WE NOW KNOW WE ARE NOT ALONE: 5 Questions with Jesse Bliss

Writer. Director. Producer. Actor. Activist. Mother. Jesse Bliss does it all. I first met Jesse when we were both taking a writing course at UCLA under the tutelage of famed writer/instructor Leon Martell. What impressed me about her was how she USED theatre as a vehicle of social transformation and civic action. The nexus of some of this work is her theatre company The Roots and Wings Project (RAW Project). Through March 10, RAW Project will be presenting an evening of song, dance and language called MATRIARCH centering on the complexities of mothers and motherhood.
For more information on this show, visit: facebook.com/events/2197437173856678

Roger Q. Mason (RQM): How did Matriarch begin?

Jesse Bliss (JB): I had come to a place in my life where I was at peace with being an artist over having a family. I had always wanted to be a mother, however the lifestyle of an artist and the choices I'd always made to put my work above all else, made it perfectly clear I could only be with a partner who understood my needs as an artist so that I could do both and do them each well. I realized that context may never exist and finally, after praying to the spirit of my child, released the idea of motherhood for this life unless the universe showed me otherwise, and came to peace with the fact that because of my deep commitment to my art, it may never happen that I'd find a partner who could understand how to have a cornerstone of equity while raising a family and creating work, all the while sharing the responsibilities of love and care for the child, household work, plus finances.

Low and behold I fell madly in love, seeming to have found this context much to my surprise. It all happened very fast. We had a big wedding. I'm remaining silent about the details, but what I will say is that the equity I'd firmly believed was there, was not. I'd been working as an artist literally up until I gave birth having directed my play TREE OF FIRE at The Rosenthal Theater at Inner-City Arts. However, I had a very challenging pregnancy with many medical complications and thus a difficult birth. It left me needing to heal and recover. During that time, I was very much alone. I was more thrilled to be a mother than any role I'd ever been given in this life, however, my fantasy of partnership was shattered. In the countless hours of breastfeeding, I'd have pieces of paper and notebooks with pens lying around the house so if I was suddenly breastfeeding somewhere unable to move, there was accessible paper. I'd stare out the windows at my passing neighbors and up at the palm trees, loving my baby and having the epiphany of all epiphanies about womanhood, understanding it all differently and more clearly than ever before---women have historically been put in the home and our advancement into the workforce only doubled our work load. Here I was working full time running a theatre department at a private school plus teaching on the side at The Geffen while nursing all night and struggling to find places to pump in the day.

Nicole Mae Martin Photgrapher: Ivan Cordeiro

Seated in my living room, while breastfeeding: I got struck like lightening with both the title and idea at once. MATRIARCH would allow women to speak out about the oppression we've been living, allow me to work in an ensemble without having to be away from my baby for endless hours like in a traditional play, and bring light and awareness around the hidden truths of motherhood and the oppression of women.

The first writer I thought of was Patricia Zamorano. I'd played the lead in her play YOU DON'T KNOW ME. I wanted to know more about the story, particularly the dynamic about her and her mother. When I hit her up she let me know that she wasn't a mother and seemed surprised I'd considered her for this work. I reminded her that she'd become her mother's mother when her mother was severely burned (and later blinded) in a fire.

She was stunned and in turn found great healing in writing that riveting story. I began tapping other writers I knew had something profound to share and a perspective to offer that would alter perception and give piercing truth.

Our first reading was at a bar at Union Station. People were laughing and crying on both sides of the stage. Passersby were stopping, arrested by the work. It was then and there we collectively knew there was something very powerful that needed further life.

I was suddenly less alone and able to share space and time with potent artists and engage dialogue around the work. I found this entirely healing and necessary in a world where women are objectified and silenced. My baby was on my hip through it all as being with her has, and remains to be, my number one objective. I embody all things wild and completely domestic at once.

Ramy El-Etreby Photographer: Ivan Cordeiro

RQM: You've done the show many times within the last few years.  How has the show grown and changed over the different iterations?

JB: It became clear we needed to include our male allies. Because someone is a woman does not make them an ally and because someone is a man doesn't make them an enemy.

So many women completely sign on to the poison of patriarchy and also there are men who are strong allies. For example, in the case of Ruth Bader Ginsburg, her work didn't happen because of him, but she was able to navigate and break boundaries because he had her back and believed in her to such a degree that she was able to be an unstoppable force. He moved cities for her work. He sacrificed whenever necessary to ensure her rise.

This type of ally promotes our advancement and enforces our voices. Throughout history, oppression has been overcome by those being oppressed joining forces with allies to create a movement. Angela Davis' book WOMEN RACE & CLASS does a great job of exemplifying this point as does her entire body of life's work.

Women have only been legal citizens a short time, previously owned by men on paper through marriage. We've barely been allowed to vote or enter the work force or college and still make so much less than men, yet have the responsibility of the home and suffer enormous condemnation. Is there equity? Sure, it's somewhere, but it's hard to find. The voice of the ally is in Tamar Halpern's piece, GABRIEL, and brings so much to the overall message.

Tamika Simpkins Photographer: Ivan Cordeiro

MATRIARCH is much about the shaming of the feminine. All feminine energy has been subjected to shame. It can be embodied by a woman or a man and yet still experience the same level of condemnation, thus it became crystal clear that it enhances and emphasizes the work to include that voice. Your piece (Roger Q. Mason) embodies this and it is a critical aspect of the work. In his piece, AGE SEX LOCATION, the character is being shamed for his femininity by the very women he looks up to---his own mother! This shows how the feminine is degraded and humiliated in all shapes and forms…a critical point to explore on our journey to respect and equity…the very definition of the word feminism has *no* female implication. It refers to equity for all human beings.

Also, since the inception of MATRIARCH, I have become a single mother. This role is shrouded in stigma and has been an entirely new awakening, once again, about the roles women have been subjugated to in our quest for freedom and to live outside the walls of oppression. My new perspective has changed the way I see the value of this show and the role it plays in voicing what we don't usually hear, thus moving more toward justice.

Raised by a single mother myself who endured abusive relationships, it has been an awakening to trans-generational trauma and a strong desire to break the cycles. I have stepped into a role I never wanted and am determined to not only make it work, but to live in joy---something society has attempted to keep from women.

The Roots and Wings Project also has a program now in the women's prison California Institution for Women (CIW) in Chino. Those women are survivors of abuse and so many of them are in there because of Domestic Violence. They have gifted me so much and working with them is an honor. It has greatly enhanced my understanding of how the dynamics of patriarchy in the United States are costing women their lives both inside and outside the walls. I don't see the separation. My collaboration on MATRIARCH exists in both places. The women behind the walls are great keepers of knowledge and testaments to the strength of the human spirit. Their voices are stifled because their truth threatens the structure of patriarchy. We do this work out here for them as well. All artists on both sides of the walls are company members of The Roots and Wings Project and by bridging this gap we are helping people to understand the truth about who is in prison and why. Though I've been doing prison work for over 15 years, this is the first Roots and Wings Project program in a woman's prison. We are grateful for the support and collaboration from Poets and Writers and Luis Rodriguez and Tia Chucha's Centro Cultural.

It's been exciting rotating in new voices like Diane Rodriguez whose piece speaks to the story we *never* heard about: a proud and peaceful single mother with 5 kids and 5 kid's fathers and Dancers like Nicole Mae Martin (held the vision for popping and locking interlude for years for this show) whose piece explores Domestic Violence, a topic society doesn't understand that is not publicly expressed thus perpetuating. It's equally exciting continuing on the journey with the MATRIARCH OG's like the talented Sigrid Gilmer who has been running the show since "the get" with a piece about a dying mother and her last taboo advice to her children.

We did a short run of the piece in 2017 at Casa 0101 to much success. Though the venue is no longer being rented by them and we are running the show in the space again, we honor and appreciate the legacy of that space and all the incredible work that has been built in there by so many stellar artists.

Jesse Bliss. Photographer: Ivan Cordeiro

RQM: You make an appearance in the show.  Tell us a little bit about Jesse Bliss the writer and performer.

JB: My first lens is that of an actor. I have written literally my entire life, but as a young child, always envisioned becoming a professional actress and started doing radio commercial work and plays at a very young age. I moved to San Francisco at 20 years old and met my acting teacher, Linda Lowry, walking up the street near my place in the dangerous Tenderloin District. I trained very hard with her. She was a prodigy of Bobby Lewis who founded the Original Actor's Studio and he was a prodigy of Constantine Stanislavski. I was so incredibly frustrated by the lack of good material written for women and Linda saw the writer in me. She challenged me to write my own work. Thus was born my life as a playwright. However, I am a multidisciplinary artist, truly, and all parts equal my whole. Each is an integral part of my being. Performing makes me happy and keeps me connected to all aspects of the work and is something I am meant to do while in this life. I love directing, producing and writing just as much. I find acting makes me better at them all, eliciting my vulnerability, embodying a character and keeping me connected in a way I'm built for. There are works I never do step inside of as a performer and approach the work only as a director and producer.

Rose Portillo Photographer: Ivan Cordeiro

In the context of MATRIARCH, the piece I do is very important to me as it explores a mother being shamed in public by a passerby for breastfeeding which I, and many others, experienced not just once but often. It's so ludicrous to me and makes a critical point about where we are at the world in the treatment of women. It's an honor to perform the piece. I was afraid in this iteration it wouldn't connect for me now as I've got so many other critical matters on my mind and in my heart, but it does remain to be a piece that I find deeply important and stepping inside of MATRIARCH to perform is a gift I so deeply appreciate.

I have a background in women's theatre as a writer and performer. I came to Los Angeles with an all-female troupe out of New York City, The Angry Jellow Bubbles. At 21 years old I moved to New York City and it was my first exposure to a powerful, young female director and a group of very talented female writer/performers. It brought me so much healing. We did a lot of shows together on the East and West Coasts and in Europe. All 9 of us moved to LA then quickly disbanded, but that time together greatly influenced my artistry and opened me up to the capabilities of women as content creators. Being there was so little good work for women, it feels empowering to create my own---to write it then step inside to embody it. That has always been healing for me---to write work I believe in and physically embody it. I love telling other people's stories as a writer as well as an actor. There is a collective consciousness at work in this story telling.

I connected with Josefina Lopez when I first came to Los Angeles. She has been a dear friend, ally and inspiration. It felt good to connect with someone, so soon after arriving in LA with the Bubbles show, who was working in multiple contexts and capacities creating content as a woman.

Overall, I look forward to continuing my journey as a performer yet acknowledge fully that I am also a playwright, director and producer and that work is a critical part of my being and must be exercised in order to grow.

Cast Photo - Photographer: Ava Alamshah

RQM: Outside of your work in theatre, you are an educator, radio personality, and prison reform activist. What do you bring from your other lives in to the work you make for theatre?

JB: The immediate healing that theatre offers is life-saving and I experienced it as such on my own journey and am a conduit for helping it do the same for others in these mentioned contexts. The entertainment industry can be difficult and I find sometimes artists forget the healing power of the work or the core reasons why we do it. It's interesting going from a prison environment with men at Lancaster or women at CIW for example where the work literally allows them to come alive and breathe, to a public theatre where artists approach the work in a different way due to the structure of the entertainment industry. I find the best actors in the world are also the kindest, most empathic and I see in them the same traits as the people behind the walls. A criminal mind is a creative mind and the Prison Industrial Complex has been built by Patriarchy and greed.

Crowd Photographer: Ivan Cordeiro

RQM: One thing that has always excited me about you is your supreme belief in the transformative power of theatre in our everyday lives. What can theatre do to help us in tumultuous times like now?

JB: Theatre can allow us to overcome. The power of the human spirit is magnificent and ominous. We forget because that's the design. Oppression is there to keep us disconnected from each other and ourselves. When we examine a story, its' structure and the intricacies of a precious human life, we are called to an ancient an honorable task that takes us outside of time and into the realm of possibilities. It's the highest healing modality on the planet for it offers an unparalleled transcendence for both the artist and the audience. The silence is broken. We now know we are not alone. We can process what is otherwise impossible to digest. In this we can digest, calm and take proper action.

We are called into the universal realm and metaphysical forces become more apparent.

We stand on the backs of giants in this work and call forth the legacy when we commit to participating. Ancestors come around, we connect in a different way with each other dictated by measure of trust and love and in this we are more than the circumstances of our lives, more than the haters, more than the challenges. It brings our capabilities to light and ignite what is dormant, calling upon our power to voice truth, rise up, and take no prisoners.

For tickets and more information on MATRIARCH go to Eventbrite.com/e/matriarch-tickets-54959799239

Featured photo: Jesse Bliss Photographer: Angela L. Torres


Free Los Tres! Free Los Tres! - Part 1

"The people in their quest for a better life have the right to destroy the forces that threaten their survival." Origin unknown.

There are some stories that become legends, and we tell them over and over again. But there are other stories that are just as moving and powerful that we forget to tell. Sometimes those stories are found again, and in the telling we may wonder why we forgot them at all.

Free Los Tres! is a shout of defiance. It is also the name of a new play, and it is a powerful and sometimes flawed reminder of an essential moment in the history of Boyle Heights and the Chicano Civil Rights Movement. The story is very complex, spanning years and taking some of its dialogue directly from thousands of pages of court transcripts.

The play has already triggered a new reckoning of the events it depicts. It ran for only four weeks at CASA 0101 in Boyle Heights, but Free Los Tres! has been embraced by a community hungry for stories about their culture and history. The show sold-out every night of its run.

Rudolfo "Rudy" Sanchez, Alberto "Beto" Ortiz and Juan "Johnny" Fernandez – Los Tres del Barrio– were Chicano activists, and members of a community organization called La Casa de Carnalismo that wanted to drive drug dealers out of East Los Angeles. They were convicted of assaulting an undercover federal narcotics officer posing as a drug dealer in 1971. Los Tres became a rallying point for a community and a movement.

Photo courtesy Alberto Ortiz

We are living in a time that doesn't allow us to entertain any sentimentality about how far we have come; instead, with the reemergence of white supremacy, and the scapegoating of immigrants who are called criminals and thugs, Free Los Tres! confronts how far backwards we have actually gone. Those times are our times.

"It's not that I don't want people to forget it, it's that I want them to identify it with what is happening today," says Carmelo Alvarez, who directed and co-wrote the project with Beto and Miguel Lopez Vigil. He is an eclectic man, and a natural storyteller perhaps best known for founding Radiotron, the iconic hip hop venue and youth center that was located near MacArthur Park. He has also worked as a youth advocate for more than 40 years, creating a dozen spaces where kids can learn about culture and art, and find shelter from the gangs, violence and drugs out on the streets. He lives simply, completely devoted to making his art: Free Los Tres is his passion project.

I met Carmelo when I was researching a script dense with thehistory of downtown Los Angeles and cultural issues like homelessness. A mutual friend introduced us because Carmelo is an aficionado of local history, and during our first meeting, we spoke for more than two hours. Somewhere along the way, between being peppered with my questions and barely pausing while I frantically scribbled notes, he told me about Free Los Tres.

The script was still too long – about 170 pages – and he was cutting and cutting material. He seemed inundated with information, still sorting the piece out, which would in the end take about 18 months.

He had been looking for the story for years.

He became aware of Free Los Tres when he was 14 and catching the bus to school. The bus stop was near the courthouse where the Charles Manson trial was concluding, and he saw young women with shaved heads and X's carved in their forehead – Manson girls protesting his death sentence (later overturned.) The trial for Los Tres began just as the Manson's ended, and when Carmelo looked across the street, he saw another group of people holding signs and heard cries of "Free Los Tres!". The image stayed with him, and he wanted to know more.

Other stories about the Chicano movement have become celebrated, even iconic. Long before they became part of Los Tres, Johnny and Beto joined the high school walkouts of 1968. Thousands of students from Theodore Roosevelt High and other East L.A. schools protested against inequality in the Los Angeles Unified School District: classrooms were overcrowded and understaffed, and activists charged that the curriculum ignored their experience entirely.

A year later they the also joined the Chicano Moratorium, an Anti-Vietnam War movement which organized several protests, the largest of which drew more than 30,000 protestors on August 29, 1970-- an essential date in Los Angeles history, and the same day LA Times reporter Ruben Salazar was killed. The war was placing a heavy burden on East L.A. communities like Boyle Heights as Chicanos were being drafted and killed at higher rates than other ethnic groups. The Moratorium was a continuation of what started with the walkouts; young activists taking to the streets to rally against injustice.

Moises Rodriguez (Rudy), Joshua Nicholas (Johnny) and Alex Anthony Correa (Beto) as Los Tres del Barrio. Photo by Rosa Navarrete

"They made a movie about the walkouts and the moratorium is celebrated every year, but this story has been hidden for 47 years," says Carmelo. He wanted to know why. Little has been written about Los Tres. An internet search finds only an excerpt from a book which mentioned Los Tres very briefly, and also a few pictures and flyers from the era– but nothing cohesive, only fragments that hinted at the story he knew was there.

He kept looking, but the play might never have happened but for a chance encounter in 2017. Carmelo was at a funeral paying his respects to a relative who'd been a Chicano activist. He was talking to his cousin, who'd also been involved in the movement, and mentioned he was writing a play about Los Tres. Do you know where I can find them? "Do I know them, his cousin said, Dude, I know those guys, I was on the Committee to Free Los Tres!" An introduction was arranged. 

Shortly thereafter, Carmelo met Beto and Rudy, and they gave him permission to write the script. Beto collaborated closely on the script with Carmelo – he had saved pictures and letters from members of the Committee to Free Los Tres, still in their envelopes more than 40 years later. Beto spent months getting the trial transcripts, nearly 3000 pages. He painstakingly copied them one page at a time. Those pages were very delicate, sometimes stuck together. Beto's memories of that time had grown fuzzy he says, but as Carmelo picked at his brain they began to resurface. First they worked from memory, then they began interviewing committee members. They wanted the play to become something beyond a history lesson– Free Los Tres is a call to action.

"We're kind of hoping that this will inspire the youths of today because I see the play being for this generation now, for those who didn't know or never heard about it, and we want to let them know how the conditions were back then and hopefully it will inspire them to get involved," Beto said when interviewed with Rudy at Casa 0101 just before rehearsals began late last year. "The issues have multiplied instead of diminished," Rudy said, in no small part, he believes, because of the current president.

Los Tres were very young when the confrontation took place, Rudy being the oldest of them at just 26. Beto and Rudy are the two surviving members of Los Tres (Johnny passed away in 2012) and they remain politically committed: attending rallies and marches, and still consider themselves pro-immigrant and pro-undocumented. "We're native born here," Beto says, "and it gets me upset that people are saying go back to Mexico because we never crossed the border. Our people didn't cross it and the Indians never did – the border crossed us."

Photo courtesy Alberto Ortiz

Every play has its premise, its own life as Carmelo says, and Free Los Tres asks, do the ends justify the means, and when is it okay to take the law into your own hands. And what actions are ethical if the guys carrying badges are committing illicit acts themselves? The authorities were infiltrating the community, trying to disrupt the movement, beating suspects, and intimidating witnesses – but their actions were considered legal, at least at the time.

"That's not justice, that's not legal, so they're breaking the law," Carmelo says. "And they send in informants and infiltrators – is this legal? Why is it legal to infiltrate into a community and bring in arms, and tell them you need to fight them, you need to shoot the pigs, we need to have an armed revolution? Informants were paid to tell the movement these things. So in this case, the government was doing things under the color of law, but they're not ethical, they're right in the law of true justice, or true humanity."

There is another message to this story: drugs have been been used as a tool of suppression to, as Beto says, "keep our people drugged up and killing each other." Los Tres had already helped circulate a petition asking local shops to stop selling glue to kids in the neighborhood, and were working to get rid of the heavier stuff too – angel dust, reds and heroin. The movement believed the cops were at worst abetting the problem and at best doing nothing to stop it.

Carmelo takes this from an abstract idea to something more personal, an analogy that puts the question on what you might do to protect your own family. "If someone takes drugs into the community and you do something about it, you say, hey, don't be selling that shit to my sister, get the fuck out of here, and then somebody moves into your neighborhood, and befriends you, and says I'll take care of your sister, but he starts giving her drugs, and he's doing it under the color of the law, is that legal?"

Los Tres began chasing drug dealers out of the neighborhood and for awhile Beto says it was working. They were partly inspired by the film Battle of Algiers, the 1966 film showing the guerrilla resistance against French colonizers. Rudy saw it when he was in prison, and it transformed his life and inspired his actions. The group would approach a drug dealer, tell them we don't want you selling your junk here, and then intimidate them into leaving.

They did not initiate the meeting with the undercover agent. Rudy was contacted by a man who wanted to sell him drugs. In the play we see this exchange as two backlit figures behind a scrim, two shadows arranging to meet for a drug deal. "We didn't go there to shoot the guy or kill the guy or anything like that, we went there to run him out of the neighborhood," said Beto, but the transaction turned into a confrontation.

We see this incident several times during the play, reminiscent of Rashomon, the 1950 Akira Kurosawa film that demonstrated the slippery nature of truth. The shooting is dramatized from several different perspectives, especially during the court scenes when the actors rearrange themselves as the testimony continues behind them. This is a bit awkwardly staged, but it's very funny when we see the actor playing the undercover agent enter on a moving cart with giant handlebars representing a lowrider motorcycle.

There is controversy about how many shots were fired, was it three or was it two. We do know that the officer did not identify himself as a federal agent or show his badge before reaching for his weapon ("if he'd shown one we wouldn't be sitting here talking," Carmelo told me.) Get of the neighborhood, Los Tres told him, and they demanded he give up his drug money. The cop, perhaps panicking, dropped his wallet to the ground, the money scattering, and reached for his weapon. Carmelo believes the agent expected Los Tres to go for the money. Seeing his weapon, they opened fire on him, and from there the incident gets even murkier.

There were four backup agents waiting in a car, and when they heard the gunshots they came running to the scene, the first of them arriving maybe 10 seconds later. Three claimed they didn't have weapons with them – they said they had left them in the car – one of them using the rationale he didn't have his weapon because he had taken off his shirt to blend in within the community (his exact words taken from the transcripts.)

"You're the backup agent, but yet you leave your gun in the car?" Carmelo asks me incredulously, wondering if there might be a motive for this, if it wasn't really an accident. We do not know the answer to that question, but even more mysterious is who fired the shot that hit the agent. Beto and Johnny each fired once, but there was a third shot that isn't clear what weapon it came from, and no ballistics tests were done, except on Johnny's weapon, and the results were inconclusive.

"Why didn't anyone question that," Carmelo says, "if you go up to anyone on the street, and you say three backup cops didn't have their gun, they'd say...what??"

Photo courtesy Alberto Ortiz

The shooting, this one brief incident, lasting maybe 30 seconds or so according to Alvarez, had long reverberations. "That one minute transformed their life," Carmelo says. "That one split second incident unraveled a lot of things." Chicano activists considered Los Tres political prisoners, and believed they that had been set up by the Federal government and other authorities intent on dismantling the movement (and indeed anyone considered subversive or radical.) The National Committee to Free Los Tres eventually merged with a community center called CASA (Centro De Accion Social Autonomo) and fought for the release of the three activists. They were triumphant, but so much had already been lost in the long, slow struggle in the courts and on the streets.

Los Tres were arrested when the Chicano Civil Rights movement was at its height, but by the time they were released in in the late 70's, it was badly weakened, it's many factions beginning to splinter apart, its fragile unity having been wounded by years of governmental intimidation as much as ideological differences.

...to be continued


Friday Features – Sweet Shows This Coming Week

Better Lemons has lots of registered shows and events and lot of them have Critics and Audience reviews posted. Here you can see their favorites and when you click on a title, you will see all the critics' and audience reviews and ratings. From there you can choose what your adventures this weekend will be. We wish you a fantastic weekend!

Charles Dickens’ A Christmas Carol

Cost of Living

Remembering Boyle Heights

The Big Event: Sunny Afternoon

BUS STOP

SHE LOVES ME

HANSEL AND GRETEL

Blacktop Highway

The Big Event: King Dick

Jane Austen’s EMMA

COME FROM AWAY

OPPENHEIMER

Sugar Plum Fairy

Delusion: The Blue Blade

SOUTH PACIFIC

THE COLOR PURPLE

Clarissant

Finks

A CAROL CHRISTMAS

Aleichem Sholom! The wit and wisdom of Sholom Aleichem


Now Registered This Week on the Better Lemons Calendar - October 14 through October 28, 2018

NEW! Theatrical shows, Musical Concerts, and Film Festivals registered on the Better Lemons calendar!
For more shows visit our Calendar. For shows with a LemonMeter rating, visit our LemonMeter page.

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