Skylight Theatre Company
Los Angeles

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World Premiere in Repertory at Skylight Theatre

THE LOST CHILD by Jennifer W. Roland & Directed by Denise Blasor

Opening at 8:30pm on Saturday, July 29, 2017 with reception to follow

Runs Fridays at 8:30pm and Sundays at 7:00pm through September 3, 2017

THE LOST CHILD by Jennifer W. Roland & Directed by Denise Blasor
Opening at 8:30pm on Saturday, July 29, 2017 with reception to follow
Runs Fridays at 8:30pm and Sundays at 7:00pm through September 3, 2017

The Lost Child is an emotional thriller that follows an estranged couple as they return to their deserted cabin in the woods to pack it all up. When a storm moves in, a mysterious child appears…could this be their lost child?

“In The Lost Child, parenthood is harrowing – but it’s also humbling, and I think that people will laugh (and maybe scream!), in recognition of that paradoxical situation…” – Jennifer W. Rowland, Playwright

“The Lost Child…dissect marriage and family with dark hilarity. Perhaps a bit creepy, but it is a sexy-creepy, like when you–well–you know–never mind…uplifting in inappropriate ways that make you feel good but later you feel bad about feeling good, maybe.” – Tom Jacobson, Playwright

Jennifer W. Rowland (Playwright – The Lost Child) is a critically acclaimed playwright whose work, The Indians are Coming to Dinner received its World Premiere at Pacific Resident Theatre in Venice, California. The Contest was produced at the PRT CoOp, Powerhouse Theater and Edinburgh Fringe Festival. One Good Death was presented as part of The Road Theater Summer Playwrights Festival. The Cold Inside played at the Edinburgh Fringe Festival 2015, Phantom Owls Productions and was also presented in The Road Theater Summer Playwrights Festival. Jenifer’s plays have been developed at Antaeus Theater Company, Rogue Machine and Pacific Resident Theatre. Jennifer is an alumnus of Harvard College, American Conservatory Theatre’s Young Conservatory, and she is a member of the Antaeus Writers Lab and the Dramatists Guild.

Denise Blasor (Director – The Lost Child) was Artistic Director of LADiversified Theater Company, founding member of LAAFO, KOAN, East LA Classic Theater, and currently is the Associate Artistic Director of the Bilingual Foundation of the Arts. Plays directed/adapted include House of Bernarda Alba, Life is a Dream, The Three Sisters, Blood Wedding, The Wide Sea, Pedro Infante, Anna in the Tropics, No Exit, Marisol, and Wild in Wichita; performed/directed at LATC, BFA, Teatro Las Americas and Frida Khalo Theatre. Recently she directed/choreographed the Multi Media piece Tormenta Omnia at the Craft & Folk Art Museum in collaboration with Gronk and the Passion Play Cristo Vive at the historic Million Dollar Theatre. Her short film “Dentro de la Casa de Bernarda Alba” was nominated for the Imagen Awards as Best Short Film.

Gary Grossman (Producer) is the recipient of Stage Raw’s 2016 “Career Achievement Award,” and he is the Producing Artistic Director for Skylight Theatre Company. He started his career in New York owning two theaters and a theatrical lighting company by the age of 23. Gary worked at the Public Theatre, Café La Mama, and Sheraton Square Playhouse before traveling west in the 70’s to join up with the emerging theatre moment in Los Angeles. He has produced over 300 stage plays, including more than 50 world premieres. Among his celebrated productions are the World Premieres of Church & State (deputing Off-Broadway on March 2017), Dontrell, Who Kissed the Sea (Steinberg/National Theatre Critics Citation), Lord of the Underworld’s Home for Unwed Mothers (Humanitas/CTG Playwriting Prize), El Grande CIRCUS de Coca-Cola , Wrong Man (3 Ovation Awards), Pray To Ball (1 Ovation Award), Years to the Day, Hermetically Sealed, Bullrusher, Sexsting, Mad Women (LA Weekly Award), Romeo and Juliet directed by Milton Katselas (3 LADCC Awards), Dylan (3 LADCC Awards), Influence, Open House, Dream Man, Lone Star, Balm in Gilead, Visions and Lovers, Rabbit Hole, Beautified and La Ronde de Lunch.

Skylight Theatre Company discovers, develops and produces new, exhilarating works that expand mainstream theatre while nurturing and educating the people who create them. A recipient of the prestigious Steinberg National Theatre Critics Citation (Dontrell, Who Kissed The Sea – Nathan Alan Davis), Skylight’s resident PlayLAb writers have been recognized with productions nationwide, a national 2014 USA Ford Fellowship in Theater and Performance (Sigrid Gilmer), and locally as a winner in the 2015 Humanitas/CTG Playwriting Prize (Louisa Hill – Lord of the Underworld’s Home for Unwed Mothers). Skylight won 4 Ovation Awards in 2014 for The Wrong Man and Pray To Ball (the most of any intimate theatre in LA). LA Weekly included the Skylight’s productions of Years To The Day, Open House and Sexsting on their Top Ten list of plays for 2013. Their first year as a company dedicated to developing new plays, 2011, found Skylight’s production of Hermetically Sealed on the LA Times annual list of Top Ten Plays, while Mad Women moved from Los Angeles to La MaMa in New York. Since then, plays developed by Skylight have been performed Off-Broadway and in other New York theaters, Chicago, Washington D.C., Oregon, Cincinnati, Cleveland, Indianapolis, Kansas City, and internationally in Scotland and France. For more information, script submission policy and production history go to

CAST for The Lost Child: Addie Daddio, Marilyn Fitoria, and Peter James Smith
PRODUCTION TEAM: Gary Grossman (Producer), Stephanie Kerley Schwartz (Set Design), Jeff McLaughlin (Lighting Design), Christopher Moscatiello (Sound Design), and Sarah Figoten (Costume Design).

The Lost Child by Jennifer W. Rowland opens at 8:30pm Saturday, July 29th and runs Fridays at 8:30pm and Sundays at 7:00pm through September 3, 2017.

Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027. Tickets are $15 – $39. Reservations: 213-761-7061 or online at


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"The true elephant in the room chockfull of puzzling and off-the-wall developments is when Angelica admits she is something of a fairy person, living underground with her mystical supernatural guru, if I wasn’t too confused and uninterested by then to get it right. There’s so much to still explore—and eliminate—here. Rowland's dialogue is beautifully written and the characters are potentially intriguing, but even considering all that and the knockout performance by Addie Daddio that will tear at your heart, little Angelica needs to have Ann sew her shadow back on, put her hands on her hips as she often does and sing a chorus or two of “I Won’t Grow Up,” then head back underground just a wee bit longer."

""The Lost Child" opens with Daniel (Peter James Smith) returning alone to his off-the-grid cabin in the woods. It’s unclear how long Daniel’s been away, but shortly after he arrives his wife Ann (Addie Daddio) enters. From their reactions to each other you can surmise that they are estranged, if not actually divorced. As it turns out, they have come to their old house to commemorate the 18th birthday of their daughter, who had disappeared some seven years earlier. The mystery of where she went and who had taken her has left her parents with permanent anguish and pain."

"Ultimately, it wasn’t just Angelica who found herself astray in The Lost Child. This reviewer ended up adrift as well."

"Skylight Theatre creates yet another compelling, topical and one-of-a-kind production with its latest play, The Lost Child. Emotional and evocative, this story captures human truths in ways that are beyond the everyday world we choose to see. As a mystery with sprinkles of humor and whimsy, The Lost Child is a thrilling ride everyone should experience this summer."

"Technically, the production, directed by Denise Blasor, is a good one: Background music by Juliette Blasor, in tandem with designer Christopher Moscatiello’s crackerjack sound, conjure a pronounced eeriness on Stephanie Kerley Schwartz’s appropriately dingy set, whose pendent cobwebs Daniel brushes aside in the play’s opening moment. James McLaughlin’s lighting adds to the aura of fitful suspense."

"Daddio and Smith certainly hit their emotional marks squarely on, but the undercurrents of their relationship are not explored well-enough in the script for the couple to show us more."


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