THE BETTER LEMONS "SILVER TONGUE" CRITIC AWARD FOR 2019 GOES TO...

VANESSA CATE - Stage Raw

The "Silver Tongue" Award goes to the most persuasive critic, capable of enticing anyone into a theatre seat.

Congratulations to Vanessa from all of us!

Vanessa Cate is the Assigning Editor for Stage Raw and former Editor-in-Chief for @thisstage.la. Vanessa is a performance artist, writer, and jack of all trades, and they can be found on stage, in strange audiences, and in interesting situations. Vanessa Cate’s passion for theatre and reverence for fantasy blinds them to how to best live a normal life. Apart from their work with Stage Raw since its inception, Vanessa is the Founder and Artistic Director of the feminist performance-coven known as TheatreWitch, as well as the fantasy dance group Cabaret le Fey. Vanessa performs, writes, directs, and generally creates however and whenever they can.

To view all of Vanessa's review excerpts, visit their Better Lemons page HERE.

To view all the Registered Critics on Better Lemons who post their own review excerpts and give each show a LemonMeter rating, go to Better-Lemons.com/Registered-Critics.

All Registered Critics write theater and art reviews for their own publications and then rate registered shows on our website and add their LemonMeter rating. Please contact them through their own website to congratulate them and to get them to review your production.

Tomorrow we will announce the winner of the "Director" Award - the most persuasive critic, capable of enticing anyone into a theatre seat.

THE BETTER LEMONS "FOMENTER OF REVOLUTION" CRITIC AWARD for 2019 went to Ed Rampell from Hollywood Progressive.

THE BETTER LEMONS "NAME DROPPER" CRITIC AWARD for 2019 went to Jill Weinlein from Onstage Blog.

THE BETTER LEMONS "SAY WHAT" CRITIC AWARD for 2019 went to Lorenzo Marchessi from The Geek Authority.


THE BETTER LEMONS "SAY WHAT?" CRITIC AWARD FOR 2019 GOES TO...

LORENZO MARCHESSI - The Geek Authority

The "Say What?" Award goes to the most provocative critic.

Congratulations to Lorenzo from all of us!

Lorenzo Marchessi is a Chicago born transplant to Southern California who has several degrees in Theatre, Film, Radio, Television, Business and Communications and has worked both on stage and on camera before working directly behind the scenes for stage and screen. Directing over 50 theatrical shows like Annie, A View From The Bridge, and Noises Off for the stage, he has written and produced over 100 shorts, TV spots, and at live entertainment venues. The one thing he has done the most is writing. With stage play, teleplay and screenplay writing credits behind him has received most acclaim and Critics Choice awarded (twice in Illinois as well as Iowa and CA) and has been reviewing since his college days. Currently the owner/President of The Geek Authority which reviews, interviews, does live video feeds and photo expose's at more that 50 conventions a year that feature Fantasy / Sci-Fi / Anime / Comics / TV / Films / Products / Music / Toys / Celebrities / Pop Culture related events. Also, Lorenzo is constantly reviewing over 150 theatrical events (plays. concerts, opera, live entertainment) a year all over Southern CA, AZ and NV. The Geek Authority is now over 10 years old and has expanded with correspondents all over the country.

To view all of Lorenzo's review excerpts, visit his Better Lemons page HERE.

To view all the Registered Critics on Better Lemons who post their own review excerpts and give each show a LemonMeter rating, go to Better-Lemons.com/Registered-Critics.

All Registered Critics write theater and art reviews for their own publications and then rate registered shows on our website and add their LemonMeter rating. Please contact them through their own website to congratulate them and to get them to review your production.

Tomorrow we will announce the winner of the "Silver Tongue" Award - the most persuasive critic, capable of enticing anyone into a theatre seat.

THE BETTER LEMONS "FOMENTER OF REVOLUTION" CRITIC AWARD for 2019 went to Ed Rampell from Hollywood Progressive.

THE BETTER LEMONS "NAME DROPPER" CRITIC AWARD for 2019 went to Jill Weinlein from Onstage Blog.


THE BETTER LEMONS "Name Dropper" CRITIC AWARD FOR 2019 GOES TO...

JILL WEINLEIN from Onstage Blog

"Name Dropper" Award goes to the critic who is most likely to review the big shows in the big theatres with the big names and the big budgets.

Congratulations to Jill from all of us!

Jill Weinlein graduated from UCLA with a B.A. in Theater Arts. Her training gave her an understanding and appreciation for the writing, directing, acting and the technical team. Besides reviewing community and big Broadway shows, she lives in Los Angeles and writes restaurant reviews for the Beverly Press and Park LaBrea News. Her reviews can be viewed on dineandtravel.me.

To view all of Jill's review excerpts, visit her Better Lemons page HERE.

To view all the Registered Critics on Better Lemons who post their own review excerpts and give each show a LemonMeter rating, go to Better-Lemons.com/Registered-Critics.

All Registered Critics write theater and art reviews for their own publications and then rate registered shows on our website and add their LemonMeter rating. Please contact them through their own website to congratulate them and to get them to review your production.

Tomorrow we will announce the winner of the "Say What?" Award - the most provocative critic.

THE BETTER LEMONS "FOMENTER OF REVOLUTION" CRITIC AWARD FOR 2019 went to Ed Rampell from Hollywood Progressive.


The Better Lemons "Fomenter of Revolution" Critic Award for 2019 Goes To...

ED RAMPELL from Hollywood Progressive

The "Fomenter of Revolution" Award goes to the Critic who is most likely to stir a conversation about theater, politics, and social justice.

Congratulations to Ed from all of us at Better Lemons!

Ed Rampell is an L.A.-based full-time freelance writer and author. He majored in Cinema at Manhattan’s Hunter College. After graduating, Rampell lived in Tahiti, Samoa, Hawaii, and Micronesia, reporting on the nuclear free and independent Pacific and Hawaiian Sovereignty movements for: ABC News’ “20/20,” Reuters, AP, Radio Australia, Radio New Zealand, NewsWeek, Honolulu Weekly, etc. In 1999 Rampell relocated to L.A. and contributed to: “The Finger” column for New Times L.A., Variety, Written By, The Nation, L.A. Times, L.A. Daily News, Financial Times, New York Press, Guardian, The Progressive, Sierra Magazine, Earth Island Journal, Washington Post, The Forward, In These Times, AlterNet, DestinAsian, etc. Rampell currently covers L.A.’s arts scene for: HollywoodProgressive.com, Jesther Entertainment, People’s World, etc.

Rampell co-authored “Conversations with W.S. Merwin” and the film histories: “Made In Paradise, Hollywood’s Films of Hawaii and the South Seas,” “Pearl Harbor in the Movies, and “The Hawaii Movie and Television Book.” Rampell is solo author of the 2005 book “Progressive Hollywood, A People’s Film History of the United States.” Rampell appears in the 2005 Australian documentary “Hula Girls, Imagining Paradise.”

To view all of Ed's review excerpts visit his Better Lemons page HERE.

To view all the Registered Critics on Better Lemons who post their own review excerpts and give each show a LemonMeter rating, go to Better-Lemons.com/Registered-Critics.

All Registered Critics write theater and art reviews for their own publications and then rate registered shows on our website and add their LemonMeter rating. Please contact them through their own website to congratulate them and to get them to review your production.

Tomorrow we will announce the winner of the "Name Dropper" Award - the critic most likely to review the big shows in the big theatres with the big names and the big budgets.


Now Registered on the Better Lemons Calendar – January 20 - 26, 2020


Theatrical, One-Person, Musicals, and Comedy shows, Music, Dance, Cabaret, and Theatre Festivals registered on the Better Lemons calendar!

For shows with a LemonMeter rating, visit our LemonMeter page.


HAIR

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Michael Griffiths - In Vogue: Songs by Madonna

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gUnTOPIA

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Wild at Hart

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It's Only A Play

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Michael Griffiths - Cole: A Tribute to Cole Porter

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34th Annual Robby Awards

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Linda Purl and Her Big Band Romance - at the Catalina Bar & Grill

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Linda Purl and Her Big Band Romance - at Martinis Above Fourth

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I Decided I'm Fine: A Roach Play

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Glass Ceilings

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Five Pieces of Paper: Stories My Hungarian Grandmother Refused to Tell Me & Other Family Tales

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THE $5 SHAKESPEARE COMPANY

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Enerjoyce...Evolution of a Pisces Baby Boomer

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Lying with Badgers

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It Shoulda Been You

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Solofest 2020

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IN MY MIND'S EYE

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LADY DAY AT EMERSON'S BAR & GRILL

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Rorschach Fest

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Dada Divas

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West Adams

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Jane Austin's Emma

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Life in Boobs

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Vote for your Favorite Critic of 2019

LA's Theatre Critics are an integral part of LA Theatre and now it's our turn to recognize them with the Better Lemons Critic Awards.

There are nine categories for the Better Lemons Critic Awards that you can vote for:

"I LOVE LA" Award - the critic who did the most to promote LA Theatre in 2019

"Up Late" Award - the most prolific critic in 2019

"Say What?" Award - the most provocative critic

"Enlightenment" Award - the critic who does the most to inform and educate

"Name Dropper" Award - the critic most likely to review the big shows in the big theatres with the big names and the big budgets

"Theatre Hound" Award - the critic most likely to review the hidden gems, off the beaten path, those with short runs and small budgets

"Silver Tongue" Award - the most persuasive critic, capable of enticing anyone into a theatre seat

"Director" Award - the critic who is most likely to write reviews that inform the artists

and the

"Fomenter of Revolution" Award - the critic most likely to stir a conversation about theater, politics, and social justice

Click here to vote!

If you'd like to know more about the critics, go to Better-Lemons.com/registered-critics.

Better Lemons has two groups of Critics: those who have registered with us and those who have not.

Those who are registered with us, we call Registered Critics. These Registered Critics post their own review excerpt to production pages that are registered on Better Lemons. They also give each production a Sweet, Sweet and Sour, or Sour LemonMeter rating. (We don't send out critics to review shows, so please contact the critics directly via their publication if you need a reviewer!)

Critics who have not registered with us, post their reviews online and those reviews get submitted to us by the publicists, directors, or producers of shows that are registered on our site.  The Better Lemons team also finds reviews, and then selects the pull-quote, determines the Sweet, Sweet and Sour, or Sour LemonMeter rating, and links to the original source of the review.

We appreciate and celebrate the work of all Critics, but are especially grateful for the Critics that have registered with us! Their review excerpts and LemonMeter ratings are published as soon as they submit it (their submission doesn't need to wait to be approved).

These Registered Critics ensure that the productions are getting a LemonMeter rating quickly and that their submission reflects their own opinion, not that of a publicist, producer, or a Better Lemons team member.

We appreciate these Registered Critics and we’d like to thank them, each and every one of them.

To celebrate these Critics, we are having our first Annual Top Critics Award, where our readers will be able to vote for their favorite Critic from our list of Registered Critics.

Please look at the profile pages of each Registered Critic, read their reviews if you are not familiar with them, and place your votes on the form below by 10pm on Wednesday, January 22nd.


Ashton's Audio Interview: Cathy Rigby and the cast of "Grumpy Old Men" AT THE LA MIRADA THEATRE

Fasten your seat belt, it’s going to be a grumpy ride! TV legend & Tony winner HAL LINDEN, the beloved CATHY RIGBY and Broadway’s KEN PAGE star in this new musical-comedy based on the classic 1993 film starring Jack Lemmon, Walter Matthau and Ann-Margret.  Two aging neighbors, Max and John, have been feuding for more than 50 years until the beautiful and charming Ariel moves in across the street — raising the rivalry to new heights.  Don’t miss this laugh-out-loud story of family, friendship, love and romance in a fresh new musical that’s guaranteed to delight!*

Enjoy this interview with Cathy Rigby and the cast of “Grumpy Old Men at the La Mirada Theatre for the Performing Arts, playing through Oct 13th. You can listen to this interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.

*taken from the website


"MEET THE PUBLICISTS" PANEL PODCAST

Better Lemons and Theatre West hosted “Meet the Publicists” featuring several of LA's premier publicists for a panel discussion of theatre publicity, marketing, and promotion.

The following publicists were on the panel:

Tim Choy (Davidson & Choy Publicity)
DAVIDSON & CHOY PUBLICITY (Press Representatives) resume includes the original Evita through The Book of Mormon and stints with American Ballet Theatre and Alvin Ailey American Dance Theater. Clients include Actor's Gang, Broad Stage, El Capitan Theatre, Ford Theatres, Hollywood Bowl, Lythgoe Pantos, Pasadena Playhouse, Segerstrom Center, Shakespeare Center LA, The Soraya, and Walt Disney Imagineering.

Lucy Pollak (Lucy Pollak Public Relations)
Lucy Pollak has been providing publicity services to the Los Angeles arts community for the past 27 years for companies including 24th STreet Theatre, Antaeus Theatre Company, The Echo Theater Company, Fountain Theatre, International City Theatre, L.A. Theatre Works, Latino Theater Company at the LATC, Los Angeles County Arts Commission, Odyssey Theatre Ensemble, Padua Playwrights, Theatre Planners, Will Geer's Theatricum Botanicum; numerous independent theater and dance productions; and large events and festivals such as the annual L.A. County Holiday Celebration at The Music Center.

From 1981 to 1990, she was production manager/staff producer at the Odyssey Theatre, where she co-produced over 100 productions with artistic director Ron Sossi.

She is the recipient of a Los Angeles Drama Critic's Circle Award (Master Class), an LA Weekly Award (Mary Barnes), four Drama-Logue Awards (Mary Barnes, Idioglossia, Accidental Death of An Anarchist, It's A Girl!), and a Women in Theatre Recognition Award. She has served on the boards of directors of the Los Angeles Theatre Alliance (now L.A. Stage Alliance), Women in Theatre and P.A.T.H. (Performing Arts Theatre for the Handicapped).

Philip Sokoloff
PHILIP SOKOLOFF has been a publicist for 24 years. He represents over 100 live attractions and several dozen feature films annually. His long-term clients include Theatre 40, Edgemar Center for the Arts, Sierra Madre Playhouse, Robey Theatre Company, Arena Cinelounge, Dean Productions and more.He is a member of the Public Relations Society of America. He has also produced for stage and television and has been an actor for 49 years.

Lynn Tejada (Green Galactic)
For 25 years, Green Galactic Founder Lynn Tejada has been the go-to publicist in Los Angeles for alternative art and culture producers, representing clients on a local, regional, national, and international scale. Since 1994, her promotions and client-base has included music of all sorts, theatre, art, film, dance, and more.

Tejada is also drawn to helping charities and nonprofit clients – she currently sits on the board of Linda Carmella Sibio's Bezerk Productions, Dance Camera West and on the advisory board of Lauren Segal's Give A Beat. She is also on the Honorary Board of Flea's Silverlake Conservatory of Music and sat on the board of humanitarian nonprofit NextAid for many years.


Lights Change: A Conversation with Writer Jacqueline Wright

About 10 years ago when I was an intern-turned-associate literary manager at Ensemble Studio Theatre/Los Angeles, I encountered the brilliant dramaturgical mind of Jacqueline Wright. What excites me about her work is that she is a writer and performer who constantly expands our minds as witnesses of the art-making experience. For her, like me, audiences are not just passive consumers of creative work - they are collaborators and, as collaborators, we writers make them work: we don't always tell stories that are linear, cause and effect, character psychology driven, - you name the normative convention often on view in the mainstream. Jacqueline's background in experimentalism makes her a nimble dramatist who weaves into and out of narrative structures, point of views, modalities of storytelling, and genres.

This is no exception in her provocative work Driving Wilde, currently playing at Theatre of NOTE in Hollywood. I caught the piece and engaged in a hearty conversation with Jacqueline afterwards amongst the seats which were just filled with enthusiastic patrons of the show. If you listen closely, you'll hear and feel the verve of the audience that exited the theatre a few moments prior, indubitably changed, challenged, and expanded by the experience they just received during Driving Wilde.

I would be remiss not to give you the tools to see this show yourself, for it is a must see. More information is available at TheatreOfNote.com

And now, Lights Change with my buddy Jacqueline and me:


Steven Sabel's Twist on the Trade: Social Theatre

I’ve never been big on social theatre. Not that I don’t think that theatre can and sometimes should make people think, but I’m a classicist who believes in subtlety. No one ever changed their mind about much of anything by being hit over the head, or force fed with a message. The best way to affect social change through performance is doing a show containing those “ah-ha” moments that strike audience members on their drive home from the theater. The classic masters were – well – masters at this.

Aristophanes sent a message of peace to his fellow Athenians, while highlighting the power of the feminine force through humorous metaphor with his “Lysistrata” without losing its entertainment value by drilling home his message to the populace.

Shakespeare was able to make his point about anti-Semitism by giving Shylock his famous speech, wrapped inside a mostly comic play he knew would appeal to his audience. In fact he almost pandered to their views, and then sort of snuck his message in under the radar. He does this equally well in tragic terms with “Othello,” adding another layer of subtlety by making “the savage Moor” the most eloquent and intelligent speaker in the play, perhaps the entire canon.

Sophocles used a dressing of anti-tyranny for his fellow democratic Athenians to sneak in his messages regarding loyalty to a higher power and the bonds of family over government and society when he wrote “Antigone.” Jean Anouilh used the classic Greek tragedy 2,385 years later to sneak those messages past the Nazi regime in occupied France.

Moliere used his comedies to take stabs at hypocrites of all sorts, and though he was regularly condemned by the religious, political, and medical profession leaders of his time because his attacks hit them too close to home, he was popular with the public who consumed his works with fervor. He wrote 31 of the 85 plays performed at the theatre in the Palais-Royal in Paris over a 14 year period. In today’s modern French, a tartuffe is a hypocrite, and a harpagon is a greedy miser – names of two of Moliere’s most famous characters that have now become part of the French lexicon. How’s that for making an impact?

Too many of today’s playwrights lack the creative subtlety to send their social message to an unsuspecting audience. Instead they write directly to the audience they already have. They preach to the choir. This does not affect any social change. It convinces no one of anything. It merely creates an echo chamber of like-minded people congratulating themselves and each other for sharing the same view – often a tunnel vision view. There is nothing clever about that, and thus not very interesting. It may have some entertainment value, but it isn’t opening new minds to new points of view. If anything, it only pushes potential new audiences away. In essence, a hammer head message accomplishes the exact opposite of what social theatre should be aimed at doing – opening the message to new minds through subtlety.

Much of today’s social theatre is a result of social theatre, in that a group of like-minded friends get together and say: “let’s put on a play!” The play is their social outlet, not unlike a bowling league or softball team. Rehearsals become a place to hang out with friends, and performances become not much more than a precursor to socializing at a local bar or house party. The audience is composed of friends and family members like the backyard productions we used to put on for our parents as kids. Any social message contained in the material actually takes a back seat to the true intent of the gathering: maintaining a social calendar for the participants. It’s a “play” date for grown-ups.

Benedict Knitterbatch

All of that is fine indeed. As I mentioned, some people join bowling leagues, others join softball teams. Some people form book clubs, knitting circles, and model airplane societies. We are social animals, and we like to surround ourselves with like-minded people who share our same interests. The difference is in the professed intent. I’ve never heard of a knitting circle with a “mission” to affect social change through the scarves and beanies they create.

On occasion, the casual hobbyist can turn their past time into some extra dollars. I know several people who place their creations on Etsy, E-bay, or other sites to make a little money by sharing their artistic hobby with others. Unlike actors, very few of these people profess to be aspiring to a career in their chosen social outlet or hobby. People who knit just aren’t that pretentious. Either that, or they have a keener sense of their own realities.

If you are an actor, it is time to examine your reality. Is your social theatre truly reaching the unenlightened masses? Is your social theatre just social theatre, filling your nights and weekends with play dates - or are you truly working toward that career by doing projects that either increase your aptitude, strengthen your skills, advance your professional network, or get you seen by a greater audience?

Have fun. It’s called a play for a reason. But if you’re just playing around with friends, then call it what it is, and build a career doing something else. No subtlety here.


Now Registered on the Better Lemons Calendar – August 12 - 18, 2019

Theatrical shows NOW registered on the Better Lemons calendar!
For more shows visit our Calendar. For shows with a LemonMeter rating, visit our LemonMeter page.

THE LONESOME WEST, BY MARTIN MCDONAGH

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VALERIE PERRI AND JACK & BENNY LIPSON: ALL IN THE FAMILY

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SYLUS 2020!

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EVITA

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IMPRO THEATRE'S SHAKESPEARE UNSCRIPTED AT NORTH COAST REP

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THE ADVENTURES OF PETER RABBIT

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HANDJOB

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FERTILE: A CONVERSATION ABOUT THE EXPECTATION OF PROCREATION

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DIRTY TRICKS W/ THE NEW BAD BOYS OF MAGIC

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ATHENA

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LAST SWALLOWS

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PODCAST: Interview of "Coin & Ghost's" Rob Adler and Zachary Reeve Davidson, 2nd Season and 'Bad Hamlet' at 'New American'

An interview with Artistic Director and C0-Producer, Zachary Reeve Davidson, and Director, Rob Adler, of Coin & Ghost, on their world premiere play, "Bad Hamlet: An Irreverent, Interactive, Inventive Bootleg," which opens today at New American Theatre in Hollywood and their second season, MYTH-REMEMBERED.

Davidson and Adler, discuss the interactive aspect of "Bad Hamlet," which is based on the legend of “the bad quarto," and explores the "intersection of Shakespeare, memory, modern technology and Los Angeles."

"Bad Hamlet" kicks off Coin & Ghost's MYTH-REMEMBERED, which includes Cecilia Fairchild's "Mama, Mama, Can't You See," directed by Davidson, a simultaneously "modern war story and a spirit dance on the outside edge of death," and "Breakfast in Moscow," directed by Alex Demers, which is based on Chekhov’s "Three Sisters" and reimagined as a rock-opera using music from the 1979 Supertramp album, "Breakfast in America."

In addition to Davidson, the "Bad Hamlet" ensemble includes Casey Dunn, Julián Juaquín, Akshaya Pattanayak, Chris Schultz, Hannah Trujillo, Lauren Vitz, Marguerite French, and Elisa Rosin.

"Bad Hamlet" is every Thursday, Friday, and Saturday at 8:00 p.m. from Thursday, July 25, 2019, through Saturday, August 24, 2019. Tickets are $25 for general admission. They will also offer a healthy mix of Pay-What-You-Can (PWYC) tickets for certain shows, which includes the Preview on July 25, 2019, as well as every ticket during the second and third weekends, August 1 - 10, 2019. For tickets and more information visit Coin & Ghost.

The New American Theatre is located at 1312 N. Wilton Place, Los Angeles, CA 90028. Suggested age limit is 16-years or older due to adult themes and conversations. Mobile phone use will be encouraged for this production.


The 'Brisk Festival' at The Broadwater is Underway

The Brisk Theatre Festival is underway at The Broadwater, featuring short plays, in English and in Spanish, up to 10 minutes in length and running through August 11, 2019, with eight programs consisting of six to seven plays each, several of which were created by Hollywood Fringe Festival veteran producers and other participants.

The festival opened on July 11, 2019, and two of the eight programs have been presented with six programs remaining, with several of the shows created by Hollywood Fringe Festival veteran producers and participants.

There were 350 plays submitted for consideration and of those selected for performance, 34 are in English and 20 are in Spanish. Most of the productions are produced by local theatre companies in Los Angeles, but there are also artists heralding from Mexico, Florida, and Australia in this first edition of the festival.

The best plays are to be chosen by a jury of professionals including casting directors, producers, directors, actors, writers, managers, and agents. Those chosen go on to compete in a finals weekend on Saturday, August 10, and Sunday, August 11, 2019. The best play in English and the best play in Spanish are to receive an award of $500 each.

The festival was founded by Christian Rodrigo, a Spanish producer, director, and member of The Actors Gang. Rodrigo and Mexican producer and actor Ramon Valdez will be taking the Brisk Theatre Festival to Mexico, Barcelona, and Madrid later this year and in 2020, partnering with Full Emotion, a production company that has been producing films, television, and theater for more than 12-years.

Here is a list of the remaining performances:

From Salvador Casados' "Shakespeare Love" at the 2019 Brisk Festival, at The Broadwater, Los Angeles. Photo courtesy of The Brisk Festival.

The Orange Program, with shows in English. from July 18 - 21, 2018:

"Interventions," written by Greg Lam, and directed by Hollywood Fringe veteran Megan Frances who brought "Hott Line" (2016) to Fringe, tells of a couple on a hike who find that their "special plans" are interrupted by a succession of Time Travelers.

"Grown," written and directed by Soda Persi, features Corey Lynn Howe and Adam Briggs–all Fringe veterans and of Theatre Unleashed–who together bring to Brisk a piece about the nuances of love.

"People Will Talk," directed by Todd Felderstein, and written by Scott Mullen–who brought his play "Piñata" (2017) to Fringe–, is about a surprising connection between two people, challenged by life's obstacles, who meet one night on the ledge of a 12-story office building. A story of "life, the art of listening, and everyday miracles."

Additional shows are "Anything For My Mother," "Noir Man," and "Evidences of a Contemporary Love."

The Yellow Program, with shows in English, from July 18 - 21, 2018:

"Recess," written by Cara Emily Krantz, and directed by Roe Moore who co-produced "Buzz'd Out! LIVE" at last year's Hollywood Fringe, is a tale of two children on a playground who imagine what life would be like as adults, perhaps even together.

"Jill Takes A Leap," directed by Frida De Lackner and written by Mullen, also features multi-Fringe show veteran Asia Lynn Pitts from "Mouthy Bitch" (2016), "Blackballed: The Rise and Fall of Negro League Baseball," (2018) and this year's "Olivia Wilde Does Not Survive the Apocalypse," and is about a woman trying to figure out if she's living her best life.

Additional shows are "You me. Me you," "A Streetcar Derailed," "The Heart to Heart," and "Vote for Me."

The Green Program, with shows in English, from July 25 - 28, 2018:

"To The Roof," written by Cynthia Faith Arsenault, also directed by Frances, and is about elevator riders who become more than passing strangers.

"Captive Audience," written and directed by Raymond-Kym Suttle and hot off his Fringe show this year "Yes. No. Maybe" with actress Dee Dee Stevens, together along with actor Kevin Alain bring to Brisk a piece on how "being a stand-up comedian can bring out the worst in some people. So, be careful who you captivate."

"The Landing," written and directed by Fringe veteran Prakriti Maduro, who brought "Frida Kahlo: Viva La Vida" from Venezuela to the Hollywood Fringe in 2019, brings to Brisk her show "The Landing." brings a story about a woman who appears in the middle of an empty plane, midair, and the sudden arrival of her husband.

"RIP I.N.C.," written and directed by Harim Sanchez–a Sacred Fools member and a four-show Fringe veteran who brought his show "Pagliaccis" to the Hollywood Fringe in 2017--, "follows a world where grim reapers are just cubicle workers sent out to harvest souls, and it's not as 'grim' as one would make it out to be."

Additional shows are "The Gringos are Coming," "Creeper Sunrise," and "Dog Barks, Bodybuilder Slaps."

From Ken Levine's "The Hookup," a finalist at the 2019 Brisk Festival, at The Broadwater, Los Angeles. Photo courtesy of The Brisk Festival.

The Brown Program, with shows in Spanish, from July 25 - 28, 2018:

Shows are "Pastel de Naranja," "El Asunto del Chocolate,"  "La Razon," "Somos Super Fans," "La Gran Familia," and "Cuatro."

In the Pink Program, with shows in English, from August 1 - 4, 2019:

"Fandango,"  written by Karissa Montaner, and directed by Guy Picot who brought "Cookie and the Monster" (2015), "Disasteroid!" (2018), and "Earth to Karen" this year to Fringe tells of "two estranged sisters, forced to unite and discuss the fate of their deceased father's Tapas restaurant, become heels deep in one hell of a flamenco reckoning!"

Additional shows are "Performance Review," "Dead Man's Curve," "The Next Ivan Sharanski," "Spoiler," "Doctor's Orders," and "The Silent Woman."

In the Red Program, with shows in Spanish, from August 1 - 4, 2019:

"A Dos Tumbas de Ti," written by Nancho Novo and directed by Marcel Rasquin, also features Maduro, along with Karla Solarte, about two sisters wake up in their own funeral, having died on the same night but in different accidents. They discover the bizarre circumstances of their untimely death and unveil a secret that might take them straight to the grave for a second time."

Additional shows are "Sexoral," "After Life Vacation," "Crash ¿Quien Tiene La Culpa?" "La Taza que me Mira desde la Meza," and "Mrs. Fox' Zoo."


The Brisk International Theatre Festival is underway at The Broadwater, 1078 Lillian Way, Hollywood, 90038. Tickets for program blocks are $15 - $22. For showtimes visit their website.