Tag: writing

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

January 19, 2026

review, reviews, theatre, theatre-review, writing
Hollywood Fringe Festival day 23

Kittens at The Broadwater

Wow, this show blew me away! It had the heart and soul of Fringe in it, a strong message with excellent story and not too complicated design. Had to cry in my car before congratulating the writer; one of the few shows that made me cry. Expertly written (and performed) characters who have both conscious and unconscious goals that develop throughout the story. Historical fiction that bites into our soul, with no unneeded emphasis on sexuality. Shows the dualities of a woman’s experience living within a man’s world. This show has strong roots, and I can’t wait to see how it develops. One of my Fringe favorites.

Magnet of Chaos at The Broadwater

Sarah Lazarus is one of a kind! Sarah takes us on an interdimensional journey with Jennifer Coolidge and Bernie Sanders, both voiced by her, to find her own trauma. This piece was incredibly fun, super funny, and tackles raunchy themes.

The Eddies and the Pypers at Actors Company

Powerful show about death and grief, a strong subject for the stage. One of the few shows I have seen that made me cry. Very strong acting with an excellent supporting cast. Nice direction and good use of the stage. Because this was originally written for the screen (as stated in the program), I wanted to hate this but couldn’t – the story was excellent and philosophical in nature. It felt very written for the screen. Short scenes and quick blackouts. The audience would clap after every blackout even if it was just a transition scene.

Beth Wants the D at The Broadwater

An incredible one person show on mental health. Beth starts the show off an an audience member for a production of Dog Hamlet and jumps on stage due to her compulsive thoughts. She takes us down the rabbit hole of those thoughts, mixes them with mental health, and educates us about the journey of mania and depression which leads to her diagnosis. Even though the subject matter can be tough, she keeps the show fun with her one of a kind, comedic personality. A truly inspiring and insightful story.

June 30, 2025

book-review, review, reviews, theatre, writing
Hollywood Fringe Fest, day 10

Falling Up by Aaron Pang at The Broadwater

Possibly one of my personal favorites! Aaron Pang takes the concept of inspiration-porn, as commonly referenced in stories of people with disabilities, and smashes it out the window to create a whole new approach. A truly genuine, authentic experience that had me tearful as I walked out by the way he playfully punches us in the gut. Aaron is such a charismatic storyteller, taking us on the wild ride of his life, and have you thinking about it after for days. This is a “love story” like no other; it is about finding love within, and gives us a new concept of what it means to be a hero. This rewrites the common story of disability, the hero’s journey; instead of coming out of a low point, as most stories of disability are structured, we learn to make life whole at the present moment. Aaron made us laugh, and even better, he would laugh with us. I liked his interactions with the audience, too, and how the play can change with each audience.

The American Dream at Zephyr Theater

I met the writer at Office Hours and was excited to see political theater making a comeback. A series of vignettes to portray the current state of the political times we are in. This has good moments, good acting, and the touching message at the end had me tearing up. Some of the concepts worked very well. I was particularly interested in the sketch of the AI police officer who struggles to connect with his mission, and also the teaching assistant, for the special needs student, who loses his job. I would really like to see these developed and I think the production was a nice experimental piece. Some of these scenes felt like I was watching the Saturday Night Live skits that are exact transcripts of what happened in the news or the latest thing Trump/Musk did. Perhaps it is just a sign of our times that we can no longer tell the difference. I did not like the characterizations that actors ended up chose to do; not that I was offended, it just feels like that has been done before, too often.

Slay Me at The Hobgoblin Playhouse

A show that evolves throughout, shows different sides to anxiety. Tremendous performance by Veronica Rosas, who also writes the production. What appears to be a fun getting ready for date night turns much darker. Great writing, but felt longer than it needed to be.

One Up at The Actor’s Company

An underdog story of a young intern trying to make her creative dreams come true; I’m sure many can relate. Super fun musical with great songs and a strong storyline. This is the second musical I have seen at the space, and I’m not sure if there is an issue with the venue, but the music was too loud. It is campy, if you are into that. Wow, Alanna Hernandez can sing and gave a very solid performance! Great performances all around, with strong and silly characters.

June 18, 2025

music, theater, writing
Hollywood Fringe Festival, day 3

Near Sex For Work at The Hudson

Really fun and insightful show! Daniel Shar reviews his career as a comedian turned porn extra. You might come see it for the sex part, but this show is about the need for human connection. Daniel Shar takes us on the wild ride of his career and shows us (yes) the highs and lows, in his journey. This is a well-structured one-man show that separates itself from stand-up comedy. I definitely recommend this show for the entertainment, the curiosity, and the laughs. Incredible marketing, with the condom program, and the vibes were spot on as we entered the show with hip hop music playing and Daniel’s photo on the projector. Daniel began the show a bit nervous, it seemed, as he appeared to be shaking while holding the dildo microphone, but it was endearing and allowed his confidence to grow throughout the show. Shar sprinkles in humor constantly and knows what he brings to the stage. He gets personal and stays funny thrpugh the dark times. I loved the transitions, how he made it so unique to fit his presence (writing vague; don’t want to spoil the humor). I guess at one point I was confused, thinking the dog was the romantic partner – but I understand that was his way of respecting privacy.

This Is Water and The Broadwater

This Is Water is award winning musician Rain Perry’s retelling of her history growing up in California as a white woman and being aware of the effects of segregation laws. The plot follows as she sits down to write her album and shuffles through her own lineage. On stage she is seated at a desk with boxes of pages behind her, a laptop which projects her research onto the backdrop, and a personal assistant who helps with organization. The action takes place during the pandemic, as she reminisces on her parents who had been cheering on Barack Obama before his election and is currently seeing the effects of the Black Lives Matter protests nationwide. This show is highly relevant for our time, with the ICE raids going on as we speak, and Perry’s experience will resonate with a large audience. “All big social issues are told through a personal story, I wanted to challenge myself to hold myself accountable onstage and hope audiences will do the same.” she writes. I did come in a few minutes late, so I must have missed the introduction. I was a bit confused as to if this show is a work in progress, as she sat on stage with a script, but then realized how that is a piece of the production itself. With others on stage with her, musicians and the assistant, I wondered why she chose not to interact with them as much.

Bathroom Diaries at The Broadwater

I came in not knowing much and appreciate the honesty and vulnerability Christina shares on stage with us; powerful, personal, and an important story to be told. The show follows an only child’s struggles with a bladder condition that later manifests into an eating disorder and alcoholism. Christina sprinkles humor into even her darkest moments, keeping the audience engaged through the different characters she plays.I enjoy seeing personal shows as they can give the viewers a visceral sense of hope. Christina keeps the show’s energy high from the top of the show until the end, and keeps us laughing throughout.I wish more time was spent on the realizations Christina had throughout her journey, what it was like to come to terms with the internal struggles she faced. What was the Belly of the Whale she faced which called for her rebirth? I wondered. It was redeeming that she found love, but I was left with some questions.

Romeo and Juliet in 60 Minutes at The Mcadden Theater

Very enjoyable experience with fantastic performances and good direction! I came into this wanting to dislike it, thinking Shakespeare deserves months if not years of study, yet whatever Colleen has crafted should be shared with more performers and lovers of theater. I came in with the lens of “This group only had a few days to put this together” but whatever predetermined belief I had was surpassed. I liked the quick nature of this style; Shakespeare wrote no subtext and the actors performed it in such a way that was easy to understand. I liked the fight choreography and how all parts of the stage was used. I really wish Mercutio’s Queen Mab monologue made the cut.

Venus in Fur at The Broadwater Mainstage

One of the best shows I have seen all year! The play is about a casting session that intertwines with the personal lives of these characters, juggling with themes of gender, power, and desire. The play runs 90 minutes and not a moment is dull. The play is full of dynamic chemistry, boundaries being blurred, and control being pulled in many directions. Phenomenal performances, a show that looks ready for a professional run. Bryan McKinley as Thomas and Rachael Meyers as Vanda, both give masterful performances. I like how the actors both play with power so well. The physical intimacy on stage is so thoughtfully precise. Lighting shifted the mood as well and the set had many layers to it. There is nothing I did not like in the show itself, but our show went a little overtime. I missed the uber to my next show and only got to see 5 shows today. Maybe that is just a testament into how we, as audience members, fall into doing whatever we are told; a theme in the show.

June 8, 2025

review, reviews, shakespeare, theatre, writing
Hollywood Fringe Festival, day 1

All Cats Go To Hell by Mandy Rubeli is an incredible production. It starts with children playing in the streets but leads to mythological proportions. Mandy Rubeli is such a fantastic writer, the play follows great structure and each character is fantastically layered. Thought provoking themes that include death, grief, and the afterlife. The show leaves you with visceral feelings, a range that begins from laughing with each other line, to a the eerie feelings the play offers. Great performances and great chemistry between the actors; although they played characters much younger than themselves (I believe), they were able to find the guiding force behind each character. Without giving spoilers, I will say that I liked how each character develops throughout the play. I love the physicality on stage, how each actor is able to embody the environment. The less you know, of this play, going in, the better.

Tales of the Ancient East by Antony Zioni is a short, 45 minute show, at the Hudson Theater. This was a fun experience, a spectacle that will leave you entranced. A one-man rock opera about the Old Testament. Antony Zioni put together a very ambitious project with a stunning production design. Too much fog made for a nice spectacle but felt a bit claustrophobic for the viewer. I did not really follow the story, felt like there was too much going on. Long transitions/blackouts made me wonder if this must be done as a one-person show. It is a great start, there is much passion in this project.

Murder, Oops! by Molly Sharpe at The Broadwater; Sharpe really owns the stage, through endless energy, with the various characters she plays in this show! The play begins with a character who finds her This show is non-stop laughs and will go places you would not imagine. Highly entertaining! She greeted us outside and talked to us all the way throughout the beginning of the show. This truly feels like a show that no one else but Molly can do. I enjoyed the numerous times she breaks the fourth wall and makes the show interactive. The minimalism in this show works.

June 6, 2025

review, reviews, theatre, tv, writing
To Each Their Own presented by Art Crush LA

Just getting back from To Each Their Own, a new play written by Travis Williams, and still gripping my seat from the plot twists and gritty, raw performances the show has to offer. The story follows a trio of bank robbers as trust and loyalty become jeopardized. Highly recommend this production! A visceral experience of the life of bank robbers, behind the scenes. Really good direction by Brooklyn Sample that allows no beat in the play to go wasted, and excellent writing by Travis Williams (who also appears in the show) that gives these characters well-developed back stories and internal motivations. The play is set in the interior of a bar, the Tito Tavern in Ohio. The play worked very well in this small and intimate space, allowing the ‘action’ to occur off-stage with the characters reconvening throughout the show. I think this type of show could be done at a big stage, or a small one as this. The props are used very purposefully placed and used by the characters. Choreography, by Marc Antonio Pritchett, was well-done too.

I thought the characters were well-written, had detailed histories, relationships, and backstories. The actors did a good job of bringing the characters to life, and each character gets their moment. William Wilson, who plays Doug, carries the intensity of the play and finds meaning within each word; creating a very personable character whose pain commands the stage. James Lemire, who plays Benny, brings an authenticity and humor into the plot; giving the most honest performance through simplicity. Tabitha Trosen, who plays Bailey, steals the hearts of the audience and portrays reason in this trio. Travis Williams and Jason Madera steal the show with their supporting roles, giving the show different flavors in their own, unique way. Madera had us laughing at each of his moments.

One thing my friend stated that stuck with me, is that these characters did not dress visibly poor. Everyone makes choices about how they dress during the day, so why did these characters choose to dress that way? In thinking more about the socioeconomic state of the characters of the play, I feel that the actors embodied the high stress levels of poverty — but I can agree that they looked too good. The costume choices gave it a noir feel, so I am undecided on whether costume choices hurt or helped the production.

I am very excited to see where this play, and each of these performers, writer, and director are headed. This seems to be Travis’s debut as a playwright in Los Angeles and, well, it is outstanding. Whether this production lives outside of this space or the creators move on to different works, I will keep them in my mind. The play runs 90 minutes with one intermission. To Each Their Own presented by Art Crush LA will play at the Atwater Village Theater through May 4, on Friday, Saturday, and Sunday. Visit www.artcrush.la for more details.

April 26, 2025

review, reviews, theatre, theatre-review, writing
Interview with Travyz about Gatzbyverse

Interview with Travyz Santos Gatz:

I sat with Travyz in his artistically designed apartment as his cat, Puu, played on the table. His house is decorated with comics memorabilia and memories from his theater experiences. Books on the shelves that formulate his thinking process: progressive, multicultural, revolution. Posters of film, music, comics. Travyz rolled a joint for himself, though I do not smoke. He shut off the TV, which was playing Into the Spiderverse, one of his favorite films. I sat down, pulled out my 1920s audio recorder out and began:

AD: We’re getting a little warmed up here but uh alright so this is the interview for Stage Takes. Silas is here too.

Silas: hey

AD: Who played a minor role in the film, I suppose integral, though there are no small parts and (government name) is here, Travyz Santos Gatz

TSG: Not just starting off that bashing me my government name right away.

AD: Travis Santos, we’ll cut that out. Alright, alright so I watched the film earlier today. It’s a short 45 minute film, probably the most comic book movie I have seen since Sin City in 2006. I actually saw Sin City in 2007, on DVD, because I was a good kid and didn’t watch Rated-R films in theaters. So what is what inspired you to create this work and what was the process like in creating it?

TSG: I was really sad, so I wrote it. No, I’ve been wanting to do Suburban shit because that’s just where I’m from and I think it’s a representation of the Californian suburbs, especially compared to the rest of the country. So it intersected and in different ways so it represents a good quantity of what the world is and what like in our zeitgeist. Especially online. Ideas find a way to create how we as people connect with each other, and how technology influences, as well as social media and entertainment, and all that kind of affects us as a whole if that makes sense.

AD: hmm, I’m trying to see like how technology was used in the film and how that plays into themes. Could you explain more about that.

TSG: It’s about how we’re influenced by it. For example,

Travyz gives examples in the film which make me reconsider several scenes. He shows how characters have become inspired by pop culture references. I will include these in my review of the film, but will redact it from the interview so as not to spoil the project.

… We are trying to be what we’re influenced by because we’re preprogrammed by algorithms that cater towards those that just drive us deeper down whatever rabbit hole we’re interested in.

AD: Knowing you, I felt like the project was kind of personal.

TSG: Yeah, it’s personal. Everything I write is personal. I mean like the point of this is—I do gonzo-like writing, where I like to cast myself in the roles, in the world, so like not necessarily saying – everything is just going to be true to life. More of a what if scenario, or if I want to try that out, then I’ll try it out. Especially with the Internet today, I can be anonymous online and try out stuff if I need to. As long as I’m not going to **** somebody else up. Like with gonzo journalism, Hunter S. Thompson, stuff he would do would be like, Fear and Loathing wasn’t par for par of what he was doing, but like he would do stuff like see a very nice car and go, “how would people react if I take a watermelon and break it over this a car?” And maybe he’s not tripping balls but he will break that watermelon, see how people react, and then he’d write about it saying he was tripping balls and broke a watermelon and this is how people reacted. I think it’s true, I think a lot of it’s true to art, but like, it is fiction, it is part of a bigger like universe of what I’m trying to say. All my art kind of ‘is,’ you know, and by casting myself in the narrative it helps me build strong characters that are more relatable and also come from different places that we don’t usually see. Keeps it more true.

[Puu starts playing on the table again]

AD: Felt like there was a lot of absurdist influence in this, the endless search of meaning.

TSG: Yeah it’s very surrealist. My big inspiration for it like “If Bojack Horseman meets the end of Boogie Nights”. Being all sad in the suburbs was the A-Part of it and then I saw Boogie Nights and was like “oh yeah that’s what how it just put the other plot needs to be like and add action in it and stuff”

AD: how did you go how did you go about choosing a team that would amplify your vision in the way you wanted?

TSG: I just wanted to work with my friends, man. My biggest thing is, I just wanna work with my friends, to do show with my friends, because that’s where the best work comes. Especially if you can get everybody passionate about a project. The more people who see it as their own versus doing this to help somebody, or doing this project that’s not my project. I think there’s a difference and I think it’s easier to get that community built if you have people that you want to work with and that you work with consistently because they take that ownership. If I go on Actors Access then I happen to get this whole new repertoire with somebody, and like, that’s cool don’t get me wrong. I have been bringing new people in the fold, that’s dope. There’s some great new people in my life that I’ve been working with in Gatsbyverse stuff right now. I like being able to just be like “You can do this let’s ****ing do this”. And I have changed a script up before because I wanted to work with someone. Like Silas, I rewrote the character for him. I think, ‘who would be passionate about it and being able to cut loose if it’s not fitting, no shade.

AD: So with that, you had an original vision when you wrote the script.

TSG: OK.

AD: I suppose. And then I’m wondering like how that changed as Mikey gave input, as other actors came in. Did it change at all or did you let it grow let it be a process?

TSG: Oh yeah. The look of it changed a lot more with Mikey (the director) and a lot of the look stuff you really should talk to him about. He made it where it was his project and by doing that, I don’t care if you’re making it look like how I thought about it on paper. If it’s your project now and you’re gonna put in the work and as it as if it’s your project I’m not gonna stand in your way. I’m gonna make sure you know where I’m coming from, like, if it’s like going off the rails and stuff but I’m not gonna stand in your way from doing what you’re going to do. It’s the same thing like if you’re a director and the actor gives you something better, you need to be able to say that’s better.

AD: So I guess Mikey gave direction in a way that like allowed you to explore. What was the rehearsal process like, in terms of like the pre-production and planning everything?

TSG: Maybe that’s a question for Mikey, too. I mean we just planned everything within the shot. You could talk to him about the technical side, I handled all the organization and the cost of designing art direction.

AD: but was there an actors’ rehearsal or you just got on set?

TSG: We had a readthrough. Isabella and I would meet and rehearse because we had the very chunky scenes, and then the driving thing was people just driving in the car and they just kept repeating those scenes until we got it. Then trap house everybody just knew their lines, and as soon as we get in we’re gonna be rehearsing until it’s time to shoot. But rehearsal time wasn’t too crazy, we handled our shit, you know.

AD: this question it might be more towards my team but I’ll say it anyway because I wrote it and maybe if you have something to say about it if you can. Can you talk a little bit about the stylistic choices you made and how they interact with your original vision? Some shots felt like moving pictures in a way that I don’t normally see in film I’m more used to seeing like characters talk and talk and dialogue in a close up but you use the whole environment to make it feels like a comic book like scenes are yeah do you think your background in theater influenced that using the whole set design?

TSG: That would be a Mikey question. All I would say is like the big thing when we were talking about it was like, I wanted to do, “Atlanta meets the end of Boogie Nights” and then somehow we got to talking. Mikey brought in (David) Lynch, and that kind of stuff cause he’s a horror freak. Especially Inland Empire, which you know suburban this is shot in the Inland Empire. A lot of the shots are Lynch-inspired, his later works definitely. It’s simple but difficult to understand at the same time. Look wise, it’s mostly Mikey.

AD: So what was it like collaborating with others on a piece that was so personal to you.

TSG: It was great. It’s kind of weird how would everybody in my childhood home. Especially because it was like my childhood home that got remodeled like the week before we shot. Which is why that whole that house was so ******* clean was just like they just remodeled it so like I didn’t recognize it which made it a little more immersive for me, a little more method as you’d say. Would you like a hit of this joint?

AD: No, I don’t smoke.

TSG: We hit everything in that intro yet?

Silas: I think we’re close.

AD: It seems like you wanted to get a little bit of ideas out on this project, thinking specifically about a political statement by one of the characters. I’m wondering also like what was it like balance the character’s own inner lives with the agenda you had in the writing?

TSG: I mean like I just want to write what’s real, cause I feel like writing what’s real is how you can actually make a difference as a writer. What’s real is not pretty. We don’t live in a pretty world and there’s the reason like as you said I wrote Trump stuff. I didn’t know this election was gonna happen two years ago, but I still wrote it, cause it’s real. And that character would still be talking about Trump today. Even if he lost because he’s a revolutionary figure, whether we like it or not. In the left wing we don’t realize that, because we see him as a fool. But he’s a revolutionary figure to those guys. He’s the equivalent like Bernie Sanders for us, I guess.

AD: I guess we don’t know what it’s gonna look like in the long run.

TSG: Yeah, his revolution is still going. Ours got stifled. That’s the biggest issue right now.

TSG: I mean depends on who writes the history books. One of my favorite film makers is Spike Lee. Like something Spike Lee does is he doesn’t give a ****. How much Spike Lee do you watch?

AD: I’ve seen Black Klansman, and Do The Right Thing.

TSG: One of my favorite movies is Chiraq. He does the story of Lysistrata and gangland Chicago, where Lysistrata is like, “if y’all don’t start to stop this gang war, we’re not gonna have sex with you.” He goes from talking about this to rooting into our military industrial complex. To rooting that into school shootings. Shit like that like in this whole movie that’s ysistrata adaptation. You got shit like Bamboozled where it’s about a dude putting up a minstrel show and the whole world seems to be embracing this minstrel show. He’s unapologetic with what he has to say. Whether he’s right or not, and like, there’s some moments that I’ll disagree with what he has to say about like some games and shit. But like it’s valid what he says and he’s 100% passionate and confident behind it to where I just appreciate that and you need to be able to just say what you believe in but also know what the hell you’re saying. That’s what I’m trying to do with it and also the weird part is doing that and making it sound realistic.

AD: Were there any other inspirations?

TSG: Atlanta 100%, (Samuel) Beckett, Paul Thomas Anderson, David Lynch, Dune… Childish Gambino is the most inspirational thing on any of my work, I wouldn’t be doing multimedia stuff if it wasn’t for him and Because The Internet.

AD: Shout out Donald Glover.

TSG: Puu was my biggest inspiration as well. Puu, quit playing on the table. Do you want an ice cream?

AD: we got one more question, you’re ready?

TSG: and I got a fish Taco.

AD: So what is the future of the Gatzbyverse? where do you see this going?

TSG: The movie will have private screenings. That will pop up here and there but nothing official. If you have seen any of the other productions, like the one-acts, then you should be getting an invite. We want to take it on the festival circuit. It will be similar to the one-act format, like music first act then second act is plays. Or it could be movie first act, then second act plays. I might start experimenting with that as I go. Hopefully sometime next year, I’d be doing the full length play. I also need to figure out if I’m doing what I’m doing for Fringe.

The full length play is about 30 minutes too long but I’m trying to cut it down. I have a new play that I just finished over the past couple months called Goths and that’s the flip side of Suburban Limbo, which instead of people being stuck at their hometown, it’s people who made it out of their home town to the to the city or to their where their dreams are how their dreams crushed and find themselves yet again stuck in their dreams. Everybody’s looking to embracing the past too much because those were the golden days. I’m really trying to just figure out like how to make that work wanted to really be about like finding your light when you fall back Into Darkness, that’s kind of the goal. I need to do Limbo first.

AD: and you also have the ththe Gatsbyverse One-Acts this week.

TSG: it’s a good community builder and the people who have been involved have been really active. Everybody who wrote last time are all coming back again to either write or act in this one. I got a new group of folks coming in the new group of folks coming in who like we’re like ‘Oh, this is fun’ and saw Loft Ensemble and were interested. The goal is with these one acts I’m trying to just build an army. I wanna build a ******* army, to be real. But I don’t want to lead the army. That’s too much responsibility.

AD: Well it sounds like you wanna build a (theater) company

TSG: Nope. I don’t wanna build like a theater company. Theater companies are the reason theaters die, because it’s capitalistic, and it’s antithetical to making art, and it becomes clicky, it becomes political, and it’s all supremacist right now because it’s a business based model and like you know you can go all the way up to like Broadway and stuff like that Broadway is just owned by three families all running that business as all companies all work. But like you go as low as (names a company) that’s still a lot of business getting in the way of their art. Because now they could only do two or three shows a year if that, right? But even (company), to an extent, business ruins a lot of their stuff because they put that bureaucracy in there that folks it up especially when somebody like (friend) gets super overwhelmed it really will fall by the wayside.

AD: Makes me think of a quote by Immortal Technique, he says, “the problem with always being a conformist is that when you try to change the system from within, it’s not you who changes the system; The system will eventually change you” You sound like you want to create a new system.

TSG: Yeah and I mean like that’s the idea like even with the film. Yeah, I’m gonna do the festival circuit, but with release I’m barnstorming. I’m doing pop-ups, I’m performing, I’m putting up shows, I’m getting people to do vending stuff, and I’m putting up that movie. Next month we have an entire performance happening at the reception. There’s gonna be shoegaze goth theme music in the in the background, live, played by our good friend Kyle.

AD: let’s see… OK. Alright anything else you want to talk about?

TSG: as long as you don’t make Puu like she doesn’t have manners.

AD: Well I mean she is walking around the house naked.

TSG: She has a scarf on!

I really enjoyed my talk with Travyz. I am excited to see how the Gatzbyverse will play out. He has a true passion for comics and is blending it into the production. Like I said, the film has a very comic book style to it. Gatz is very insightful and has spent a good deal of time working on his vision.

Catch Tales From the Gatzbyverse this Saturday, November 23rd at 8 PM at Loft Ensemble. Featuring a DJ set by Only Pleasures, Libestod by Travyz Santos Gatz, Blood On The Floor by Molly Sharpe, Man-Maid by Liza Dealey-Thomason, A Date With Death by Chanel Samson, and more!!

November 22, 2024

film, interviews, review, reviews, writing