Hello all, just writing this post to remind ya’ll that I do this for the love of the game. It brings me intrinsic happiness to watch a show and think about it later. Sometimes it’s harder to think about some shows than others (i.e, too many thoughts in my head, too much in between, didn’t bring my journal) but I do what I can, for myself. I don’t do this for my reputation, or for any kind of success; it is a calling of some sort. I don’t belong to any company other than myself. This also has nothing to do with any other thing that I do in my life. I realize that some of my opinions may be a bit extreme, or I could walk out of a show REALLY LIKING IT or REALLY NOT LIKING IT. Maybe I need to work on walking the middle path more, but it is only my opinion. With all my reviews I try to include a bit of positivity. I appreciate all of the shows I get invited to and I’m sorry for the one’s I can’t make. Inviting me is a gamble. I like to listen to what other audience members say too, but generally there is some kind of consensus. Anyway, these are just my thoughts today and will probably add to this post as time goes on.
Category: Uncategorized
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And What of the Children by Catharsis Collective at The Broadwater
And What of the Children is a show of epic proportions, written and directed by Ryan Lisman and a cast of 18 (actors), running at 2 hours and 35 minutes (plus 10 minute intermission). It is “completely rewritten” Ryan has stated, but the themes of loyalty, intergenerational trauma remain the same. The play follows 3 siblings living under witness protection, when one’s identity is unfolded through their OnlyFans video being released. As I watched the show, I thought, “Oh, an interesting commentary on Only Fans.” But no, a twist. Lisman always surprises me! And another twist – a classic Ryan Lisman production. There is not much I want to say about the show because it’s one where you want to go in knowing nothing.
We enter the space, with ensemble members dressed in all black, muttering words from the cult. Does a good job in setting the space. But, I think, because the show is so big, that the little details become too much. The play takes place over a period of time. Ryan really worked hard to put together this show and it’s not an easy feat to get the audience to care. There are a few separate storylines, all that are related. The performers are terrific! I really loved how Thomas McNamara steals the show, creepy and gripping throughout the show. The set is pretty minimal, keeping the focus on the storyline.
First act starts out strong, engaging the audience to these character’s heightened dilemma. But the second half spiraled into something different all together. My opinion is that there were too many storylines to fit. A conversation with a friend allowed me to realize the lack of subtext in this show, and the lack of subtext within theater in general these days. I wonder if it has become too hard to produce shows with a lot of subtext, are actors not interested in playing roles that are not intense? It’s raw, and in our face, which is… a style, but it creates an alienation effect from the audience. A lot of telling howw you feal rather than speaking. The play asks if people can truly escape their past. “Ambitious!” “Solid play!” “Worth checking out!”
I saw this show recently… I saw it during the Fringe Festival. At the same space, that is. In fact, the last show I saw was a Ryan Lisman show; I really need to broaden my horizon. Again, all these reviews are my personal opinion. As I was driving to this show, fearing that World War 3 was about to begin at any moment, I asked, why this show? Maybe it’s just bad timing — for the world to be potentially ending. Another note is that this psychological, horror-like play does not fit the day-time showing (for Saturday/Sunday performance).
There are two more weekends. Try to catch a Saturday/Sunday afternoon performance, as it is pay what you like ($12-$24) *Not removing the review
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Catharsis Bites by Catharsis Collective at The Broadwater
Ryan Lisman put together scenes from different original shows written by Catharsis Company members and it came out very well. I commend that all of these artists had something to say and put in hard work to produce their pieces. The project as a whole was very smooth and had good pacing, had strong pieces throughout. There were minimal sets but small set pieces that were easy to transfer; I blinked my eyes and a new show was up. Without further ado, let me get into the shows.
Fight Like Hell by Christian Levatino is a compelling opener and I loved every minute of it! It follows the story of January 6 rioters who are coming to insight mid-riot, hiding in one of the Capitol’s historic rooms. I am reminded of the masterpiece show by Rogue Ensemble, about the Pulse night club in Florida, real events dramatized. The play combines historic fiction with thriller-esque moments, blending historical events with heightened theatrical storytelling. The actors are all intense and the plot is gripping, watching these characters fall from grace, losing their moral high ground. Could have used more sound effects, I thought, but still, would be an awesome full production.
Blame It On The Raisin by Heidi Appe was about a lady who domesticated a lady bug. Good laughs here, absurdity to the extreme. If there was some deeper meaning, I didn’t catch it. I thought the actors could have been louder.
I have seen many iterations of SubUrban Limbo by Travis Santos Gatz and this one got it just right! The play follows the lead Preston, post-rampage, trying to figure out his next steps. The writing by Travis Santos Gatz is really good, with philosophical themes that leave you thinking long after you have left the theater. I would say the direction by Olivia Greer Gulden is very focused and puts a different perspective on the story, ultimately blending different storylines together. Audience members were heard gasping, laughing, commenting “So good” right after the performance. I put a star next to Tharun Dulla’s name for an outstanding performance as Gino. He walked on stage and pulled in laughs for his stoic humor and endless banter. Other performers, including Sam Zukin, Isabella Costa, Jennifer Donovan did great too, adding different flavors to the production.
Infidel by David Neipris explores the tension between artistic integrity and the business reality of the arts Some really good writing by David Neipris with rich characters and backstories. It really does feel like a good chunk of a bigger idea, I’m excited to see where this one goes.
Angst is a clever production that follows one writer’s inner battle of his own imposter syndrome. Spencer Weitzel plays Anyone and Theo Fay plays Angst, both dressed very similar that makes it easy to know they are the same person. This iteration can be done with plenty of universal emotions, and stay easy to follow. Their energetic performances keep the audience entertained as they smoothly break the fourth wall at times.
Schizm by Ryan Lisman was the final production. A family drama, set during a dinner where chaos erupts. Individual secrets come out, changes that cannot go unnoticed. Excited for the full production in March.
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30 Minutes or Less Fest, Top 5
I loved all of the shows I saw. Thank you so much to Matt Quinn and Bertha Rodriguez. Currently at the Awards Show as I post this!
Being The Perfect Woman by Ashley Diaz
Autastic by Jeff Ahern
The Miraculous V: The Bizarre Awakening of a Virgin Witch by Chaotic Fable Ent.
Mama! I Burnt the Chicken!! By Nina Childs
Emily F—ing Dickinson: America’s Favorite Recluse by Shelley Cooper
Honorable Mention: Open Door Playhouse
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30 Minutes or Less Fest, weekend 2
I’ll post this and continue updating as the week goes on.
Nancy by Richard Velasquez is a confident, charming, a rough production. This is apparently the first performance of his show, and I hope it will develop further. Richard Velasquez brings his genuine self to the stage, raw and vulnerable, but it became fragmented as he is constantly referring to the script. A work in progress. He goes through major life stages and shows how his sister was a role model all along, but my one-line summary doesn’t do it justice. Perhaps I’m being too hard on that, after all, the poster did claim it is a staged reading.. He did a good job painting imagery with his words, becoming other family members, and giving life to his memories. As he was reading along, I felt as though each line had the same rhythm and I had trouble keeping track of what age we were at. I wonder, too, if the performance is meant to be straight spoken word, towards the audience. Very touching tribute at the end. Richard’s vulnerability will make you shed tears.
Interesting, gripping, and unflinching. Aditya Putcha combines many different themes into La Mano del Mono, based on the tale of The Monkey’s Paw, a classic 1902 short horror story written by W.W Jacobs; themes that include interracial marriage, child abuse, magic, bureaucracy, grief, and more. It captures that familiar feeling of watching a horror film where you want to shout at the characters, “No! Don’t do that!” It leans into discomfort, pulling the audience in. In true horror fashion, this show will get you uncomfortable and want you reaching out grabbing these characters by the shoulders. The dialogue worked for a small, intimate space like The Stephanie Feury Theater, turning the audience into flies on the wall in an abusive household, but at times the energy became awkward. If the show were longer, we might have a chance for more understanding of this world. The piece is ambitious, weaving in multiple storylines and character backgrounds into a tight 30-minute runtime, giving the play a fast-pace and heightened energy. The melodrama and exaggerated characters fits in with the style of the production, a bold visceral interpretation that isn’t afraid to push boundaries.
Counting The Hours by Camilo Gonzalez was a short, intense piece exploring a soldiers return from the horrors of war, I think. No, it is of “A military colonel about to be promoted to a minister and emporer of a kingdom.” A portrait of PTSD is what I imagine it is about. The monologue was lengthy and showed his wrestling between power and humanity. The character raged at the death of humanity as machines have become of central in the eyes of war, causing destruction around us. The character was sweating, adding to the sense of emotional exposure. Anyway, not a line that stuck with me. At the end a video homage projected on stage with clips of war and of Michael Jackson. “Choose people, not machines” was the message.
A lot of work went into Being The Perfect Woman by Diaz, was my first thought, as we walked into the stage seeing a full clothing rack, a table with a record player, couch, poster board, and a live projection; and not a moment was wasted. The show is written in a way that allows us to experience the discomfort of having to be “The Perfect Woman” with Ashley as they try different ‘normalities’ of how society views female. This show was captivating, transformational; what first feels like an influencer get ready with me shortly becomes the raw exploration of identity and self-understanding. A gut wrenching show of depth, one that evolves as the show progresses. No more spoilers, this is a MUST SEE SHOW. Highly recommended, personal and universal. “Wow,” people muttered, as they got up after the show and their reactions rippled the space, “Double Wow.” We were all chilled to the spine.
A strong one-person piece, The Queen of Reading Gaol offers a brilliant tribute to Salome and other literary characters created by Oscar Wilde. Laura Marlowe is on stage performing with an energetic flow, keeping audiences interested on the subjects. There was a good audience that followed along.
In between shows, I wondered if I’m a bully. I mean, I could write someone a rave review but if I include one harsh thing then they may discount the positives (Cognitive Distortions, see CBT). Words have power. Sorry ya’ll, I don’t mean to be mean.
Open-Door Playhouse brings down the house once again, with (Un)Drinkable and Will’s Dramaturg. Undrinkable is historic, dark, powerful, emotional. A historic play that is both chilling and thought provoking. It follows multiple storylines within the water crisis in Flint, Michigan over the recent years. We see how media tried to hide the severity until it goes out of control, spreading to different zip codes; how contaminated water is affecting children and people trying to make a living. Great performances with strong writing and direction. Moving on to Will’s Dramaturg a laugh out loud piece looking at “What if William Shakespeare had a New York-type publicist/agent/manager. Funny show which combined different time periods. Good performances but I could tell it was partly a staged reading.
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30 Minutes or Less Fest, Weekend 1
Weekend 1 of the 30 Minutes or Less Fest is over at The Stephanie Feury Theater and some great work has been produced, which might have other showings next week. I want to write little blurbs for each show with the hopes that it may pique your interest. I don’t think I will be returning until this coming Thursday. Mind you, I go into these shows knowing nothing. I probably know a few actors. Very grateful to Matthew Quinn and Bertha Rodriguez for setting this up. (Submitting this without reading through because I want to meet my deadline — if I have misgendered anyone, or spelled names incorrectly, or told lies, please do tell me so that I can edit; and happy to do so).
I Wrote You A Play/Letter From The Grave performed by Jo Dellapina and Jeff Dinnell had its premiere at The 30 Minutes or Less Festival; two separate one act scenes. Nicely written show. Energetic performances. It appeared experimental, like scenes that had grown from a workshop or class. Matthew Kamm’s “Letter From The Grave” had themes of grief and recovery; characters with history and backstory. So I was a bit confused as to why the second scene started at a bar, but turns out they were unrelated. Heard an audience member laugh and say “I could relate” to the first act. Minimalist production with a lot of heart.
Gilded Spindle is the ambitious and imaginative project by Wyndwolf Puppets which had its premiere at the 30 Minutes or Less Festival at The Stephanie Fuery Theater. The production moved at a fast pace, quickly establishing its medieval world through a series of short and intense stylized scenes. Rapid transitions and frequent blackouts, with the focus on storytelling and visual experiments. I enjoyed watching Adam Frost-Venrick as the king, who brought a commanding yet comedic presence. Zander Raphael did a great job as the puppeteer, watching them move the puppet felt like watching Andy Serkis create Gollum/Smeagol.
Momma! I burnt the chicken! Had its sold out premiere and clearly resonated with the audience. A warm, hilarious, and deeply personal production that will stand out as one of the most engaging and comedic shows of the festival. The set transported us back to the 1990s with the sounds of 90s commercials playing from the TV; the audience even joyfully sang along to the Toys R Us theme song. Nina Childs was so free on the stage, commands with ease and authenticity, and we enjoyed every moment of it. A simple concept that takes the public persona of a churchgoing woman into her private home with her unguarded self, capturing something both specific and universal for a memorable theatrical experience.
I feel like I have seen Against All Odds before, but really I remember seeing Larry Meyers at the Hollywood Fringe Festival for his show, “Did I Just Join A Cult?” Both shows were similar in style and extraordinarily entertaining! He sits at a table with a script nearby by and just tells stories. Philosophical, mind bending, awakening describes it. Themes of synchronicity and the magic of story. It made me sad that the audience wasn’t filled, I hope more people get to see this wonderful work.
Pinky Jones’s solo piece Looking For Backup is her personal parallel journeys of becoming a real estate agent and an actor. This show is a work in progress, as Jones could be seen holding up her script, but I admire how she wasn’t afraid to be nervous. Yes, Pinky shined on stage as we could see the sweat dripping down her neck but it was real and genuine and all we could ask for on stage. These types of stories are healing for both the performer and the audience member.
Mr. Big did a staged reading last year, at this festival, and also had a run at the Hollywood Fringe Festival over summer; this production gets better every time. Based on a story by Woody Allen, the play is adapted to the stage by Brian Knudson I really like the charm and charisma of both performers. Sue Gisser was wonderful with the multiple characters she played. A thoughtful script, a smorgasbord of philosophy; this time opened with an intro by Tuba Heatherton Groucho Marx.
I don’t know how Spencer Frankenberger has time to do a show as he is doing tech for just about every show but he managed to put a cohesive show together, Blow The Man Down: A Sea Shanty Concert is the story of seven sailors adrift at sea. The characters, music, and design fit those of pirate-inspired world. I liked how the concert played like a concept album, with the narrative unfolding through song. One singer had an exceptionally strong voice which added an extra layer to the character dynamics.
Experience Taught Me Nothing by Christine Blackburn is another personal storyteller show, warmly supported by the audience. Blackburn tells the story of taking a bold and risky leap; how she took out her retirement funds to produce her partner’s theater production. It was a rough production, I assumed, as Christine was still holding up her script; underscoring the honesty and rawness of the piece. Her delivery is confident and compelling, and she forms a genuine connection with the audience. She goes over the hurdles of producing and managing a relationship at the same time, with humor and candor.
The Miraculous V: The Bizarre Awakening of a Virgin Witch is a spell-binding one-person show, blending autobiography, trauma, and fantasy. Shara Kirby introduces herself with a playful, charming persona but does not let the darkness stay out of sight. It is a fun, surprising show, but also one that might make you squirm. It asks the audience to sit with discomfort as much as delight I need not say more other than SEE THIS SHOW. This is a show that will win the hearts of audiences through, laughs and tears, and will stay with us long after the lights have gone down.
Kittens In Space was a fun, experimental, and comedic piece; one that won the audience laughs through absurdity and physical humor. Themes include talking animals, random encounters, drug trips, and time bending – a wild combo. The creators of this show did a great job in creating the play’s world. A fun, entertaining piece
Autastic is a Jeff Ahern’s deeply personal journey of finding out his son is autistic. A ver raw, honest, and profoundly heartfelt show. Whereas other one-person shows had scripts (in hand) this was simply Jeff recounting stories of his son, creating an immediate, genuine connection with the audience. Jeff holds back tears as a slide show of photographs brings up different memories, allowing for emotion to speak for itself. Perhaps one of my favorite shows this season, touching and resonates long after it ends.
What a stellar performance by Shelley Cooper in her show, Emily F—ing Dickinson: America’s Favorite Recluse, a tour-de-force performance! Emily is up on stage, even before the show begins, making us laugh as the theater rolls through its announcements. She gives us a stunning portrait of two extremes, moving seamlessly between ecstatic mania and rock-bottom depression. In this show, Shelley becomes the character, speaking to the audience from her reclusive state while remaining fully present. The performer’s range is astonishing, particularly being able to blend comedy into her darkest moments.
Two short one acts by the same team, The End & Fast Moving Consumer Goods that balance comedy with surprisingly heartfelt themes. The first play took a moment to establish context, but it carried well with wit and charm. The End was about a woman who fell and hit her head and was now meeting face-to-face with Death as they try to figure out her fate. The second play, Fast Moving Consumer Goods begins with a call with the suicide hotline that quickly veers into unexpected hilarity. Both offer fresh takes on heavy subjects with the message that human connection is all we need.
Hooligani was a gripping, fun portrait of a cold-hearted criminal. Vennessa Verdugo transforms herself Tetyana, a Russian madame with a family empire, willing to tell all for a better sentence. As I clutched my seat, I had to remind myself that this is only a show, a character. The show is filled with imagery and comedic breaks. Verdugo creates different impressions through the stories she tells and entertains exceptionally. Excited to see how this show will grow, or if Vennessa has more characters to bring to life.
An interesting concept for Heartbreak Feels Good (In A Place Like This) and I had no idea what kind of a show I was stepping into based on the poster. But we have all heard that saying before, yes, its is from Nicole Kidman’s AMC Intro Video. Levani Ko presents us with preparation for his upcoming audition to replace Nicole Kidman and uses her script to create the show. They know their audience well (mostly actors) and proceed to take suggestions on how to best prepare for the audition and will Yes-And anything the audience desires! I have no idea if they can actually breakdance, but they committed entirely! They worked with the audience to interpret and analyze each word of Kidman’s monologue. This was a fun experience and next show will be entirely different, so I don’t feel bad for any spoilers. Go see this one for a fun time!
I left Bad Medicine by Adam Frost-Venrick so disturbed that I couldn’t write about it, but it was so damn good and hilarious! He plays a doctor, no, a Juris Doctor, wait, I mean he got an online certificate or something of that nature to be able to commit to his experiments. And boy, does he take us on a ride. I almost through up, but was it cause of the copious amounts of laughter? You will have to find out for yourself…. RECOMMENDED
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Saw: The Musical at The Hudson Theater
Saw: The Musical is exactly how a musical adaptation of a film should be, fresh with its own flavor; proving that theater does not have to chase prestige to succeed. Instead of a play by play reenactment of the movie, the play takes comedic characters on a journey with a similar storyline (and pays homage to the notorious Jigsaw), using themes of queerness to spice up the absurdity. As one audience member perfectly summarized mid-show: “It’s so stupid. I love it.”
For the bulk of the runtime (a whopping just about 2.5 hours or so) the structure follows to men chained to opposite sides of the room. Their darkest secrets and sexuality shine with humor as the play moves along. The cast frequently breaks the fourth wall, but does so with intention and timing, creating a playful relationship with the audience rather than cheap winks. I really liked all of the actors, no notes. The three performers play multiple characters (for the most part) and I was pleased with how far these actors were able to take their roles. Fun effects were used and the first two rows were considered “splash zones”.
The piece often feels like a sketch show that could have used a tighter runtime. The bit is funny, but goes on for too long. I’m glad I got to catch this show before it leaves The Hudson on Monday 1/12/2026. Big team put this together, looking at the program. Music and lyrics by Patrick Spencer & Anthony de Angelis, with the book by Zoe Ann Jordan. Could not tell, by the program, if this is by a theater company or the producers created a team to make this happen. One more note is that theater in Los Angeles is becoming way too expensive. I recall Sacred Fools put together an initiative to not charge over $15, but other theater prices are outrageous. I literally paid more for a ticket at Hudson more than rush ticket at Pantages. Whoever is calculating prices, get yourself together.
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The Notebook: The Musical at The Pantages Theater
No surprise here, another stunning performance at The Pantages Theater. The Nicholas Sparks novel, The Notebook, which also became a film, got adapted into a musical production by Chicago Shakespeare Theater. The story follows a lifelong love story, in three different stages of these characters lives, how love will heal all. I remember, a decade ago, a fellow acting student said to me, “If you need to cry, then watch The Notebook.” And boy did this make us cry at several points in the production. Each actor carried the songs with their beautiful voice and the ensemble worked well together. The plot stayed noble to the film, keeping it grounded in reality and limiting fourth-wall breaking dance numbers. One of my few after thoughts is that it could have been done without intermission. The audience was blown away. Me, I could not stop comparing it to the film. It was entertainment for me. Of course, I am left with the message of love, the modern day fairy tale.
Perhaps this invites a new discussion, movies turned into musicals, do they work? I can’t say I have seen very many of them but would love to hear your thoughts. I would also love to see a cult classic film, one that few know about, turned into a musical.
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January 2026 in Los Angeles Theater
Here are some shows coming up this month in Los Angeles. Open to adding to the list, let me know if I forgot any!
The Notebook: The Musical @ Pantages Theater
January 6 to 25, 2026
The Club of Broken Fasts @ The Long Beach Playhouse
January 9, 10, 11 2026
30 Minutes or Less Festival
Stephanie Feury Studio Theater
https://www.30minutesorlessfestival.com/
January 15 to 25, 2026
Saw: The Musical, The Unauthorized Parody of Saw
Hudson Theaters
January 10-12, 2026
Tarantino Live: A Pulp Rock Extravaganza
Through January 24 at CineVita
Lost In Yonkers @ Kentwood Players
January 16 to February 7, 2026
https://app.arts-people.com/index.php?show=235598
What Opa Did @ Theater 40
January 15 to February 15, 2026
Brownstone by Catherine Butterfield @ Open Fist Theater Company
January 22 to February 28, 2026
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This Week in Los Angeles Theater
I’m happy to edit the post and add more shows, just let me know:
12/23/2025 – 12/31/2025 Now Playing:
The Club of Broken Fasts @ The Long Beach Playhouse
January 9, 10, 11 2026
Saw: The Musical @ The Hudson Theater
Through 12/31
https://www.onstage411.com/newsite/show/play_info.asp?show_id=7371
Santasia, A Holiday Comedy @ Whitefire Theater
Through 12/27
Bob Baker’s Nutcracker @ Sierra Madre Playhouse
Through January 4, 2026
https://www.sierramadreplayhouse.org/event/nutcracker2025
The Enormous Crocodile, The Musical @ Kirk Douglas Theater
Through 1/4/2026
A Christmas Carol @ Segastorm Stage
Through 12/28
https://www.todaytix.com/los-angeles/shows/42398-a-christmas-carol
Stereophonic @ The Pantages Theater
Through January 2, 2026
Coming Soon:
30 Minutes or Less Festival
Stephanie Feury Studio Theater
January 15 to 25, 2026
Lost In Yonkers @ Kentwood Players
January 16 to February 7, 2026
https://app.arts-people.com/index.php?show=235598
What Opa Did @ Theater 40
January 15 to February 15, 2026
Brownstone by Catherine Butterfield @ Open Fist Theater Company
January 22 to February 28, 2026
The Notebook: The Musical @ Pantages Theater
January 6 to 25, 2026
Jesus Christ Superstar
The Nocturne Theater
March to April 2026
Stage Takes 