Spotlight Series: Meet Costume Designer and Educator Halei Parker Who Makes Art a Part of Her Everyday Life


This Spotlight focuses on Costume Designer and Educator Halei Parker, who I first met in the dressing room at the Clark Library when she showed up with a wonderful variety of cleverly designed costumes for the publicity photo shoot for Lady Windermere’s Fan when I was the publicist for Chalk Repertory Theatre. Halei really opened my eyes to the possibilities for character interpretation that a costume designer can bring to a show.


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

“Lady Windermere's Fan” with Chalk Repertory Theatre and the Clark Rare Book Library

Halei Parker (Halei): I'm a freelance costume designer for theatre, opera, dance, immersive experiences, and film. I'm also an educator, and think of myself as a storyteller and world creator. The projects that excite me the most are deeply collaborative and are usually highly stylized and a little weird, especially since I love mixing ideas from disparate sources to create something magical and new.

(SB): What production(s) were you involved with when word went out it needed to immediately be either postponed or cancelled?

“Gallery Secrets” with Chalk Repertory Theatre and the Los Angeles Natural History Museum

(Halei): I was mentoring students and beginning to source and fabric shop for a production of Sweeney Todd at Cal State LA when we were shut down. I was also beginning the design phase for the Getty Villa summer show. This year the Troubies (Troubadour Theatre Company) were going to be performing our new original musical LIZAstrata (think Los Vegas Liza Minnelli meets Aristophanes' Lysistrata meets the Troubies). Thankfully I had just wrapped shooting on a film and closed the show Earthquakes In London at Rogue Machine right before the world turned upside down.

“How The Princh Stole Christmas” with Troubadour Theatre Company

(SB): Here is the link to my review of the multimedia “Earthquakes on London” at Rogue Machine which examined the effects of global warming.

How were the shutdowns communicated with the cast and production team?

George Takei in “Allegiance” with East West Players and the Japanese American Cultural and Community Center

(Halei): For Sweeney, we heard in our production meeting, two days before the Stay-At-Home order. The Liza news came at the end of March. We all saw it coming, but I was really hoping it would still manage to go on. The world could really use some more Troubie joy about now. It was pretty crushing. At this point, we are looking at postponements for both of those, and thankfully not cancellations.

(SB): I really loved all the outrageous costumes you designed for the Troubies “A Christmas Carole King” which I saw at the El Portal last December.

What future productions on your schedule are also affected by the shutdown?

(Halei): The whole rest of my year is now in flux, since no one really knows when we will be allowed to gather together again to experience live theatre in a group setting. I'm just trying to keep all my fingers and toes crossed that we can make stories for the world again before the year is out.

“Hairy Ape” with Odyssey Theatre Ensemble

(SB): How are you keeping the Arts alive while at home by using social media or other online sites?

(Halei): Art is always alive in my home. More than half of my apartment is actually a costume shop, so I'm surrounded by fabrics and my tools. I've been able to keep busy by making hundreds of masks from my eclectic stock of fabrics, and have done a few costume challenges that have proven to be quite fun. I'm trying to curb my use of social media.... somewhat. That is especially true when I am designing and creating costumes for shows.

I'm also feeding my need to make Art for others right now by making a mural for my building on the wall of our little garden.

(SB): What thoughts would you like to share with the rest of the L.A. Theatre community while we are all leaving the Ghostlight on and promising to return back to the stage soon?

(Halei): Chin up, loves. The world is going to need us more than ever when we are allowed to meet again. Just keep that passion alive in your heart.

You can find my work on Instagram HaleiParkerDesign and me at HaleiPie.


This article first appeared on Broadway World.



The 34th Annual 'Robby Award' Winners Announced


The 34th Annual Robby Awards show scheduled for March 23, 2020, has been canceled due to the Coronavirus and social distancing.

Here is the list of the winners for the best in Los Angeles area theatre for 2019.  With the Robby Awards, a few categories resulted in a tie vote, even with critic Rob Stevens as the only voter.

The Pasadena Playhouse’s production of "Ragtime" won Best Musical as well as three other awards. The Ahmanson Theatre’s production of "Indecent" also won four awards, including Best Drama. Best Comedy was awarded to Odyssey Theatre Ensemble’s "Loot" which also won two other awards.

A Noise Within led all producing companies with five awards spread over three of their productions—"Argonautika," "The Glass Menagerie," and "Frankenstein." The Geffen Playhouse won three awards, one each for their productions of "Key Largo," "Skintight," and "Witch."

Among 99-seat theatres, Celebration Theatre won two awards for its production of "The Producers," Boston Court Pasadena won two awards for "The Judas Kiss," and Antaeus Theatre Company won two awards for "The Cripple of Inishmaan," while two awards were given to shows at the annual Hollywood Fringe Festival.


The Robby Awards


Teri Ralston Award for Best Musical
Ragtime, Pasadena Playhouse

Virginia Capers Award for Best Director of a Musical
David Lee, Ragtime, Pasadena Playhouse

Michael G. Hawkins Award for Best Actor in a Musical
Marc Ginsburg, Ragtime, Pasadena Playhouse

Michelle Nicastro Award for Best Actress in a Musical
Shannon Warne, Ragtime, Pasadena Playhouse

Gary Beach Award for Best Supporting Actor in a Musical
Michael A. Shepperd, The Producers, Celebration Theatre

Lisa Robinson Award for Best Supporting Actress in a Musical
Lauren Van Kurin, Earth to Karen, Hollywood Fringe Festival

Dom Salinaro Award for Best Choreography
Christine Negherbon, Holiday Inn, Musical Theatre West

Elan McMahan Award for Best Musical Direction
Gregory Nabours, Scissorhands, The Fuse Project

John Raitt Award for Best Music and Lyrics
Brooke deRosa, Gunfight at the Not-So-OK Saloon, Trial Run Productions

Nan Martin Award for Best Drama
Indecent, Ahmanson Theatre

Martin Benson Award for Best Director of a Drama (Tie)
Julia Rodriguez-Elliott, Argonautika, A Noise Within
Rebecca Taichman, Indecent, Ahmanson Theatre

Ray Stricklyn Award for Best Actor in a Drama
Rob Nagle, The Judas Kiss, Boston Court Pasadena

Sally Kemp Award for Best Actress in a Drama
Deborah Strang, The Glass Menagerie, A Noise Within

Richard Doyle Award for Best Supporting Actor in a Drama
Kasey Mahaffy, The Glass Menagerie, A Noise Within

Belinda Balaski Award for Best Supporting Actress in a Drama
Jenny O’Hara, Daniel’s Husband, The Fountain Theatre

Carole Cook Award for Best Comedy
Loot, Odyssey Theatre Ensemble

Ron Link Award for Best Director of a Comedy
Bart DeLorenzo, Loot, Odyssey Theatre Ensemble

Tom Troupe Award for Best Actor in a Comedy (Tie)
Harry Groener, Skintight, Geffen Playhouse
Evan Jonigkeit, Witch, Geffen Playhouse

Lu Leonard Award for Best Actress in a Comedy
Elizabeth Arends, Loot, Odyssey Theatre Ensemble

Albert Lord Award for Best Supporting Actor in a Comedy
JD Cullum, The Cripple of Inishmaan, Antaeus Theatre Company

Dee Croxton Award for Best Supporting Actress in a Comedy
Anne Gee Byrd, The Cripple of Inishmaan, Antaeus Theatre Company

Michael Devereaux Award for Best Playwriting
David Hare, The Judas Kiss, Boston Court Pasadena

John Iacovelli Award for Best Scenic Design
John Lee Beatty, Key Largo, Geffen Playhouse

Best Projection Design
Aaron Rhyne, Anastasia, Hollywood Pantages Theatre

Paulie Jenkins Award for Best Lighting Design
Christopher Akerlind, Indecent, Ahmanson Theatre

Garland Riddle Award for Best Costume Design
E. B. Brooks, The Producers, Celebration Theatre

Steve ”Canyon” Kennedy Award for Best Sound Design
Robert Oriol, Frankenstein, A Noise Within

Lies and Legends Award for Best Ensemble Award
Matt Darriau, Elizabeth A. Davis, Joby Earle, Patrick Farrell, Harry Groener,
Lisa Gutkin, Mimi Lieber, Steven Rattazzi, Richard Topol, Adina Verson,
Indecent, Ahmanson Theatre

Billy Barnes Award for Best Cabaret Performance
Daniel Thomas Bellusci, Brittney Bertier, Ellie Birdwell, Bruce Kimmel,
Kerry O’Malley, Jenna Lea Rosen, Robert Yacko,
L’Wonderful, L’Marvelous, Legrand, Kritzerland at Vitello’s

Special Award for Props and Puppet Design
Erin Walley and Dillon Nelson, Argonautika, A Noise Within

Robby Living Legend Award
Teri Ralston


TICKETHOLDER AWARDS 2019 PART I

My 28th annual TicketHolder Awards are now posted on my TicketHoldersLA website in two parts. You can read it below and click here for photos.

Choosing my honorees this year is a real bitch. Almost as many tears shed as Carrie Ann Inaba eliminating a sports figure she finds hot. Yet there’s not much else good to write home about in 2019 besides theatre in El Lay. Between the mess we’re making of our planet and the eye-opening disintegration of everything I’ve championed and held dear all my life, thank Terpsichore it’s been a spectacular year for the creation of theatrical art to help ease the pain and frustration of living in our Trumpian nightmare. And even though I have a whole heap of productions to honor this year, with part of my time spent in New Orleans hosting an exhibit of my paintings and medical issues to tackle that seem to come with the territory at age 348, there were also a lot of noteworthy productions I sadly missed. In my world, it’s definitely been a year to praise some monumental directorial work and a plethora of spectacular ensemble casts; choosing winners in both categories has not been an easy task. And what do you think of the Geffen Playhouse? After too long a period of less-than exciting fare, the announcement in 2017 that Matt Shakman had been hired as the complex’s artistic director guaranteed a positive change and without a doubt, the turn around has been staggering. Two of the company’s casts are tied here for Best Ensemble, two of its masterful set designs are as well, and five of my top production choices for 2019 were presented at the Geffen, including my second, third, ninth, and tenth pick for Best Play and second choice of Best Revival. If I gave an annual award for Best Season, surely the Geffen Playhouse would win this year. As a matter of fact, maybe I should initiate such a thing. As a matter of fact, I think I will. 

THE 2019 TICKETHOLDER AWARD
FOR BEST SEASON

Geffen Playhouse; Matt Shakman, resident puppetmaster

BEST PRODUCTION OF 2019

Linda Vista, Center Theatre Group, Mark Taper Forum
The Thanksgiving Play, Geffen Playhouse
RUNNERS-UP: The Abuelas, Antaeus; Andy Warhol’s Tomato, Pacific Resident Theatre; Apple Season, Moving Arts; Dana H., CTG/Douglas; The End of Sex, Victory Theatre Center; For The Love Of (or the Roller Derby Play), Theatre of NOTE/CTG at the Douglas; 4.48 Psychosis, Son of Semele; Frankenstein, A Noise Within; Handjob, Echo Theatre Company; The Mountaintop, Garry Marshall Theatre; On Beckett, CTG/Douglas; The Play That Goes Wrong, CTG/, Ahmanson; Sisters in Law, Wallis Annenberg Center

BEST REVIVAL PRODUCTION

JitneyCenter Theatre Group, Mark Taper Forum 
FalsettosCenter Theatre Group, Ahmanson Theatre
RUNNERS-UP: The Caucasian Chalk Circle, Antaeus Theatre Company; Cats, Pantages; The Cripple of Inishmaan, Anteaus Theatre Company; Happy Days, CTG/Mark Taper Forum; Hello, Dolly!, Pantages; Jesus Christ Superstar, Pantages; Loot, Odyssey Theatre Ensemble; The Ruffian on the Stairs, Los Angeles LGBT Center; Lady Day at Emerson’s Bar & Grill, Garry Marshall Theatre

BEST MUSICAL PRODUCTION

Indecent, Center Theatre Group, Ahmanson Theatre

Ashton's Audio Interview: The cast of “Hir” at the Odyssey Theatre

Hilarious and terrifying, Hir is a dysfunctional family dramedy for a new era: a highly intelligent, heartfelt and deeply, darkly humorous portrayal of a family in crisis, in which domestic abuse, the trauma of war and the acceptance of gender neutrality are illustrated in a nearly absurd, emotionally gripping, intensely real dynamic.* Enjoy this interview with the cast of “Hir” at the Odyssey Theatre, playing through Mar 17th. 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

Now registered this week on the Better Lemons Calendar through July 1, 2018

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

Visit our Wakelet for more stories: https://wakelet.com/@BetterLemons