COVID-19 THEATER SERIES: Twelve Actors and a Laundromat - An Interview with Group Rep's Doug Haverty


Talented California-born Doug Haverty has done it all, from actor and playwright to lyricist and producer. Little did he know that his first play, a college comedy called Hello, This is the Bottom Drawer, would draw so much positive attention and lead to a writing job in New York. But it was not until In My Mind's Eye premiered at the Los Angeles Group Repertory Theatre in 1984 that his talent won him a most promising playwright award, as well as a Drama-Logue award for best playwriting in 1985. Musicals included Love Again, Roleplay/Inside Out, Flavia, and The Dream Maker, and The Ghost of Gershwin. Doug has acted in numerous Group Rep productions, most notably And Then There were None, Lend Me a Tenor, and The Cape and the Klan. In addition to his role at the Group Rep, Doug also co-moderates Theatre West’s Writer’s Workshop. A true multi-tasker, Doug took some time out of his busy schedule to interview in April 2020.


Kyle Bares, Jean Altadel, Emma-Jayne Appleyard, Daniel Lench, Suzy London, Andrew Bourgeois, and Gregory Guy Gorden in "The Ghost of Gershwin" - Photo by Sherry Netherland

When did your theater first begin its long career? Were you Involved from the beginning?

Doug Haverty: The Group Rep began life in May of 1973 when 12 actors converted a laundromat in Hollywood into a 37-seat theater. They convinced Lonny Chapman to come on board and be their Artistic Director. Shortly thereafter, they relocated to a charming theater on Magnolia Boulevard in North Hollywood. I saw plays at this space, which reminded me (personally) of the summer stock theater in Michigan where I met my wife. The building looked like a barn. It was red with white trim, and it was set back off Magnolia. There was a walkway lined with pine trees and benches. It was really bucolic. It had a front porch and the box office/concessions looked like the bar in a saloon.

I joined the theater in 1982 as a playwright. Lonny liked my play, In My Mind's Eye, and told me he’d like to help me develop it. My first meeting with the group was on a Monday night, and they were presenting a workshop of a new play they’d been rehearsing. It was memorized, directed, costumed; it even had working props. But it was played on the set of their current show. The work and dedication was astounding. Every role had been cast perfectly, it was beautifully directed, and I could not believe the level of commitment from these actors and this director. They had obviously been working on it for weeks without any guarantee of production — they just believed in the play. I knew, then and there, that this was the place for me. The play was The Lilac Tree, and it did become a production — in fact, it was the last production at that charming space. The City of North Hollywood had determined that they needed that land for a senior citizens tower (which is there now). One or two of the pine trees survived.

The City relocated Group Rep to its current space on Burbank Blvd.; and the first full-length production was my play, In My Mind's Eye. The production did very well, and this play went on to be produced in Berkeley and Whittier. It was eventually published by Samuel French, where it’s been done all over the country. The Group Rep just revived this play as part of their 2020 season; and it was, again, very well received by audiences and critics alike. I had many people tell me how moved they were by the play — even perfect strangers liked it.

Reenie Moore, Pat Lentz, Claudia Fenton, Bonnie Snyder, Jodi Carlisle, and Julie Bloomfield, the world premiere cast of "Roleplay/Inside Out"  - Photo by Dale Cooke

When did you become the artistic director?

DH:  Through the years, I have participated in various productions at Group Rep wearing various hats. I have acted in many shows, produced several shows, and done sound design and graphic design for many shows. As a playwright, I’ve had several premieres, including In My Mind's Eye, Next Window Please, Roleplay (A Musical written with Adryan Russ), Love Again (a musical written with Adryan Russ), The Ghost of Gershwin (a musical written with Wayland Pickard and Laura Manning), and A Carol Christmas (a musical written with Bruce Kimmel).

When previous co-artistic directors Larry Eisenberg and Chris Winfield announced their plans to retire, the search committee offered me the artistic directorship about a year ago. We began planning the 2020 season last June. I took over, officially, on January 1, 2020. Larry and Chris are both still very much involved with the theater — which is great for the company and me.

“The Group Repertory Theatre was one of the original 99-seat Equity waiver theaters in Los Angeles (allowing us to use Equity actors and not have to pay Equity wages). The 99-seat plan was dissolved by Equity a few years ago, and Equity named a dozen membership companies as AEA approved membership companies. This allows us to use Equity actors and non-Equity actors without any restrictions. AEA recognizes that we are a company run by actors, and therefore assumes we will treat actors justly and with respect.

Some of my works have started at Group Rep and gone on to have other lives. So, it’s fun to realize that things we’re developing in our little theatrical think-tank could actually “grow up” and expand after their debut in NoHo. I wrote a musical with Adryan Russ which started as a workshop. We were going to present it as a two-nighter to the public. After Lonny Chapman popped into a rehearsal for a look-see, he came up to me afterwards and said, in his usual theatrically startling way, “No. We’re not going to do this as a two-nighter. Let’s do a little more rehearsing and just open it.” And we did. It was supposed to run five weeks and it ran five months, which was fairly unheard of at that time. That little musical, now called Inside Out, eventually wound its way into Manhattan , had an Off-Off Broadway run at the Village Theatre Company, and eventually an Off Broadway run at the Cherry Lane Theatre. It’s been done around the world, was recently translated into Serbian, and had an 18-month run in Belgrade that was tremendously successful.

“We did a relatively new version of A Christmas Carol in 2009. It was adapted for the stage by Richard Hellesen and David De Berry. This extravaganza was directed by our then-artistic director, Ernest Figueroa. It was one of the most ambitious shows we’d done with a huge cast, glorious set design, tons of costumes, and beautiful, lush music. The author of the book combined text from the short story, as well as other essays Dickens wrote about Christmas. So, it was a Dickensian Christmas buffet. I played Bob Cratchit, and Chris Winfield was Scrooge. It was magic. Audiences loved it. It was so rewarding to be a part of that; and I genuinely felt affection for all the Cratchit kids, especially Tiny Tim.

It was that experience that inspired me to write my own musical version of the classic by Dickens. I wanted to make mine modern and set in the U.S. I converted all the major men’s roles into women’s roles. I enlisted Bruce Kimmel to direct and create the songs and score. In 2018, A Carol Christmas was born; and audiences absolutely loved it. We’re in the process of marketing it now to a national theater network and hope to have the GRT-streamed version available during this shelter-in-place.”

Stephanie Colet, Tricia Hershberger, Shelby Kocee, Gina Yates, and Bianca Gisselle in "Next Window Please" - Photo by Doug Engalla

When did you close the theater due to COVID-19? Were you in the middle of a run?

DH:  Our first production was scheduled to close on March 15, and we did run until the published conclusion. That last weekend, groups of 50 or more were being discouraged. We limited sales to 50 seats per show (which wasn’t difficult at that point) and encouraged seat selection using social distancing. Those last three shows were very good, and the audiences seemed very appreciative. My friend, talented director John Musker, remarked, “Well, this may be the last play I ever see…and if it is, then at least it was a good one.”

“Our next two plays, Neil Simon’s London Suite and Mitch Albom’s Tuesdays with Morrie, were both in rehearsals. Rehearsals continued for a few days, but then the order came through that groups larger than ten were discouraged. That’s when we collectively decided to postpone all activity in the theater building until the Mayor/Governor determine it’s safe to gather again.

Cast of "A Carol Christmas" - Photo by Karen Staitman

Over the past weeks, how has COVID-19 impacted your theater?

DH:  This has impacted us drastically. We are completely volunteer-run and member-funded. Our members pay dues and are, in essence, shareholders in our company. Somehow, over the past 46 years, we have managed to stay afloat with donations, dues, fundraisers, and box office. Some months are leaner than others. We had two shows almost ready to open and fundraisers planned. Everything has been put on hold. Plus a lot of our members utilize the theater space for work on various projects that they’ve devised. There is a lot of activity at that building, given two theaters and two additional rehearsal spaces.

Additionally, we are in a Triple Net Lease, which means we are responsible for the physical upkeep of the building (as well as property taxes and insurance). With the rains and a very old roof, we have to constantly keep watch for leaks. We were right in the middle of refurbishing the dressing rooms for the upstairs theater and putting in a new lighting system upstairs.

Are you doing anything right now to keep your live theater going? Streaming? Having virtual meetings? Planning for your next show when you reopen?

DH:  Just this week, we put a video of In My Mind's Eye; and it’s available for steaming. In the coming weeks, we will upload other original works and make them available for streaming. Once it’s safe to gather again, we will resume rehearsals and start to reschedule our fundraisers. We have had tele-conferences, and some people have been meeting via Zoom."

Bobby Slaski, Kait Haire, Lloyd Pedersen, and Peyton Kirkner in "In My Mind's Eye" - Photo by Doug Engalla

What do you think will be the impact of COVID-19 on live theater in general in Los Angeles? Do you foresee any permanent changes?

DH:  Will live theater in Los Angeles change as a result of COVID-19? I am an optimist, so I always hope for the best. I hope that, after people have been quarantined and sequestered for weeks or months on end, they will be hungry for live theater and crave participating in live art played out before their eyes. I hope that theater-going habits will survive this pandemic. I hope that people will once again look for activities outside the safety of their homes.

Our matinees have always been popular with audiences. We had already planned to introduce additional Saturday matinees with London Suite, and we will continue to schedule them in once we’re up and running again.

My fear is that many businesses, including many theaters, will not survive this pandemic and will shutdown. I just hope that we can hang on and continue doing what we love doing.

What do you need right now to keep going forward? What would you like from the theater public?

DH:  Naturally, the thing we most need is money just to keep paying the rent (and in our case also the property taxes and insurance). We realize that — at this point in time — money is not easily given. We desperately need a new roof. The rains have damaged our structure and exterior doors and carpets. We’d also like a large storage shed to hold costumes, props, and set pieces. So, since we are an official 501 (c) (3), we can accept donations in kind (things like materials, labor, etc.)”

What are some of your future plans?

DH:  Once we re-gather, we will complete the rehearsal process and open two plays in rep (upstairs and downstairs). We have a very ambitious season planned (in both spaces). We will re-strategize our fundraising campaigns and events. And we will continue to audition and bring in new members, as well as continue to develop new plays and musicals.

In 2008, we did Inspecting Carol, which is kind of Noises Off  meets A Christmas Carol. It was in the beginning of the financial downturn, and people were generally depressed. It was so wonderful to be able to offer the community an evening of belly laughs. There were times where the laughter was so intense that the huge laughs turned into coughs. Laughter can be healing. So, personally, I am looking forward to presenting Neil Simon’s London Suite. A lot of people are familiar with Plaza Suite and even California Suite, but not that many people are familiar with the third entry in his Suite of Suites. It will be like discovering a new Neil Simon. That play opens whenever we reopen - which is currently set for mid-May - pandemic permitting, of course.


This article first appeared in LA Splash Worldwide.



COVID-19 THEATER SERIES: Kritzerland Goes Virtual - Bruce Kimmel and Hartley Powers Together for Group Rep Fundraisers


Bruce Kimmel and Hartley Powers joined forces to develop May and June Group Rep fundraisers which they are sharing with the world.

Clearly a man for all theatrical seasons, Bruce Kimmel has achieved success in every endeavor which he tried. Bruce wrote, directed, and starred in the cult movie hit, The First Nudie Musical.  He also co-created the story for the hit film, The Faculty, directed by Robert Rodriguez.  As an actor, Bruce has guest starred on most of the long-running television shows of the 1970s.

Hartley Powers - Photo by Russell Baer

Bruce is also a legendary Grammy-nominated producer of theater music on CD and has produced over 180 albums. His song “Simply” won the Mac Award for best song of the year.  Most recently, he’s directed rave-reviewed productions of L.A. Now and Then, Welcome to My World, Li’l Abner, Inside Out, Dial ‘M’ for Murder, and the world premiere of a new Sherman Brothers musical, Levi, the story of Levi Strauss. For the past ten years, he has been producing and hosting a monthly series of live entertainment called Kritzerland, which most recently was seen at Feinstein’s Upstairs at Vitello’s. In his spare time, Mr. Kimmel has also authored twenty books. Bruce took time from his crowded schedule to an interview with me in May 2020.

Hartley Powers started her acting career at the early age of 11 months and continued in the business through college, studying theater at Cal State Northridge and Fullerton. After graduating, she continued her studies and earned a degree in Digital Media from FIDM. She built a career in the post-production industry and is now the President of Pongo - a boutique A/V marketing agency. After taking a break from acting, Hartley decided to return to her love of theater by becoming a member at the Group Rep in North Hollywood. She played Hermia in A Midsummer’s Night Dream, Kate Monster/Lucy the Slut in Avenue Q, the title role of Carol in A Carol Christmas, and Maggie in The Man Who Came to Dinner ; the last two were directed by Bruce Kimmel. Whether on the stage or through the art of editing, she loves being able to share and tell stories with others. Hartley also agreed to an interview in May 2020.


Bruce, your career goes back nearly 50 years as an actor, writer, novelist, blogger, director, composer, and Grammy-nominated CD producer. How did you happen to branch out so extensively? Which of those roles fits you best and gives you the most satisfaction?

Sam Golzari, Esperanza America, Olivia Cristina Delgado, Ella Saldana North, Julio Macias, Kenneth Miles, and Ellington Lopez in "A Mexican Trilogy" - Photo by Grettel Cortes Photography

Bruce Kimmel:  50 YEARS??? Yikes.  I was blessed, I suppose, to be able to do several things well; and I always felt it would be a sin not to nurture anything I did well. It didn’t always serve me well because people in show business - especially when I was coming up - like to put everyone into little boxes. But from the time I was fourteen, I knew I wanted to write - songs, musicals, and plays – as well as direct; back then, I especially wanted to act.  The CD-producing came about in a roundabout way at a time when I had recently emerged from a negative place in my life. I was given the opportunity to be a full-time record producer, and I grabbed it with gusto. In a year, I achieved the kind of success that had eluded me for all those years prior. Not that I didn't have success, mind you, because I did. I was very lucky in that way. But we all have silly places we think we should be and - if you haven't gotten there - then maybe it's time to take the blinders off and look at other avenues. This is what happened to me. But after producing all those albums (over 180 that I personally produced) and releasing over 400 albums on my CD label, Kritzerland, I got back to directing. I absolutely love directing. For the past twenty years, I've written a book a year (seventeen works of fiction and three non-fiction). That has actually been the most satisfying thing of all. I've also written several musicals in the last few years.

Michael Robb and Carrie Schroeder in "Dial 'M' for Murder" - Photo by Doug Engalla

Hartley, I noticed that your bio goes all the way back to 11 months of age “waving baby arms from a Chevy Astro van.” How and when did you first get involved in show business? What are some of the high points in your career thus far?

Hartley Powers:  My parents got me involved in acting when I was just a baby. As a couple that moved to Hollywood to act, they were eager to get me into show business. I was lucky enough to appear on TV shows, movies of the week, some feature films, and the stage - as a child and on to my teen years. A big moment for me was being cast as Billy Crystal’s daughter in Mr. Saturday Night at the age of six. I was lucky enough to work with the likes of Tyne Daly, Melissa Gilbert, Shelley Hack, Richard Crenna, Kay Cole, Jules Aaron, Vincent Dowling, Fred Willard, Marian Seldes, and Cherry Jones.

How did both of you get involved with the Group Rep? What are some of the shows you were involved in, and what was your role in these shows? Any awards?

Bruce Kimmel:  Doug Haverty, a long-time member there (and now the artistic director), and I had been working together for a couple of decades; he designed CD covers for me when I was at both Varese Sarabande and then Fynsworth Alley. He’s also designed all of the Kritzerland releases. Because of our connection, I'd occasionally see a show at the Group Rep. Then I directed a production of Doug and Adryan Russ's musical, Inside Out at the Grove Theater in Burbank. Inside Out actually began life at the Group Rep; it was a big hit award-winning production with a brilliant cast.  Larry Eisenberg, who was then co-artistic director at the Group Rep, came to see it and loved it. He kind of put the word out that he'd be interested in me directing a show for the Group Rep. He asked me what show I'd like to do; and, for reasons I can't really explain, I blurted out, Dial M for Murder.  I don't think he thought it was necessarily a good fit for the theater, but I was passionate about it because it's a real old-fashioned talking play with a great plot and great roles. I convinced Larry; and that production did really well for them - great reviews, and audiences just ate it up.

Then Doug came to me with an idea he had for a musical version of A Christmas Carol, but in a modernized and feminized version, where it takes place in the present and Scrooge is a woman. All the ghosts of the past were also women. We called it A Carol Christmas. I thought it was a clever idea - and so Doug wrote the book; and I wrote the score. The theater had actually committed to do it before we even started writing. I also directed the production, and it happily turned out well. Again, audiences just really took to it. Doug and I were both nominated for Ovation Awards - he for his book and me for the score. I won a Scenie Award for the score, so that was nice. Then last December, I directed The Man Who Came to Dinner. Directly after that, I directed Doug's play, In My Mind's Eye, which was a big change of pace for me and which I loved doing because we had an absolutely perfect cast.

Hartley Powers: The Group Rep has been a part of my life since I was born. My dad has been a member for about as long as I’ve been alive - so that theater has been a huge part of my upbringing. I had never considered becoming a member until I saw my dad really starting to participate in several productions. After going to opening night after opening night I thought, “Wait a second…I wanna jump in and play, too!” It makes for a full schedule to balance a career – but being in a show is always worth it. The Group Rep has given me room to explore roles I would have never thought possible for me - from Hermia in Midsummer Night’s Dream to Kate Monster and Lucy the Slut in Avenue Q. I definitely learned a new appreciation for artist’s when I played the titular role of Carol in A Carol Christmas, a female turn on the Christmas Carol classic where our Carol is the Scrooge of a QVC-style business. Most recently, I was lucky enough to share the stage with Jim Beaver, Barry Pearl, and Kay Cole in The Man Who Came to Dinner.

Bobby Slaski, Kait Haire, Lloyd Pedersen, and Peyton Kirkner in "In My Mind's Eye" - Photo by Doug Engalla

Your Kritzerland concert usually takes place at Feinstein’s at Vitello’s restaurant in Studio City. How was the idea hatched to move the concert onto a virtual platform in support of the Group Rep?

Bruce Kimmel:  We began our monthly Kritzerland shows back in 2010, and Feinstein's Upstairs at Vitello's is our third venue. When this craziness began in mid-March, it became obvious right away that we wouldn't be doing the April show there. So for April, I did a kind of off-the-cuff best-of-show, but I knew so little about Facebook Live and how to do it that it was fun but kind of lame. I would just have to link to videos that were on YouTube, and it was ultimately just irritating to me. Having had that experience, I decided we'd do the May show online as a real Kritzerland show. I contacted Hartley Powers, who's Doug's talented daughter. I had directed her in A Carol Christmas and The Man Who Came to Dinner. Fortunately, she knows from technical stuff - and so we began to figure out how to do it without having any technical issues. We did three or four days of testing on Skype and Zoom and something else, I think; and I just didn't see how we could take the chance of actually doing it live. There were too many variables like the lag time between audio and video. It was just crazy. Then Hartley said, "We should just pre-tape everything, and I'll edit it together."  That's what we ended up doing.  But I have to tell you, everyone thought it was live - we were very clever about it.  We'd done three "tests" prior to the show to make sure what we were doing worked. Everyone thought those tests were live, too; but they weren't.  At the end of the show, I revealed that we'd pre-taped - but that the performances had no editing or fixing. They were shot and sent to us, and those takes were used without trickery. Even after I revealed that, everyone still thought my commentary was live - but it wasn't.  We really couldn't have been happier with the way it turned out.

Hartley, how did you get involved on the technical end of the May and June Kritzerland Fundraisers for the Group Rep?

Hartley Powers:  My career is based in post-production, so Bruce knew that I had tech savvy. When he approached me about doing a fundraiser show for Facebook and YouTube, I knew I might have a learning curve as far as live broadcasting goes - but I knew I would definitely be able to figure out the editorial side of things. And, with our current state of the arts, I knew I was happy to do anything to help my home theater.

In executing a show that features this many performers, a host, and an accompanist, we have to make sure people are set up to film and/or record in their homes (something everyone is facing as we keep moving through this time). I made myself available to make sure performers were set up correctly and submitting video files we could work with. From there, I pieced together Bruce’s hosting segments along with the songs, finessing timing of fades in and out of songs as well as audio levels. From there, we created a 90-minute video file that we needed to “crunch” or make small enough for an upload to a streaming website. With this, I was able to learn about live broadcasting software as well as scheduled live broadcasts. It’s the new world we’re moving into so I’m glad to have knowledge of it.

Bruce, what goes into gathering the songs and creating the patter you developed as host?

Bruce Kimmel:  I choose the theme of the show and the songs, and then I cast it from our incredibly talented LA talent pool. Once I have the theme, I just listen to a lot of songs and pick the ones that seem to make a good show. I'm a stickler for the show structure and order; and, from the very start, I insisted on two rehearsals and a stumble-through so that no one was reading lyrics on a stand and everyone was super prepared. To that end, I was the first person in cabaret to ever pay the performers a fee for doing a multi-singer cabaret show. It was unheard of; but I thought it was only fair since the rehearsals were key. It's not a lot of money, but I know our performers have appreciated it. At least in LA, it set a precedent - so that at least one of the shows that copied our format had to start paying. I'd never intended to do anything but introduce the show; but, when we did our first show based on a series of albums I produced called Lost in Boston - cut songs from hit Broadway shows - I realized the songs wouldn't make any sense without some context. That’s why I wrote a commentary; people liked it and then expected it - so I was stuck. Now I've had to do it for 106 shows. Even so, I really enjoy writing it, and it's given me back all my performer confidence, a nice and unexpected benefit.

Hartley, was there anything that came up that surprised you (in a good way or not so good way) while working on the May fundraiser online?

Hartley Powers:  I was surprised as to how much work it actually was! As someone who tackles production schedules, I thought this would be a breeze. But between creating teasers before the show in order to build momentum, and creating the graphics to help us start and bookend the show, it turned into a pretty big task. And Bruce was wrangling talent as well as directing the performers. We both dedicated a lot of time to this and are really proud of the outcome.

Based on your experience with the May Kritzerland Fundraiser for the GRT and the upcoming June Kritzerland concert, do you think that you might again serve as a technical advisor for any upcoming events?

Hartley Powers:  Considering that we don’t know what the future holds and how our entertainment platforms are going to continue to evolve, I think that many events are going to turn to more of a pre-recorded live type of broadcast. At this point, I think it’s the only hope that is available to live performers. So I hope that I get to participate in more of these.

Bruce, have you made any modifications as a producer and director in order to plan a concert using a virtual format, rather than onstage before a live audience? What differences are entailed in performing in this virtual world? Is technology your friend or your enemy?

Bruce Kimmel:  We haven't made any changes to the format of the show, and we still rehearse - just via Zoom. I hear what everyone is doing and give any little notes I may have. We miss the laughs and applause, of course, which is the downside of doing it online; but it works pretty well. The singers who would be normally playing to the audience have to adjust to playing to the camera, and we do have to get the balances right between voice and track. That’s why I have everyone send a test video to make those adjustments prior to taping the number. Richard Allen, our musical director, has the daunting task of making all the tracks; but it's been pretty smooth. Technology is my half-friend; but technology, thankfully, is Hartley's really good friend.

Hartley, you are an actress/singer who will also be performing in the June concert.  What song or songs will you be singing? Did you have to make any changes in your usual performing style to accommodate the virtual format?

Hartley Powers:  I believe Bruce would prefer I keep my song a secret, but I think I can say that it will help spread a little cheer. Once I went to record myself, I realized just how strange it is to just sing to a camera with no audience to react to you, no mic to help reverb your sound. It’s an odd setting, for sure. I am equipped to film but I’m used to just worrying about being on one side of the camera - not both!

The Kritzerland concert is a fundraiser for the Group Rep. What do you hope to accomplish with your virtual June concert? 

Bruce Kimmel:  What we always hope to accomplish: To give a good show that makes people happy. That's all we can hope for - and bringing people happiness, especially now, is important. I decided to make our online shows benefits for the Group Rep because - like all small theaters right now - they are struggling to pay the rent without having shows running. It's really daunting. Over the years, I've directed a couple of benefits for the Group Rep; and this just seemed like a natural to me. We raised over $1,000 for them with the May show, and I'm hoping June will do well, too.

This question is for both of you. What are some of your plans during and after COVID-19?

Bruce Kimmel:  Right now, I should be in rehearsals at the Group Rep for the fiftieth anniversary production of the musical Applause - but who knows when that will happen. I am ever hopeful that it will be sooner rather than later, but I tend to always accentuate the positive rather than the negative. Other than that, we'll continue doing our Kritzerland shows online until we can get back to Vitello's. I have a new book that just came out, and so I will be doing some press for that.  Otherwise, I'm just trying to stay productive here at home, writing and stuff, and staying safe and out of harm's way.

Hartley Powers:  I wish I could say I had plans for after COVID-19, but I think I’m taking it one day at a time. If we do return to “normal,” I look forward to taking dance classes, browsing the aisles of Target, getting a massage, and visiting with my family. My husband and I have been very fortunate to work from home at this time.


This article first appeared in LA Splash Worldwide.



Spotlight Series: Meet Michael Mullen, An Award-Winning Costume Designer and Actor


This Spotlight focuses on Michael Mullen, an award-winning and always busy costume designer, writer and actor who often steps onstage in a variety of roles, both male and female.


Shari Barrett (SB): What would you like readers to know about your theatrical background?

Michael Mullen (MM): I’m a costume designer, actor, and writer who lives in Hollywood with my dog Choo Choo. I’ve worked in the L.A. theatre scene for many years now, and have received several awards and nominations for my work both onstage and off from such organizations as Ovation, L.A. Drama Critics Circle, L.A. Weekly, N.A.A.C.P., Scenie, Stage Raw, Robby, Broadway World, Ticket Holder, Eddon, and Desert Theatre League. I hope to keep working and doing what I love for many years to come, and I’m very happy to be a part of L.A.’s wonderful theatre community.

(SB): I know you are always busy costuming shows around town, so what production(s) were you involved with when word went out that those shows had to be closed or postponed?  

(MM): I was involved with a few shows when this whole Coronavirus pandemic started directly affecting theatre.  I costume designed Andrew Lippa’s The Wild Party at Morgan-Wixson Theatre (directed by my good friend Kristin Towers-Rowles) which was slated to open March 14th. I was at the theatre for final dress rehearsal on March 12th and the show was in great shape and ready for an audience. After the performance was over, Michael Heimos, the President of Morgan-Wixson’s board, came onto the stage to address the audience, cast, and crew to announce the run of the show was being postponed until later when it would be deemed safe to do theatre again. Everyone involved with the show was very sad over this news, but we all knew that this was the necessary and safe decision to make.

That night, the cast and crew stayed in the theatre and had an impromptu pizza Karaoke party to console each other that went on until the wee hours of the morning. Kristin (our director) organized a nice dinner for all the cast and crew at a restaurant called The Upper West for Friday, March 13th - which would’ve been our first and only preview performance. It was a lovely night of yummy food, drinks, and bonding. And now everything is on hold.

Michael Mullen in “The Importance of Being Earnest” at Crown City Theatre

Across town, I had a production of Romeo and Juliet (directed by Dana Martin) and All’s Well That End’s Well (directed by Nike Doukas) at a school called Art of Acting that had both just opened on March 11th. These two productions (which I costume designed) were both great, but unfortunately had to close early due to the Coronavirus situation as well. Everyone involved was sad of course, but understood why that decision had to be made.

That same weekend, I had In My Mind’s Eye (which I costume designed) close at Group Rep Theatre, but the production was scheduled to close that particular weekend anyway as it had come to the end of its scheduled run. The show was directed by Bruce Kimmel and written by Group Rep’s Artistic Director, Doug Haverty. It was sad to see the show end, but at least it was able to complete its full run before everything started shutting down.

(SB): You mentioned about the way in which The Wild Party cast and crew found out about the postponement. But what about the other productions at Art of Acting?

Michael Mullen in “The Legend of Georgia McBride” at Secret Rose. Photo credit: Chris Greenwell

(MM): As I recall, the cast of the two shows at Art of Acting were notified by email from the School Director, Johnny Yoder. I personally learned that the Art of Acting shows were closing early when I went to the school on March 12th during the afternoon to deal with some costume repairs for both productions. It was sad to receive all of this news about all three shows which I had costumed that were opening in mid-March. My heart broke, especially for all of the actors.

(SB):  Are plans in place to present the productions at a future date, or is the cancellation permanent? 

(MM): The plan for The Wild Party is for it to open and have a run later this year when it is safe to do so. Everyone involved is very happy about that and I think audiences will love the show since it’s fun, sexy, and very entertaining.  It’s weird to think that the set, props, costumes, wigs, and lights are all just sitting there in the theatre like a ghost light waiting to be used, but they will all get their glory and chance to shine eventually!

Romeo And Juliet and All’s Well That Ends Well at Art of Acting are sadly done for good. They were truly deserving of much longer runs.

(SB):  What future productions on your schedule are also affected by the shutdown?

(MM): I was costume designing several other productions that were supposed to open over the next few months, but unfortunately all have been cancelled and/or postponed until later (yet to be decided) dates when it is safe to do theatre again. Among these projects are A Little Night Music with Knot Free Productions, Guess Who’s Coming To Dinner with Ruskin Group, Imogene at Parson’s Nose, Art Of Acting’s productions of Distracted, Our Lady Of 121st Street, and Landscape Of The Body, and Love’s Labour’s Lost with Shakespeare By The Sea, as well as a few Hollywood Fringe shows. It has been announced that The Hollywood Fringe Festival (which was scheduled to happen in June 2020) is tentatively postponed until the month of October this fall. My 19-week-long costume design class at A Place Called Home has also been cancelled due to the building closing down until further notice.

(SB): That was quite a packed schedule!  I don’t know how you manage to work on so many shows at the same time and do them all so well. So for now, how are you keeping the Arts alive while at home by using social media or other online sites?

Michael Mullen and Choo Choo

(MM): I’m teaching acting/improv classes for kids on Zoom now, reading plays, following the news, Facebooking, talking with family and friends on the phone, watching a lot of T.V. and film, hanging out with my dog Choo Choo, and eating A LOT! And since the Hollywood Fringe Festival is now postponed until the fall, I’ve decided to try and write a play or at least find one to produce and act in myself. I mean, why not, right?! And masks! I should be making masks for people to wear! Bedazzled themed masks would be fun, huh?

(SB): Absolutely!

(MM): It’s tough to be alone and not see people because I’m a social person, but I’ll be okay. We’ll all get through this tough time, and I can’t wait to hug everyone when this Coronavirus nightmare is over.

I just want to remind all my fellow theatre folk that we are all in this together and that we will all be making theatre again when it is safe to do so. In the meantime, it’s important for all of us to stay healthy and safe, practice social distancing, get plenty of rest, and wash our damn hands!  It’s also important for us all to connect with each other and reach out if we get lonely. I’m here for anyone who wants to talk.  And I guess people are starting to do play readings on Zoom! I think that’s great! I encourage doing that for sure! Zoom Zoom, baby!

What I’m looking forward to the most, after this Coronavirus nightmare is over, is the resurgence of theatre across the world and especially here in Los Angeles. Theatre makes the world a better place. ❤️ Much love, everyone.

(SB) I am on the same page with you and can’t wait to get back to reviewing shows. #TheatreInspires


This article first appeared on Broadway World.