWED BY INGRID WILMOT



O MY GOD by Anat Gov

What a concept! Interviewing God and raking Him over the coals. Could you go for that? Meanwhile, you'll have to let a surrogate do it, namely Ella (Maria Spassoff), an Israeli woman, fortyish, divorced, with an autistic son, Lior (Joseph Rishik, an accomplished cellist). She's a practicing psychologist and gets a frantic call in her Tel Aviv home-office (set by Kurtis Bedford) from a prospective patient, anxious for an immediate session. This stranger, who goes by the name of G, says he's God. Yes, the Almighty Himself (Mike Burstyn). It takes a couple of minor miracles (sound by Bill Froggatt, lighting by Gil Tordjman) to convince her and she takes him on in a fierce, verbal mano-a-mano. This is a very, very talk-y play but under the lively direction of Howard Teichman, the West Coast Jewish Theatre's Artistic Director/Producer, it's quite fascinating because many of her questions, other than the clichÃ'‚Â'Žd "how did that make you feel?", are some of the queries you, no doubt, would pose, if you had the chance to speak, person to person, with the Deity. She drills him about Adam and Eve, Abraham, Cain and Abel, Noah etc. But the hot seat doesn't faze him and he knows exactly on whom to place all the blame. Spassoff embodies the edgy atheist, whose curiosity is matched only by her determination not to be intimidated. Burstyn, whom I previously admired on the concert stage as a singer and musician, is a God with a sense of humor. His tongue-in-cheek delivery is refreshing, never imperious or condescending.

According to the FootLights program notes, author Anat Gov won the prize, Best Play from Israel for this, in 2012, unfortunately she did not live to witness its acclaim. The story deals succinctly with the question of religious beliefs and its effect on our lives and, if you weren't familiar with the Old Testament before, you'll be well acquainted with the whole megillah after ninety minutes of uninterrupted dialogue. A little circumcision would not be inappropriate.

West Coast Jewish Theatre at Pico Playhouse, 10508 W. Pico Blvd., Los Angeles 90064. Thursday, Friday & Saturday 8 pm, Sunday 3 pm. $35, students $25. No intermission. Street Parking. (323) 821-2449 or The West Coast Jewish Theatre ends 6/7

REVIEWED BY INGRID WILMOT



OH, BABY by Monica Lewis

San Pedro's intrepid Little Fish troupe has done it again - given us an utterly delightful, contemporary romantic comedy. Adrienne (CarolAnne Johnson), twice divorced and facing the big four-0, wants a baby. Does she ever! Her biological clock is ticking louder than Big Ben's but she's had it with marriage and is wary of men who keep disappointing her. Encouraged by her loveable nut of a mother, Natalie (Geraldine Fuentes), she hires an attorney to screen possible prospects to father her child, no strings attached. She interviews a sorry bunch of losers, among them a good looking health foodie named Larry (the hunk-y Brendan Gill), who would be ideal if it weren't for, shall we say, an annoying personal habit. Another candidate, a jovial Irishman, Edmond (the terrific Rodney Rincon) would be perfect if it weren't for the fact that he is nearly thirty years her senior. There's a knock on the door by an unexpected drop-in, Paul (Bill Wolski) but he is only planning to visit his uncle and aunt next door. Turns out, he was her best bud from the eleventh grade through high school. Their friendship has always been strictly platonic and Adrienne intends to keep it that way. Will romance rear its fickle head? Let's just say, it's not a fait accompli.

What makes this play so engaging is its witty dialogue, spot-on humor and hilarious situations. Directed by Little Fish Theatre regular, Holly Baker-Kreiswirth, the cast is impeccable. Johnson, a petite, curly-topped woman, fits the role like the proverbial glove. She's disillusioned but not bitter but her determination to become a mom overshadows every aspect of her life. Fuentes, whose hobby is channeling dead movie stars is the kind of fun -loving, supportive mother we all deserve but only a few of us have. Wolski, who frequently graces this stage but never as a romantic lead, to the best of my recollection, is in great form. He exudes masculine charm and has us roaring with laughter a he gives Adrienne pointers on how to talk to, handle and ensnare men. Director Baker-Kreiswirth is his real life wife and to round out the family, their daughter Hannah Kreiswirth has a scene in Act II, at an airport, which features an uproarious portrait of the ticket agent from hell (the irascible Daniel Tennant). Altogether a wonderfully funny and stimulating show, which will have you in a better mood than when you first arrived, guaranteed. Don't miss it!

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday and Saturday 8 pm Sunday 5/17 at 2 pm. $27, seniors $25. Free parking adjoining the theatre, enter via the alley. (310) 512-6036 or The Little Fish Theatre ends 5/23

REVIEWED BY INGRID WILMOT



THE POWER OF DUFF by Stephen Belber

At the heart of this flashy tale of overnight media sensationalism, lies a good story of a second generation father-son estrangement. When Charlie Duff, (the suave Josh Stemberg), a Channel 10 Rochester, N.Y. anchorman, learns of his father's death, torn by guilt and regret, he offers a short prayer at the end of the nightly telecast. He's berated by his mouthy co-anchor, Sue (Elizabeth Rodriguez). Scolded by his obstreperous boss, Scott (Eric Ladin). Warmly welcomed by the viewers, he continues the practice. To everyone's and especially his own, astonishment, some of these ardent prayers have actually come true. The only one not impressed by Duff's new "power", is his son, Ricky (Tanner Buchanan), the sort of sullen teenager most parents have had to deal with in trying to reach out to their recalcitrant kids. The Power of Duff could easily become banal but is saved by the astute character development, thoughtfully written and convincingly rendered by the stellar cast, many familiar from their TV roles, directed by the illustrious Peter DuBois. Stemberg radiates star power but is a model of humility, always sincere, never arrogant. His colleagues are fleshed out, not in bit parts but who impact the story on their own merit. Rodriguez is Sue, a woman with a dismal home life and a shrew just waiting to be tamed. Sports reporter John Ebbs (Brendan Griffin), whose light-hearted, jovial personality hides a truckload of problems, has an especially endearing stage presence. Ladin, the weasel of a boss berates Charlie but his eyes never rise above the bottom line. Maurice Williams is featured as a young, black convict doing hard time, who becomes Charlie's protégée. Buchanan impresses as the boy Ricky; the only time he cracks a faint smile is at the curtain call. Keep an eye out for the ubiquitous Joe Paulik, a versatile actor whose face pops up on the TV screen as an on location reporter, also as an NBC Network macher who offers Charlie fame and fortune in the Big Apple and several other, well disguised parts. Praise must also go to Aaron Rhyne, whose projections take us to many different places without disruptive and time consuming scene changes. Lighting and sound are by Rue Rita and M.L. Dogg, respectively. Disclosing more details of this West Coast premiere's plot, would be a disservice to playwright Belber, who has written a suspenseful, absorbing piece, with a feel good but never maudlin, effect on the audience, as current as today's weather report - but a lot more accurate.

Geffen Playhouse, Gil Cates Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday -Friday 8 pm, Saturday 3 7 8 PM, Sunday 2 & 7 PM. $39 - $79. Parking available for $4 at Palazzo Garage, 1008 Glendon, next to Trader Joe's. Show your ticket when you leave. (310) 208-5454 or The Geffen Playhouse ends 5/17

REVIEWED BY INGRID WILMOT



BREAK OF NOON by Neil LaBute

Neil LaBute, a playwright whose bite has always been worse than his bark, has given us, I won't say toothless but a much more benign work of social commentary than expected. His protagonist is a man who has, in vain, attempted to mend his wicked way but whose sins are mere human foibles. He's misguided, to be sure but he arouses more sympathy than contempt.

John Smith (George Villas) is the lone survivor of a noontime massacre that occurred at his workplace, an office invaded by a machinegun-wielding villain. In the midst of the carnage, John hears the voice of God, telling him what to do to avoid being killed. So vivid is his account, he becomes a media sensation, takes part in TV interviews, is celebrated by some, ridiculed by many. He embraces religion to the point where listening to him is tantamount to sitting through an evangelist's endless rant.

The best reason to see this show is to watch Villas in action. The man is a force majeur, on stage every minute of the play, his lengthy monologues impeccably rendered. (His voice, delivery and type slightly resemble the late George Segal's.) He has to deal with a slimy lawyer (Kat Johnston), he tries to rekindle romance with his ex-wife (Kristina Drager), has a rendezvous with his former on the side paramour (Katrina Nelson), has a really weird session with a hired, whip toting dominatrix (Nicole Gerth), not your average call girl and exchanges unpleasantries with a television host (Courtney Clonch) and a suspicious police detective (Alex Pike). Through it all, he stands by his divine vision, proclaims himself a new man and spouts his newfound religion ad nauseum. Under Frédérique Michel's direction, the entire cast is laudable. The production is enhanced by the unusual projections of Anthony M. Sannozaro but nothing overshadows the flawless performance of George Villas, which theatre lovers will remember for a long time. Now let us pray that the balls-y, bad boy of American theatre, Neil LaBute, won't become a born again preacher.

City Garage at Bergamot Station, 2525 Michigan Avenue, Santa Monica 90404. (From Michigan Avenue, turn left into the Compound, then left again to the last building #T 1, near the 26th Street gate). Friday & Saturday 8 pm, Sunday 5 pm. $25, seniors $20. Free parking in front of theatre. (310)453-0030 or City Garage ends 5/24

REVIEWED BY INGRID WILMOT



OF GOOD STOCK by Melissa Ross

We're in a charming Cape Cod cottage (terrific set by Tony Fanning), the home of Fred (Rob Nagle) and Jess Stockton (Melanie Lora), who are expecting Jess' two sisters to arrive for her forty-first birthday party. Their mother died when the girls were very young and their philandering father, Nick Stockton, was a famous writer. That's all the background information you need. The Stockton sisters differ in appearance as much as in personality. Jess is petite, very smart but seriously ill. Celia (Andrea Syglowski), a blonde with a Sixties mentality is messy and brutally honest. Amy (Kat Foster) is tall, thin, with a squeaky voice and the attitude of a spoiled child. As for the men, we have Fred, (Nagle), Jess' hubby, middle aged, a bit paunchy, a food writer with a delicious sense of humor. Hunter (Todd Lowe), Celia's new boyfriend, is a good hearted, regular guy but beneath the social class of this lot. Joshua (Corey Brill) is Amy's fiancée but a reluctant bridegroom.

Each of the characters is sharply defined and we get to know them intimately during the three day period of the story. As with all family get-togethers, conflicts creep in among the pleasantries, petty jealousies, sibling rivalries - you know the drill. The dialogue is contemporary, witty and laced with humor and performances are impressive. There is a slight problem, which is that too often some of that meaty dialogue gets buried amidst the high pitched voices of the squabbling women, all yelling in unison. And, while I'm quibbling, is it necessary to explode the F-bomb incessantly, particularly during a cathartic, very poignant scene when the sisters bond over several rounds of booze? I think not. One can blame the playwright but not the director, Gaye Taylor Upchurch. First class sound design is by Darron I. West, lighting by Bradley King.

Among the cast, most noteworthy is Nagle who, of course, has all the best lines but he also delivers them in amiable fashion, tongue in cheek, the sort of fellow one would like to know personally. Also remarkable is Lowe, playing the part of Hunter with unaffected sincerity, a rube, somewhat out of his element in the sophisticated milieu of the Stockton clan. If you could be a fly on the wall, this would be the family on which you'd never tire of eavesdropping.

South Coat Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa 92626. Sunday, Tuesday and Wednesday 7:30 pm, Thursday - Saturday 8 pm (dark Sunday evening 4/26) Tickets from $22. Parking garage on Park Center Drive, off Anton Blvd. (714)708-5555 or The South Coast Repertory ends 4/26

Review by Ingrid Wilmot



TREVOR by Nick Jones

Here is the best dramedy in town, the West Coast premiere of a New York hit. It's hysterically funny but there's more to it than mere hilarity. A room with a lived-in look is the appropriate setting (by Stephanie Kerly Schwartz), for a bedraggled looking woman, Sandra (the amazing Laurie Metcalf) and her boy, Trevor (Jimmi Simpson. The first time he waddles across the room, we realize that this is a chimpanzee, loveable but mischievous. Playwright Jones cleverly lets us hear this monkey's private thoughts. He's a show biz has-been who yearns for the limelight that once was his. He still know his old tricks and is enamored of the glamorous Morgan Fairchild (Brenda Strong), with whom he has done a commercial when he was a cute, little chimp, a few years ago and vainly awaits another studio call. He reminisces, fantasizes and commiserates with his buddy, Oliver (Bob Clendenin), a successful simian performer from Florida. His "mommy", Sandra, adores him like a son and is terrified that her always complaining, nasal-voiced neighbor and mother of a new baby, Ashley (Mary Elizabeth Ellis), will carry out her threat to notify the authorities about the unpredictable pet next door.

In addition to the brilliantly written piece and the superb direction by Stella Powell-Jones, it's the performances that make it a must-see. Metcalf, as the anxious mama is a marvel, fighting for her young like a tigress. She's never been upstaged but Simpson comes close. His Trevor is a tour de farce which, one hopes, will be remembered when the 2015 theatre awards are handed out. He's got the gait of an ape down perfectly and his voice, grin and groans are so authentic, you can picture him as a hairy ape plus he's funny beyond belief. Jim Ortlieb plays the local, soft-hearted sheriff, Malcolm Barrett is most effective in his comic turn as an animal control officer. Bravo to the entire cast, as well as to Jeff Gardner for sound, Jeremy Pivnick for lighting and Elizabeth Cox for costumes. And now get your tickets before they sell out.

Circle X Theatre, Atwater Village, 3269 Casitas Avenue, Los Angeles 90039 (turn into La Clede Avenue, hang a left on Tyburn and a right on Casitas). Thursday - Saturday 8 pm, Sunday 2 pm $28. Two free parking lots on the same side of the street. The Circle X Theatre . ends 4/19

REVIEW BY INGRID WILMOT



AMERICAN WEE-PIE by Lisa Dillman

If you plan to see this play, here's a word of advice: do not, repeat, do not skip dessert beforehand! The cast gets to nibble cupcakes throughout the story, which seem to taste good enough to make the audience drool. But I'm getting ahead of myself.

It opens on a set (designed by the peripatetic Jeff G. Rack), highlighting a pastry shop called "Le Petit Gateau". But first, we meet Zed (Caleb Slavens), a shy introvert with a hangdog countenance, just returning to his small hometown in the Midwest, for his mother's funeral. He has walked away from his dull job in Chicago and has a chance encounter with a former school friend, Linz (Deidra Edwards), best described in the p.c. term plus-plus sized. She is the owner of the above mentioned patisserie, together with her husband, French Chef Pableu (Christopher Franciosa). (She pronounces his name Pablo, so we expected a Spaniard). She's friendly and bubbly and invites Zed to visit. Meanwhile, in Zed's house, awaits his shrew of an older sister, Pam (Elizabeth Lande). A plain woman with a tongue like a rusty sword, who taunts him mercilessly. Furthermore, she contemplates selling the old homestead, which would leave Zed both jobless and homeless. Faced with an uncertain future and encouraged by enterprising Linz, he agrees to go to work for them, after tasting some of their confections, discovering an affinity for creating and baking fancy cupcakes.

Directed by Stewart J. Zully, the actors sink their collective teeth into their characters with gusto. Slaven is the quintessential nebbish, happy to have found his niche after years in an office cubbyhole. The perky Edwards is ideally cast as a pastry chef's wife, who obviously considers" diet" a four letter word. The lanky Franciosa, a chef who actually dreams up new recipes, cuts a comical figure but his French accent is so exaggerated, a few of his best lines get lost. Frederick Dawson plays a friendly mailman who takes a personal interest in the customers on his route. Steve Keyes is terrific as Pete, a cemetery plot salesman who handles the task with the élan of a realtor showing prime beachfront property. James Schendell does his best as a corpse on a bicycle, trying for comic relief- one of the most superfluous roles ever written. Unsurpassed is the pistol, Pam, the excellent Lande, who succeeds in making us all detest her, as she spews venom like a snake. But wait until she lets down her beautiful, strawberry blonde hair, dons business attire and finds a career that suits her personality, which is exactly the moral of the story: if your work is doing what you really love and have a talent for, life can be mighty sweet. Lighting is credited to Ric Zimmerman and the intricate sound effects are by Joseph "Sloe" Slasinsky. A cute, sugarcoated play, light and fluffy as puff pastry topped with whipped cream.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Avenue, Beverly Hills, 90212, on the grounds of Beverly Hills High School. Thursday - Saturday 8 pm, Sunday 2 pm, Monday 8 pm. $26. Free parking in building garage adjoining the theatre. (310) 364-0535 or Theatre 40 end 4/13

REVIEW BY INGRID WILMOT

FOOTNOTE: NOT THAT JEWISH at the Jewish Women's Theatre at The Braid has been held over (once again by popular demand), through June and possibly longer. See website The Jewish Woman's Theatre or call for details, (310) 315-1400



LADIES FOURSOME by Norm Foster

For a good laugh, you can always count on Norm Foster. A prolific Canadian playwright whose talent to amuse is like a mountain spring that stays fresh and bubbling. He has written fifty plays in twenty-five years and this may be his latest, first produced in the summer of 2014. It's hysterically funny and a must-see.

Here's the set-up. Four middle-aged ladies have met for golf and gossip for the past fourteen years. One of them, Catherine, has unexpectedly died and the "girls" get together for a memorial round in her honor. Subbing for the deceased is an old friend of hers, down from Canada for the funeral. In the course of 18 holes, we get to know them intimately and loving them all. Margot (Madeleine Drake), with her clubs and bottle, is the first to arrive. She's a gal who tells it like it is, between sips of whatever booze is handy. The lively Tate (Amanda Karr) who is married to a surgeon, is somewhat frustrated by her regimented lifestyle. Connie ((Susie McCarthy) is single but never lonely, keeping her bed and body warm whenever the opportunity or anything else arises. Dory (Cindy Shields), the visitor, was the BFF and confidante of the dear departed and has, besides her own baggage, packed along a few juicy secrets.

Under the astute direction of Danielle Ozymandias, the foursome does justice to Foster's clever dialogue. Your face will freeze in a permanent smile, as you hear them discuss marriage, child rearing, sex, plastic surgery, careers etc., subjects dear to the female of every stripe and creed. Drake has a unique way of delivering sarcasm with humor but without malice. The pixie-ish Karr uses just the right intonation to make every utterance sound like a punch line. The casting of McCarthy as the flirty Connie is a comfort to every woman in the house, proving and convincingly so, that you don't have to be young and svelte to portray a sex goddess. Shields, whose facial features bear a slight resemblance to Meryl Streep, brings genuine warmth and a lovely voice to the role of the newbie member of this adorable quarter. A really fun show!

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. 8 pm on Wednesday , Thursday and Sunday. $27, seniors 60+ $25. Parking lot (enter via the alley). (310)512-6030 or The Little Fish Theatre ends 4/2

REVIEVED BY INGRID WILMOT



PROPERTIES OF SILENCE by Theresa Chavez, Rose Portillo & Alan Pulner

Silence is not golden, as the Carrie Hamilton Theatre in Pasadena, a small, well-tended venue which Carol Burnett refurbished and named in memory of her troubled daughter by Joe Hamilton. First the good news: the production is well thought out on a divided stage. There's liturgical music, poetry, effective video projections by Janice Tanako, appropriate costumes by Marcy Froehlich. The set design, including an ingenious sand shower is credited to Akeime Mitterleh. It opens as on one side of the stage we see a nun, Sor Juana de la Cruz sitting at her desk, writing with a quill. Her quest for knowledge and her writings on the subjects of science, architecture, poetry and love, were severely frowned upon by the Catholic Church in the 17th Century. She was, possibly, the world's first feminist. Her confessor is a monk named Miranda (Kevin Sifuentes). The performances, directed by Theresa Chavez are solid and it's mercifully short, lasting barely an hour.

Stage left is the Phoenix home of a contemporary couple, Barbara (Elizabeth Rainey) and Tom (Sifuentes in a dual role). The couple's marriage is bumpy. He's a pool contractor and she's a busy realtor. The characters intermingle, supposedly in a dream, often oblivious to one another's presence. Barbara is mostly in her slip, complaining of the heat. That doesn't make sense and would be more like a nightmare than a dream, living without air conditioning in Arizona, when one is in the real estate business. If you love experimental theatre, are a devotee of the avant garde and buy into the dreamscape rhetoric, you may really like this show. Tastes differ. On my night, the audience applauded enthusiastically and probably stayed for the post-theatre salon, a discussion with the playwrights. I was not among them.

The Carrie Hamilton Theatre, Upstairs at the Pasadena Playhouse. 39 S. El Molino Avenue, Pasadena 91101. Wednesday 3/25 at 2 pm only; Thursday - Saturday 8 pm, Sunday 3 pm. $30, students $15. Street parking or paid parking in garage lot across the street. (626)396-0920 or The Pasadena Playhouse Carrie Hamilton Theatre ends 3/29

REVIEW BY INGRID WILMOT



REBORNING ARTICLE by Zayd Dohrn

This play, billed as an edgy comedy/drama, is exactly that and it's excellent. From you FootLights program, you learn that "reborning" refers to vinyl dolls that have been transformed into life-like babies, whose features can be matched to one that might have been lost to an early death, as a substitute for the childless or as a hobby for collectors who pay hefty prices for them. Thousands are sold and traded on the Internet. The ones on stage were created by Amy Karich, a local artist.

Our play is set in doll maker Kelly's (Joanna Strapp) workshop (realistic set by Jeff McLaughlin), in Queens, N.Y. She shares her studio/apartment with her rambunctious boyfriend Daizy (Ryan Doucette) who is also an artist but I won't tell you what his specialty is, so as not to ruin one of the most comical stage entrances you'll ever see. Kelly is difficult (an understatement), a workaholic and a perfectionist. We see her alternately puffing on a joint, sipping beer or in deep concentration working on every minute detail of her dolls, skin tone, eye lashes, hair strands etc. Underneath it all, she is troubled by memories of cruel abandonment shortly after birth. She is interrupted by an attractive, well-dressed customer, Emily (Kristin Carey), who has supplied a photograph of an infant she wants replicated. It's up to you to figure out whether or not there is a mysterious connection between these two women.

Scene after scene keeps us riveted by this unusual story, not your boy-meets-girl trifle but a fascinating psychological study of human foibles, triumphs and enigmas. The raspy voiced Strapp is outstanding, her complicated personality, vulnerability and frenzied behavior leaves no holds barred. Doucette come across as both an eccentric as well as a caring dude, just weird enough to make him interesting. As the elegant Emily, Carey is unforgettable, always in control but displaying a deeply maternal nature. Simon Levy has directed a cast that fully upholds the very high standards of the Fountain Theatre. The amazing video design is by Matt Schleicher, costume by Naila Aladdin Sanders. This is a stimulating theatrical experience, to be savored.

Fountain Theatre, 5060 Fountain Avenue at Normandie, Los Angeles 90029. (323)663-1525 or The Fountain TheatreThursday - Saturday 8 pm, Sunday 2 pm. $15 - $34.95. Seniors Thursday & Friday $25. Under 30 and students with ID $20. No intermission. Parking in adjoining lot $5. ends 3/15

REVIEWED BY INGRID WILMOT

Calling All Foodies!You are invited to the "Oscars" of the Restaurant Industry, to be held on Monday, March 30th at the beautiful Tustin Ranch Golf Club, 12442 Tustin Ranch Road in Tustin. The festivities begin at 6 pm with a wine and hors d'oevres reception, followed by a Champagne toast and exquisite three-course dinner (entrÃ'‚Â'Že duo of herb crusted lamb Porterhouse and Chilean sea bass). Cost per person is $125.00, all inclusive, by paid advance reservation only. The Southern California Restaurant Writers is a charitable, 501 3-C organization and all proceeds go to the Doris Crandall Scholarship Fund, benefiting culinary students of local Community Colleges. To date, over $130.000 has been awarded. Star Awards will be handed out to deserving restaurants as well as Chef, Server, Restaurateur of the Year and more. Tickets: SCRW, P.O. Box 17114, Anaheim Hills, CA 92817-7114 with checks payable to SCRW. This promises to be a very special evening. See you there!



THE DARRELL HAMMOND PROJECT by Darrell Hammond & Elizabeth Stein

Hammond is a top notch impersonator, a gifted comic and a first class neurotic. That said, fans of the Saturday Night Live Show will be amazed to learn that this man has had to deal with serious problems all his life, beginning with a miserable childhood. But we have become aware of the fact that countless of our greatest comedians have made us smile through their tears.

Hammond is the author of "God, If You're Not Up There, I'm F*cked", the basis of his one man show here, co-written with Elizabeth Stein, under the direction and encouragement of Christopher Ashley, La Jolla Playhouse's Artistic Director. Hammond is aided by set designer Robert Brill's round table, chairs and book case backdrop, lighting by David Weiner, sound by Chris Luessmann and projections by John Narun. His principal prop is the thick file containing his medical records. It's both tragic and ironic that he has seen a small army of doctors and therapists with more regularity than we visit our local grocery store. In a rambling, bitter-sweet monologue, he unburdens himself to a theatre full of strangers, knowing that this audience is in his corner and most appreciative of his talent. This probably proves more of a catharsis for his tortured soul than the hours he spent on psychiatrists' couches and all the bushels of meds he has swallowed, to cure him of depression, alcoholism, addictions and self-mutilation. Other than that......

Please know that this show is not a downer because it is speckled with humor, not the least of which are his many impersonations of the famous, making them sound funnier than they actually are, including Bill Clinton (his specialty), Sean Connery, Truman Capote, Regis Philbin etc. He is a master of a hundred voices, right down to the timbre, accents and inflections. He confesses that he's happy only when he can sound like somebody else, so it's blessing that he has found a way out of the abyss, while at the same time entertaining others.

The Darrell Hammond Project, La Jolla Playhouse, Potiker Theatre. Tuesday & Wednesday 7:30 pm. Thursday &Friday 2 & 8 pm; Sunday 2 & 7 pm. $15 - $80. 90 minutes. No intermission. Parking in nearby lot with numbered slots $2. (858) 550-1010 or The La Jolla Playhouse ends 3/8

REVIEW BY INGRID WILMOT



THE ROAD TO APPOMATTOX by Catharine Bush

If you're a history buff, this is your show. If not, well, it has its moments. Against a spectacular woodsy setting representing General Robert E. Lee's Headquarters in Virginia (design by Jared A. Sayed, lighting by David Potts, sound by Dave Mickey), it opens in 1865, during the waning days of the Civil War. Hard pressed General Lee (Bjorn Johnson) will soon be forced to retreat but you'd never know it. A firebrand, he's feisty, impatient and hot tempered, unless he is peering through his field glasses or sending messages via his devoted aide de camp , Colonel Walter Taylor (Shaun Anthony). His right hand man is Capt. Russell (Tyler Pierce).

Juxtaposed against this milieu, the past and the present alternate, involving a soapy story of a young, attractive couple, Steve and Jenny Weeks (Brian Ibsen and Bridget Flanery) but they've got a few chinks in their amour. She's a PhD, heavily involved in her work (aero dynamics) and he has become an ardent "buffy", a Civil War buff, hot on the trail of his great-great-grandfather Beauregard, a Confederate Officer who may have been a war hero, working in the telegraph office. Steve keeps busy visiting and photographing all the historical locations, much to his wife's chagrin. She is rescued from her alternating state of exasperation and ennui by a chance encounter with the charming Dr. Eberhart (Tyler Pierce in a dual role), a lecturer on the very subject her husband has been so relentlessly pursuing.

The comings and goings are well coordinated and the cast, directed by Brian Shnipper, is strong. The problem is, mostly, the absence of suspense. We all know the outcome of the accursed struggle between North and South and the contemporary love story's denouement becomes fairly obvious. This is a smartly staged and well researched play, just not a very exciting one.

Colony Theatre, 555 N. Third Street at Cypress, Burbank 91502. Thursday & Friday 8 pm, Saturday 3 & 8 pm, Sunday 2 p.m. $20 - $49. Free parking at theatre entrance in Mall garage. (818) 558-7000 or The Colony Theatre ends 3/15

REVIEW BY INGRID WILMOT



DISCONNECTION by Allen Barton

Bring up the subject of Scientology and you'll get two opinions. Positive arguments from those who espouse this religion, negative from the rest of us. But there's a third element, namely people who once did belong but eventually decided to opt out. Barton tells that particular story from both an insider's experience as well as a friend of someone closely affected.

The play opens as three members listen intently on headphones. (We hear the lecture). The protagonist, Landon (Bo Foxworth alternating with Jay Huguley), is a successful lawyer estranged from his daughter. He is an accomplished musician who wishes to take piano lessons from Michel (Dennis Nollette), a disgraced member of the Church. Landon is disillusioned with the methods of conversion, primarily with the disconnection from family and friends, which is a prerequisite for belonging. The promise of "serenity" rings hollow and he is determined to expose the draconian rules of control over the lives of believers. Most of the dialogue is dry and tedious but our interest begins to pique when we become privy to an encounter between Landon's daughter Tess (Carter Scott) and her husband Nick (Luke Cook) discussing possible defection. Tess has become a member of the Staff, an exalted position in this group. Poignancy is supplied by Robert L. Hughes' soliloquy as an old man (the thinly disguised L. Ron Hubbard, Founder of Scientology), who now lives in solitude, filthy rich but miserable. He confesses to fraud and deception, astonished that his words and writings have been taken as gospel by the lost souls who seek enlightenment and are lured by the promise of a better life but seem to have disappeared from their circle of acquaintances and loved ones.

Under the direction of Joel Polis, performances shine on several levels. Particularly moving is Hughes in his narrative, exposing the chicanery attributed to this mysterious character. Foxworth's performance is understated but effective and newcomer Scott makes a memorable stage debut. Cook, the husband, is not given much to work with but emerges as a sympathetic figure. Everette Wallin is particularly detestable as the vicious Chairman, authentic enough to raise our blood pressure as we observe his megalomania. Finally, Nollette, as the elderly, infirm Michel, is simply excellent. Author Barton is heard on the piano, the smart set is credited to Jeff McLaughlin. This dark play will be of interest only to those who have long been curious about the machinations prevalent in that cult. If you've never given it a thought, skip this show.

The Skylight Theatre Company at The Beverly Hills Playhouse, 254 S. Robertson Blvd., Beverly Hills 90211. Friday 8:30 pm, Saturday 8 pm, Sunday 2 pm. $30 - $34. Tight street parking. (213) 716-7061 or The Skylight Theatre Company ends 3/1

REVIEWED BY INGRID WILMOT



THERE IS A HAPPINESS THAT MORNING IS by Mickle Maher

Two college professors in love Bernard (Bryan Bellomo) and Ellen (Jessica Sherman), had sex on the campus grounds, in full view of students and faculty. Thereby hangs this tale. In order to keep their jobs, the Dean (John Wuchte) has demanded an apology from both. Bernard is willing but Jessica balks. Now then, for over an hour, Bernard, who has written a poem by William Blake on the blackboard, entitled Songs of Innocence, proceeds to dissect it. It is written in an odd grammatical style (hence the title) and contains phrases like "happy I am". Ellen then takes her turn, explaining ad nauseum, the poem she has scribbled on the board, Sick Rose, from Songs of Experience, written in 1729, same author. The effect is like having to sit through an English lit lecture you haven't signed up for.

Things become more interesting when they interact and explore their relationship. Apparently, after having enjoyed a picnic, all that poetry they teach, kicked in as an aphrodisiac, Directed by Ruth Silveira, they perform admirably. Bellomo, looking slightly disheveled, has a certain boyish enthusiasm and throws himself into the role headfirst. Sherman plays stern-faced, fast-talking pedagogue who likes to toss off four letter words as often as possible, which garners laughs because it seems so contrary to her spinsterish image. (Incidentally, at the curtain call she changes clothes and hairstyle, looking mighty fetching, indeed).

The play takes yet another turn with the appearance of the Dean (Wuchte). He not only steals the show, he positively ignites the stage with his inimitable antics and revelations. Even the two people in my row who slumbered peacefully through most of the story, sat up and took notice, bursting into unbridled applause at the end, along with the rest of us.

Sacred Fools Theatre, 660 N. Heliotrope Drive, Los Angeles 90004. Friday and Saturday 8 pm, Sunday February 8th and 15th at 2 pm. Approximately 90 minutes, no intermission. Open seating. Street parking or $5 in adjoining lot. $20 (310) 281-8337 or Sacred Fools Theatre Ends 2/28

REVIEWED BY INGRID WILMOT



NOT THAT JEWISH written and performed by Monica Piper

If you're Jewish, you must see this wonderful show. If you have Jewish friends, you must see this show. And, if you're not Jewish, you also should see it. You'll relate and you might learn some interesting, new expressions. Directed by Eve Brandstein, the diminutive Monica Piper is not only a very funny woman, she's a raconeuse extraordinaire who will keep you spellbound for almost two hours. She will move you to tears of emotion, while tears of laughter roll down your cheeks. She tells us about growing up in her Jewish neighborhood in New York with her mother and her especially beloved father, Roy David, a successful comedian. She explores her close family ties, has great stories about her infatuation with Mickey Mantle, a tale about chopped liver, the rearing of her son as a single mom; every aspect of her life is fodder for her comedic talent. I could go on and on reciting the situations in which she finds herself but she tells it so much better.

The venue is very small (an art gallery), you won't miss a word, which is as it should be, for what comes out of her mouth is pure gold and her rubber face is a fountain of mimicry, most of which she learned from her dad in whose footsteps she followed. She is an Emmy-winning comedy writer (her credits are in her program bio) and fully deserves the sold-out performances and wild applause she garners at the end of the show. We must thank the Jewish Women's Theatre for bringing us this treat. Don't you miss it!!!

Jewish Women's Theatre at The Braid, 2912 Colorado Avenue, Santa Monica 90404. Thursday at 8 pm on February 5, 12, 19 and 26. Saturday at 8 pm on February 7, 14, 21 and 28. Sunday at 2 pm on February 15 and 22 as well as March 1st. There is one Sunday 7:30 pm performance on February 15th. $35. Free parking in front lot. (310) 315-1400 or Brown Paper Tickets and The Jewish Woman's Theatre Ends 4/30 THE SHOW HAS BEEN EXTENDED THROUGH THE END OF APRIL, PLEASE SEE WEBSITE FOR DETAILS.

REVIEWED BY INGRID WILMOT



JACK LEMMON RETURNS by Hershey Felder

Several years ago, a small theatre showcased a no holds barred revue, making fun of some second generation Hollywood actors who, though somewhat lacking in ability, still made it big in show biz, giving veracity to the phrase "it's whom you know...." Therefore, it comes as a pleasant surprise to see Christ Lemmon on a local stage. He is the only son of the famous and beloved Jack Lemmon but chances are, you've never heard of Chris. True, the man has authored a book (Twist of Lemmon), worked as a director and producer and has appeared in some stage shows, films and TV but he's certainly not a household name. His one man show, JACK LEMMON RETURNS may change all that. He's an accomplished pianist with a degree from the California Institute of Arts, has a charming persona and remarkable talent. We learn about his childhood, growing up in a household frequented by stars, many of whom he mimics hilariously. Although his parents divorced when he was only two, father and son enjoyed a warm relationship. Nicknamed Hotshot, the little guy never lacked paternal love and attention.

Chris Lemmon tells his father's story by impersonating him. His voice, smile, gestures and mannerism, aided by the uncanny resemblance he bears to his dad, are spot on. Chris leads us through the star's eventful public ad private life. As an ardent admired of French actor Jean-Louis Barrault, he yearned for those dramatic parts even though his forte was comedy. Projected clips of many of his best known roles (Some Like It Hot, The Odd Couple), evolve into more serious ones (Days of Wine and Roses, The Apartment), and are peppered by entertaining insiders' anecdotes. We see moments of triumph with Academy Awards as well as the hard times, battling alcoholism and illness. Chris Lemmon succeeds in bringing to life an unforgettable icon and for ninety magical minutes it seems like the man never left us. A truly enjoyable performance, especially for vintage movie fans. Lighting design is by Jason Bieber, sound by Erik Carstensen, projections by Andrew Wilder.

The Broad Stage, Edye Theatre, 1310 11th Street, Santa Monica 90401. Tuesday January 27th. Wednesday January 28m Thursday January 22nd and 29th, Friday January 23rd and 30th all at 8 pm. Saturday January 24th 5 and 8pm, January 31st 5 and 8 pm. Sunday January 31st 8 pm, February 1st, last show 2 pm. $45 - $55. Free parking in theatre lot. Hint: come early. (310) 434-3200 or The Broad Stage Ends 2/1

REVIEWED BY INGRID WILMOT



PICK OF THE VINE by various authors

Nobody knows what 2015 has in store for us but one thing is a given, the Little Fish Theatre in San Pedro is going to entertain us royally, with their thirteenth annual season presentation of PICK OF THE VINE. Chosen from hundreds of submission from all over the country, this year's top vintage will be savored, like fine wine, by lucky audiences. This collection of one-acts gives us more than mere vignettes. Each is a mini-play, many with surprise endings and delicious humor, all allowing the entire ensemble to display its immense talent. Get your tickets now!

ANNIVERSARY by Sam Wallin, directed by Cylan Brown. The first tasting features the real life husband and wife team of Holly Kreiswirth-Baker and Bill Wolski, in a one-upsmanship, gift-giving competition.

TRASH DAY by Vincent Terrell Durham, directed by James Rice. Annie Vest surprises a homeless man (RodneyRincon) salvaging recyclable cans from her curbside trash bags,which reveal more than she cares to disclose.

COME AND TAKE IT by Annie R. Such, directed by Cylan Brown. Two brothers, Chad Skiles and Wolski, sons of a cruel, sadistic farmer, strike a bargain which one of them finds difficult to carry out, in this poignant gem.

THERE'S SOMETHING ABOUT FLASHDANCE by Diana Lee Woody and Henry Franco, by Danielle Ozymandias.

Baker-Kreiswirth turns the tables on peeping Tom David Kieran, in a lesson in how to deal with dirty old men's phone calls.

MAMIE AND MARTIN GO TO BED by Kat Ramsburg, directed by Margaret Schugt The question "is there sex after Social Security?" is endearingly portrayed by Mary Margaret Lewis and Rincon.

SALT IN THE WOUND by Mark Harvey Levine, directed by James Rice. At a dinner party from hell, we are warned not to ignore old superstitions. Featured are Bridget Garwood, Kieran, Lewis, Skiles and Vest.

THE MALTESE WALTER by John Minigan, directed by Danielle Ozymandias. A clever spoof of the film noir genre, psychiatry and superhero complexes rolled into one, with the versatile Wolski, Kieran and Garwood.

SHADOWS by Greg Freier, directed by James Rice An eye-opening glimpse into the world of the slightly demented, told with humor and compassion, starring Rincon, Wolski and Lewis.

FINDING MR. RIGHT by Barbara Lindsay, directed by Danielle Ozymandias Will a couple's first date evolve into more than a verbal, sexual merry-go-round" Guess again! With Garwood and Skiles.

PRE-OCCUPY HOLLYWOOD by Dylan Brody, directed by Margaret Schug. If you ever thought that it might be fun to score a gig as an extra in a movie, you're in for a few behind the scenes dilemmas. With Skiles, Baker-Kreiswirth and the motley crew of Garwood, Kieran, Rincon, Vest and, of course, Wolski; Scenic design is by Laura Levin, costumes by Diana Mann, lighting by Hector Quintero.

Little Fish Theatre, 777 Centre Street, San Pedro 90731. Friday and Saturday 8 pm, Sunday January 25th and February 1st at 2 pm, Thursday February 12th and 15th at 8 pm. $27, seniors $25. Parking in rear, enter via the alley. (310) 512-6030 or The Little Fish Theatre ends 2/14

REVIEWED BY INGRID WILMOT



FLARE PATH by Terence Rattigan

Here's one for Turner Classic movie buffs, an old-fashioned World War II romance. The G-rated dialogue, the hairstyles and the costumes (by Michèle Young) are totally authentic; it's almost like watching a back and white flick in living color. It took me the entire lukewarm first act to get used to some of the über-British accents but when the drama kicks in, in Act II, the story becomes involving and Rattigan's characters come to life.

The setting is a small hotel in Milchester, England, near an Allied airfield, in the autumn of 1940. It is owned by Mrs. Oakes (Ann Ryerson), who plays the elderly, addled proprietor with amusing mannerisms. A semi-permanent resident seems to be the blonde Doris (Alison Blanchard), who goes by" Countess", since she's married to Polish Count Skriczevinsky (Karl Czerwonka), an émigré who has joined the Royal Air Force. His broken English is hilarious and often more succinct than that of Maudie's (Annalee Scott), with her high-pitched Cockney/Scottish ( ? ) brogue. She's the visiting wife of tail gunner Dusty (Caleb Slavens). Making a splashy, surprise entrance is Peter Kyle (Shawn Savage), very effective as a glamorous movie star, now living in Hollywood. He happens to be the former lover of Patricia ((Christine Joelle). This slender brunette is now married to dashing Squadron Leader Teddy Graham (Christian Pedersen) and the story's epicenter is the relationship of this intriguing trio. Directed by Bruce Gray, on Jeff G. Rack's excellent set and with Joseph (Sloe) Slawinski's superb sound effects, most of the cast members pass muster with honors. Pedersen is perfect as a pilot, carrying the heavy responsibility for the safety of his crew. The earthy, likeable Blanchard, the so-called Countess, never betrays her humble roots. Special approval goes to Anthony Ferguson, a genuine Brit with a classically trained speaking voice, who impresses as the desk-bound Commander Swanson. On the other hand, while John Salandria is physically well versed in the role of Percy, the hustling, young waiter, he needs a few more sessions with Dialect Coach Stuart James Galbraith - and he's not the only one. By the way, a flare path is the lighted landing strip (visible from the hotel's window) of the nearby air base and the play is a tribute to English patriotism and to the flyboys who eventually brought the German Luftwaffe to its knees, not a moment too soon.

Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, on the Campus of Beverly Hills High School, Beverly Hills 9010. $26, student and performing arts union members $13 (on stand-by). Free parking in building garage, adjoining the theatre entrance. (310) 364-0535 or Theatre 40 ends 12/15

REVIEWED BY INGRID WILMOT



TRAIN TO ZAKOPANÉ by Henry Jaglom

One of the characters in this play states, "The Poles are the biggest anti-Semites in the world". This happened to be the sad truth in the time slot of the story, the 1920s and beyond, way beyond, as proven by the historical fact that the Nazis located their death camps in Poland. They knew full well that there would be little mercy for Jews who may escape there from. That said, now consider whether a romance between a Jewish man and a bigoted, Polish woman, has a chance. They meet on an over-crowded train, where a priest, Father Alexandrov (Stephen Howard), a retired actress, Mme. Nadia Selmeczy (Cathy Adams) and a young nurse, Katia Wampuzyk (Tanna Frederick) , have room for one more, in their first class compartment and invite a well-dressed stranger, Semyon Sapir (Mike Falkow) to join them. They exchange pleasantries but soon the subject shifts to "those Jews", with particularly hateful pronouncements from the young Polish woman. Sapir remains silent, realizing that this may not be the right moment to disclose his religion.

Multi-talented playwright/actor/director/filmmaker Jaglom has written this eloquent, true tale of love and hate, told to him by his father, as you will read later in his FootLights Program notes. Zakopané was a luxurious resort and spa, a location, which plays an important role here. It is a beautiful, heart rending romance, excellently acted, especially by the two leads and skillfully directed by Gary Imhoff. Tanna Frederick embodies the simple, small town girl with both passion and innocence. Raised by an idolized father, who blamed the Jews for his failures and who poisoned her mind against them, which will, in adulthood, have unforeseen repercussions. South African actor Falkow is elegant and attractive, as a successful Russian doing business in Poland. He is sophisticated but not snobbish, a man attracted to someone to whom he dares not reveal the truth, which gnaws on him like a malignant tumor. A difficult role, expertly handled. Both Howard as the jovial priest and Arden, the other passenger aboard the train to Zakopané, are memorable in their brief appearances. Jeff Elam is Dr. Gruenbaum, residing in Zakopané under an assumed name and Kelly DeSarla, Katia's ebullient former nursing colleague, Marusia, both contribute significant details to the denouement.

If I have one criticism, it is that the numerous scene changes filled with hits of the twenties and thirties, too often interrupt the mood of this fascinating play. The elaborate sets (by Chris Stone) in the second act could have been arranged along the extended stage and lit, as the action shifts to different rooms, as in Act I, which opens in a gorgeous train compartment and then moves on to a dining car. A minor complaint because this poignant world premiere's intelligent dialogue holds valuable lessons and should be seen by a wide audience.

Edgemar Center for the Arts, Main Stage, 2437 Main Street, Santa Monica 90405. Thursday - Saturday 7:30 pm, S7nday 5 pm (dark Dec. 24 - Jan 8 and on March 8th) $34.99. Parking in building garage $6 flat rate. (310)392-7327 or The Edgemar Center for the Arts ends 3/29

HOLIDAY ENTERTAINMENT: There's Christmas and then there's Irish Christmas! If you want to get into that spirit, head for Caltech's BECKMAN AUDITORIUM in Pasadena and see the popular and accomplished group DANÃ'ƒÃ‚'² in their program called A CHRISTMAS GATHERING. There will be music (fiddle, flute, accordion etc.), vocals and dance, which will delight young and old. The date is Saturday, December 13th, at 8 pm. Free parking. Beckman Auditorium, Caltech Campus, Michigan Avenue just south of Del Mar, Pasadena. $22 - $32, youths $10. (626) 935-4692 or Caltech Events See you there! Happy Holidays, Ingrid

REVIEWED BY INGRID WILMOT



HANDLE WITH CARE by Jason Odell Williams

Imagine how the sounds of Jingle Bells and the whirr of dreidels might mingle, in this sweet "Hanumas" story, combining the Christmas and Hanukkah season into a broth of love, fate, humor and co-incidence, tasty as home made chicken soup. The scenes take place in a third rate motel room in Virginia (set by David Potts), on Christmas Eve, where a frantic, young Israeli woman, Ayelet (Charlotte Cohn) spouts off in agitated Hebrew. She and her grandmother (Marcia Rodd) are touring the U.S. and checked in the previous night. (The action alternates between December 23rd and 24th). It seems that something very, very important in a box, has been lost (you'll soon find out what that is), when the driver, Terrence (Jeff Marlow) of the stolen delivery van carelessly left the key in the ignition while at a gas station. Terrence, not the brightest star in the firmament, calls his good buddy, Josh (Tyler Pierce) to hurry over and help him out of the dilemma, not the least of which is that the distraught Ayelet speaks only a few words of English.

Directed with a romantic and humorous touch by Karen Carpenter, this West Coast premiere is the ideal holiday entertainment for all ages and faiths. Playwright Williams, himself a gentile is, in real life, married to our Ayelet (Cohn), who was a Lieutenant in the Israeli army. A tall, slender woman with a gorgeous head of black hair, she gives a multi-faceted performance, which you will enjoy even more if, by chance, you understand Hebrew. Rodd is warm and appealing as her bubbie (grandma) and the good-looking Pierce, as the reticent Josh, hides his loneliness behind a veneer of disinterest, which makes him all the more deserving of affection. It rests upon Marlow, as the lame-brained hick, to make us laugh at his lines of pure comic gold and he delivers them as though they were written just for him. Dianne Graebner deserves credit for costumes, Drew Dalzell for sound and Jared A. Sayeg for lighting design. To put you in an ecumenical holiday mood, see this show!

Colony Theatre, 555 N. Third Street, at Cyress, Burbank. Thursday - Saturday 8 pm, matinees Saturday at 3 pm, Sundays 2 pm (dark Thanksgiving week) $20 - $49. Free parking at the theatre entrance in the Burbank Town Center Mall building. (818) 558-7000 ext. 15 or The Colony Theatre ends 12/14

REVIEWED BY INGRID WILMOT



REASONS TO LIVE by Meryl Cohn

Meet the Silverstein Family. They're each a little nutty but who wants to see a play about perfectly normal folks? The mother, Stella (Judith Scarpone) is not your kvetschy Jewish mother. She breaks into song in time of stress and encourages the family chorus and delivers some pungent lines. She accepts her lesbian daughter, Emily (Amanda Weier) and welcomes her lover Heather (Jordana Berliner) with open arms. She's a little harsher and who can blame her, on her son, Andrew (Michael Cotter), a real shlump who walks around in pajamas all day. Don't ask what he does for a living! When the eldest daughter, Jane (Jessica Ires Morris) is left at the altar, Stella doesn't throw in the tea towel, au contraire, she's ready to plan another party, utilizing the pre-paid caterer. It's all very light weight but fuelled by the fact that it keeps the audience guessing as to who will end up with whom.

Directed by Susan Morgenstern, the ensemble is on its toes, in costumes by Sofia Radin, with set and lighting credited to Jeff McLaughlin. Morris, the jilted bride, plays it with the right gallows humor. Weier and her partner Berliner, are a credible, same-sex pair. Katherine Griffith as the massive, mannish Cousin Helen, tipples her way through some comic bits. The statuesque Jennifer Schock as Tara, a single, young woman whose biological clock is about to sound the alarm is appealing and the bespectacled Cotter is ideally cast as the typical adult son, still living with mama. Speaking of whom, it's Scarpino who makes this show worth seeing.

Skylight Theatre (a Skylight Theatre Company and Open Fist Theatre Production) 1816 1/2 N. Vermont Avenue, Los Angeles 90027. Friday & Saturday 8 pm, Sunday 3 pm $30 Metered street parking or in nearby lots, from $4. (213)7617061 or The Skylight Theatre ends 11/30

REVIEWED BY INGRID WILMOT

For Ingrid Wilmot's Dining Reviews, please visit Footlights and click on dining. Thank you.



ZEALOT by Theresa Rebeck

Pulitzer Prize finalist and Peabody Award winner, Theresa Rebeck, has penned a work with meat on its bones, the sort that's destined for discussion on the way home and beyond. It's intensely political and unabashedly feminist, directed by Rebeck specialist and SCR's Artistic Director Marc Masterson. We are in the office of the British Consul (sharp set by Ralph Funicello), in Mecca, Saudi Arabia. It's the first day of Hajj, the sacred holiday gathering of Muslims from around the world. The American Under-Secretary of State, Ann (Charlayne Woodard) checks in, straight from the airport, expecting a major "situation". Sure enough, soon a young Shiite girl, Marina (Nikki Massoud) arrives, seeking asylum from persecution for a "crime" she instigated among Muslim women demanding their rights against oppression. She seeks sanctuary in the United States via Madame Under-Secretary. I won't give away just what her offense was but a diplomatic fiasco threatens to descend upon the hard-pressed Consul, Edgar (Alan Smyth).

The performances are superb, thanks to Casting Director Joanne DeNaut's expertise. The fact that Ann is an African-American woman and herself a Muslim, lends the play a certain edge that heightens the suspense of what is about to happen. Woodard dives into the role passionately, fiercely -whether sparring verbally or going mano-a-mano with her opponent. The excellent Smyth relishes his position as a long-term resident and friend of the Saudis, with established connections, including an Arab leader named Usama (Demosthenes Chrysan) in full mufti, white robes, headdress, the works (costumes by Alex Jaeger). Edgar resects Usama as a father figure and is concerned at his outrage over the occurrence at the Hajj, as he places full blame on the timid but determined Marina, the titular zealot. She, in turn, is thoroughly convincing as a young Iranian woman, fanatically devout and dedicated to her cause at any cost. Smyth shines as the frazzled Consul, his boyish charm belies the fact that he is ever aware of the government he represents and is the consummate diplomat caught in a tough spot. Adam El-Sharkawi's job as the servant Yousef, consists mostly of serving tea but he does it well. SCR has scored a coup by landing this world premiere and does itself proud with an outstanding production. You will be fascinated, enlightened and entertained.

South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa 92626. Sundays, Tuesdays & Wednesdays, Nov 2, 4, 5, 9, 11, & 12th at 7:30 pm. Thursday - Saturday Oct 30 & 31. And Nov 1, 6th through 8th , 13th through 15th at 8 pm, Saturday and Sunday Nov 1, 2, 8, 9,15,16 at 2:30 pm (dark Sunday evening 11/16) $22-74. Parking garage located on Park Center Drive, off Anton Blvd. (714)708-5555 or The South Coast Rep. Theatre ends 11/16 after matinee

REVIEWED BY INGRID WILMOT



GLORIOUS! by Peter Quilter

The answer to the question "How does one get to play Carnegie Hall?" is, usually, Practice! Practice! Practice! - Except in the case of Florence Foster Jenkins: you rent the hall for yourself. The story of this wanna- be opera diva with a tin ear and an awful voice is humorously told and expertly performed. Based on the true story of a woman of inherited wealth who managed to pack her concerts with invited audiences, sold thousands of 78 rpm records and whose childlike personality charmed all who knew her (1868 - 1944).

Directed by Richard Israel with the right, light touch, it starts as Madame Jenkins (Eileen Barnett) engages her new accompanist, Cosmé McMoon (Matthew Wrather) who, after listening to her for a few minutes, is ready to bail. She can't sing but her money talks. She has a boyfriend/manager, St. Clair (Leland Crooke), a failed Shakespearean actor, who endures as both with the help of steady doses of Johnny Walker. Unfailing support is supplied by her ditzy, best friend Dorothy (Janellen Steininger), whose speaking voice is almost as shrill as Flo's operatic vocals. Good for a million laughs is Carol Abney as the mouthy Latina maid, Maria, who speaks and swears only in Spanish. She also doubles as a serious heckler, (A wig of a different color would not be amiss for that role). The best lines are uttered by Wrather's Cosmé. He has a kind heart, is bemused rather than contemptuous and all of his tongue in cheek, double entendres are stabs with a blunted knife, example: the concert was an "unqualified" success. The wonderful Barnett is both loveable and laughable in her outlandish costumes (by Kim DeShazo), which were all designed by Madame herself. Barnett manages to hide her own fine voice with off-key caterwauling, to perfection. My only criticism is that she's almost too attractive. Jenkins, whose portrait is displayed in the theatre lobby, was the typical fat lady who sings 'til it's over. True opera devotees, who know what the Queen of the Night aria (Magic Flute), the Laughing Song (Fledermaus) etc., should sound like, will love this show even more. Thankfully, we are treated to the taped, beautiful voices of famous opera singers before the show and during intermission. Glorious! Leaves us with the good feeling that seemingly impossible dreams can actually come true but if there were rodents in the building, as my grandmother would say, they probably left as fast as they could scurry out.

International City Theatre, Center Theater at Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach 90802. Thursday -Saturday 8 pm, Sunday 2 pm, $42 -$47. Parking $10. Drive down Pine Avenue, turn left on Seaside Way, follow the posted signs, structure is on the right. (562) 436-4610 or International City Theatre ends 11/2

PLEASE NOTE: PRE-PERFORMANCE DINING SUGGESTIONS WILL NO LONGER FOLLOW THE THEATRE REVIEWS ON Will Call. INSTEAD, INGRID WILMOT'S RESTAURANT REVIEWS AS" THE DINING SCENE", WILL BE ON A DIFFERENT WEBSITE, Footlights AND MAY, IN FUTUTRE ALSO APPEAR IN FOOTLIGHTS THEATRE PROGRAMS. I'LL KEEP YOU IN THE LOOP, INGRID

REVIEWED BY INGRID WILMOT



THE WAY YOU LOOK TONIGHT by Peter Lefcourt

This has been the summer of laughs, a cure-all for our anxieties over the world situation, immigration concerns, sudden weight gain etc. Go and see Lefcourt's irreverent comedy about a divorced couple who, after a few years' separation, have a get-together with their former spouses to which they bring their new mates. It's all about marriage, infidelity, designer shoes, cross- dressing and sex. The whole story is narrated by the adorable Ishmael (impish Blake Silver), a little dynamo, who introduces himself as the Greek chorus and underpaid cast member. Watch him as a French waiter and pay attention to his graduation speech. He even makes the exposition entertaining and informs us of what is happening off-stage. The formerly married, Teddy (Robb Derringer) and Esme(Robin Riker), plan to discuss their son's graduation. Esme is now married to Bernard (John Marzilli), a currently unemployed TV producer. Teddy lives with Robyn (Sean Smith) and it becomes immediately apparent he did not fall for Robyn's good looks. Robyn is British, very well mannered and supposedly of royal lineage. Nevertheless, the old flame begins to flicker and glow anew between the two ex-partners which, in addition to a sexy pair of Fluevog pumps (in the same price range as Jimmy Choos). Gets emotions and other things to rise. The less you know in advance about this foursome, the more you will relish the situations and complications that develop in the course of two acts. The cast is impeccable. The handsome Gynecologist, Teddy (Derringer), who during sixteen years of marriage only cheated twice, must have had endless opportunities for a little on the side. The pretty Riker is irresistible and her new husband (Marzetti), although at a disadvantage, never gives the impression of a wimp sans cajones. Smith's English accent ebbs and flows like the tide and needs work. Other wise the portrayal of the live-in lover who can be critical but never bitchy, is perfect, while being a veritable fountain of hilarious expressions, verbal and facial. This world premiere is directed, with a Lubitsch touch, by Terri Hanauer (the playwright's real life wife) and the sparkling, up-to-the-minute dialogue keeps us chuckling. Special applause goes to Dino Herrmann's sound effects and Michael Gend's lighting but especially to Peter Lefcourt for not always being politically correct.

Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles 90025. Friday & Saturday 8 pm, Sunday 3 pm. $25 - $30. Parking in front $3. (323)960-7712 or Plays 411 ends 8/27

By Ingrid Wilmot

PLEASE NOTE: PRE-PERFORMANCE DINING SUGGESTIONS WILL NO LONGER FOLLOW THE THEATRE REVIEWS ON Will Call. INSTEAD, INGRID WILMOT'S RESTAURANT REVIEWS AS" THE DINING SCENE", WILL BE ON A DIFFERENT WEBSITE, Footlights AND MAY, IN FUTUTRE ALSO APPEAR IN FOOTLIGHTS THEATRE PROGRAMS. I'LL KEEP YOU IN THE LOOP, INGRID


PLEASE NOTE: PRE-PERFORMANCE DINING SUGGESTIONS WILL NO LONGER FOLLOW THE THEATRE REVIEWS ON Will Call. INSTEAD, INGRID WILMOT'S RESTAURANT REVIEWS AS" THE DINING SCENE", WILL BE ON A DIFFERENT WEBSITE, Footlights AND MAY, IN FUTUTRE ALSO APPEAR IN FOOTLIGHTS THEATRE PROGRAMS. I'LL KEEP YOU IN THE LOOP, INGRID


DIXIE'S TUPPERWARE PARTY by Kris Andersson

If Tupperware Parties had been this much fun, back in the days of my first one, I'd have bought the entire stock! Dixie Longate, according to the program bio, is a tippling Alabama trailer trash type, widowed three times, who left her brood (three kids) back home, to become everyone's favorite Tupperware Lady. Her parties have taken her to New York, London and Melbourne. So here he is, the playwright, in a big, curly, red wig, tight fitting, little dress with a white neck scarf that cleverly hides his Adam's Apple and who shall be referred to as "she" hereafter. Dixie may well be the most feminine being in the Little Audrey Theatre. The smart direction is by Patrick Richwood, lighting design by Richard Winkler. Everybody gets a nametag, an order blank and a pen, just like at a real Tupperware party. Dixie involves the audience members relentlessly, often picking on them with good humors salty quips and split-second ad-libs. She prattles on at a hundred miles per hour, in a Southern accent thicker than cold molasses, all the while demonstrating and pitching her merchandise. She spouts homilies, hates the Internet, sings the Tupperware song, holds raffles to give away some "plastic shit", as she calls it and amuses us non-stop. The dialogue is mostly off-color but never offensive and if you're a good sport and up for some laughs, this is a party to which you definitely want to be invited. You'll be whistling "Dixie" all the way home.

Geffen Playhouse, Audrey Skirball Kenis Theatre, 10886 Le Conte Avenue, Westwood 90024. $55 - $60, Wednesday - Friday 8 pm, Saturday 3 and 8 pm, Sunday 2 and 7 pm. No intermission. Paid parking in adjoining underground garage. (310) 208-5454. The Geffen PlayhouseEnds 8/3

Pre-Performance Dining Suggestion: A newcomer to Westwood Village is FRIDA, formerly called Casa Azul, a Mexican cantina with a sophisticated menu. This is not your neighborhood Mexi joint, where you can stock up on combinaciones for a few Pesos. You'll be hard pressed to find an entrée for less than twenty bucks. If that doesn't turn you off, you can take your pick among salmon a la diabla with chipotle cream sauce; skirt steak, chicken, chorizo and cheese and many more temptations of the unusual sort. I must tell you that I had a disappointing dinner at the mother ship, Frida in Beverly Hills, a few years ago, never to return. But. I swear by Frida's moustache, the food here is really flavorful, they've now grown to a half dozen locations and hired a talented Executive Chef. One of my favorite dishes is chochinito pibil, pork chunks baked in a banana leaf. Nobody serves it in the leaf anymore because, as a Mexican chef recently told me, many people tried to eat it! It comes in annatto sauce with a scoop of rice, a boat of black beans and a cup of habanero relish, which will ignite your palate like an out of control wild fire, so be warned, $21.95. If you're looking for a cool, summertime treat, their ceviche tasting is unbeatable, at $18.95. Three water glasses filled to the brim with chilled, crunchy veggies and marinated fish and seafood. The Resurado with jumbo shrimp, onions and avocado; the ceviche Frida with whitefish, crisp jicama and carrot strips; the Tropical, too fruity for my taste, shrimp marinated in spicy orange-lime juice with mangoes and cucumbers. At table, with the chips, are two fabulous salsas, one green, cilantro flavored, the red rife with cumin and hot chilies. We poured them over the Tropical to combat the offending sweetness but hey, you may love it just the way it is. This big portion sadly left no room for one of Mexico's best desserts, pastel de tres leches, $8.95. Next time! Service is pleasant but it's the attentive manager on his frequent rounds, who makes sure you're a happy camper.

Frida, 10853 Lindbrook Drive, Westwood 90024 . Full bar. Tight street parking or valet, $8. (310) 208-1666.



FAMILY PLANNING by Michelle Kholos Brooks

You've heard of cash-rapped, grown kids moving back to their parents' house. But this is a switch, Sidney (DeeAnn Newkird) and Michael (Jack Sundmacher), are a young, married couple, living in the lovely home (set by David Potts), formerly inhabited by her parents, Larry (Bruce Weitz) and Diane (Christina Pickles), both now divorced. Michael is struggling to get his new business off the ground; she is, at the moment, barefoot and pregnant, after several miscarriages. Love and stress abound equally in the household but the scales tip when the old folks, broke and no longer bound to their second spouses, move back in. Oy vey! Dad's become a vegetarian.is into yoga and probably into the instructor, as well. Diane is the typical, pain-in-the-ass controlling mom and the most important person in her own life. The two of them fight, not like the proverbial cats and dogs, which now seem to co-exist peacefully, no, this is more like verbal germ warfare. While the outcome of this ménage a quatre is not exactly unpredictable, the getting there is all the fun.

Family Planning is very well written and constructed with not one word of the witty repartee wasted by the award winning, Los Angeles based Kholos Brooks. Directed by the well-regarded Cameron Watson, this light-hearted comedy gives each actor a chance to polish their characters' loveable as well as despicable, traits. As the anxious son-in-law, Sundmacher is doing his best to retain some civility but who can blame him when he doesn't? His wife, (Newkirk), struggles admirably, to cope with her feelings of mixed loyalty. The wonderful Pickles owns the part of the selfish mother and still manages to enchant us with her unique stage presence. Weitz, as the quirky dad with a short temper, has a twinkle in his eye and never fails to get laughs. The play, consisting of multiple scenes is performed sans intermission, making ninety minutes fly by, while we can't wait to see what will happen next. Costumes are designed by Kate Berkh, sound and original music by Steven Cahill. The Colony presents this world premiere as the first of its 40th season, a Happy Anniversary, indeed!

Colony Theatre, 555 N. Third Street at Cypress, Burbank 91502. Thursday -Saturday 8 pm, matinees Saturday and Sunday at 2 pm. $20 - $9. Free parking in building garage. (818) 558-7000 x 15 or The Colony Theatre ends 8/10

Pre-Performance Dining Suggestion: A couple of blocks from the Colony is the Brazilian churrascaria PICANHA. I have to say that the ingestion of pounds of meat sliced tableside from a skewer, no longer appeals to many of us. Therefore, may I suggest, you go the buffet route. You'll save a bundle and won't be in need of a siesta when you leave. Not that you'll be hungry. For $16.95 (less on weekdays), there's a colorful salad bar with fresh spinach leaves, tomato and cucumbers, tuna salad, pickled onions, corn and, for a Mediterranean touch, tabouli (too dry) and a tahini dip. Everything has labels but you can't always trust them, the "Asian chicken salad" was actually cole slaw with no chicken. But wait, there's more. Against the wall opposite the various salad dressings, is a line-up of hot food, including fluffy, white rice, divine, red skin, garlic mashed potatoes, black beans, zucchini Provencal, beef stew (tough) and a delicious chicken Stroganoff with mushrooms, in a creamy, tomato tinged, sauce. I didn't even try the watermelon salad. There's also a bowl of yucca flour, which Brazilians love, which reminds me of sawdust. This is a large, tastefully designed space to which you will be welcomed by a charming and attentive host. Service is so-so, the fantastic little bread balls with parmesan cheese in the dough, took forever (and three requests) to arrive and I'm still waiting for our server to find out the English translation of the restaurant's name.

Picanha, 269 E. Palm Avenue, Burbank 91502. Full bar. Free parking in adjoining garage. (818) 972-2100

WRITTEN BY INGRID WILMOT

PLEASE NOTE: PRE-PERFORMANCE DINING SUGGESTIONS WILL NO LONGER FOLLOW THE THEATRE REVIEWS ON Will Call. INSTEAD, INGRID WILMOT'S RESTAURANT REVIEWS AS" THE DINING SCENE", WILL BE ON A DIFFERENT WEBSITE, Footlights AND MAY, IN FUTUTRE ALSO APPEAR IN FOOTLIGHTS THEATRE PROGRAMS. I'LL KEEP YOU IN THE LOOP, INGRID



I'M NOT JUST A COMIC GENIUS by Art Shulman

Prolific local playwright Art Shulman, has given us another theatrical treat worthy of his previous hits (The Rabbi and the Shiksah, Rebecca's Gamble), with a story built around a complicated father/daughter relationship, starring Morry Schorr as dad David and Michelle Tannen as his daughter, Judy. He is recently widowed and agoraphobic but she manages to goad him into trying his hand at playwriting. As his thoughts flow, we see his creations come to life on stage, aided by a versatile cast assuming multiple roles. Outstanding among them is Karen Knotts who, with the help of a few wigs and raw talent, portrays a hooker, a frustrated moderator, an eight year old child etc., etc. with equal aplomb. In between the half dozen playlets, we get some insight into David and Judy's evolving feelings for one another, while being entertained by the different characters of David's imagination. The opener is a hilarious graveside gathering of assorted mourners (Knotts, Jerry Weil and Lindsay Nesmith), who meet for the first time. Next is a play reading and discussion in a small theatre that spares no one, especially the director (Weil), which is criticized by Judy as "too wordy". Therefore, David's next, a hooker/john story, is monosyllabic but with a snappy finish, as are all his one-acters. A restaurant setting has us witness a comical blind date situation (Knotts with the hunk-y Anthony Marquez) followed by a scene of a little girl's lemonade stand, with a cop for a father (Weil) and two thirsty customers (Nesmith and Marquez), a perfect comedy noir. Finally, things get a little raucous at the Kardashian Drama School's Spelling Bee (with Nesmith, Marquez and Weil), which had the audience convulsed with laughter. The play ends on a more serious but quite touching, note. Through it all, Schorr carries the show with natural grace and an endearing style, under the apt direction of Rick Shaw.

Secret Rose Theatre, 11246 Magnolia Blvd., North Hollywood 91601. Friday and Saturday 8 pm, Sunday 2 pm. $22, seniors $17, students under 26, $10. Street parking or in metered lot across the street. (818) 465-3213 or A Comic Genius ends 7/27

Pre-Performance Dining Suggestion: You're going to enjoy a terrific meal at BOW & TRUSS, about a two minute ride from the Secret Rose. The name had me puzzled (I thought, maybe the chef has a hernia) but was told bow and truss is an architectural term describing the shape of the roof of the former garage. At any rate, there's a large garden patio in the front and a not unattractive interior with an exhibition kitchen and a center bar, framed by brick walls. The caring service and fair prices will win you over immediately. Happy Hour extends until 7 pm (even on Saturdays), with a glass of wine starting at $6 (usually $8). Exciting cocktails and $2 off most menu items. The cuisine has an intriguing Latin accent (Spanish paella is a specialty), with some uncommon offerings. I had my mouth all set for the Basque clams but they were sold out. The consolation prize, ceviche, made up for the disappointment. Picturesquely presented on a crumbed, baked avocado half, shrimp and tiny bits of scallops, nicely marinated, are topped with crisp, shoestring tortilla strips, a side of cherry tomato vinaigrette and a ribbon of Peruvian style aji sauce decorating the plate, a photo-op, $10. Merguez meatballs, four tangerine size, ground lamb balls, exquisitely flavored with Moroccan spices, garnished with mint-y, pickled onions, sitting in yoghurt puddles, were yum also, as were the half dozen, grilled asparagus spears with sliced caper berries and sheep's milk yoghurt, $9. They have salads, pork belly, a cheese board and assorted tacos, filled with beef, chicken, pork or lamb, $9 and much more. Remember, you get two bucks of most of the above at pre-theatre time, so you may want to spring for an $8 dessert, unless you're too stuffed (we were). This is a wonderful prelude to a splendid main event.

Bow & Truss, 11122 Magnolia Blvd., North Hollywood 91601. Open daily, Full bar. Valet or street parking. (818) 985-8787.

EXTENSIONS; "THINGS BEING WHAT THEY ARE", my favorite among this year's Hollywood Fringe Festival works and winner of the Encore Producer's Award, will have two more performances at the Dorie Theatre at the Complex, on 6476 Santa Monica Blvd., on July 12 at 8 pm and July 13 at 2 pm. Don't miss it! (323) 205-5360.

More good news: "COLD TANGERINES:THE PLAY", another gem on the stage of the Fremont Theatre in South Pasadena, gets three more performances on July 11 and 12 at 8 pm and on Sunday the 13th, at 2 pm. Fremont Theatre, 1000 Fremont Avenue, South Pasadena (626) 811-4111.

WRITTEN BY INGRID WILMOT



COLD TANGERINES: THE PLAY adapted for the stage by Lynn Downey Broswell, based on the book by Shauna Niequist

It looks like girls' night out at the Fremont, where the four women on stage have us in the palm of their hands. This lovely play resonates with the ladies but men will treasure it as well (mine did). Adaptor Braswell, portraying Shauna Niequist, narrates the story of a woman who yearns to become a writer, in a charming, animated way. The only four letter word you'll hear is d-i-e-t. And who hasn't grappled with trying to fit into a tux, a bathing suit or a pair of jeans? As she recounts her struggle dealing with her expectations of being the perfect person, wife and mother, the other actresses, expertly act out her story. (On Friday and Sunday, Abby Lynn, Aliza Pearl and Emily Greco, the latter a stand-out for her comic skills, alternating with Betsy Roth, Kira Shea and Susanna Hicks on Thursday and Saturday).

It's done in a most original and clever staging, smartly directed by Karissa McKinney. Andrew Villaverde and Carol Doehring supply just the right sound and lighting, respectively. Braswell's Shauna pulls no punches, confesses to her failures and foibles, including a bout with jealousy and self-doubt and, for once, exposes what it's really like to be a brand new mom, deprived of sleep and rest. She loves yoga and God, not necessarily in that order but her faith and indomitable spirit help carry her through the tribulations most of us experience due to lack of self-confidence. Mind you, the dialogue is never preachy and is generously sprinkled with humor. Cold Tangerines is an "upper" that works better than any pill and I urge you to see and enjoy this world premiere. You'll be the richer for it.

Fremont Centre Theatre, 1000 Fremont Avenue at El Centro, South Pasadenas 91030. Thursday - Saturday 8 pm, Sunday 2 pm $25, seniors and students $20. Free parking in lot behind the theatre. (866) 811-4111 or The Fremont Centre Theatre ends 7/13

PRE-performance Dining Suggestion: About five minutes from the Fremont, is GUS'S BBQ and your nostrils will pick up the sent of pecan wood smoked vittles from the parking lot, alerting your taste buds that something special is coming their way. There are burgers and sandwiches from $10.95, salads from $9.95, appetizers from $5.95 to $12.95, but if you're smart, you'll go for the barbecue, for which they've been famous since 1946. Ribs come in two styles, St. Louis and Memphis, full racks $25.95, half $20.85. If you don't mind your fingers smelling seductively smoke-y, you'll pick up and dig right into barbecue heaven. Those who eschew hands-on activity won't go wrong with the sliced, beer-basted, Texas brisket, smoked for up to sixteen hours, succulent and generous, $17.95. There are a dozen sides from which you may choose, two per entrée. Ours were garlic mashed potatoes; a mix of crisp sugar snaps and carrot rounds; a red skin potato salad with bits of meat that tasted like ham but our good server, Katrina, said it was bacon as well as Southern greens, so authentic, you'll be talkin' with a drawl before you're done, all delicious, by the way. Other BBQ possibilities are chicken, tri -tip or pulled pork and combos thereof. From their Southern Kitchen, they offer fried catfish and chips, Southern fried chicken etc. This all-American, family-run restaurant is not flossy, tables are bare and some vintage photographs grace the walls but the service and the vibes are both thumbs up!

Gus's BBQ, 808 Fair Oaks Avenue at Hope, South Pasadena 91030. Open daily. Beer and Wine. Parking lot alongside. (626) 799-3251

WRITTEN BY INGRID WILMOT



OTHER DESERT CITIES by Jon Robin Baitz

It's difficult to separate the guilty from the innocent, in this family saga of major emotional and ideological proportions. Therefore, let's not take sides too soon. The year is 2004. George W. Bush is President and the war in Iraq is still dividing the country. It's Christmas Eve in a luxurious living room (gorgeous set by JR Bruce). There's a lovely tree, the kids have come home for the holidays - a time when the prescribed joy and happiness should reign supreme. But it ain't so in the Wyeth home. There's mom, Polly (Suzanne Ford) and dad, Lyman (Nicholas Hormann) in their tennis togs, country club set written all over them. This couple is well connected politically and very conservative, forerunners of what is now Tea Party mentality. Socialite Polly is a name dropper (Nancy Reagan, Betsy Bloomingdale). The debonair dad is a retired Western movie hero, his matinee idol looks still intact. Also living in the household is Polly's sister, Silda (Eileen T'Kaye), a troublemaker with a drinking problem who likes to stir the pot but (ungratefully) accepts room and board. Son Trip, (Blake Anthony Edwards), a laid-back guy and successful TV producer, whose role as a peacemaker is severely hampered by his ultra-liberal sister, Brooke (Ann Noble), a struggling writer with a past of serious mental illness. She's the catalyst that sets off the fireworks that make this story so fascinating. Still enveloped in the loving memory of her dead brother, a radical druggie who was involved in a fatal bomb plot and committed suicide shortly thereafter. She has penned an about to be published memoir, exposing her parents' guilt in his death.

Director caryn desai gives us a think piece that never falters nor stands still, with a second act that's pure dynamite. Secrets are peeled away like the layers of a sharp, eye-watering onion. Noble, as the tormented Brooke, is riveting, her pale face mirroring her intense pain. The stylish Ford is also excellent and not the heartless yenta of the first impression. The patrician Hormann shows us the true face of a burdened father behind the polished veneer. T'Kays's role in this story, is primarily to supply the laughs and she does the job, while son Edwards plays the good natured teddy bear of a man with easy going, natural grace. Jon Robin Baitz is well known for his successes in films, television and stage. Other Desert Cities was a 2011 Outer Critics Circle winner and a Pulitzer Prize finalist, honors well deserved. This yeasty play delineates in an uncompromising way, the dynamics of a divided family, stripped naked.

International City Theatre, Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach 90802. Thursday - Saturday 8 pm. Sunday 2 pm. $42 - $47. Parking in structure opposite the theatre $10.Drive down Pine Avenue, turn left on Seaside Way and follow signs. (562) 436-4610 or International City Theatre ends 6/29

Pre-Performance Dining Suggestion: A lot has changed on the menu of CAFÉ SEVILLA, my favorite tapas place, with authentic Spanish cuisine and handsome bodega ambiance. New are Spanish flatbreads, empanadas and gluten-free or vegetarian dishes. There are lots of sipping choices, sangria, caipirinha, mojitos, beer and wine. Their house Chardonnay from up in Monterey at $7 per glass, is not bad. They still serve those wonderful tapas like albondigas in Jerez sherry and chicken skewers, $7 each, excellent ceviche $7 - $10 and their famous paella from $21 (vegetarian) to $32. Meat and fish entrees are all a la Carte and extra mashed potatoes or vegetables are $6. The classic Spanish jamon Iberia, with ham from free-range Iberian pigs, will cost you $27, something for the very rich or slightly loco gourmands. Rabbit is one of those rarities, once popular at long departed French restaurants, but available here, hurrah! It's done Basque style, braised with rosemary and thyme and presented in two little piles, separating the white meat from the dark. Both are equally moist and tender but watch out for a couple of tiny bones. Included is a tiny crock of pan drippings and red wine sauce and some cracker wafers, a good value at $16. You'll want also share the mushroom and garlic tapa as an accompaniment, really tasty, $6 to complete this light, pre-curtain supper. Prices have risen but the top quality has remained constant. Sadly, the best Sunday brunch in town, theirs, is a thing of the past. Service is pleasing and the "Welcome To Spain" greeting warm and sincere. Allow ten minutes to drive to the ITC.

Café Sevilla, 140 Pine Avenue, Long Beach 90802. Full bar. Street parking in this area is beyond tight. Valet parking $8.(562) 495-1111.

EXTENSIONS: Two plays, previously reviewed on www.willcall.org have announced new closing dates and here they are: Against The Wall at Theatre West ends July 26th (323) 851-7977. Is There Sex After Marriage at the Two Roads Theatre ends July 13th (323) 960-5770.

WRITTEN BY INGRID WILMOT



AGAINST THE WALL by Charlie Mount

This is a look through the keyhole at the lives of people who make their living aw comedian, a gut-tearing profession. We've read enough biographies and autobiographies to know that insecurities propel most of them and getting laughs is what makes the life-blood flow through their veins. Jeff Zelinski (Nick McDow), is such a man. He has a gig in one of Greenwich Village's comedy clubs, called Against the Wall and lays more eggs than the hens before Easter. His shtick is stale, his delivery insipid, his jokes are ancient, most of his material is offensive. And he swallows his punch lines. Into his life, courtesy of his room mate, Alex (Lukas Bailey), comes the cosmic Susan (Katie Adler), a vivacious, red-headed actress, whose life revolves around the saving of endangered species, a cause totally foreign to Jeff, who has probably never even seen a dolphin in its native habitat. The question is, is there hope for these two neurotics to find some love?

Playwright/Director Mount has penned a play based on his own experiences as a stand-up/magician in many a basement and he knows of what he writes. I have to say that the audience laughed hysterically at every word, move and gesture emanating from the stage but I wasn't exactly rolling in the aisle. Adler's monologue in Act II, as she tries her luck with a stand-up routine of her own, about her relationship with her boyfriend, is genuinely funny and was, for me, the prize in the crackerjack box. The diminutive, fast-talking McDow as the conflicted comic, personifies the shleppy sad sack. The lanky Bailey, as his best friend whose career is on the ascension from the cellar circuit to success in L.A., makes his sporadic appearances most welcome. The serviceable, dual purpose set is by Jeff G. Rack and the sound, also by Charlie Mound, of appropriate music coming from an upstairs tenant, deserves special kudos.

Theatre West, 3333 Cahuenga Blvd. West, Los Angeles 90068 (opposite Universal City) The play runs in repertory with Flag Day and dates are June 19 - 22nd, Thursday through Saturday 8 pm, Sunday 2 pm $30 general seating; $35 premium seating (first four rows), seniors $25, students $5. Free parking in lot across the street. (323) 851-7977 or Theatre West ends 6/22

Pre-Performance Dining Suggestion: The Spoonful Restaurant near the theatre seemed like a good choice but just as we were about to order, were told that this I their last night of operation. In a panic, we settled on THE MAN CAVE, a sports bar, about five minutes from Theatre West. A large, semi-divided room adorned with banners and a TV screen on every available wall space. Dine as far from the bar area as possible, where the volume of ardent and vociferous fans, alternately cheering and moaning, is less audible. The food is typical of this genre, appetizers: wings, sweet potato fries, onion rings etc. $8 - $ll. Sandwiches and burgers dominate the menu and a serious meal is harder to find than the proverbial good man. To their credit, the pizza is pretty good, $10 plus two bucks extra for toppings like chicken, pastrami and more. Our choice, pepperoni and cheese came to $12, was crisp-crusted and hot from the oven, though not my idea of the ideal pre-curtain repast. More to the purpose is their carne asada $13, with an enormous salad of ultra fresh, baby greens and ripe tomatoes with balsamic vinaigrette. It comes with polenta but they were out. The substitute grilled yellow squash rounds were perfect. The meat had a few blemishes of grizzle, my advice is to cut it into bite-size pieces before you start. Miss Manners would not approve this but she would be even more dismayed to catch you spitting it out in mid-conversation. The meat's flavor was fine and so generously portioned, we took home about half of the thin slices for a steak & eggs breakfast in the morning. The staff is exceedingly friendly and makes you feel like an old, lost friend. Beer and cocktails galore, wine choices are red or white, $8 per glass.

The Man Cave, 3575 Cahuenga Blvd. West, Universal City 90068. Full bar.Validated parking in building's underground garage. (323) 851-2283.

WRITTEN BY INGRID WILMOT


FLASH TO THEATRE FANS: The annual HOLLYWOOD FRINGE FESTIVAL, a wild and crazy collection of the performing arts, is being staged in about thirty venues throughout Hollywood, between Western and Gardner east to west, Franklin and Melrose north to south, from June 12th to the 29th. It's a community event that's open and uncensored, diverse and exciting, offering exposure to (mostly) talented performers to strut their stuff. For the complete scoop, schedules and information, log on to HFF14.org or call (323) 455-4585. See you there!


THINGS BEING WHAT THEY ARE by Wendy MacCleod

The Hollywood Fringe Festival shoots out of the gate with a spectacular start, with this delicious comedy about two neighbors of diametrically opposed personalities, whom fate has brought together at a point in their lives where finding a friend is like a life raft to a drowning man. Bill (Cameron Jappe), has just moved into a new condo, presently bare, while awaiting the arrival of his lovely actress wife, Adele (Laura Buckles), when Jack (Chet Grissom) from next door, drops in. I should say, settles in, he's never in a hurry to leave. Being divorced and lonesome, his neediness grates on Bill, who'd rather be on his own. He's too well mannered to actually throw him out and reluctantly offers him one of many beers and conversation. And, we bless him for his hospitality. These two guys are immensely simpatico; one is a sensitive gentleman of good character, sincerely in love with his wife, regretfully childless and concerned about his spouse's suspected infidelity. Jack, on the other hand, is earthy, a bit crude, a former philandering husband and absentee father but so amiable and funny, we'd love to have an acquaintance just like Jack, to keep us amused. In the course of the story, full of humor and heart, they have to deal with serious setbacks not merely of a temporary nature and you will savor every moment of their bumpy way to becoming brewsky-buddies.

According to his program bio, Director Darin Anthony specializes in emotionally resonant performances and that's what he got. Both men are superb in their characterizations and if this were a movie, they'd be up for Oscar nominations. If Bitter Lemons gave a BLIP Award (Best Individual Performance), they'd have to share it. Another remarkable fact is, that the playwright is a woman who captures every nuance of the bonding male idiom so authentically, one suspects she hid in a man cave, wearing a wire. She's a graduate of Yale School of Drama, currently in residence at Kenyon College and a serious candidate for Bitter Lemon's BLIFF Award ( Bitter Lemons Irreverent Femmes Award)We look forward to seeing some of MacCleod's other plays but you'll never squeeze a sweeter lemon than this one. But you won't soon forget this one.

Dorie Theatre at The Complex, 6478 Santa Monica Blvd., Los Angeles 90038. $15. Performance dates in June: 14th at 2:30 pm; 19th at 9 pm; on the 22nd at 7:15pm; on the 26th at 8 pm and on the 29th at 4 pm. Tight street parking. (323) 455-4585 or The Dorie Theatre ends 6/29

Pre-Performance Dining Suggestion: Treat yourself to a fantastic meal at LITTLEFORK, which is about a ten-minute drive from the Complex and well worth it. It has a sleek, contemporary interior in shades of dove grey and an inviting, secluded, covered patio, miraculously isolated from the honking and other traffic noises. The wine list is minuscule, per glass from $10 but there are plenty of sipping opportunities in the cocktail department. Jason Travi, who first made his mark at Culver City's Comme Ça, now co-owns this place. The menu is full of surprising delicacies, nary a déjà vu L.A. standard and the service is outstanding. Awaiting at table is a jar of pickled squashes and orange slices, most unusual but very good and reminiscent of mustard pickles, still crisp. Ever heard of poutiness? These are Canadian dishes, with French fries, such as cauliflower with curry gravy and mozzarella curds $11, salads like kale, Lyonnaise style, from $11 to$14 or, if you crave sterner stuff, house smoked brisket, trout and sturgeon $11 to $14 or skate (bone-in) for $19. Must haves are sunchokes, a.k.a. Jerusalem artichokes, which they slice, skin on (who knew the skin is edible?) and roast to a golden turn. We should all be so firm! On the plate are raw, shaved 'chokes, sprinkled with flat-leaf parsley and a dip of Green Goddess dressing, truly heavenly. We passed on the candied lemons, $9. Their steak tartare comes hand chopped, a la tuna poke, beautifully seasoned, with a tiny pitcher of bacon Hollandaise and crostini. Our good waiter brought a few extra slices. Since portions are small and $9 and $14 aren't budget breakers, you should splurge on desert (to share). They have buttermilk pie, which sounded intriguing but we succumbed to a chocolate pot de crÃ'‚Â'me with Chantilly (flavored whipped cream), pure caloric silk, which disappeared faster than you can say "this last bite is mine!" $8.

Littlefork, 1600 Wilcox Avenue at Selma, Hollywood 90028. Fullbar. Valet parking with validation $6, $10 on weekends or in public lot a few steps north. (323) 465-3675

WRITTEN BY INGRID WILMOT



DATES AND NUTS by Gary Lennon

Looking for some cool, summertime entertainment? Consider this play, a light libation with plenty of hot pepper, spice and salty language. And, of course, laughs. It opens as two gum-chewing chicks sit on a typical New York stoop, guy-watching. There's Mary (Dianne Aguilar, who resembles a young Rita Moreno) and the horny Eve (Elizabeth Regen), hungry for love and sex, not necessarily in that order. She's just been dumped, ogles every male, strikes seductive poses, is jealous of every female and even considers the neighborhood drag queen (the jive-talkin' Darryl Stephens), competition. She's beyond vulgar and utterly despicable. Until you get to know her. This actress rocks the role as though created just for her. Her road to love in this amusing story, however, is paved with nails. In scene two, the girls are in a bar. Eve is now unapproachable. She wards off the attentions of Donald (Dave Scotti), a little fellow who hides his shortcomings behind bravura boasts. When Al (Josh Randall) approaches her, she rebuffs him in no uncertain terms. What happens next will not be detailed here but be assured, you won't be bored.

Wilson Milam directs this multi-scene rom-com like a rollercoaster ride, with exhilarating ups and scary downs and never loses the audience's interest. Aguilar, as the volatile Eve's best friend, provides the right balance portraying her more subdued character. Scotti, in his pathetic pick-up routine, manages to make this obnoxious dude likeable. Randall is another example of astute casting. He evokes trust with a certain sincerity of manner, made to measure for an appealing, not too slick, prospective boyfriend. Regen, as previously noted, is fabulous! Playwright Lennon, a native New Yorker, with the juices of the Big Apple still flowing in his veins, creates a vivid image of that city's denizens with authentic dialogue and attitudes. He is a respected television writer who has an impressive resume of theatrical successes (A Family Thing, Blackout and The Interlopers). This West Coast Premiere is the work of someone who has experienced a few dates with some major nuts, himself. Set design is by Stephen Gifford, lighting by Sohail e. Najafi, sound by Corwin Evans. Good job, all around.

Bootleg Theatre, 2220 Beverly Blvd., Los Angeles 90057. Thursday through Saturday 7 pm (please not early curtain time), Sunday 2 and 7 pm. Dark 6/7 and 22 and 7/12. No intermission. Beer, wine and sake sold in lobby and permitted in theater. Free parking in church lot across the street. Enter via Rosewind. Advance purchase online $20, at the door $25. Seniors and students $18. (213)389-3856 or The Bootleg Theatre ends 7/13

Pre-Performance Dining Suggestion: About a five minute drive from the Bootleg is COJUTEPEQUE, a Salvadorian restaurant. The toughest part is pronouncing and remembering the name. Repeat after me: ko-hoo-te-peckway. The rest is easy. Salvadorian cuisine is pleasantly seasoned, not overly spiced, generously portioned and, certainly affordable. This is a popular, little spot, two decades in the same location, not fancy but nice and neat, with glass topped tables, a giant wall mural and a friendly staff. Pupusas of tortillas, tamales etc., start at $2.15. Entrees from $8.95 for chicken sautéed with onions, fried or stewed with carrots and potatoes; bistek or pork chop $9.95, up to $12.95 for a lavish combo of steak and shrimp kabobs with platanos and salad. We tried the pollo a la crema, a disjointed chicken in an absolutely terrific sour cream sauce, with rice, French fries (a double carbo load in case you're set for an imminent 10K), plus a little salad of shredded lettuce, a cucumber and tomato slice with a side of ranch style dressing, $8.95. Being a fan of beef tongue and hardly ever finding it on a menu, I went for the lengua entomatado and glad I did. The tender tongue is chopped, sautéed with home made, fresh tomato sauce, onions and tiny bits of bell pepper, simply excellent. On the plate is cooked to the point, rice, pureed beans and the above described salad, $10.50. Give Cojutepeque a shot, you won't regret it. The only thing missing was a glass of wine, too bad they have no license.

Cojutepeque, 2610 W. 3rd Street at Rampart Blvd., Los Angeles 90057. No alcohol. Open for breakfast, lunch and dinner. Parking lot in front. (213) 382-5163.

WRITTEN BY INGRID WILMOT



GAMES ON A BOMBED OUT BEACH by Shirl Hendryx

This world premiere directed by the playwright in one of the most attractive small venues, holds a lot of promise, albeit unfulfilled. It deals with a group of Hollywood pros on location. They're in a Greek Island's hotel, engaged in pre-production. Sounds intriguing and glamorous, a situation where anything can happen. The producer, Harry (Drew Katzman) comes on the scene mad as hell, because the Director, Paul Deckard (Jonathan Salisbury) messed with the finished script. A solid performance, you can actually see Katzman's blood rising to his head. Lisa (Jane Hajduk), the wife of the leading man, Jim Branson (Richard Chassler), has come to join him on the set. This is a complicated woman whose former lover, unbeknownst to her husband, is the director, Paul. This sounds a lot more exciting than it actually is. There's an overload of gazing out the window at the ruins of the bombed out temple, the local tourist attraction in season. They muse, ad nauseum, about the music in the wind, the possible ghosts among the ancient ruins, the trees and the flowers. Meanwhile, Jim and Lisa's marriage is falling apart.

The actors work diligently to sustain their peculiar characters. Hadjuk, whose hard cookie looks belie a self-deprecating, almost psychotic woman who is in constant mental anguish. A directorial hint about her incessant brushing her hair off her forehead would not be amiss. Chassler, the supposed successful matinee idol is an ordinary-looking guy whose energy is spent worrying about world hunger, genocide and other global catastrophes. But he hasn't bothered to check out the recent performances of the slacker director he has long admired and has hired for this film. Nor does he have a clue that his wife worked her way through Hollywood, mostly horizontally. Salisbury's Paul revels in sarcasm and venom but plays it with a genuine world weariness. It would be hard to find a less likeable trio. Jacques Freydont has a pleasant bit as the Greek village's Mayor, Stephanie Colet as a gofer with never ending legwork is fine and TJ Alvarado is the good natured bartender cum bellman. Set design (Thomas Meleck), lighting (Sammie Wayne IV) and sound (Carey Dunn) are above reproach. Could there be a deeper meaning to the costume designer's (Dory Haverty) reason for having the cast wearing the same clothes during the passage of several days? One desperately waits throughout this static tale's unfolding for gut grabbing, or at least, amusing scenes. When, almost at the end something dramatic does occur, it's too late. At this point, frankly, my dears, we don't give a damn.

Macha Theatre, 1107 N. Kings Road, West Hollywood 90069. Friday & Saturday 8 pm, Sunday 3 pm. $25. Free parking lot on either side of the theatre. The entire lot is available Saturday and Sunday. Public parking across the street $5. (323) 960-4429 or Plays 4ll Games On A Bombed Out Beach ends 6/22

Pre-Performance Dining Suggestion: Park and walk one block east to MARIX a Tex-Mex café with expert service, great food and a cheery, glass covered patio. If you arrive at pre-curtain time, you'll luck into Happy Hour, 3 to 7 pm, effective even on Saturdays, when a glass of wine goes for $4 and a big pitcher of Margaritas for $19. You'll also have to endure a lot of noise by the already very happy patrons, who've probably downed a few of those. But that's the only gripe because the kitchen does a super job and everybody is having fun. Appetizers start at $6 (chile con queso), a combo of fajitas is $17. There are tacos, burritos and a very tasty enchilada Suiza with chicken and cheese, $13. In the mood for a salad? The rosy, rare ahi tuna is lovely, over a heap of baby greens and kale with a nice cilantro dressing on the side, $14. There's a terrific hanger steak, marinated Cuban style. It comes pre-sliced, with thick chimichurri, black beans, rice and some shredded cabbage and radishes, over which you can pour some of their wonderful salsa and create a little salad. Another big hit, was the pasilla pepper stuffed with corn, cheese and seafood (shrimp and crab) in a creamy sauce, the latter two, $17 each. This dinner was the highlight of our evening.

Marix Tex-Mex Café, 1108 N. Flores St. near Santa Monica Blvd., West Hollywood 90069. Full bar. Open daily. Valet parking $6.50. (323) 848-2458

Written by INGRID WILMOT



THE GONDOLIERS by Gilbert & Sullivan

Three cheers and a Tiger, as the Brits are wont to say, to the Sierra Madre Playhouse, for NOT putting on the old war horses, HMS Pinafore and The Mikado, instead choosing a lesser known operetta, the melodious, delightful spoof of royalty, THE GONDOLIERS. Director Alison Eliel Kalmus' new adaptation sets the action in England, in the year 1953, an odd conceit that explains the costumes, or the lack thereof. I initially assumed, that for economic reasons, it would be easier to raid the local thrift shops for vintage clothing than to commission fancy gowns for the women and gondolier outfits for the guys. Wrong! Reading the Director's Notes at intermission, it turns out that the entire production takes place during the festivities of Coronation Day, as a sort of non-dress rehearsal because props and costumes have been temporarily lost in the excitement. No matter. As long as respect is paid to the catchy tunes of Sir Arthur's and the clever lyrics by Mister Sullivan, no serious Savoyard is going to complain. The lack of elaborate trappings is made up by the enthusiasm of the cast.

The jolly Nicholas Mongiardo-Cooper and Dan "DW"McCann are the lively Palmieri Brothers, Marco and Giuseppe, gondoliers in Venice, who love and marry their sweethearts Gianetta (November Christine) and Terra (Jenna Augen). Soon they are advised by the old Grand Inquisitor (John Saura) that one of them is actually the King of Barataria, to be crowned at the palace. But which one? Your guess is as good as mine. There's much merriment and snappy hoofing, until all is resolved, considerably enlivened by every appearance of the overbearing Duke of Plaza-Toro and his entourage, including his snotty wife (Joy Weiser), lovely daughter Casilda (Kara Masek) and drummer boy Luiz (John King). The star of the show, without qualifications, is James Jaeger, who inhabits the role of the Duke with the professionalism of a Doyle Carte member. His diction is impeccable, his voice resonant, his histrionics perfectly in tradition - a performance fit for the world stages. In fact, the player deliver remarkable vocal work, some of whom have appeared in grand opera. The excellent Masek has done Mozart's Magic Flute and Bellini's La Somnambula. Weiser has sung in Donizetti's Don Pasquale. Also vocally impressive is the perky Augen and the mugging Christine, the two newly wedded wives. Saura's strong stage presence makes up for his slow-warming vocal prowess. The diminutive drummer, King, with the demeanor of a tax accountant, displays fine comic flair. The chorus consistently fills the hall with glorious sounds, accompanied on the piano by Music Director Leonardo Scolis. Specia mention must also go to the sound and lighting techniques of Barry Schwam and Greg Tillery, respectively. The dancers, led by MarLee Candell, do justice of the simple but entertaining choreography (by Angela Nicholas) in this enjoyable romp.

Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre 91024. Friday and Saturday 8 m, Sunday 2:20 pm.$28, seniors $25, youth 13 to 21 $18, children 12 and under $12. Free parking in lot behind the theatre. (626)355-4318 or The Sierra Madre Playhouse ends 6/21

Pre-Performance Dining Suggestion: What could be better than a one-stop visit, beginning with dinner at SIERRA BRIGANTI, across the street from the Playhouse. The delicious Italian menu is similar to the recently reviewed, sister restaurant Briganti in South Pasadena, with fine food and service. Briganti in Italian stands for pirates - but nobody robs anybody here. My suggestion, first of all, is to avoid the noisy interior and enjoy the al fresco atmospheric conditions of our amiable Southern California springtime. Burnt orange napkins add some color to the bare, dark wood tables and traffic is fairly light along the charming Boulevard, a model of Americana Main Street. Antipasti start at $6 for bruschetta or soup; salads from $11; pasta $10.50 to $17 (with shrimp); pizza from $10. If you're in the mood for a superb appetizer, you may want to share the black mussels, just the right amount as a starter for two. They come in a lovely, lightly spiced, tomato tinged, white wine broth which you should spoon up or dip up with the warm focaccia bread, $7.50. Main courses are around $16 to $22 and include chicken, salmon and N.Y. steak. They make an excellent veal scaloppini of good quality, with tons of capers, just as good as I remember from their South Pasadena location. For fish fans, nothing could be finer than the pistachio-crusted sole, pan roasted, fresh flavored, delicacy intact. Both entrees come with piped on mashers and diagonally cut, al dente carrots, zucchini and yellow squash. The wine list is short but fairly priced, from $7 per glass. This meal will provide a suitable overture to a long remembered experience.

Sierra Britanti, 120 W. Sierra Madre Blvd, Sierra Madre 9024. Beer and wine. Parking lot alongside. Closed Monday.(626) 355-3700.

Written by INGRID WILMOT



THE LAST ROMANCE by Joe DiPietro

This charming, little theatre in the heart of Downtown Torrance, consistently presents audience-pleasing works and this is no exception. Anyone who's fed up with the sexual exploits of pimply-faced youths and their teenage angst should definitely see this heartwarming play. Ralph Bellini (Scott Renfro) is in a rut, living with his yenta of a sister, Rose (Geraldine Fuentes), who cooks and cleans for him and never lets him forget it. On one of his daily walks, Ralph takes a slight detour and ends up in a dog park (cute set by Mark Wood). He spots an attractive, silver-haired woman, Carol (Daryl Hogue France) who sets his eighty-year old heart a-pounding faster than it has since he became a widower, many years ago. Just watch him trying to hoist his best pick-up technique out of mothballs. Carol, unfortunately, is only interested in her little dog, Peaches and quite annoyed by his attention. Ralph is an Italian-American and a lover of grand opera. As a young man, he had a beautiful singing voice, samples of which are supplied by Matthew Tan Welch impersonating the young Ralph. Welch, despite his slender frame, possesses a strong, splendid baritone and the snippets of Italian folk songs and operatic arias, rather than interrupt the flow of the story, add even greater poignancy to the proceedings.

This is a courtship filled with humor and surprises, very cleverly written and performed with gusto. Regrettably, there is no bio of the Tony Award-winning playwright in the program but DiPietro has written "Over the River and into the Woods", the musical "Memphis" and his most recent Tony-nominated "Nice Work If You Can Get It", which played on Broadway in 2013. Renfro is delightful, as he pursues his ladylove with the ardor of an enamored schoolboy and the enthusiasm of a puppy dog. Hogue France is lovely, with chiseled, delicate features. She's aloof but never nasty and has a winning smile. Fuentes, as the overbearing sister, earns our sympathy if not our affection but we'd all like to come to dinner and taste her veal scaloppini. Director Perry Shields' empathy for his characters is apparent as they portray endearing, flesh and blood seniors, never caricatures. The Last Romance is not just for mature audiences but if you're older, you learn that it's never too late for a little romance and if you're still young, it'll give you something to look forward to besides your Social Security.

Torrance Theatre Company, 1316 Cabrillo Avenue, Torrance 90503. Friday & Saturday 8 pm, Sunday 2 pm. Also Thursday, June 12th at 8 pm, followed by a Q & A with the cast. $25. Parking lot or ample street parking. (424) 243-6882 or The Torrance Theatre Company ends 6/14

Pre-Performance Dining Suggestion: You will love ANTIGUA CAFÉ. Ideally located but slightly hidden, in the little mall catty-corner from the theatre. Just park and walk across the street. It has a little patio in front and a deli counter right of entrance. Along the rectangular room's wall are tables with fresh flowers and comfy chairs, casual but neat and tidy. Not many of us a re familiar with the cuisine of Antigua but here's our chance to explore the flavors of this interesting region, long famous for its coffee bean called Antigua Guatemala (learn more by reading the notes inside the take-home menu). I heartily recommend the Spanish tapas, which are international in scope. You can get three for $11.99. They have six different ones on the menu so you may as well order all of them and share. Each and every one is delectable, served on diagonally sliced, home-baked, French baguettes, super fresh and crusty, hollowed out and heaped with delicious combinations. You'll savor goat cheese and caramelized onions, barbecued, pulled pork, hummus and couscous with chicken strips, roast beef bedded upon a slice of Provolone, pesto, mozzarella and capers and even a Polish specialty, Bigos (hunter's stew), a recipe Chef Yaneth, who grew up on a coffee plantation in Guatemala, gleaned from her travels around the world in search of culinary treasures. She watched her grandma, mother and aunts prepare fresh food for their large family and this was a little girl who paid close attention because everything here, including the home made, French apple tarte, $4.95, tastes of love. On my next visit I hope to try the Tamale Dinner, a multi-course Mayan specialty, $11.99. There are Flamenco background tapes and a surprisingly well assembled, international wine list, from $5.50 per glass, chosen by Yaneth's husband Gregory, a wine buff who knows a thing or two about the grape, which rounds out this pleasant dining experience on the right note. But, don't leave without a cup of that splendid coffee, $3.49. Now it's your turn to discover Antigua Café!

Antigua Café, 1231 Cabrillo Avenue, Torrance 90501 Breakfast, lunch and dinner, .Mon - Wed 10 am to 8 pm, Thurs. - Sat. 10 am - 10 pm. Open on the last Sunday of the month from 9 am to 4 pm. Beer and wine. Catering. Free parking in underground garage. (310) 320-2400.

THE GREAT OUTDOORS; You know it's summertime when THE FORD THEATRE has started its annual outdoor season of performances. This lovely venue, across the Freeway from the Hollywood Bowl, brings music and dance of infinite variety, to suit the demographics of Greater Los Angeles and there's something for every taste. Got kids? Saturday mornings' programs will appeal to children. Latino music is represented manifold. The Folklorico group, Mexico Baja Luna, Saturday May 24th, Fiesta Mexicana Mariachis on the 31st,both at 7 pm. Ballet Folklorico Olin, August 15th. African Dance and Drums, June 2nd, South African Music & Step Dance, July 5th. Both with audience participation. The Cambodian Music Festival takes place on August 9th, Philippine Choral Music is heard on August 17th, the Jewish Symphony with Hershey Felder will play on September 9th, Viver Brazil is September 6th. The Long Beach Opera appears on August 25th, Middle Eastern Dance is scheduled for August 11th and Broadway Under the Stars arrives August 18th. And much, much more! A trip around the world for a "Staycation" right here at home. Prices and starting times vary, some events are free. For a complete brochure, call (323) 461-3673 or The Ford Theatre Purchase a week in advance, save $5 per adult ticket, three or more events, save 20%, bring a warm wrap for cool evenings and a seat cushion doesn't hurt, either. Food and drink are available at the Concession on the top floor. The stacked parking, $5 on most evenings, is no fun but you can go Metro and take the shuttle from Universal City (evenings only). Allow an extra thirty minutes.

Ford Theatre, 2580 Cahuenga Blvd. East, Hollywood 90068. May 11 to September 13 2014.

Written by INGRID WILMOT



FALSE SOLUTION by Oren Safdie

This encounter between a successful architect and a star-struck intern is an interesting one-acter with political and sexual overtones, taking place in the architectural studio (set by Evelyn Elias) belonging to Anton Seligman (Daniel J. Travanti). The intricate model of a building on the table, is for a planned Holocaust Museum to be located in Poland, which is akin to erecting a statue of Abraham Lincoln in the Deep South, just after the Civil War. We are all now aware why the Nazis located most of their concentration camps in that, then inflammatory anti-Semitic country. But back to False Solution.

Linda Johansson (Amanda Saunders), is a first year architectural student who has closely followed Seligman's career and has even written a paper on him. She's no ordinary groupie. Highly intelligent, subject-knowledgeable and also exceptionally attractive. Her input, influenced by personal experiences, is not ignored by the mature, self-assured man. She would like to be his muse, inspiring him to alter his design to reflect more of the unspeakable horror and suffering of six million victims, as it relates to the current landscape surrounding the edifice. To intensify the plot, there's an alluded chemistry between them which tests one's credulity. He's a lean, old man and physically unappealing, yet, fame can be an aphrodisiac second only to wealth, so who's to say that their collaboration, if it comes to fruition, could not possibly be more than platonic. Written and directed by Oren Safdie, a former architectural student who knows his métier. His dialogue glistens with knowledge of his subject and although it occasionally sounds forced, gains credence by Travanti's often hesitant, sometimes rambling, delivery. His admirer, Saunders, is a young woman to be watched. In addition to her slender, long-legged beauty, she's an accomplished actress. Her transition from opinionated ingénue to anguished survivor, grabs the hearts of the audience like a vice. A fine performance which makes this play worth seeing.

Santa Monica Playhouse, Main Stage. 1211 4th Street, Santa Monica 90402. Thursday - Saturday 8 pm, Sunday 5 pm. $25. Park in Public Structure 1 right across the street. (800)838-3006 or Paper Tickets/event/588521 Ends 5/11

Pre-Performance Dining Suggestion: Across the street from the Playhouse is P.F.CHANG, a popular Chinese chain that has in its favor convenience and surprisingly tasty food. Purists, who are willing to schlep to the San Gabriel Valley for authentic or oddball dishes, may turn up their snobby noses at this suggestion. But I can tell you, we had a terrific experience and a one stop parking-dining-theatre bonus, as well. Because it's almost impossible for two people to chopstick their way through a proper variety of Chinese dishes, choose from Chang's appetizer selections of assorted tastes and textures to please your palate. Start with chopped chicken and rice noodles to wrap in lettuce leaves, form a cup, fill it, add a few drops of soy sauce and eat it like a taco, $8. The Northern style ribs are rubbed with savory spices, including five-spice with its hint of anise, a meaty half dozen for $9.95. Some like it hot and for them there are Dynamite shrimp with sriracha aioli, adding a nice bite, crisply coated and festively decorated with shredded cabbage and greenery, $10.95. To round it all out, order the Singapore noodles, with scallions, some shrimp and cilantro garnish, delightful, for $11.95 You'll not be hungry in an hour, guaranteed. Additional available appetizers include won tons, dumplings salt and pepper calamari and more. Main dishes go for $13.95 (chicken) to $24 (sea bass) and lots in between. There's also a prix-fixe dinner for two, $39.95. They concoct fancy cocktails, wine by the glass from $5. This is a pretty, very large room, a- buzz with guests chatting, sipping and eating, a shiny parquet floor below, round, amber light fixtures above. The staff is smiling and attentive and will check on your satisfaction throughout the meal. A good bunch.

P.F. Chang, 326 Wilshire Blvd. at 4th Street, Santa Monica 90401. Full bar. Open daily. Park at Structure 1. If you arrive around 6 pm for dinner and return after the show, it'll cost you $5.50. (310)395-1912.

MAN IN A CASE adapted by Paul Lazar and Annie-B Parson/Big Dance Theatre

Did you mother tell you that if you can't say anything nice, keep quiet? Then you better not become a drama critic. This show is the biggest disappointment of the year, so far. Consisting to a large extent of an exercise in reading aloud, the two short stories by famous Russian author Anton Chekhov, as directed by Lazar, are staged with no effects spared: projections large, medium and small (by Jeff Larson), strobe lights, excellent sound (by Tei Blow) and lighting (by Jennifer Tipton), some live accordion and guitar music and a whimsical, little bedroom set (by Peter Ksander). None of these help. Admit it, unless you're related to one of the cast members (Jess Barbagallo, Tymberly Canale, Chris Giarmo and Aaron Mattocks), you've succumbed to the promo phrase "Baryshnikov Is Back". One can't help but feel for Misha. The career of a ballet dancer is painfully short and when strength and muscle power begin to fade but you miss the limelight, adoration and applause (not to mention the money), you must try something less strenuous. If on this beautiful Broad Stage he expresses intense emotion or exhibits theatrical talent, I couldn't see it. My allocated press seats were in the very last row of the orchestra, not the ideal vantage point for a reviewer. As for his speaking voice (miked), it's saddled with a Slavic accent (not a bad thing for Chekhov) but its timbre is not particularly pleasant. In the opening story Baryshnikov is a black-clad, lonely schoolteacher who is smitten by a giggling girl on a bicycle (Tymberly Canale). When he wakes up in the morning, he does four jumping jacks and we wait for him to break into a dance routine, now that he's limbered up. No such luck. When the act is just about over, he finally shows us a few moves. Dancing 101, nothing you couldn't do after a couple of Martinis. Choreography, such as it is, is by the co-adaptor, Parson).

In the second, shorter tale, titled About Love, he falls for an unattainable, married woman (Canale again). The ending is somewhat mysterious and comes not a moment too soon. Let us treasure the memory of Baryshnikov's former balletic prowess and sexy energy - don't waste your money on this turkey. Amazingly, some people gave it a standing ovation so, who knows, you may even like it.

The Eli & Edythe Broad Stage, 1310 11th Street, Santa Monica 90401. May 2,3,5,6,8,9 and 10 at 7:30 pm, May 3,4 and 10 at 2 pm. Seventy minutes, no intermission. $47-$137. Free parking lot in front. (310) 434-3200 or The Broad Stage ends 5/10

Pre-Performance Dining Suggestion: You'll have a nice, inexpensive dinner at HUCKLEBERRY, not more than ten minutes from the Broad. This is a casual, laid-back kind of place, from the people who also own Santa Monica's Rustic Canyon and Milo & Olive. They really know how to prepare the fresh, healthy food, gleaned from organic farms to nourish us city slickers. The room is light and airy, with fresh flowers on the bare tables where napkins and assorted silverware are stored. It's quite noisy so save your bons mots for another occasion. The entire breakfast, lunch and diner menus are listed on giant blackboards above the counter, where you place your order, pay and receive a table number, then to be seated to await the arrival of the goodies. They have salads, sandwiches, soups, side dishes and a short selection of entrée plates, none higher than $13.50.That is the price of the brisket which is actually a hearty beef stew with an occasional bite of potatoes and carrots, in a light but flavorful gravy and plentiful chunks of meat. Even better are the turkey meatballs, about a half dozen the size of tangerines, in a fresh, homey-tasting, pureed tomato sauce, a winner for $12. Portions are huge, served in a large bowl with a side of baby arugula salad, slightly underdressed, like some of the clientele here. There's a glass case by the door, displaying some luscious looking salads, which would make a satisfying, cold supper when our summer weather kicks in. I'm putting that on by bucket list.

Huckleberry, 1014 Wilshire Blvd., at 10th Street, Santa Monica 90401. Free parking lot in rear. No reservations. They are open daily but close at 5 pm on Saturday and Sunday. (If you can't get there early, there's always the fabulous, previously reviewed, Santa Monica Seafood next door.)(310) 451-2311

WRITTEN BY INGRID WILMOT



MY NAME IS ASHER LEV by Aaron Posner

This involving story deals with the struggle of one man, whose loyalty to faith and family is severally tested when his strong religious upbringing clashes with his overwhelming passion to express himself through art. Asher Lev (Jason Karasev), from the time he was a little boy, loved to draw more than anything in the world. His father, (Joel Polis), a dedicated, devout Jew who, like his forbears of many generations, serves as assistant to the local rabbi, travels the world helping to build Hassidic communities throughout Russia and Europe. He considers his son's artistic efforts a waste of time and his penchant for drawing (God forbid) crucifixions and, even worse, naked women, sacrilegious and sinful, respectively. The mother, Rivkeh (Anna Khala) is more forgiving but supports her husband as an obedient Orthodox wife must, although she admires her son's talent. When the boy, at age five, sells his first drawing to his uncle, his fate is sealed - but not without enormous conflict. Taken from the novel by Chaim Potok and beautifully adapted by playwright Posner, the play eloquently illustrates the struggle of a young son, going against the wishes of his father to follow him in his traditional vocation, a theme that is universal and timeless. Set in the fifties in Brooklyn's Crown Heights District, it could be anywhere at any time and appeals to diverse audiences.

Admirably directed by Fountain Theatre's Co-Artistic Director Stephen Sachs, our protagonist serves as the narrator of his life story in a slight, Eastern-European accent, portraying the dedicated and immensely gifted artist from boyhood to manhood. He bares his heart and soul in the process, in an unforgettable, poignant performance. Equally astounding, in multiple roles, are Khaja as Asher's understanding, long suffering mother, as Anna, a savvy art dealer and, briefly, as a model. Asher's father, Polis also plays Uncle Jacob, a revered, wise rabbi as well as Asher's worldly mentor, whose religious duties have taken a backseat to his more liberal lifestyle and business acumen. It will be almost impossible to look at a fine painting in the future, without thinking of the heartbreak and sacrifices the artist may have had to endure with every brushstroke. A wonderful play!

Fountain Theatre, 5060 Fountain Avenue at Normandie, Los Angeles 90029. Friday and Saturday 8 pm, Sunday 2 pm $34, seniors and students with ID (Thursday & Friday only), $25. On site parking $5 (323)663-1525 or The Fountain Theatre ends 5/18

Sorry, no Pre-Performance Suggestion and here's why: We ventured into an unprepossessing dinery called ADOBO, corner of Sunset and Fountain. They have Filipino food, a long neglected, exciting cuisine we hoped to recommend. Admittedly, the food was good, the place plain but clean and dinner for two came to an unheard of $14. But it's just too, too primitive. Never mind you have to order at the counter/steamtable and there's n beer or wine. But the utensils are cheap, small plastic forks and spoon (no knives), the napkins flimsy and you have to eat out of one of those Styrofoam take-out boxes. That sealed it. However, on the way to the theatre, we spotted another restaurant on Fountain Avenue which I hope to review on our next visit to the theatre, in May.

GOOD NEWS: Nora and Delia Ephron's witty play LOVE, LOSS AND WHAT I WORE, which had an enormously successful run at the Geffen in Westwood, has re-appeared at the Rubicon Theatre in Ventura. If you missed it the first time, don't make the same mistake. This is a hoot of a show with a rotating cast. Tickets and information (805)667-2900 or The Rubicon Theatre ends 5/11

Written by INGRID WILMOT



REST by Samuel D. Hunter

First off, please know that this is not one of those depressing plays about elderly people in an old folks' home, awaiting the grim reaper. The setting happens to be the common room of an attractive retirement home (designed by John Iacovelli), in Northern Idaho, which is about to be permanently closed, leaving only three guests in residence. The true stars here are the members of the staff, with the exception of feisty Etta (Lynn Milgrim), the most memorable septuagenarian you've ever met. She's an outspoken, no nonsense old gal, sharp, witty and in full control of her faculties. Her husband, Gerald (Richard Doyle), unfortunately suffers from an advanced case of dementia and no longer recognizes her. He's ninety-one, a former professor of music with an imposing career behind him. During a mighty snowstorm, he vanishes and consternation is rampant as they all search for him in every room. Now back to the staff. We have Ginny (Libby West), a sassy, hard-boiled nurse and a younger, earnest nurse, Faye (Sue Cremin) who is carrying a baby but has misgivings about her pregnancy. The boss, Jeremy, (Rob Nagles) is a man getting away from a painful divorce out of State, who took the job as his last resort for gainful employment. The regular cook having already quit, he hires a temp, Ken (Wyatt Fenner) a nervous kid whose only culinary experience has been at a Taco Bell. He's happy to find a better paying job and is something of a Jesus freak. His devout demeanor is amusing rather than annoying and his mealtime efforts to please, endear him to one and all. The other remaining resident is Tom (Hal Landon, Jr.), who is mainly ignored by everyone because of his hearing loss but he comes into his own in a delightful scene later in the story. During the course of the play, we fortuitously get to know all the characters, well delineated by the brilliant, much awarded, playwright. The situation worsens and the mid-winter storm becomes even more severe, roads are closed and a power failure hits the building. But that gives Ginny and Faye a chance to bond as everyone huddles together in the dark and the mystery of Gerald's disappearance is finally solved.

Under the inspired direction of SCR's Founding Co-Artistic Director, Martin Benson, the cast is astonishing. West is touching as she reveals her softer side and private concerns. Even the weak-voiced Cremin displays just the right degree of vulnerability, as he confesses her guilt over a tragic accident in her past. The droll Nagles, a born scene-stealer, provides comic relief with every line and facial expression. The anxious Fenner is fun to watch as he settles down and develops a kinship with his employer and colleagues. And Doyle whose sonorous voice, almost stilled here, is familiar to audiences from his summer gig as the narrator of The Pageant of the Masters in Laguna Beach, has some affecting moments. Through it all, the indomitable Milgrim triumphs as a woman who has had to face the steady declining condition of the only loved one whose life she shared. A moving and often very funny theatrical coup, the first of SCR's Pacific Playwrights Festival. See it!

South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa 92626. Tuesday & Wednesday 7:30 pm, Thursday & Friday 8 pm, Saturday 2:30 and 8 pm, Sunday 2:30 and 7:30 pm. $22 - 72. Parking Garage on Park Center Drive, off Anton Blvd. (714)708-5858 or www.scr.org ends 4/27

Pre-Performance Dining Suggestion: A perfect dinner can be yours at SEASONS 52 (near Bloomingdale's), in South Coast Plaza. There's a friendly outdoor patio and the interior has a rich, clubby, somewhat masculine look, with dark wood, a center bar and wall racks of wine bottles, properly stored horizontally, to keep the corks from drying out. The impressive wine selection if fairly priced, glasses from $7.50.Seasons 52 changes its menu 52 times a year with weekly specials listed on the right side and they pride themselves on health conscious meals. They do not serve bread or butter but you can nibble on flatbreads, $9.75, to start. Appetizers go from $6.50 to $13.25. Entrees include trout $18.50, tuna tartare $19.95, beef and lamb $28.50 etc. I am enthusiastic about their enticingly marinated, Plainsville Farm turkey cubes, moist and tender with fantastic flavor that makes our holiday turkeys pale by comparison. So good, it doesn't even need the side of Zinfandel gravy that tastes like red wine and steak sauce. Hats off to Chef Tim Kast and to whomever developed the recipe. This is a chain but you'd never know it. Their other location is in Century City, where we loved the planked salmon and the seafood pasta. The turkey kebab comes with grilled vegetables and faro in a large, boat shaped dish. Ditto for their scallops, all in a row, crisp on top, as requested, another tasty treat with lemon risotto, English peas and asparagus spears, $23.50. I was planning to beg a few English peas, which I love and which seem to be in season for five minutes, from my husband's plate in exchange for some of my grilled vegetables. But I had nothing to trade since the chopped red bell peppers, peas and corn were intermingled with my faro. Our wonderful server, Jonathan, seeing my disappointment, quickly brought a portion of asparagus (no charge). But wait, there's more. They have those cute mini dessert indulgences, $3.75 each, which are fantastic and so tiny, you don't even think about calories, ha, ha. We ordered two to go, to enjoy on the terrace outside the theatre, with a cup of coffee. We forgot they come in little, square shot glasses but our Jonathan packed them, carefully wrapped in several paper napkins, plus plastic utensils. (You know that all visits are anonymous, this is obviously an outstanding waiter). We plan to return the glasses on our next visit, a good excuse to make it soon! Driving time to the Performing Arts Complex is approximately five minutes. A brisk walk in flats, ten to twenty minutes; in stilettos 20 - 25 minute (at least).

SEASONS 52, 3333 Bristol Street, South Coast Plaza in Costa Mesa, 92626. Parking lot in front. Full bar. (714) 437-5252

Reviewed by INGRID WILMOT



A STEADY RAIN by Keith Huff

This fascinating play is like taking a trip and sitting next to a stranger with really good stories to tell - not the usual bore who insists on showing you photos of his homely grandchildren. The two men on the bare (except for two chairs) stage, are both Chicago cops who spill their guts to a riveted audience, often in monologues, sometime to each other. They have identical jobs but are two entirely different human beings. Denny (Sal Viscuso) is a family man, as he constantly reminds us, has a wife he professes to adore and two little boys. He's not what you might call a dirty, rotten cop, let's just say, he's slightly soiled, not beyond shaking down and consorting with prostitutes and an unabashed bigot, as well. Joey (Thomas Vincent Kelly) is single, lonely, lives in a hovel, socially conscious but his character is flawed. He's envious of Denny nice home and loved ones. They are partners and close friends since childhood but their relationship has become conflicted by the errors in judgment for which they secretly blame each other.

The talented, award-winning playwright, Keith Huff, a former medical editor, is also a film and television writer and unpublished novelist. Directed by Jeff Perry, the co-founder of Chicago's famed Steppenwolf Theatre, the two men deliver superb performances while regaling us with their adventures on duty. Viscuso's delivery is high octane, his emotions laid bare with no holds barred. Kelly's Joey is more introspective, perfectly nuanced to reveal his weaknesses as well as his attributes, basically a decent guy but one who cannot resist his desires. Aided by clever scenic projections (by Adam Fleming), lighting (by Michael Gend) and sound (by Joe Zalewski), we are transported into their eventful lives, grey areas and all. Judge not, should be our mantra but of course, we do and that's what makes this play as provocative and exciting as anything you're likely to see on local stages. Broadway's sold out run had the glam factor of Hugh Jackman and Daniel Craig but we are well served by these two wonderful actors doing justice to a well constructed, spellbinding play. Only one more weekend - don't miss it!

Odyssey Theatre, 2055 S. Sepulveda Blvd.,West Los Angeles 90025, Thursday 4/17, Friday 4/18, Saturday 4/19 at 8 pm. Sunday 2 pm. $25 - $30. Supervised parking in front $3 (310) 477-2055 or The Odyssey Theatre ends 4/20 EXTENDED THROUGH 5/11 CALL FOR SCHEDULE

Pre-Performance Dining Suggestion: A fun experience awaits, virtually around the corner, at KULA, a Japanese sushi place with a revolving sushi bar that's actually affordable. The goodies roll by in covered, little dishes, which you grab off the assembly line. The interspersed name and identifying color photo labels tell you what you're getting. Each portion, consisting of two, sometimes three rolls or nigeri, cost only $2 each. The variety is staggering. Let them all go by one time and then make your choice, is my advice. Nigeri (flat pieces of fish pressed over rice) include albacore and red snapper ponzu, soy-marinated tuna and salmon, seared beef and scallop, conch and eel (especially delicious) and more. Among the rolls you can pick spicy tuna, dragon, tiger and spider rolls, rainbow, Philadelphia and shrimp-avocado roll; hand-rolled spicy shrimp taro, vegetable, real California crab etc. Gunkan maki (wrapped in nori) features sea urchin, ikura (salmon roe) and masago (smelt roe) with egg, as well as a parade of dishes of watermelon, sesame balls and sunomono (cucmber salad). There's also a separate menu for gyoza dumplings, crispy chicken, popcorn shrimp, tempura etc., from which we ordered a bowl of ramen, the broth as rich as your grandma's chicken soup, $4.99. This, plus about a half dozen sushi plates and a small hot sake, came to $23, an unbeatable bargain. The rice is organic and everything is fresh, fresh, fresh. Kids just live the merry-go-round set up of the traveling selections. If you have children or grandchildren who are sushi fans, do bring them next time. It'll be a Happy Meal better than any they've had at you know where, healthier and "Kula", too. Note: the drill is to sign up right away, on the sheet outside the front door (no reservations) but at pre-theatre time, the wait is usually only ten or fifteen minutes. Five minutes drive time to the Odyssey.

Kula, Sawtelle Plaza, 2130 Sawtelle Blvd., ground floor. Open daily. Beer and sake. Free one hour parking (with validation) in the underground garage, $1.75 for an additional half hour. (310)597-4490.

Reviewed and written by INGRID WILMOT



IS THERE SEX AFTER MARRIAGE? by Jeff Gould

Hot on the heels of his previous successes, Troubled Waters and It's just Sex, Gould has written a tale about three married couples that will amuse all who laugh at raunchy jokes. We meet Roger and his wife, Sherry (Jared Sacrey and Rene Ashton), who've thrown a party for their friends Joe and Mindy (Brad Lee Wind and Natalie Salins) as well as Zach and Beth (Joel Berti and Anne Leighton). Zach and Beth's bed sheets are still sizzling and they can't keep their hands off one another. Joe and Mindy's ardor however, has cooled to sub-zero temperatures. The hosts, Roger and Sherry love each other but their marriage is stymied by her full-time activities to save the planet and his total disinterest in the cause. Everything you want to know, and more, about their sex life will be aired, dirty linen and all, in the course of this sit-com style plot.

Playwright Gould directs his attractive cast and when they assume dual roles, are so cleverly coiffed and disguised, one hardly recognizes them. For example, Wind, the frustrated, sarcastic Joe of Scene I, who has all the best lines, doubles as Hank, the poster boy for "casual" sex (as you will see), at a wild party. Salins, his chilly Mindy, emerges there as a gorgeous, sexy participant. Musical beds are played when one husband brings home his boss' pants on fire secretary and his wife one-ups him with a handsome toy boy. The passionate lovers Zach and Beth are not beyond a little outside stimulus and the bickering, platonic (of late) couple Joe and Mindy, may yet rekindle the weakly flickering flame of love. The set (by Allison Schenker) and costumes (by Jen Bendik) require frequent changes during a few too many blackout pauses but the humor compensates for minor annoyances. The next question is, Is There Sex After Death? The answer has to be "yes" because we're all going to heaven, aren't we?

Two Roads Theatre, 4348 Tujunga Avenue, Studio City 91604. Friday & Saturday 8 pm, Sunday 7 pm. $34, students and seniors $25 (use Code 209). Ninety minutes, no intermission. Going to the rest room is an adventure. The nearest one is located three doors away, in the multi- room AROMA CAFÃ'‚Â'ƒ (only one person at a time), so allow about ten minutes for this purpose. Tight street parking. Meters are free after 6 pm. Vitellos Restaurant's lot charges $10 but see Dining Suggestions (below) (323) 960-5770 or Plays 411 ends 5/4

Pre-Performance Dining Suggestion: Across the street from Two Roads Theatre is the well-established VITELLOS, which has undergone a truly successful facelift (unlike some of our friends), and boasts a new menu, as well, since last visited a few years ago. It now has an airy, open look, with used brick accents, stunning centerpiece, shiny floors and large windows with a view of their sidewalk patio, plus the most comfortable chairs in town. There's an impressive wine list, glasses start at $9. Instead of only old-fashioned Italian fare, the kitchen's output has been modernized as well. Entrée prices go from $20 for chicken Da Vinci to $27 for short ribs. For only $17, you can dig into pasta puttanesca, spaghetti with olives, grape tomatoes, capers, anchovies etc., a delight. This dish was reputedly served at Italian bordellos to impart potency to their clientele, long before Viagra was invented. The best branzino I've tasted is $24, the fish fresh and hot from the oven, coated with toasted almonds, comfortably resting on shredded, crisp veggies and sautéed grape tomatoes, surrounded by a puddle of pesto. A beautiful blend of textures and flavors, highly recommended. The friendly service, excellent food and parking convenience (see below) make this the go-to pre-performance spot.

Vitellos, 4349 Tujunga Avenue, Studio City 91604. Full bar. Nightly entertainment upstairs (separate admission). Valet parking $3.50 (Note: you may leave your car (with dinner validation) and pick it up after the show). (818) 769-0905.

Written and reviewed by INGRID WILMOT



THE MEMORANDUM by Václav Havel

This is a work that begins as a satirical slap in the face at bureaucracy and ends up resembling a morality play. Written by the brilliant Václav (pron.Vhatslahf) Havel an artistic and literary talent who was a political dissident, a true folk here who became President of the then Czechoslovakia (1993 - 2003) when the Soviet influenced yoke of Communism was finally lifted. He later served as the Chairman of the Human Rights Foundation.

Staging this play was no easy task for Santa Monica Rep's Director Jan Bloom, who has chosen to present it with the audience seated on either side, like at a tennis match (set by T. Cavelti). This presents multiple problems of visibility and audibility, when the actors' faces are not in full view and some of the dialogue is muffled. The story takes place in a factory whose regimented employees are spied upon a la Big Brother and in the grasp for individual power, almost undone, primarily Mr. Josef Gross (Bart Perry), the current Managing Director, who is befuddled by a memorandum in a language he's never heard before. His scheming Deputy, Miss Ballas (Barbara Urich), has introduced this new tongue, Ptydepe (pron.puh-tie-duh-pee) ostensibly to make the organization run more efficiently (her words), but nobody bothered to inform her thoroughly confused boss, Gross.

The remarkable performers face a monumental task as well, learning some of their lines in Ptydepe, gutteral sounds that resemble a mix of Hungarian and Czech, the champion of which is the diction-perfect Yael Berkovich, as the tireless instructor Leah, who is able of memorize all that gobbledegook and her prize pupil, Mr. Thumb (David Evan Stolworthy). Another standout is Urich, the devious ball-breaker who weasels her way to the top and her mute assistant, Miss P. (Berkovich also). Her co-workers are the language expert, Otto (Bill Charlton), the horny Alex (Burt Moseley, who has a strange accent and we sometimes can't tell whether he's speaking English or Ptydepe). The energetic, enterprising Chairman Helena is Tania Getty and Ewan Chung plays the subservient Hans. The excellent Petty is both pathetic and sympathetic as the bullied boss. The most likeable character is the demure secretary, Maria (the zaftig Sara Mayer), a sweet girl with a good heart. The cleverest touch in this entire meshuggas is an illuminated sign board with ever changing corporate messages, which keeps the workers up to date about absolutely everything: parties, infractions, meals etc. You can tell we are in Mittel Europa, when the lunch offerings include goose and goulash. Incidentally, this lovely theatre has the hardest chairs., so grab some seat cushions which are stacked by the proscenium stage.

Santa Monica Repertory Theatre, at Miles Playhouse, 1130 Lincoln Boulevard at Wilshire (entrance past the tennis courts), Santa Monica. Friday & Sunday 7:30 pm. $30, seniors and students $20. (213)-268-1454 ends 4/20

Important Parking Info: Free parking in the underground garage of the catty-corner, pink, granite-faced building of 808 Wilshire Blvd., entrance on Lincoln. Lot closes at 8 pm but tell the attendant you're going to Miles Playhouse. You'll be handed a validated ticket. After the event, swipe it outside, on the right side of the pedestrian entrance of 808 Wilshire and the gate will open. Take the elevator down to the parking area. The pressure of your vehicle will raise the wooden bar.

Pre-Performance Dining Suggestion: A suitable prelude to the Central European locale currently being invoked at the Miles Playhouse, is dinner at WARSZAWA, a venerable Polish restaurant that has graced the local dining scene for several decades. The multi-room setting resembles a cozy home, with posters, art and elegantly appointed table settings and a European-trained staff. Fresh bread and an olive tapenade appear in an instant. Fine bottles of wine are decently priced, by the glass from $9 for an Austrian Gruener Veltliner or a German Riesling. If you want to go the Continental route, to start there are pirogi (the Slavic version of a super-sized ravioli), $5, home made soups $4 - $5. Entrees like golubsi (cabbage rolls) or chicken paprikash, $24, beef Stroganoff $22 as well a American dishes. We were going to launch with steak tartare $15, until we spotted a celery root salad, even more of a rarity these days Fresh celery root is shredded and marinated to perfection in a creamy, Dijon-scented dressing, decorated with candied walnuts in a portion to be shared, a must have, $8. Highly recommended is the pork (or chicken) schnitzel, prepared to rival any Viennese cook's skill, served with mashers, grated carrots and crisp broccoli that tastes fresh from the Farmers' Market, $22. Another lip smacker (and finger-licker) is their roasted duck, half a meaty bird accompanied by spaetzle, heavenly, little dumplings, better than my grandma's - but don't tell her. On the side are ramekins of lingonberry sauce and an apple-prune compote for those who must add sweet tastes to just about everything, like people who toss canned mandarins into a perfectly vinaigrette-dressed salad. We had no room for dessert but our good waitress mentioned a chocolate cake which we definitely see in our future.....

Warszawa, 1414 Lincoln Boulevard (three blocks from Miles Playhouse), Santa Monica, 90401. Full bar Street parking (meters are free after 6 pm.) Closed Monday (310) 393-8831.

Reviewed and written by Ingrid Wilmot



THE MELVILLE BOYS by Norm Foster

Little Fish Theatre's latest, arrives like a spring tonic, refreshingly different from the usual Norm Foster farce. You can always count on lots of yucks from the pen of the man dubbed the Canadian Neil Simon but here he also explores human nature and the relationship of siblings, in a seriously funny plot. The two blue collar Melville brothers plan to spend a weekend in a rustic cabin, fishing and just hanging out. They both work in a plastics factory, as did their dad, where the elder, Lee (Bill Wolski) is the foreman and Owen, (Michael Hanson), more or less, a flunkie. He is a slacker who avoids helping out as often as possible. Soon he spots two young women boating on the adjoining lake and, over Lee's objections, invites them in. They turn out to be two sisters, Mary (Holly Baker-Kreiswirth) and Loretta (Kyla Schoer). Mary is pleasingly plump, a thoughtful, emotionally wounded, deserted wife while Loretta is barely a hundred pounds of pure party girl. They pair up as expected, get better acquainted with each other as well as we do, with this loveable quartet .The first act is a laugh a minute but ends up on a more serious note.

Directed with just the right, light touch by Paul Vander Roest, the cast is truly amazing. The versatile Wolski, as a man of good character who faces an insurmountable problem, is marvelous and gets to show off his dramatic talent. As the Good Time Charlie Owen, Hanson is hilarious and his boyish charm irresistible. Kreiswirth (Wolski's real life wife), as the most introspective of the four, steals our heart with her gentle, sincere demeanor. She plays the type of woman we all would want as a friend. Schoer's Loretta, an aspiring actress full of herself, inhabits her character completely; she's the gal we also wish we knew, one with whom to have tons of fun, 24/7. The Melville Boys is a comedic canvas, sprinkled with the vagaries of real life, delightfully presented. See it!

Little Fish Theatre, 777 Centre Street at 8th, San Pedro 90731. Friday & Saturday 8 pm, Sunday 2/23 only, at 2 pm. $24 - $27. Parking lot. Enter via the alley. (310)512-6030 or The Little Fish Theatre ends 4/5

Pre-Performance Dining Suggestion: The Iron City Grill, which introduced authentic, Spanish tapas to the area many years ago, has been face lifted and renamed IRON CITY TAVERN, a congenial bar. We thought we'd go and see what's cooking. The answer is, not much - but don't go away. They have nightly specials including a rib eye steak in two sizes and always an impressive selection of burgers and sandwiches (Ortega steak, turkey club, chili size, $6/95 and a few actual dinner entrees on the regular menu. We ordered calamari steak but they were out. Their chicken Marsala is prepared with the sweet version of that wine, so that wasn't going to be it, either. We had a darling waitress, who, upon seeing our disappointment, treated us to a complimentary glass of wine. We ended up with blackened ahi tuna, pink as a SoCal sunset, thinly sliced, with fresh veggies and mashed potatoes studded with roasted garlic cloves, a bargain at$14.95. A good portion, some of which we doggie bagged and enjoyed the following day with some wasabi and soy, sashimi style. A good move is to get some appetizers, their buffalo wings are plump and full of good flavor, $6.95. Chicken marinara tastes like schnitzel, freshly breaded, crisp on the outside, moist on the inside, with a dip of homemade marinara sauce alongside, $7.95. Sharing these three items makes for a very nice, inexpensive dinner. We do miss those tapas, though......

Iron City Tavern, 589 W. 9th Street, San Pedro 90731. Open daily. Full bar. Parking in rear. Happy Hour weekdays 4 - 6 pm. No reservations. (310) 547-4766.

Reviewed and written by INGRID WILMOT



SLOWGIRL by Greg Pierce

This is a well-crafted, wonderfully acted but poorly staged play. It was love at first sight, with the intimate Little Audrey, which seated about fifty people when it first opened. It has been reconfigured with a center stage, the audience on both sides. This floor plan works for Wimbledon but here, we often do not see the faces of the two superb actors who bring Slowgirl to life. That said, please do not let it deter you from attending.

The spare set (by Takeshi Kata) is a little house in Costa Rica, near a village called Los Angeles (population eighty-six!), with no doors, a cot, a fridge and a porch with a hammock, to which American ex-pat Sterling (William Petersen) has retreated to get away from certain legal problems and a painful divorce, He leads a hermit-like life in the middle of the jungle, surrounded by wild but non-threatening animals and birds (sound by Richard Woodbury). His tranquility is disturbed by the arrival of his seventeen-year old niece, Becky (Rae Gray), a typical teen-age Chatty Cathy, who is escaping from a lot of trouble at home. A vodka fuelled party, to which a girl with a mental disability, nick-named Slowgirl, had been invited just for laughs, ended disastrously and Becky is held responsible. This is revealed early on and all we're going to give away.

Both actors' background includes Chicago's Steppenwolf Theatre and they live up to its reputation. Petersen, an attractive, middle-aged man, seems content in his solitude. He is a well educated, sensitive person who welcomes this family member with admirable warmth and patience, even tough he has not seen her for many years, a beautifully nuanced performance. Gray, a tall, skinny, pale girl (a real life college student), is the perfect embodiment of a garrulous high schooler ; her speech laced with the authentic vernacular of her generation, full of "like", "whatever" and "cool". Know what I'm sayin'. Dude? She's outspoken to the point of indiscretion, with no subject taboo and both their life stories make for a spellbinding and entertaining play. Directed by the Geffen's Artistic Director Randall Avery, who choreographs their movements as skillfully as possible but still, we regret every missed smile or furrowed brow due to the staging. Otherwise this is a gem and an auspicious L.A, stage debut for playwright Greg Pierce. You'll love it!

Geffen Playhouse, Audrey Skirball Kennis Theatre, 10886 Le Conte Avenue, Westwood 90024. Tuesday - Friday 8 pm, Saturday 3 & 8 pm Sunday 2 pm. $57 - $72. Ninety minutes, no intermission. Parking in adjoining underground garage $7. (310)208-5454 or The Geffen Playhouse ends 4/27

Pre-Performance Dining Suggestion: The former Gardens on Glendon are now re-born as SKYLIGHT GARDENS, a gorgeous restaurant in the round, with a live tree in the center underneath, you guessed it, a skylight, Tables are set with white cloths, spaced for conversation and service is commensurate with the classy surroundings. The menu consists of what you might call L.A. standards, chicken, steaks, short ribs, salmon, pasta etc. Main courses are in the upper twenties and middle thirties. Your best bet is to share some hot and cold appetizers, which are exceptionally delectable and generously portioned. Three for a pre-theatre party of two is just right. Recommended: the meatballs, three biggies perched on a round of polenta, sprinkled with freshly grated parmesan, if wished and their combo of grilled (or fried) calamari and zucchini with a side of spicy dip, $14 each. The tuna tartare, served with toast slices and a garnish of chicory, is a steep $18 but also very good. We were going to order the eggplant rollatini as well but glad we didn't, our three were quite filling. The only demerit is for the temperature of the food. Due to being placed on cold plates, the hot dishes were anything but. Their wine list is excellent, not overpriced, with glasses from $9 - $13. Drive time to the Geffen, about 7 to 10 minutes.

Skylight Gardens, 11339 Glendon at Lindbrook Avenue, Westwood 90024. Full bar. Valet parking $4 for two hours, (310) 492-4888

Reviewed and written by Ingrid Wilmot



THE WHIPPING MAN by Matthew Lopez

This gripping, extraordinary play is about a family of Jewish slave owners which may seem an aberration and morally reprehensible, especially to a Jewish audience. But it is historically accurate, pertaining to the South in 1865. It opens on one of many dark and stormy nights (excellent sound effects by Bill Froggart), when a gravely wounded Confederate soldier crashes through the door and collapses. That would be Caleb de Leon (Shawn Savage), whose family once owned this lovely home, now dilapidated and almost destroyed. We see a broken, boarded up window, a few crates and peeling wallpaper; only an old brass bed is left standing. The current residents are Simon (Ricco Ross) and John (Kirk Kelleykahn), two former slaves who have embraced the Jewish faith and wear yarmulkas. The disillusioned soldier, after enduring four harrowing years of war, over at last, now finds his entire family has gone from Richmond, Virginia to seek asylum elsewhere and the three men disclose and discover secrets that unite and divide them, the gist of this remarkable tale.

Howard Teichman, the Artistic Director of the West Coast Jewish Theatre, the producing company, directs with a sensitive and unerring hand and has a dream cast with which to work. The tall, dignified, charismatic Ross carries the entire play on his strong shoulders. He is mesmerizing in his narratives and completely at home with comedy, as he plans a makeshift Passover Seder and pulls it off with a mix of Hebrew prayers and gospel tunes. Kelleyhahn's character is more complicated. He first comes across as a mischievous clown, "procuring" supplies and comestibles but he soon emerges as a more sinister, vindictive opportunist, effectively inhabiting both impersonations. Savage, the suffering son of a cruel father, disenchanted Jew and heartbroken lover, in a difficult role, which can easily turn maudlin, is equally impressive. By the way, the whipping man is the unseen individual who punished the slaves when they displeased their masters. This is a gritty, at times brutally honest piece of work, expertly staged and performed here and a rare "must see".

Pico Playhouse, 10508 W. Pico Boulevard, Los Angeles 90064. Thursday - Saturday 8 pm, Sunday 3 pm. $35, seniors $33. Street parking. (323) 821-2449 or The West Coast Jewish Playhouse Ends 4/13

Pre-Performance Dining Suggestion: Even though in a different Zip Code, it's only a ten minute drive to the Pico Playhouse from SOTTO, Italian for "under". The restaurant is located in the basement of the previously reviewed Picca Restaurant but it is no bargain basement, by any means. Their California and Italian wine prices are way up there, the cheapest glass going for $13. Chef Zach Pollak's food, however, is very creative and you can suit yourself by ordering from the small (from $5 - 10), medium (from $13 for mussels) or large ($22 for a half chicken, $29 a whole orato, $35 for a pork chop), edible selections. And, of course, there's pizza. We didn't find anything titillating on the small plate menu but the mediums have some exciting choices. We shared a cauliflower-almond soup, listed with chili and capers (didn't find any), which was superb, even though the superfluous sultanas (golden raisins) added a slightly sweet flavor. Nevertheless, the bowl, manna for a chilly night, ended up dishwasher clean. We love octopus and they do a remarkable job with it. My whole, tomato-braised al farci tentacle, end curl intact, was surrounded by garbanzo beans in a pungent sauce of pureed black kale, breadcrumbs and burrata, with citrus overtones, $10. Spaghetti in a (not very) spicy, creamy sauce of minced octopus, black kale and burrata sounded similar but tasted quite differently, albeit also delicious, the pasta very al dente, a rich and wonderful dish, same price. The place is very chic, sort of sophisticated rustic, with lots of dark wood (table, ceiling, wine rack) and a glassed in kitchen, fashionably noisy and very popular. There's a lively bar scene, when two attractive female mixologists concoct and shake craft cocktails. The friendly service makes up in civility what it lacks in alacrity and first timers are given a rundown on the different portion sizes etc., all in all, a culinary adventure for eclectic palates.

Sotto, 9575 W. Pico Boulevard, Los Angeles 90035, Full bar. Valet parking $6.50. (310) 277-0210.

Written and reviewed by INGRID WILMOT



FROM THE BEST OF THE FEST

Every year, the local cultural scene is graced by THE WOMEN'S THEATRE FESTIVAL, which will take place in March (see below for details). Meanwhile, the organization is presenting FROM THE BEST OF THE FEST, to whet your appetite. They've gathered some of the acclaimed participants of past years, to showcase their talent in encore presentations of female solo performances, currently playing at the Fremont Centre Theatre in South Pasadena.

We saw Amy Milano (Dancing with Crazies), Milano, a zaftig but nimble dancer, actress and comedian currently doing stand-up work in the Los Angeles area, who entertained us with her gypsy-like life story. On a set containing an array of trunks and suitcases and with the help of an effective sound track, this New Yorker took us along on a journey that included tap dancing in Ghana, the study of African choreography beginning in London, Shakespearean monologue practice in Jamaica and so on, along with adept mimicking of her unusual family and friends.

Second on the bill was Juliette Jeffers (ChocolateMatch.com). Jeffers is an African-American actress whose busy website is devoted to finding the right man with whom to spend the rest of her life. With her biological clock ticking mercilessly in the background, we were privy to her adventures - and misadventures- in the online dating game. The Bronx-born, endearing, self deprecating but ever optimistic Jeffers was fun to watch and we wish her well on her intrepid search for true love.

Next weekend, you can still catch Kim Coles (Oh, But Wait, There's More!) in her one woman show "Still Standing". February 20th and 21st at 8 pm, February 23rd at 3 pm. Fremont Centre Theatre, 1000 Fremont Avenue at El Centro, South Pasadena 91030. $20 in advance, $25 at the door. Students, seniors and groups of twelve or more, $15. (866)811-4111 or The Fremont Centre Theatre

Pre-Performance Dining Suggestion: Not quite five minutes from the Fremont, is a charming Italian restaurant called BRIGANTI. Softly lit with a pleasant vibe, very low volume operatic tapes, a corner bar, small, framed art along the walls and a covered patio.. They have pizza (we didn't see a single table ordering one) with more interesting stuff on the menu, such as carpaccio Cipriano, as a starter. Thin, lean, raw beef with capers is fanned out beneath a heap of lightly lemon and oil-dressed, wild baby arugula, a hefty $12.50 but very nice, with their basket of focaccia and Italian bread. There's a large pasta menu, from $13 for fettuccine Alfredo to $18 for capellini al granchio with chopped tomatoes and Dungeness crab. We didn't actually see any crab flakes but surely could taste the flavor of this precious crustacean in the delicious cream sauce. Main courses run from $15.50 for chicken to $27 for a veal chop. In between, there's salmon $19, cioppino $24 and a really wonderful filet of sole with capers, alongside mashed potatoes, spinach with garlic, half moon-shaped yellow squash and carrot spears $20. No bargains but carefully prepared food and excellent service. If you have room for dessert, they have bread pudding, panna cotta and a fabulous, dense, rich, flourless chocolate cake, generous and expensive enough to share. Their wine list has good selections, with glasses going from $9.

Briganti, 1423 Mission Street, South Pasadena 91030. Full bar.Street parking (626)441-4663

ADVANCE NOTICE: Next month, the 21st ANNUAL LOS ANGELES WOMEN 'S THEATRE FESTIVAL will be held at the Electric Lodge Theatre in Venice, each event with celebrity hosts.

3/27:Champagne Gala & Awards Ceremony, 7pm Program: Giving Voice. Ingrid Graham, dancer, in The Passage and Tia Matza in Grief and Grace. 8 pm

3/28: Program: Transformations. Tracy Silver Motion Cures, Sofia Marie Gonzales, Bully-Mia and Katie Rubin Why I Died 8 pm.

3/29: 3 pm Program: Mirrored Reflections. Cynthia Ling Lee Rapture, Ansuya Nathan, Long Live the King , Marlene Ondrea Nichols, Dress Kiss Me and Lisa Marie Rollins Ungrateful Daughter. 8pm Program: Rising Above. Dacyl Acevedo, Will Work For, Jozanne Marie, Beautiful, Anita Noble, Polly Bemis.

Electric Lodge, 1416 Electric Avenue, Venice 90291.Gala tickets $45 or two for $80 (includes light fare and champagne). All other programs $20 in advance, $25 at the door. Student, seniors and groups of twelve or more $15. (8180760-0408 or Los Angeles Women's Theatre Festival Theater

Reviewed and written by INGRID WILMOT



NIGHT WATCH by Lucille Fletcher

Attention, mystery fans, here's your challenge! If you can figure out whodunnit before the final curtain, you're a lot smarter than the playwright thinks you are. But, don't count on it. This is the plotline: It's 1970 and, in a drop-dead gorgeous Manhattan apartment with fine art and a working fireplace (set by the infallible Jeff G. Rack), we see the beautiful, petite, strawberry-blonde Elaine (Jennifer Laks) walking floor at five in the morning, smoking and humming "Frêre Jacques". She glances out the window and suddenly screams in anguish. Across the street, in a ramshackle building, she sees a dead man slumped in a chair. Her husband, John (tall, elegant Martin Thompson), a Wall Street broker, tries to calm her but she insists on involving the police. Absolutely nobody believes her. In fact, her constant phone calls to Lt. Walker (David Hunt Stafford) so annoy this cop, that he just as soon not respond anymore. O.K. folks, the lieutenant and his flunky Gonzales (Jonathan Medina), a former museum guard who is more interested in the art displayed in the apartment than crime solving, didn't do it. But, here's your list of suspects. Besides hubby: Elaine's best friend Blanche (Christine Joelle), an almost constant presence in the Wheeler home; Curtis Appleby (Larry Ohlson) the overbearing, flamboyant neighbor; Sam Hoke (John McGuire), owner of a local delicatessen; Dr. Lee (Leda Suskind), a professional psychiatrist summoned to make a house call and Helga (Judy Natzemetz), the German housekeeper. Take your pick.

The cast is solid and under the aegis of Bruce Grey, this theatre's eminent Resident Director. The lovely Laks is quite believable as the hysterical, to9rmented lady of the house. Thompson seems like a devoted husband but we wonder whether he could be sweet on the statuesque, blonde Joelle, a professional nurse about to be employed by the Mayo Clinic. Ohlson provides some comic relief as the neighborhood gossip, keen on occupying the Wheeler's fabulous digs. McGuire has his two minutes on stage as the irate deli man, "armed" with a big flashlight and Nazemetz' servant is so Germanic, one expects her to break into a goose step at any moment. David Hunt Stafford, Theatre 40's Artistic Managing Director and usually the star of the pre-curtain announcements, treads the boards here in the guise of a brusque detective, equipped with a Nooyawk accent, while lukewarm on the trail of a moider suspect. While not the white-knuckle thriller of the author's famous script, "Sorry, Wrong Number", it's a pleasant diversion for devotees of this genre who make a game out of who can be the first to finger the villain.

Theatre 40, Reuben Cordoba Theatre, 241 Moreno Drive on the grounds of Beverly Hills High School, Beverly Hills , 90210. Thursday, Friday, Saturday & Monday 8 pm, Sunday 2 pm. $24 - 26. Free parking in building garage. (310) 364-0535 or Theater 40. ends 2/24

Pre-Performance Dining Suggestion: A few minutes west of Theatre 40 in the Westfield Mall, is the PINK TACO, whose prominent sign is visible even from the Boulevard. The taco in this town, appears positioned t dethrone burger and pizzas as our street food fave and the Pink Taco is definitely hot. The place is nearly as big a football field, counting the patio, and very popular. Reservations are accepted and advised for pre-curtain dining. The large enter bar is always full (Happy Hour here is from 3 to 7 pm daily) and the room is bathed in pink light, emanating from yellow and red bulbs on the ceiling. They seated us near the kitchen from which fragrant aromas filled our nostrils, in a booth studded with ornate, brass crosses, giving it the aura of a confessional, where we prayed for our dinner to arrive. May I say, this can be considered "fast" food but it was very slow to arrive on this night. To pass the time, one can sip Margaritas, cocteles or wine, from $9 per glass. They have enchiladas around $10, appetizers like ceviche for $12, tacos from fish to brisket $12 - $15 and the food we (finally) tasted, was terrific. We also ordered carnitas tacos but they were already sold out early in the evening. Instead, the carne asada tacos, tender, top quality beef morsels, same price, were worth the wait, with grated cheese, pico de gallo and guacamole tucked into three soft tacos alongside Mexican rice and refried beans. Unfortunately, they were barely lukewarm. Service here, to their credit, is caring and cordial. The Manager, Eric Livingston, checked in several times during the course of the evening and, hearing that dinner was more cold than hot, in a generous gesture, took the tacos off the bill. The verdict is, they are trying hard to please and the excellent flavors of the cocina are indisputable. We would come here again.

Pink Taco, Westfield Century City Mall, 10250 Santa Monica Boulevard, Century City 90067. Full bar. Open daily from 11 am to 10 pm, Friday and Saturday until 11 pm Parking in Century City Garage (try for the Blue Section and allow 15 minutes to locate a spot) Reservations (310) 789-1000

THEATRE NOTE; Jerry Mayer's play ASPIRIN & ELEPHANTS, has made a triumphant return after several years and it's as much fun as ever. At the Santa Monica Playhouse, 1211 4th Street Santa Monica, until March 16th. (3100394-9779. Alert for folk music lovers: The five talented, young women known as CHERISH THE LADIES, make an appearance at Caltech's Beckman Auditorium, 332 S. Michigan Avenue near Del Mar Blvd., in Pasadena. This delightful group of Irish instrumentalists and vocalists, is a rare treat for all ages (626) 395-4652. In a smaller venue, also on Campus, the Beckman Institute, you can enjoy the wonderful duo of STEVE GILLETT & CINDY MANGSEN (folkies know he wrote the classic Darcy Farrow), on Saturday March 22nd, sponsored by the PASADENA FOLK MUSIC SOCIETY, (626) 395-4652. PLANNING AHEAD? Devotees of Garrison Keillor's Prairie Home Companion radio show, will welcome that star couple, ROBIN & LINDA WILLIAMS to the same venue, the Beckman Institute, on May 3rd. Get your tickets early, they always sell out. Pasadena Folk Music Society (626) 395-4652 or The Folkmusic Society. All shows at 8 pm. See you there!

Reviewed and written by INGRID WILMOT



THE 39 STEPS, adapted by Patrick Barlow, based on John Buchan's book

The late, great Alfred Hitchcock would be pleased to see what Barlow, Simon Corble and Nobby Dimon's original concept have done to his 1935 thriller. Not only have they maintained the mysterious aspects of the story but it's the embellishments that add up to a uniquely entertaining show, impeccably directed by Ken Parks. Hitch gets his due via split-second vignettes from some of his famous films. It takes place before World War II and, this much I'll tell you, the Nazis are the bad guys.

Handsome, British bachelor Richard Hannay (the athletic Jeffrey Cannata), as a platonic gesture, shelters a foreign-sounding woman, Annabella (Karen Jean Olds) for the night, only to find her murdered the next morning. Naturally, he is (wrongly) accused of the dirty deed, escapes the police and sets off a manhunt across the U.K. It's all done with minimal props manipulated by the actors, with the help of Christine Munich's lighting, Chris Warren's sound and Greg Forbes' technical tricks. On stage, we see train trips, car rides, a plane crash etc., all smartly executed. And when doors open on windy days, we, the audience, can almost feel the draft. As wonderful as the surprising staging is, the ultimate credit goes to the actors. Congrats to the Casting Director who found this quartet of talented performers to play over a hundred parts. Cannata, the attractive leading man is an elegant Brit with perfect diction but never snobbish, who keeps his cool facing unknown enemies and dangerous predicaments. The comedy is elevated to the highest level by the duo of Kenny Landmon and Louis Lotorto. These quick-change artists never fall out of character, whatever they may be at the moment. Landmon, the tall one, shines as a London Palladium star, a railroad conductor, a bagpipe-playing Scotsman and more. The short one, Lotorto, makes like a villain, a sheriff, a detective etc. They both portray several women with uncanny comedic skill and affect half a dozen different accents, not all of which are intelligible, I might add. Olds, as the lone female enacts only three parts, including Hannay's love interest but her workload is not as heavy. The many amusing directorial touches will keep you LOL as The 39 Steps moves with lightning speed, true to the old adage "never a dull moment". It's one of the cleverest shows you'll ever have the good fortune to catch. Miss it at your peril. NOTE: The show moves to the Annenberg Theatre in Palm Spring upon closing of this run.

Norris Theatre, 27570 Norris Center Drive, Rolling Hills Estates, 90274. Friday & Saturday 8 pm, Sunday 2 pm. $40. Children under 12, $25. Free parking in adjoining garage. (310)544-0403 or www.norriscenter.com ends 2/9

Pre-Performance Dining Suggestion: Folks on the Palos Verdes Peninsula mourned the closure of GIORGIO'S, which was a fixture on The Hill since 1974, owned by the Borelli family. The good news is, they have re-opened in the former location of CafÃ'‚Â'Ž Cego's. The place is all spruced up, with new floor, new ceiling, pleasant lighting and an additional, cozy room with a familiar looking wall mural, painted by the same artist who did the one in the old house. Furthermore, the food seems to taste even better now and business is booming. SoCal dineries have been overcharging on wine, so you'll be pleasantly surprised that most bottles are in the twenties, glasses go from $6. Service is very attentive and fresh bread and an Italian salsa arrive almost when you do. The menu has all your favorite Italian dishes and more. Prices are not cheap but fair. On a chilly winter evening we didn't want to start with a cold salad but asked for a small pasta portion to share. A nice serving of capellini with marinara sauce was $9 and went down slurpingly. They do good work with veal in several guises, judging by my piccata with lemon and capers, thin, tender slices, beautifully sauced and served with potato wedges and a fresh veggie mix, $23.95. As I said, not cheap but worth the price. A pork chop in Dijon mustard sauce is $21.95. When ordering pork, we always specify "medium" because most cooks, bless 'em, keep them in the pan too long, which was the case this night and rendered the meat a little tough. Nothing serious but pinker would have been better. The sauce, however, was divine with good-size mushroom caps, potatoes and the night's vegetables, asparagus, broccoli, carrots zucchini and, what looked like garlic cloves but turned out to be carved yellow squash, delicious. The drive to the Norris will take you barely five minutes. Welcome back, Giorgio's!

Giorgio's 777 Deep Valley Drive, Rolling Hill Estates, 90274. Weekday lunch, dinner nightly. Beer and wine. Street parking. (310)541-2600.

Reviewed and written by INGRID WILMOT


BECKY'S NEW CAR by Steven Dietz

Dietz' light hearted romp is given a pleasing production by the Kentwood Players, perfect for this time of year, when the holiday merriment has given way to the winter blues, overdue bills etc. Becky Foster (Cherry Norris) works at a car dealership, is married to a roofer named Joe (Bob Grochau) and has a grown son, Chris (Jaymie Bellous) still living at home. Sound dull and ordinary? Just wait! One night, a rich widower, Walter (Dylan Brody) stumbles into her office, planning to guy gifts for his employees, one car each. And that's when sparks light up Becky's contented but uneventful life. Walter can't stop talking about his dead wife while rapidly becoming infatuated with the perky Becky. She accepts an invitation to a party at his elegant abode by the lake, where she meets Walter's daughter, Kenni (Jaqueline Borowski) and mingles with sophisticated guests like Ginger (the flamboyant Maria Pavone), a recently impoverished millionaires but a spunky lady with sizeable cajones.

The repartee is scintillating but down to earth and the story keeps us guessing. After all, Becky's marriage is long past the spine (and other organs) -tingling stage and the question remains, will she or won't she? There are frequent, amusing interactions with the audience and performances are mostly very good. Norris, a tall, slim, attractive brunette, who looks like a mature soccer mom, is a constant delight as she breaks the fourth wall confiding her innermost thoughts. Brochau, as the husband, displays a dry wit and is the epitome of "mister nice guy". Brody's Walter has enough charm (and money) to lead a woman into temptation. Bellous, as the young psych student is physically well suited to the role of the son but his often mechanical delivery is unimpressive. Craig Bruenell, Becky's co-worker, is the typical office nebbish, but likeable. The apt direction is by Susan Stangl, set design by Drew Fitzsimmons, costumes by Sheridan Cole. Now, let's hear it for Steven Dietz, the talented playwright of this entertaining piece, who doesn't get a bio in the program. Boooo!

Kentwood Players at Westchester Playhouse, 8301 Hindry Avenue, Los Angeles 90045. Friday and Saturday 8 pm, Sunday 2 pm. $18, seniors and students $16, same price for military personnel and Metro riders). (310)645-5156. Box Office hours, Wednesday - Saturday 4 - 7 pm. Or The Kentwood Players at Westchester Playhouse ends 2/15

Pre-Performance Dining Suggestion: The Westchester Playhouse sits in the middle of a gastronomic desert but if you drive towards LAX, THE PROUD BIRD is still flying. This, if not a national treasure, is, certainly, a local one with a fifty- year history of hospitality in Los Angeles. There was a lot of consternation towards the end of last year, when the restaurant was threatened with demolition but the blade of the guillotine has been halted and, happily, they are still cooking and serving every weekend. As soon as you enter the parking lot, you're among vintage airplanes. The interior is bedecked with historic aviation photographs and the tables along a wall of glass have you practically placed in the control tower, as you watch the iron giants roar to a landing.

The menu is all-American; soups $7, starters from $11 for spinach and artichoke dip. Entrees from $19 for fish n'chips, $22 for chicken scallopine, fish from $29, short ribs $32, plus assorted steak cuts. We were going to order one prime rib $26 and one scampi in white wine and garlic butter $25, but discovered, at the bottom of the menu that these two come in a combo for $44. A deal! We asked whether we could share that and they were very accommodating and brought an extra plate without a split charge. The shrimp were crunchy, subtly and tastefully sauced, with pilaf and a salad garnish. The prime rib was also excellent with a loaded baked potato and very good, fresh vegetables. With the $7 savings, we got a glass of wine from the modest list, actually $7.50 for a Canyon Road Chardonnay from California and there are plenty of fancy cocktails for your enjoyment. Visiting the Proud Bird has all the excitement of a plane trip, without shlepping your carry-ons, waiting in lines and dealing with the TSA. You'll be glad you had a chance to