Korder really digs into the pysche of three guys who have been lifelong friends in this play which is given a superlative representation at Crown City Theatre.
Korder paints an accurate but sorrowful portrait of life.
This cast is outstanding, with Rovner, Karasev and Rispoli manifesting some wonderful chemistry. Rovner makes Jack likeable at first, then increasingly irritating and despiccable, kind of like a Jack Nicholson character that leeches on, refusing to go away. A fine performance! Rispoli makes Don painfully human especially at his crossroads with Lisa , and Karasev is great with Phil, funny, but pitifully mixed-up. Oman is terrific as Lisa, as are the other women in the ensemble: Libby Baker as Maggie, Rachel Jackson as Karen and Paton Ashbrook a standout in brief double duty as Don's incredibly freakish one-night stand -one sickly hysterical scene! -and as Jack's faithful wife Carla. Mikhail Roberts (Man) completes the cohesive ensemble.
Velez stages the proceedings with skill and good pace.
This evening is well worth a visit to Crown. Most of the scenes make great acting 'audition' material for young actors. They are so well written with great in-depth exploration of character relationships. One line stays with me: "Nobody should ever need anyone that badly!" We are taught to be independant, but never underestimate the importance of love. Korder simultaneously entertains and makes us think.
-Don Grigware, Broadwayworld.com

Howard Korder writes insightfully—and hilariously—about the male psyche in his 1988 comedy Boys’ Life, smashingly revived (and smoothy updated to the 21st Century) by Crown City Theatre Company. Impeccably acted and directed, this is a production which ought to disprove once and for all any notion of Los Angeles not being the great theater town it is.
Chicagoans Rovner, Rispoli, Karasev, and Oman are all DePaul University Theater grads, Baker is a recent Colorado to L.A. transplant, Jackson trained at Columbia University, Roberts has his BFA from the University Of Cincinatti, and local girl Ashbrook comes from our Los Angeles County High School For The Arts and New York’s American Musical And Dramatic Academy. Under Dan Velez’s crackerjack direction, the trained and experienced young octet make for a cast to rival any in the country’s reputed theater towns. Together all eight do some of the most effortlessly natural and thoroughly believable acting you’ll see on any stage here or afar.
Costumes by Tanya Apuya are precisely what each character would choose for him/herself, with bonus points for Karen’s shocking pink Barbi evening gown. Sean Finn’s sound design provides a vivid backdrop to the action—street sounds, party noises, cocktail lounge background music, etc. Working in tandem with an uncredited lighting designer, Sarah Kranin has created a barebones but effective scenic design superimposed over the still-running USS Pinafore set. The very talented Rovner is producer, Joanne McGee is assistant director, and Kimberly Bullock is production stage manager.
As a college psychology or gender studies class outing, Boys’ Life could easily provide food for several class periods of heated discussion. It would also make for a great Girls’ (or Boys’) Night Out at the theater. However you choose to see it, Boys’ Life gives eight up-and-coming young actors a terrific showcase for their talents—and one well worth catching.
-Steven Stanley, Stagescenela.com

A naughty, bawdy, “Gen X” look at the age-old battle of the sexes, with plenty of male bonding, booze, and a pink glass “bong”… this one is a lot of fun. (Especially for a younger adult audience!) Howard Korder’s Pulitzer Prize-nominated comedy explores the male psyche, and the puzzle of male/female relationships. Written a couple of decades ago, it has been updated here. The underlying question is: How much has changed in the dynamics betweens guys and gals in the 22 years since this play was first penned? The simple answer is… not much! Though we may get a bit wiser in dealing with relationships as we mature, the undeniable truth is… men and women are very different animals! This message is driven home with wild abandon here, in nine related vignettes. Directed by Dan Velez (with assistance by Joanne McGee) with tongue-in-cheek hilarity, this attractive young cast is delightful! Believably bonkers… one and all, the high energy, kooky performances with their underlying cerebral viewpoints on romance are a laugh-a-minute riot! We meet three old college buddies now in their mid-20s, and peer in on their relationship issues and stumbling blocks. Rambunctiously partying at Dan’s apartment… the fun begins. Jack, a married father, and a big of a macho pig, is always on the prowl. Phil, the insecure and nerdy “nice guy” wants a girlfriend desperately, and Don, who happily meets a sweetly sincere sculptress… gets caught with his pants down! Ben Rovner (Jack), Jason Karasev (Phil), and David Rispoli (Don) are a non-stop joy to watch! (And so cute too!) Strong and expressive actors all… they easily take us from the insanity of male hormones to the “heart of the matter” repeatedly! In various encounters over the course of a year, our guys tangle with four different women, emotionally and physically: Tori Ayres Oman (Lisa), Rachel Jackson (Karen), Libby Baker (Maggie), and Paton Ashbrook (Girl and Carla) all offer sassy and worthy work as the objects of the boys’ lust and confusion. Mikhail Roberts nicely rounds out the cast in two smaller roles. For a wacky good time, and a lot of heart and giggles, catch this one. Running in rep with their long running hit musical U.S.S. Pinafore, the Crown City group has been sizzling in NoHo the past few years! They consistently offer fine productions, and cover a wide variety of material. From comedies to musicals, to Shakespeare to “cutting edge” gritty dramas, the work is always inspiring. You must acquaint yourself with Crown City Theater!
-Pat Taylo

“5 OUT OF 5 STARS!
Crown City Theatre's adaptation of Gilbert & Sullivan's HMS Pinafore  entitled U.S.S. Pinafore mixing the rhythmical musical score with a Treky-based theme is one gigantically terrific musical takeoff. When the original Pinafore was first performed in 1878 as a comic opera, it had enough mirth and silliness to sink the Titanic. It was conceived as a loving satire of the British royal navy -and, more matter-of-factly, the English system of social class. In this adapted version Jon Mullich places our team of players on a spaceship like the Enterprise of Star Trek , which is the most beloved sci-fi show in American television history, a true-blue institution, open to as much criticism as our democracy itself. In the chain of command how commandants like to step on captains and captains on lowly TARs (that's Transport Assistant Repairmen)! We may not be privy to class distinctions, but we certainly understand what it means to be rich and lofty versus poor and lowly. The adaptation fits the satire beautifully! The plot remains unchanged in the new version and the quick-paced, upbeat score as well. Only some lyrics have been altered to suit the new venue. An example would be "He Is an Englishman" is now "He Is an Earthling Man". A great addition to the list of characters is Dick Deadeye, a lizard-like alien who stands apart as ugly and undesirable, making marriage to him seem utterly impossible. The entire humanoid ensemble under Mullich's ultimate skill function exceedingly well together. Aidan Park as Rackstraw and Ashley Cuellar as Josephine are dynamic and vocally strong as the enamored young couple. James Jaeger is sheer delight as Deadeye. Every movement of the tongue is comic perfection. Equally excellent are Jesse Merlin as Captain Corcoran, Ron Schneider as Sir Joseph Porter, and Mona King heavenly as Buttercup. Tim Polzin, Paton Ashbrook, Michael Levin, Dave Berges, Victoria Gonzalez (jovial in a dual role), Misha Bouvion, and Jason D. Rennie as the voice of Al are all tip-top. Set design by Tony Potter is ship-shape, and costumes by Caitlin Erin O'Hare just right. Loved those brightly colored tacky wigs that have the look of Frederick's of Hollywood! Stephanie Pease does a nifty job with choreography. This is a great second entry hit in Crown's new season. Congrats, you're on a roll!”
-Don Grigware, Broadwayworld.com

“An outer space operetta, adapted from the works of Gilbert & Sullivan… on this voyage, we're on a “Star Trek”-like spaceship, instead of the original ocean liner. (Very “cool” and complex set by Tony Potter.) Brilliantly adapted by Jon Mullich, who also directs the farce with hilariously “laser sharp” vision, and musically directed with zany flair by William A. Reilly, this is a spectacular production! I smiled so much.. my cheeks hurt! Having to see it during “previews,” because I was booked solid for their opening weekend, I promised to forgive any technical glitches. Quite honestly, I couldn't spot a single kink that still needed ironing out. This fearlessly innovative troupe has been cranking out great work for many years… each unique production different in style and impact from the last one. Kudos! The story and songs here are great fun, the costumes by Caitlin Erin O'Hare are a joy to behold, the choreography by Stephanie Pease is looney and lively, and the lighting by Sarah Templeton is madly mood setting. A large cast of excellent singers/actors take us on a wacky galactic voyage to outer space, where unlikely romances explode among decidedly “class divided” people. “The heart knows what the heart wants!” Ashley Cuellar is totally captivating as Josephine, the Captain's beautiful daughter, hopelessly in love with Ralph, a crew repairman. Aidan Park is heartwrenching as the lovesick Ralph, and Jesse Merlin is sinfully stuffy as the Captain, scheming to hook his daughter up with the wealthy and older Sir Joseph Porter (a hilariously obnoxious Ron Schneider). Mona King is a quirky delight as Little Buttercup (an alien woman), and James Jaegar is maniacally marvelous as a creepy lizard-like alien. I'm not kidding folks… I couldn't make this stuff up! Victoria Gonzalez, Misha Bouvion, and Paton Ashbrook, are sizzlingly sassy as Sir Joseph's flirty and flightly relatives. Rounding out this exhuberant cast as the Star Fleet Starship crew are: Tim Polzin, Michael Levin, Dave Berges, and Jason D. Rennie, as the ship's computer. This is a highly entertaining show, loaded with stellar performances, fabulous vocalists, and a shipload of silliness! Adapted with a clever smattering of current day references tossed in, and comedically considering the dilemma of inappropriate love and lust, crossing the lines of position and class… I loved every insane moment! For a light and looney theatrical treat that blasts you out of the Earth's atmosphere and into a solar system full of nutty characters, Do See This One!”
-Pat Taylor, The Tolucan Times

“In addition to directing this production, Jon Mullich also did the adaptation of Gilbert and Sullivan's operetta, H.M.S. Pinafore to the Starship Enterprise. This obviously includes restringing the lyrics and even song titles, so that "He Is an Englishman" becomes "He is an Earthling Man." The concept is a mashup of Star Trek and Galaxy Quest - with accompanying jokes on both - all played upon designer Tony Potter's terrific starship brig set. Delivering the goods with confident glee, this excellent ensemble… the ensemble's charisma and the first rank performances and voices of some key players, including James Jaeger's physically nimble, sonorously voiced Dick Deadeye - imagine French Stewart as a lizard man. Jesse Merlin's Captain Corcoran is also magnificent, the embodiment of swagger, with facial muscles locked into a smirk and a voice that just keeps going. Ashley Cuellar's musical chops are similarly apparent as the Captain's daughter, Josephine… her voice hits the moon.”
-Steven Leigh Morris, L.A. Weekly

“I just wanted to let you know how much we enjoyed your show last night. My husband and I came with two friends and all four of us agreed that it was an amazing production. You always have such great shows and extremely talented casts. I just wish you had a bigger venue so more people could enjoy them!”
-Your fan (among 100s of others), Kim

“A Gilbert and Sullivan fan, I was dubious when I read the modified version in the handout until the show began. From start to finish my smile widened and I burst into spontaneous laughter and applause when each scene ended! The timing, the articulation of the ever-necessary words and their rhyme and rhythm were spot on, remarkable, and exquisitely done. This is the best show I have seen in years. The intensity, energy, and enthusiasm had my wife and I singing in the car on the way home and in our sleep the marvelous parody so well performed; so unique, and so very funny. The rousing in cadence standing ovation said it all-splendid, spectacular, and very special. Congratulations on making the musical so much alive and true to the spirit of Gilbert and Sullivan while poking fun at pomposity and the emphasis on birth rights, and pure blood. Truly magnificent!”
-Dan

Crown City Theatre Company's gritty production of Thomas Babe’s 1978 drama, “A Prayer for My Daughter," directed by Albert Alarr, struck me as the kind of shoestring gem that L.A.’s extensive 99-seat theater scene does better than anywhere else. Kevin Brief, Matthew J. Williamson, Matthew Thompson and Gary Lamb – operating in a makeshift police station reminiscent of the old sitcom "Barney Miller" – bring a feverish intensity to this drama exposing the shoddy, brokenhearted morality of a society that’s having a harder time than ever separating its cops from its criminals. Attending this vigorously acted revival of “A Prayer for My Daughter” will tell you everything you need to know about why Babe’s memory is worth preserving. Go see “A Prayer for My Daughter” – and let it piqu your curiosity about one of our country’s lesser-known but worthy talents, a playwright whose legacy lives in the gratitude of actors.
LA Times--Charles McNulty

"GO! A sweltering New York City summer; Son of Sam is still at large. A massive citywide blackout is around the corner. The year is 1977, and on the verge of bankruptcy, a city barely keeps it together, not unlike detectives Francis Kelly (Kevin Brief) and Jack Delasante (Matthew J. Williamson), two of NYPD’s finest, who have nabbed two of its worst: Jimmy Rosario, a.k.a. Jimmy Rosehips (Matthew Thompson), and Simon Cohn, a.k.a. Sean de Kahn (Gary Lamb). A dry-cleaners is held up. Its owner, Mrs. Linowitz, is shot point-blank. There’s hell to pay, especially when the boys in blue have no qualms about beating a confession out of these low-life suspects. Problem is, Jimmy and Simon are no rookies, and their ability to manipulate the demons that plague the seemingly hard-boiled Kelly and Delasante turns up the sweltering July heat inside the police station. First performed at the Public Theater in 1978, this revival of Thomas Babe’s gritty interrogation drama is masterfully orchestrated by director Albert Alarr, whose fluid blocking and brutally realistic fight choreography make full use of Sarah Krainin’s impeccably authentic set. The entire ensemble shines, showcasing both the humor and suffocating pain of a text that poignantly explores “the light” and “the dark” sides of our natures."
- LA Weekly By Mayank Keshaviah Thursday, Feb 18 2010

"In 1978, Thomas Babe's A Prayer for My Daughter impacted audiences who were living through the post-Vietnam syndrome. Casual use of drugs, crime and police brutality were rampant. We were in a state of moral decay. In retrospect, it has all gotten progressively worse. So, the intense drama is like holding a mirror up to nature as it'were in 2010, and Crown City Theatre has a surefire audience grabber.
Director Alarr has wisely staged the play against the right wall, with audience seats in the three-quarter, as the intensity in a New York police precinct office gets fiercely stronger and stronger as the action progresses. Being almost on top of it, I felt every blow all the more.
The four actors deliver astoundingly raw and full-out performances. Matthew J. Williamson has never been better as junkie, homophobic Det. Jack Delasante. In and out of violent mood swings, Williamson brings delicious humor to his quieter moments as he gloats over Norman Mailer's Prisoner of Sex. This male chauvinistic pig is a piece of work and Williamson holds nothing back. Gary Lamb is marvelous as sleazy Simon Cohn, the gay conman accused of murder. Lamb creates a complex three-dimensional character whose affectingly human stories of loving a Vietnam soldier make one question his lack of morality. Matthew Thompson is equally riveting as junkie Jimmy Rosehips who will carry off just about anything in playing the game to get what he wants. Young, but hardly innocent, Jimmy has sadly seen and done it all. Thompson is perplexing as he conveys the wonder of witnessing his child being born. These so-called criminals convey a sensibility so lacking in the authority at hand. Speaking of whom, then there's alcoholic Det. Francis Kelly who would rather verbally abuse these convicts than attend to an ailing suicidal daughter that he fails 'to understand'. Kevin Brief is terrifc as failure Kelly. How many fathers can relate to this asshole!
Delasante derisively sings "You Are My Sunshine" at various points throughout the play, and that song along with a token prayer at play's end cast a heavy cloud over our continually failing sense of duty to our fellow man and even worse to ourselves. We tend to take it all for granted, so Babe's prophetic play is a brutally realistic reminder."
-Don Grigware, Broadwayworld.com
_______

"CATCH IT BEFORE IT’S GONE: A PRAYER FOR MY DAUGHTER @CROWN CITY THEATRE
What is most surprising about the revival of the late Thomas Babe’s 1978 cynical dramedy set in the grungy bowels of an NYPD precinct’s holding room is how little has changed and if anything, has only gotten worse. A pair of crooked, rogue cops on the graveyard shift—each battling their own personal demons, extorts justice through a series of manipulative interrogations on a pair of petty criminals caught inside their sinister web.
As a work of social commentary, Babe’s play proves it is still relevant, speaking to the unethical and apathetic brutality of those who are supposed to uphold the law. In terms of its theatrical quotient, director Albert Alarr fully exhausts the savage, mind-numbing tension of these anti-heroes with exploitive, hard-edged realism until all subtlety is lost, overpowering the subtext and reference to Yeats’ poem of hope and purity shining through but for the less than satisfying end.
The cast makes up for what the play lacks with their total commitment and embodiment of these roles, turning out explosive, powerhouse performances for each. Although Babe’s roles are stereotypical tough guys above and below the law with nicknames that sound lifted from the pages of pulp fiction: Jimmy the Junkie (Matthew Thompson) and Sean the Con (Gary Lamb). Add the alcoholic Detective Kelly (Kevin Brief) and his partner, Detective Delasante, (Matthew J. Williamson), an Italian stud hooked on heroin, and the characters could walk right out of the reels of any film noir. Nevertheless, Babe’s meaty monologues provide plenty of grist for these talented actors to sink their teeth into and the sheer physical stamina required throughout is impressive to watch.
What at first appears to be a wisecracking whodunit quickly turns into a psychological mind game that takes no prisoners, except for the pair of detainees who are evenly outmatched. The sexual undercurrent of homoeroticism lays bare the overcompensating machismo of these alpha males and makes the so-called “daughters” of the weak submit to their latent curiosities. Be advised there is full frontal nudity in this play.
The ingenious set by Sarah Krainin authentically transforms the intimate space like a time capsule with well-placed artifacts of the period. Performed in a semi-round, take care of where to sit, center stage last two rows are best to enjoy the action, otherwise you might feel as if you’re onstage dodging body blows.
Framing the proscenium are raggedy window blinds that nuance the self-made prison these men find themselves in, and allows Michael Franks’ light design of dawn’s early light to seep in gradually with a lovely effect. Special kudos should be given to Williamson for a fantastic recovery from a lighting snafu that could’ve briefly stopped the show, his quick-thinking actually added an electrifying moment that seamlessly working into the scene.
Fans of Mamet or current crime TV shows will enjoy this absorbing clash of brawn and brain that echoes a sentiment made by Friedrich Nietzsche: Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.
By M.R. Hunter, eyespyla.com
-----

"The play is Thomas Babe’s 1977 drama “A Prayer for My Daughter,” and it is being given a haunting production by the Crown City Theatre Company in North Hollywood. An intense four-man character study, the play deals with issues of manhood, trust, desire, resignation, and above all, the profoundly complex relationship between fathers and daughters.
Head honcho in the police duo is Sergeant Francis Xavier Kelly (Kevin Brief) whose attention is continually distracted by a ringing phone from which he tracks the progress of his daughter’s potential suicide. Fortified by alcohol and paralyzed by fear, he is driven to examine his ambivalent feelings towards her.
Kelly’s partner is Jack Delasante (Matthew J. Williamson), a tough, cynical, Jesuit-educated, thrice-married drug addict whose divorces keep him from having any kind of relationship with his own two daughters.
The main “perp” is Simon Cohn, a.k.a. Sean de Kahn (Gary Lamb), a cocky homosexual psychopath who also has a “daughter”: his partner in crime, Jimmy Rosario, a.k.a. Jimmy Rosehips, (Matthew Thompson), an androgynous junkie who will do anything---or anybody---for a fix. Jimmy appeals to Sean’s feminine side, which permits Sean to nurture him and, presumably, refrain from assaulting him sexually. But then, Sean is a diabolical manipulator and Jimmy is a chronic liar, so who knows?
Unlikely as it may seem, though, the beautiful Jimmy, too, has a daughter. And in a moving monologue he describes her birth and his reaction to it in such vivid terms that you know this is one time when he isn’t lying.
In a scene where Detective Jack and Jimmy shoot up together, they have a metaphysical discussion about good and evil, as represented by light and dark, with Jimmy proclaiming, as the drug takes effect, that he is “immersed in a megakilowatt radiance.”
In another moving monologue Sean reveals that he was a medic in Viet Nam. “I was good for a very long time,” he says. But, he adds, “there is a woman inside me and I hate her so much!” And then, in desperation, he cries, “She loves her men so completely that it terrifies me.”
In the end, almost as an afterthought, the murder is resolved. What the audience is left with, however, is the powerful drama, laced with occasional laugh-out-loud humor, and the dynamic performances of four remarkable actors directed impeccably by Albert Alarr."
- Cynthia Citron, Examiner.com

"A gritty, “cutting edge,” explosive and shocking look at New York’s mean streets in July of 1977, this is a disturbingly dynamic play… (not for the easily offended). A violent and depressing period in NYC, then facing bankruptcy, and just before the major blackout that sent rioters and looters running wild… the lunatics were coming out of the woodwork. “Son of Sam” serial killer David Berkowitz was still on the loose and peoples’ faith in the American dream was shattered. Written with gut wrenchingly crude reality by Thomas Babe, the societal horrors at hand and four riveting volatile performances had us glued to our seats throughout! The play unfolds in a NYC police station interrogation room as two suspicious street thugs are violently grilled. One, a sleazy wise guy with a lengthy record (a slick and cocky Gary Lamb) who, like Manson, had a following of misguided youths under his spell… and the other, a screwed up, young drug addict captured by his teachings (a powerfully mesmerizing Matthew Thompson). They’ve been picked up on suspicion of the senseless murder of an old, Jewish merchant lady. Two corrupt and abusive cops work them over mercilessly, both mentally and physically. As Detective Kelly and his partner, Detective Delasante, a pair of slimy, “out of control” cops… Kevin Brief and Matthew J. Williamson are terrifyingly effective! In the midst of the grueling interrogation, Detective Kelly is also trying to deal with repeated suicidal phone calls from his daughter… yet, he stays at the precinct with his suspects into the wee hours. The suspenseful dynamic and well-timed direction of Albert Alarr and the mesmerizing manic performances of these four strong actors were flawless. Award worthy, one and all! Tho, I admit, I didn’t “get” all of the underlying cerebral meaning in this darkly daunting story… I was mesmerized non-stop! I must warn “light-weight” theatre-goers that this is a tough play to watch (…and there is full nudity) but it was presented with all-round theatrical excellence! Backstage kudos to: Sarah Krainin (set design), Caitlin Erin O’Hara (1970s costumes), Michael Franks (lighting) and Nikko Tsiotsis (sound)."
-The Tolucan Times, Pat Taylor

"A Prayer for My Daughter is a dark, gritty crime drama about two men who are accused of murder, and the police officers interrogating them. The Crown City Theater Company's production captures the essence of Thomas Babe's play, which deals with issues of troubled masculinity, unsure patriotism, misplaced loyalty, and the pains of fatherhood. The production explodes with riveting drama even as it reveals the vulnerability of its four main characters. A Prayer for My Daughter is an intriguing production that will please lovers of crime drama as well as theater.
It is a hot, sweltering July 4th in late 1970's New York City. A bi-sexual cult leader, Sean de Kahn, played by Gary Lamb, and one of his junky followers, Jimmy Rosehips, played by Mathew Thompson, are dragged into a district police station. An old lady has been shot in the face, and one of the two pulled the trigger. Two detectives, the older Francis Kelly, played by Francis Brief, and the younger, wilder Jack Delasante; played by Matthew Williamson, want a confession tonight.
Kelly is having a pretty bad day. His troubled daughter calls him on the phone threatening suicide, and instead of dealing with the crises, he throws himself into interrogating the two suspects. Delasante is a pretty messed up individual himself. He has a history of problems with women, and a drug addiction. The two cops make bets about which suspect is guilty, they drink and shoot heroin while on the job, and use violence and other coercive techniques in order to try to get the criminals to confess.
Sean de Kahn is smart, manipulative, cold, and cynical. Jimmy Rosehips is young, naïve, and troubled. The two cops attempt to play Jimmy and Sean off of each other, but during the course of the interrogation Jimmy and Sean are able to turn the tables on the cops. Both cops are dealing with issues involving their masculinity and their place within post Vietnam American society. Sean and Jimmy are able to recognize and exploit the officer's weaknesses, creating some harrowing, riveting drama.
A prayer for my daughter is brilliantly staged and paced, so that the drama slowly builds to a crescendo. Audiences will be enthralled, disturbed, and ultimately moved by this story of four characters trying to play out their rolls in a world where rolls aren't defined. Are the criminals really all that bad? Are the cops, who are supposed to be heroes, actually good people? Questions such as these will linger in the mind long after the play is done and the actors have taken their bows."
-Valley Scene Magazine, By Jonathan Weichsel

"WOW!"
"A BIG GAY NORTH HOLLYWOOD WEDDING
Run, don't walk, to see A Big Gay North Hollywood Wedding! With ceremony held at NoHo's Saint Matthews Church followed by a reception at the theater next door, this Big Gay Wedding is two hours of interactive hilarity and a show not to be missed! Trust me. You'll be wanting to go back again and again with friends in tow. A gifted band of actors/improv whizzes get into character from the moment the first guests/audience members arrive, greeting them in front of the church, escorting them to their seats, and treating them to a myriad of dramatic/comedic vignettes before, during, and after the ceremony and throughout the reception. Expect to play your own part in this interactive celebration, and don’t be shy about getting up and boogying. You might even catch the wedding boutonniere! A Big Gay North Hollywood Wedding is a smashing good time!"
Steven Stanley - stagescenela.com

"This riotously high energy, interactive wedding ceremony and following reception party (where we are the guests) is a ton of fun!... under the kooky and creative direction of William Reilly, this entire huge cast gives focused and hilarious depictions! After the zany, emotion-packed wedding ceremony, we are ushered into their theatre next door from the church for a wild n' whacky reception party. Outrageously entertaining!... everybody loves a wedding! For a roaring good time I highly recommend that you attend this one!" - Pat Taylor, The Tolucan Times

OMG! OMG! I had such a great time. My sister and I went to a Friday show. From the minute we walked in, we were pulled in to our own mini characters of the wedding. We danced, laughed, and had an excellent time. I brought my camera and have the best pics and short video clips of a great wedding. We want to go back to see if there were things we didn't catch the first time. As with real weddings, there are things going on in all corners of a reception. This was no exception. Can't wait to go back and bring additional guests.

We couldn't stop laughing. I think its the most fun we've had in a long time. Keeping up with all the wedding drama and actually taking place in the middle of it all was the best part. I would definitely recommend this event to everyone out there. FUN, LAUGHS, & A GREAT TIME GUARANTEED!

This was my second time going to this and I had a blast! I love the cast. They're all so much fun and make you feel like you're part of the family. It's fun. It's crazy. It's shocking. Sometimes you go to the theater and leave thinking, "this was a pleasant evening" - but if "pleasant" is what you use to describe "A Big, Gay, North Hollywood Wedding", you missed the point. Raucous is the word you need to describe this affair. At first I grinned and was amused, then laughed out load, then couldn't stop myself -- I don't want to say too much -- but this is an EXPERIENCE!!! I promise you will not be disappointed.

Go and pretend that you are really a guest at this wedding, and you will have a fantastic time. Be sure to be an active participant, mill around in the church reception area, talk with the family and guests. It soon becomes difficult to determine who is IN the play and who are the play-goers. But that makes it all the more fun. One of the most fun, and unusual nights out that LA has to offer. Just go.

The evening was thoroughly funny, engaging and full of surprises...let's just say when you have a Jewish boy from a New Jersey home marrying a Catholic boy from a New England home, chaos is bound to happen. These grooms and all their hilarious family drama made Romeo and Juliet look like the perfect couple.
I knew the night was a true success when my friend, who is not the easist person to please, was seen getting his groove back with Aunt Myra on the dance floor...and with the best man behind the chupah (or was it a pew?). I can not wait to come back with more friends and make the wedding party even bigger...and gayer!
They had me at "I do."

BEFORE we even took our seats, this was PURE delight! From milling around in front of the church to the final punch... I mean punchline... this show is FABULOUS. Kyle is so precious I wanted to take him home, Simone is PERFECT and the whole party... I mean cast... was sensational. "Interactive" takes on a whole new meaning and the entertainment was non-stop.

So much fun I'm going again next week! I love the cast, the story, and the event itself.

Don't miss the opportunity to be a part of wacky, high energy party. It's one of the most fun events I've been to all year!

We loved this play......the audience participation was throughout the event...from the pre-wedding converations, the big event and the hilarious reception where we shared in the champagne toast, wedding cake and dancing. We had a blast!!!! I would highly recommend this event to anyone who likes to have fun !!!!

WOW- "Wonderful, Over the Top, Wedding" It truly was a delightful afternoon and truly one of the best- better than Tony and Tina and another similar play but with a lesbian theme. The venue of St. Matthews Church was a fantastic location.

This was one of the best "shows" I've been to in a long time. It was fun, entertaining and totally made you come out of your shell and interact with the cast. I would certainly recommend this event for a fun evening. Look for a fun crowd when you're selecting your reception table... that makes all the difference.

Prepare yourself for a fabulous time from start to finish! The actors become the Groom & Groom, family and friends at a wedding you'll never forget! You'll have more fun if you get close to the players who will make you feel right at home! Come as you are or dress up, it doesn't matter. The reception doesn't include food so don't come hungry but there is a little Champagne to toast the newlyweds and some wedding cake too. I don't think Tony & Tina had this much fun!!!

From the moment we took our seats as "friends of the groom" we were part of the fabric of this wonderfully wacky wedding. The cast goes out of the way to make you feel very comfortable in joining their ensemble - while never breaking character. Brent's parents are a hoot and a half - his father Phil is always reacting to what's going on - you can look at him anytime throughout the performance for a laugh. I danced with Uncle Morty - what a charmer! His sista and her dotter from New Jersey hit every stereotype without being stereotypically predictable. Simone and L are AbFab! I really got into being part of this production. It was Sunday afternoon - a smaller crowd -to be sure but the cast ate us up! Bring your camera - and some singles for the bar.....there isn't a bad seat or performance in the house. I'll be going back.

This was them most fun wedding I have ever been to. My only regret was that I didn't bring my camera. My friend wasn't sure if the people were actors or not because nobody broke character. I got to sing and dance, drink and eat wedding cake. And I even caught the flower so I will be the next one to fall in love. It doesn't get much better than that. I want to go again.

It was so much fun! You may enter as a spectator but will quickly become a member of the family in this unique and wonderful experience. I can't wait to go again!

What a blast! I have been to Tony and Tina's Wedding and liked this ten times more. It seemed alot more believable. I really felt like I was at a wedding. I had hilarious conversations with some of the characters.

OMYG !!! This was far more fun and hilarious than our own wedding...We still have smiles and giggles when we talk about the Aunt...Oh No her daughter...No the groomsman..the Maid of Honor or the Photo Oportunist... can't possibly decide who was the best or most memorable, because every talented person involved in the Production should be congradulated on a super evening of Entertainment. The absoulte most fun in years and we will return...

I laughed, I cried, I danced...I had a ball!!!!
Will be going back again...repeatedly!!

Reviews from the Critics

CRITICS PICK - Bravo! - 5 out of 5 stars
Don Grigware - www.grigwaretalkstheatre.com
Former theater editor “Metro LA” “Noho LA” and reviewer for www.reviewplays.com
Composers Jerry Bock and Sheldon Harnick, after their phenomenal success with Fiddler on the Roof in 1964, composed The Apple Tree (1966), which, at that time, was considered a unique musical due to its structure of 3 separate one-act plays. As in Fiddler , they were fond of stories about man and morality, how you learn life's lessons through experience. The current and rare mounting of the show at Crown City Theatre is a consummate joy, a great success for the entire creative team.

Act I - The Diary of Adam and Eve . Based on a story by Mark Twain, this chronicle is infused with incomparable wit and a homespun sense of humor that identified Twain as the genius that he was. It starts at the very beginning and takes us from Adam and Eve's awakening through their 'married' lives with sons Cain and Abel through to the end with Eve's death. It is simplicity at the core which makes this yarn work with all of its inferences to what makes man and woman tick, their differences and idiosyncracies - and the simplest message of all: true love. Beautifully acted by Morgan Landers (Eve), Matthew J. Williamson (Adam) , Jon Mullich (Snake) and the entire ensemble recreating the various animals and cautiously directed by Gary Lamb , this is a bittersweet look at life in its truest form, before all the complexities of civilization came to the fore.

Act II - The Lady or the Tiger? Based on material by Frank R. Stockton, this short and satirical look at early civilization akin to the Roman Empire, deliciously shows man's obsession with power, control and greed. No more the innocence of Adam and Eve. When a prisoner is punished, he must choose one of 2 doors, a temptress waiting behind one and a ferocious tiger behind the other. But like The Price Is Right- it, too, was like a game, a sport, afterall - each door represents the unknown. Captain Sanjar (Josh Helmuth) and Princess Barbara ( Kit Paquin ) are put to the test of love, when their clandestine affair is discovered and he is arrested. To save him, the Princess finds out behind which door the tiger lies, but when she learns that her lovely servant Najira (Amy Ball) is the lady behind the other door, her jealousy consumes her. She will lose her lover either way. What does she do? Well guided by William A. Reilly, the entire cast is terrific with a particular nod to seductive Paquin.

Act III - Passionella. Based on a story by Jules Feiffer, who adores the cartoon to show the foibles of humanity and does it to perfection, this is life contemporary, where greed is king and the winner takes it all. A parody of Cinderella , a hardworking chimney sweep Ella ( stunning Stephanie Fredericks ), wants more than life to be a glamorous movie star and gets her wish thanks to fairy godmother, Narrator ( Amy Ball ), who appears to her through a TV set. She turns her into Passionella, but just for a few hours, of course. Life is grande until Passionella realizes how lonely she is. She meets rock star Flip (Bradley Michael, stepping into the role) who prefers his women 'down-to-earth'. With a clever reversal to the fairy tale's ending. the 2 lovebirds become...well, I won't spoil the surprise! Let's just say, the message reverts to Adam and Eve: true love wins out when life is unadorned, in its purest form. Fredericks is outstanding as Passionella, engaging and vocally supreme. Ball is a comic gem. Matthew J. Williamson serving as director here, does a skillful job and even makes a brief, but memorable appearance as a foreign film director.

This is an enchanting evening of theatre, so exquisitely produced for a 99-seat venue. This is my first association with Crown City Theatre, but it certainly will not be my last. It is a gift to find another Broadway calibre theatre right in the neighborhood. They are in the league of the great theatre companies that include The Road, Antaeus and NoHo Arts Center.

“WOW” --Steven Stanley www.stagescenela.com

Jerry Bock and Sheldon Harnick's The Apple Tree, one of Broadway's forgotten gems of the mid-60s, gets a small stage revival worth remembering in this charming, funny, tuneful, and sparklingly performed production by North Hollywood's Crown City Theatre Company.

Bock and Harnick are of course best known for their oft-revived Fiddler On The Roof and She Loves Me. Like those better known musical treats, The Apple Tree benefits from Bock's catchy, melodic tunes and Harnick's clever, witty lyrics. (The songwriting duo also wrote The Apple Tree's book, with additional material by Jerome Coopersmith.) If The Apple Tree remains largely unremembered, it's probably because its format (three unrelated music playlets) didn't lend itself to major Broadway/regional theater success.

Perhaps an intimate theater setting, like Crown City's, brings out the best in The Apple Tree's three very different mini-musicals. In any case, this is a production to sing about.

If there's anything which ties “The Diary Of Adam And Eve,” “The Lady And The Tiger,” and “Passionella” together, it's the age-old conundrum, what if you get what you want and then find out that what you thought you wanted wasn't really what you wanted after all?

Crown City's production shrewdly assigns a different director to each tale, the better to give each its own unique flavor. Musical-ette #1, based on Mark Twain's version of Genesis, goes for charm and heart. Musical-ette #2, from Frank R. Stockton's fable, wisely picks camp over pomp. Musical-ette #3, by humorist Jules Feiffer, satirizes the classic Cinderella story by moving it from a fairy tale kingdom to a fairy tale land of a different sort, Hollywood, U.S.A.

In another smart departure from the Broadway original, rather than have the same two performers play romantic leads in all three acts (as Alan Alda and Barbara Harris did on Broadway), leading roles are divided equally among the nine-member ensemble, giving each performer a chance to shine center stage.

Gary Lamb directs “The Diary Of Adam And Eve,” with engaging performances by Matthew J. Williamson and Morgan Landers as the world's first couple. Adam awakes with all ribs intact, surrounded by woodland creatures (the ensemble in cute animal garb) which he promptly gives all-too-generic names to, e.g. birds are “flyers,” fish are “swimmers.” The first man isn't alone for long though. A “new long-haired creature” called Eve soon shows up and immediately gives each animal his or her own proper name because, she says, a cow obviously looks like a “cow” and not a “four-pronged white-squirter.” All the while, the snake (a elegantly menacing, seductive John Mullich) lurks in the background, apple in hand. Adam soon discovers humor, and tells Eve the world's first joke, with the punch line “To get to the other side.” The snake then informs Eve that it's not apples that are forbidden, it's chestnuts, especially the old ones (like Adam's jokes), and that's all the first woman needs to be convinced to take a bite. You know the rest.

Williamson is a fine Hollywood-handsome musical theater leading man and the equally photogenic Landers has an exquisite lyric soprano. The two have great chemistry, so much so that the playlet's ending brought unexpected tears to my eyes.

Up next is “The Lady Or The Tiger,” directed by William A. Reilly, who has made the savvy decision of not taking Stockton's fable too seriously. Choreographer Bradley Michaels' disco dance moves for the ancient Egyptian-esque dancers also signal that this will be more Mel Brooks than Cecil B. DeMille.

A man known only as The Balladeer (Brian Maples) introduces this tale of star-crossed lovers, Princess Barbara (pronounced bar-BARE-ah) and Captain Sanjar (Kit Paquin and Josh Helmuth), who live in a land ruled by Barbara's father, King Arik (Mullich). The King has thought up a novel way to judge prisoners guilty or innocent. Arrestees are taken to a public arena where they must choose between two doors. Behind one is a ferocious tiger (certain death) and behind the other is a beautiful lady (certain marriage).

Barbara falls for Sanjar from the moment she sees him returning from battle but since Sanjar is a commoner, theirs is a “Forbidden Love.” When Sanjar is arrested, only Barbara can save him. Though the princess is able to wangle from the Royal Tiger Keeper (Maples) the secret of who/what's behind the two doors in the sexy “I've Got What You Want,” when she learns that her sultry servant Najira (Amy Ball) is going to be behind one of the doors, Barbara determines that if she can't have her hunky soldier, no one will.

By camping up “The Lady And The Tiger,” Reilly has strengthened considerably the “weak link” in The Apple Tree trilogy, and with performers as musically talented (and sexy) as Paquin, Helmuth, Maples, and Ball (and a tiger as cuddly as the one Williamson plays), there's something to entertain and titillate everyone in The Apple Tree Part Two.

In “Passionella,” directed by Williamson, The Apple Tree has saved the best for last, including the standout performance of the evening, a Broadway-worthy star turn by Stephanie Fredericks. Fredericks is Ella, a mousy chimney sweep turned into Hollywood movie star Passionella thanks to her story's narrator slash fairy godmother (a Brooklyn-accented Ball, a hoot in the role).

In the wave of a magic wand, Fredericks is transformed from frumpy Ella to drop dead gorgeous Passionella, her Rhonda Fleming red hair and Marilyn Monroe curves wrapped in a slinky, sequined Oscar-ready evening gown. Subway riders are agog. “(Who, Who, Who, Who) Who Is She?” they wonder. “Who is this ravishing sight? With her fantasy face, her staggering smile, her indescribable BUST!” There's only one catch. TV addict Ella can only be beautiful, glamorous Passionella from the nightly news to the end of the Late-Late Show, at which point she must revert to her usual “sooty self.”

Of course every Passionella must have her Prince Charming, and Passionella finds hers in hot new movie star Flip (choreographer/understudy Michaels stepping into the role with assurance and sex appeal). When Passionella catches sight of Flip, described as a combination of Bogart, Brando, Presley … with "the hair style of Eleanor Roosevelt,” it's love at first sight for our heroine. It takes Flip a bit longer to fall for Passionella, though. In country-western mode, Flip sings “You Are Not Real” to this woman with “a Cinerama body and a celluloid heart.” This prompts Passionella to demand that Mr. Producer (Mullich shining yet again) allow her to play a real woman, i.e. a chimney sweep.

And the rest, as they say, is Hollywood history, with a hilariously ironic twist ending.

Unlike the original Broadway production (and the short-lived 2006 Broadway revival which starred Kristin Chenoweth and Brian d'Arcy James), Crown City's production makes The Apple Tree an ensemble piece, and it works wondrously to have leads in one play as supporting players in the others.

Michaels' choreography for Acts 2 and 3 suits each piece to a T. (I love the “Vogue” moves in Ancient Wherever). Performing gloriously unamplified to musical director Reilly's prerecorded tracks, there isn't a weak vocal link in the cast. Williamson and Lamb's set design makes clever use of ladders, and its budget-constrained look actually suits the story-book nature of the three tales. Lamb's lighting is fine and dandy. Best of all are Caitlin Erin O'Hare's costumes, from Adam and Eve's beige one-piece long underwear and the Garden Of Eden's adorable animal creatures, to “The Lady And The Tiger”'s skimpy, sexy ancient duds, to Passionella and Flip's 50s style Hollywood garb.

Though The Apple Tree will never be in the same league as Bock and Harnick's better known musicals, its reappearance on the L.A. theater scene is welcome news, especially in a production as charming (and beautifully performed) as this one is.

Pat Taylor - The Tolucan Times - A tantalizing trio of sassy one act threaded mainly by the theme of “temptation." I loved every moment of this infectious production! A musical comedy triumph, poking fun at the issues of love, lust, ambitions, and the age old “dance” between men and women.
This grouping is poignant, touching, and hilarious, in turns. Boasting a talented cast of nine attractive and high-energy actors/singers… the “fun meter” here is off the charts! (We even got to enjoy a zany bit of puppetry.) Cleverly written by Sheldon Harnick and Jerry Bock (“Fiddler on the Roof”), with additional material by Jerome Coppersmith, and based on stories by Mark Twain, Frank B. Stockton, and Jules Feiffer. “The Apple Tree” first ran on Broadway in 1966, starring Alan Alda. Collectively and creatively setting the gleeful mood, I'm giving kudos to Gary Lamb (lighting) and William A. Reilly (musical direction) for co-designing a playfully appealing set, Bradley Michael, for peppy choreography, and Caitlin Erin O'Hare for eye-popping costumes! Let me pique your interest with a little tid-bit on each mini play.

The Diary of Adam and Eve
Charmingly directed by Gary Lamb. We meet Adam and Eve in the Garden of Eden, as they meet, surrounded by God's nameless creatures. Adam, a perfectly happy and simple man, (loveably played by Matthew J. Williamson) doesn't know what “hit” him… with the unexpected appearance of the beautiful Eve. (An achingly sweet Morgan Landers). Her mystique, innocence, intuition, and love of life, confuses, and eventually intrigues him, into submission. (Sound familiar, guys? It all started here!) Jon Mullich as the evil snake, Stephanie Fredricks as God, and the animated ensemble of heaven's furry creatures, add greatly to the fun. Gorgeous song performance by Landers as Eve, on the relatable and lovely “What Makes Me Love Him.”

The Lady or the Tiger?
Directed with sultry passion by William A. Reilly. Brian Maples (a “fab” singer) as a balladeer tells this odd story. The self-centered Princess Barbara, (a sizzlingly sexy Kit Paquin) is forbidden to mix with non-royals… yet her passion secretly smolders for Captain Sanjar (a dashing Josh Helmuth). When the King discovers her dalliance (Jon Mullich), he forces the captain to choose between two doors for his sin. One door hides a killer tiger, the other hides a woman he must marry. Will the vengeful Princess send her love to sure death, or into the arms of another woman? Amy Ball plays the “other” woman… Bradley Michael, a prisoner. Stand-out vocal number by Paquin on “I've Got What You Want.”

Passionella
Directed with Broadway musical flair by Matthew J. Williamson. This one is so much fun! An animated, high-spirited Amy Ball narrates this “rags to riches” story of Ella, a cinder chimney sweeper, who longs for fame and fortune. Passionately pining to be a movie star, she is granted her wish by a kooky fairy godmother (also Amy Ball), with certain limitations. Transformed from Ella to the famous and talented “Passionella,” Stephanie Fredricks gives a show-stopping performance! A noted musical theatre “phenom,” this gal has an incredible voice! Bradley Michael (stepping in as the understudy) is naughty, bawdy fun, as Flip, her “rock star” Prince Charming, and Jon Mullich is versatile in two roles. The closing scene here, featuring Flip and Passionella, offers a delicious ending to a “feel good” evening of theatre! Hope you catch this imaginative show… They say “An apple a day keeps the doctor away!”

Musical “Apple Tree” Bears Fun Fruit
Written by Amy Lyons – www.nohoartsdistrict.com

Three tales of temptation get strung together in “The Apple Tree,” a musical romp through the ages. With music by Jerry Bock and lyrics by Sheldon Harnick – the duo that created “Fiddler on the Roof”, “She Loves Me” and “The Rothschilds” – the show has several tunes that are licensed to kill. Based on three stories by Mark Twain, Frank R. Stockton and Jules Feiffer, the narratives likewise hold up as creative concepts penned by masters of the writing craft. Currently on stage at Crown City Theatre, the play opened on Broadway in 1966 with Barbara Harris, Alan Alda and Larry Blyden starring in all three playlets.

The directors of the Crown City Theatre production, Gary Lamb, William A Reilly and Matthew J. Williamson, have departed from that original Broadway run by using three separate casts for each of the three stories. There's some overlap of actors in the ensemble every time, but the leads differ in each one-act. ... “The Diary of Adam and Eve,” Twain's piece about the bible's first humans and their folly of original sin... leads with solid acting and stellar singing.

Next up is “The Lady and The Tiger,” Stockton's musing on the harmful nature of jealous love. When a spoiled, hot-blooded princess gets to choose one of two options to seal her lover's final fate, it's a toss up between feeding him to a tiger and bestowing upon him a new bride. Kit Paquin steals the show as the lusty, vengeful princess, while Brian Maples creates a close second to Paquin's stage presence. Maples is essentially the narrator of the play, and he his magnetism and ability to hold a note for what seems like an eternity make him an essential contributor to the play's success. This piece is pure comedy and the over-the-top action is appropriately hurried along but never rushed. Capping the show is “Passionella,” Feiffer's take on then “Be careful what you wish for” maxim. It's also part satire, poking fun at stardom and all the emptiness that accompanies a life lived in the spotlight. A simple chimney sweep longs for her day in the limelight, watching television every night after work, dreaming about the day she'll be on the silver screen. As her fantasy comes closer and closer to slipping away, a fairy godmother turns her into a gorgeous diva. But she soon finds that love is lacking in her life, and begins to question her lofty desires. Stephanie Fredricks is simply knockout as Passionella, playing equally effective turns as the down-and-out shabby girl and the attention-hording starlet. Her comic timing and delivery are pitch perfect as she makes the drastic shift from clumsy to glamorous.

"Three cheers" - Stagehappenings.com by Robert Machray (excerpts)

Three cheers to Crown City Theatre for bringing The Apple Tree (the fun tuner by Bock and Harnick, and Coleman) to Los Angeles. The first section is called the Diary of Adam and Eve and is hilarious. It recounts Adam and Eve's life together pre and post Garden of Eden. Twain's take is funny because it utilizes some commonly held beliefs about men and women and men and women in relationship. Adam is not as smart, doesn't like to talk, doesn't seem to know how to name the animals, is hardworking and devoted to Eve. Eve is clever, a bit naughty (eats that apple dammit) and is good at interior design. The piece takes a bittersweet turn at the end. It is very touching and moving. The actors who play Adam (Mathew J.Williamson) is a Broadway actor who brings a strong masculinity and comic awareness to the role. Morgan Landers plays Eve and is a delightful newcomer to LA. She even sounds a bit like Barbara Harris. Artistic Director Gary Lamb does a nice job with the piece. The second act recounts the tale of The Lady And The Tiger. Kit Pacquin makes a nice Princess. Josh Helmuth plays Captain Sanjor. The third story comes to us from Jules Feiffer and it is called “Passionella” It is the story of a chimney sweep turned buxom movie star who finds life on top isn't all its cut out to be. Stephanie Fredricks is terrific as the forlorn lass and Ben Rover plays her boyfriend Flip. This comic piece was well directed by Matthew J. Williamson (Adam of the first act).

"tasty array of hors d'oeuvres" - Backstage.com by Les Spindle (excerpts)

(A) tasty array of hors d'oeuvres. Crown City achieves a serviceable realization of its (this musicals) modest charms. The most enjoyable segment is the closing one, Passionella , derived from Feiffer's satirical lark about a downtrodden spinster (Stephanie Fredricks) longing to escape the drudgery of her chimney-sweep job to become a glamorous Hollywood star. This tongue-in-cheek piece, reminiscent of vintage TV-variety-show sketches, is spryly directed by Matthew J. Williamson and features the evening's strongest performance: Fredricks brings a sublime zaniness to her characterization of a dreamer who gets what she wants—or does she? Fredricks belts out the goofy number "Gorgeous" with wit and style. Her portrayal is smoothly matched with Ben Rovner's smart take on a hippie singer, Passionella's very unlikely Prince Charming. The Lady or the Tiger ?, capably directed by William A. Reilly and based on Stockton's enigmatic parable, examines how far a jealous woman will go to get her man. In an unspecified barbaric kingdom, men arrested for crimes must choose between two doors to determine their guilt. Behind one is a beautiful girl he can marry; behind the other is a vicious tiger. As the woman in love with the imprisoned Captain Sanjar (dashingly played by Josh Helmuth), Kit Paquin is sultry and alluring in her songs and characterization. The action is fast-paced, and the songs are sprightly in this moderately engaging piece. The Diary of Adam and Eve , from Twain's story (Directed by Gary Lamb), takes a bittersweet look at the meeting, union, and separation by death of the world's first couple (Williamson and Morgan Landers). Battle-of-the-sexes gags and jokes concerning mankind's adjustment to the universe provide fun, and the rueful ballads are solid...this adaptation...packs the expected punch.

Reviews from the public

Jessica M Wonderfully entertaining. The Diary of Adam and Eve was funny and poignant; The Lady and the Tiger was a romp in the land of jealousy; and Passionella was a modern wacky fairy tale. All the performers were excellent -- some had outstanding voices, and all seemed to have a great time. Their enthusiasm was infectious. Although I go to the theater at least twice a month, it has been a long time since I have seen plays where I actually liked the characters.

This performance was so worth the trip from anywhere in LA!! The acting was magnificent, and the songs were beautifully sung (two Broadway actors are in the play apparently). I love when an act in a play can both make me cry from laughing and from being moved. The first act was a very hilarious and charming rendition of Adam and Eve. Both characters were so lovable! It's so rare for me to like, much less love, all of the characters in a play. The second act, Lady or the Tiger, was really intense and made me want more. The princess' voice was one of my favorite parts of the entire play. The Tiger's facial acting was a show stealer as well. The third act was a Cinderella story with a great twist in the end. I laughed and smiled the entire act. The acting was brilliant.

GEORGE C. I like the fact that this event had so many enthusiastic reviews. It really was a wonderful show. The first play…Morgan Landers was ravishing as Eve. I would have been totally satisfied with a couple more plays of the same quality, but was flat-out amazed when the next two were absolute homeruns! Kit Paquin was a knockout princess, with singing, dancing, and attitude to spare! All the guys were great (as were the gals), but who had time to look at any of them? Stephanie Fredricks brought a sense of command and professionalism to "Passionella" that knocked my socks off. No question that she could star anywhere. Thanks to all for a wonderful evening of entertainment.

SILVIA If this is what the preview was, than they don't have anything to worry about. The play was great. All the women had beautiful voices. All great actors. Don't miss it!! Broadway should start getting worried about all the great actors we have here.

Took my kids and they really enjoyed it. The third "act" is especially well done and lots of fun and the actress who played "Passionella" in it was really outstanding. Well worth the price of admission and more...

I saw a preview and they said they were still working on the show... but I say stop playing with perfection... okay a few technical things need to be ironed out, but the shows were wonderfully directed, conceived, acted, sung (some of the finest voices I've heard in L.A. Theater)... what a great ensemble cast. Adam, Eve and the Snake were charming. The Lady and the Tiger what fun! Passionella was super fun in her gold dress. Everything about this production is top-notch for small theaters in L.A. I say Go! Go! Go!

A friend and I went to the preview of this show which consisted of three very cute one act plays. Each play was even more charming than the one that preceded it - engaging characters and clever lyrics. Everyone left the theater with a smile on his/her face!

Jill I laughed so much and then one part got me and I seriously cried... I know... cliche. The incredible cast is so amazingly talented. I'm always skeptical going to small theaters, but this is one show not to be missed and this company does great work. All 3 one-acts are terrific separately and as a whole... WHAT A GREAT EVENING OF THEATER. I HIGHLY RECOMMEND THIS SHOW!

Lori Crown City theatre always puts on first-class entertainment. This is another worthwhile production with talented performers. While this show isn't my favorite, it is definitely worth supporting and seeing.

The musicals were highly entertaining and made you think on how they all related. We didn't know what to expect & came away charmed with the quality of the entire cast. We especially enjoyed how the lead & support parts rotated for all three musicals, & everyone got a chance to "shine". We left the show smiling!

Crown City Theatre Company produces Bill Barker's captivatingly intimate play, “Best Wishes,” with a burial 'plot' chock full of emotion. Barker's script fills the room with tears and laughter, reminding us of our own families' love/hate relationships.

Following a death in the family, siblings gather in Liberal, Kansas, to mourn their mama, then remain a few days to take care of 'things,' including old family skeletons. As Fanny, the inquisitorial neighborhood know-it-all, Peggy Lord Chilton's untarnished comic delivery pries open our hearts largely enough to allow Bill Barker's emotional dialogue to swoop in and catch his audience by surprise. Nadya Starr (Crystal) guides us into her most intriguing personal suffering without muttering a word, while Carol Jones's verbally abusive and lighthearted Dorie greets each sibling with, “Mama loooved you sooo much,” just before spewing the honesty of what Mama really thought of them. At one point, she blames her brutal honesty on the grief of losing her mother, an excuse to which her sister, Crystal, quips, “Grief...is a private thing.” Joanne McGee plays Elda, the 'black sheep' attempting a fresh beginning and refusing to change who she is. One of McGee's strongest assets is changing the mood of her audience within a single line. We will laugh or we will halt -- on her command. Happily neurotic Vera (Ann Bronston) insists on cooking all of Mama's old recipes even though nobody has ever enjoyed them, 'including Mama.' Patriarchal brother, Gil (Dana Craig), blasts his family's immaturity while attempting to sell the house and move on with his own life.

The talent of this ensemble makes you feel like you're watching an all-star Broadway production.

Director Hollace Starr maneuvers the cast specifically enough so that, while they may have exited the room, you can imagine exactly what their characters are doing off stage. Several moments are so well designed that you will tilt your head, impressed by the handiwork of a non-veteran stage director.

Forget your plans this weekend and take a chance with some of the most brilliant performances you'll see for a while! Seriously.

4 STARS goldstar - Comments: Wow! This show made me feel like I was part of the family, and several of the characters were just like my own relatives. The situations encountered by each of them was something I have experienced myself, and could relate to all the emotions and grief they all went through. The cast was superb, I loved everyone, and was very pleased to meet them all after the show to let them know how much they made this evening an exceptional one.

Don Shirley, theater critic at the late LA CityBeat Revoew

“Solid production” “A moving evocation of familial ties.” “Expert staging”

"Best Wishes," originally a hit in 1985 at NoHo's now defunct Gnu Theatre, has returned to NoHo in a solid production at Crown City Theatre. It's one of the best examples of the since-overpopulated genre in which adult siblings gather at a dying parent's bedside or a dead parent's funeral. Although playwright Bill Barker set up a family with 14 surviving children, he wisely limited his scope to the six who gather at the old Kansas homestead after their mother dies (while the others and their relatives are farmed out to other, offstage lodgings throughout the small town where they were raised). He further narrowed the focus by emphasizing the severe personality clashes between the two youngest (Carol Jones, Joanne McGee), both of whom must have felt a bit anti-climactic as they grew up. The result is a moving evocation of familial ties that don't necessarily bind, as well as the competingclaims of the past and the present.

Barker is now old enough to take one of the roles for himself, and he handles it with wide-eyed enthusiasm. He also wrote a wonderful part for a crusty octogenarian friend (Peggy Lord Chilton) of the deceased; she's a valuable reality check from the older generation. Hollace Starr's expert staging respects the realistic tone of Barker's script, which serves as a fascinating contrast to the broader comedy currently on display in an L.A. revival of "Daddy's Dyin' -- Who's Got the Will?" -- a similarly themed play born under similar circumstances in the same era and the same city as "Best Wishes."

"Rich with wonderful songs and a cast of gifted vocalists, this is a charming and lively show for adults and older kids. Under the heartfelt direction and fun-filled choreography of Tam Warner, the entire cast offers worthy performances (many in multiple roles) and chilling vocal skills. This telling is unique, innovative, and quite entertaining! Do catch it this holiday season!!!"

Director Tam Warner moves the characters ever-so-delicately in and out, around and through, without missing a moment of our attention. Joanne McGee, Chris Shepardson, and Bill Bookston are the highlights of this production. McGee continues to impress with her absolutely realistic portrayal of Maria, keeping her daughter safe from the cold, nearly losing her to the bitterness of the plot. Shepardson, playing multiple roles, as most of the cast do, keeps his comedic pacing swift, with his excellent comic expressions tamed. Bookston is the comic relief, in my opinion. He's one of those actors who walks onstage and instantly receives a warm welcome for his enticing, and splendidly entertaining persona. Gary Lamb's lyrics coddle to this production like fleece, while William Reilly's book holds our hands and warms our hearts till the blissful end.

“For such a small theatre, the performances blew me away. Thoroughly enjoyed a great show. Loved the intimate setting and recommend this show to true theatre fans.”

“…poignant …joyful dance…jaunty, blood-pumping accompaniment. Most important, the presentation retains Dickens' generous spirit, even when exercising tough love on its characters.”

“Ebenezer Scrooge, played convincingly and very well by the ever-frowning Michael Vodde. What this production adds to the original is the chill of a Chicago winter and new music by William A. Reilly, lyrics by Gary Lamb. What is very effective, about this production is the commentary on corporate America, one cannot help but be reminded of the poverty of our own times.”

“A Chicago Christmas Carol… takes flight. A valiant cast with standout singing voices Tara Brown, Joanne McGee, Heather Roop, Hollace Starr and Gary Lamb. Michael Vodde (as Scrooge) sings capably. Bill Bookston…as Scrooge's dastardly partner, Jacob Marley, captur(es) the amusing irony of a conniving soundrel frolicking his way through upbeat soft-shoe routines. The score's… musical styles evoke memories or other shows, (ie.) “Annie” and “Oliver” and a couple of numbers pulsate with tense dissonant rhythms recalling vintage (Kurt) Weill. Chris Shepardson gives it his all in an energetic showstopper, “The Gift of Giving.”

“I truly enjoyed the show. It was entertaining and it was refreshing to see actors giving truthful performances. I recommend it. “

“ A great show - not to be missed. All the actors were right on the mark. All were fantastic singers. The accompanying piano player was terrific. The timing/pace couldn't be better. Run, don't walk to see this interpretation of "A Christmas Carol". You will be glad you did!!!!”

“ The singing and dancing choreography was entertaining. The acting was spirited and fun.”

“This was one of the best Christmas productions I have seen all season. The actors were very professional. I'm amazed what they were able to do on such a small stage. I would definitely recommend this to people!”

“The event was very intimate and the actors were dead on and reiterated to the entire audience what Christmas is truly about. My boyfriend and I absolutely loved the show and those that were apart of it.”

“This Brechten take on the Dickens classic may not set well with strict pureists but it does work well. Good performances and material all round.”

“This was a thoroughly enjoyable musical adaptation of a Christmas classic. It was close enough to the original to be familiar, but different enough to keep you interested. The acting/singing was excellent - each cast member shined at the right time. The music/lyrics were overall good. There were several standout songs, often the simpler ones like the Headmistress song which was hilarious. While maybe not on par with some of Broadways best, the songs did hold their own very well and most fit nicely into the storyline. Overall this was a GREAT Christmas performance. I was never bored. If they put it up again next Christmas I would definitely go see and recommed others do as well!”

“The location was very small, but the event was GREAT!!!!! My gf and I both enjoyed the show and would definitely go again next year if possible. Recommend it to everyone!”

NORTH HOLLYWOOD- One of William Shakespeare's zaniest, best-known comedies, performed worldwide on stages large and small… “Twelfth Night” now comes to NoHo! Presented by Crown City Theatre in their expansive and self-built new 66-seat theatre “home,” (the most comfy audience seats in L.A “little” theatre) this wacky play will delight audiences, both young and old. Directed with playful passion and slapstick flair by Joanne McGee, a cast of 11 fresh and funny actors enact the familiar story with “tongue in cheek” gusto! As always for me, “some” of Shakespeare's fleetingly fancy, eloquently meaningful style of writing escapes me… but the fast-paced gist of it all reveals itself in the end. Loaded with unrequited love, mistaken identity, gender switches, frivolity, hearty drinking and lust, all turns out as it should in the end. We are on the Isle of Illyria, as the hilarious story unfolds. Caitlin Erin O'Hare's period costumes, McGee's minimal but clever set, and original music/live piano work by William A. Reilly… set the tone nicely. Notable too: Fight choreography (Louis Roth), opening shipwreck staging (Blake Edward), sound (Nikko Tsiotsias) and lighting design (Gary Lamb). My press sheet stated, “Short, Fast, and Funny… only one hour forty-five and a half minutes, including intermission.” Carrie-ann Pishnak is a sizzling standout! As Viola, who believes her brother Sebastian has died in a shipwreck (Bryan Gaston), she also plays a boy (for self-protection). Flamboyantly fun work by Daniel J. Roberts as the animated and mischievous Feste. Jennifer Hoyt shines as Countess Olivia, being hotly pursued by the lovesick Duke Orsino (Shawn Cahill) and Tarta Maria Smitheman gives a spirited turn as the saucy servant girl. Gary Lamb (as Sir Toby Belch), James Calvert (Sir Andrew Aguecheek) and John Mullich (Malvolio) are all screamingly funny in a trio of nutty roles. Rounding out the cast in smaller roles are William Potter and Ethan Stone. A quickly-paced and lighthearted romp… Check it out!

Shakespeare is not my first choice of theatre. Certainly not because it's bad writing, but because there are so many bad actors trying too hard to be too good, turning enlightening poetry into atrocious garble. See Yee?!

"Twelfth Night," playing at the Crown City Theatre Company in North Hollywood (now with air conditioning!), presents Shakespeare lovers' favorite farce with quick, pace-setting music arranged by William A. Reilly.

Joanne McGee directs the antics of her characters, several of whom seem to have digested more than a few gallons of energy beverages before the show. (That's a good thing.)

Outstanding performances: Daniel J. Roberts as Feste, who splashes us with flamboyant characteristics of a human reptile, adding his tongue to the cast list and substituting his multi-colored hair for a jester's hat. Gary Lamb, who never breaks from his ever so cleverly created character of Sir Toby Belch, even through the end of the curtain call, while the others "are done." Jon Mullich's portrayal of Malvolio, which is quite hilarious, combined with Tarta Maria Smitheman's facial reactions (as Maria), solid enough to steal the spotlight without having leading lines. Gaston also blends well with the cast alongside his twin sister, Pishnak, whose Cesario adds the perfect amount of boy-remaining-a-woman so as not to get caught.

I'm EXTREMELY proud of this company for pricing their tickets realistically as other groups continue to up their prices in order to break even while using promotional discount websites. At ten dollars per ticket, for a moment I thought that I was in the year 1998. That's reason enough to support the Crown City Theatre.

As the lights dimmed on the small, seemingly cramped stage in the back of a church in North Hollywood, a lone actor takes the stage and welcomes the audience to the production of William Shakespeare's Twelfth Night.

Just then, two young women run out onto the stage wielding a long blue fabric that is to simulate the ocean as a stage full of characters ride the wild sea on a doomed ship headed for the coast of Illyria. In comedic fashion, the ship sinks, and a pair of twins, one brother and one sister, swim ashore to start the absurd and hysterical plot of the play.

It's hilarious, and very well put together. The direction of the play, by first time director Joanna McGee, is outstanding, showing just how much one can do with a small stage. The cast, consisting of eleven actors and actresses, cover multiple roles while moving around the set in between scenes to reveal new locations with large banners that are hoisted up from under the stage.

What also adds to the play is the use of music, performed live by a lone pianist helps set the mood and keep the play flowing while the actors move on and off stage.

Performers to take note of are Jon Mullich as Malvolio, who steals nearly every scene with his bumbling, love sick butler, and the trio of Feste, Sir Andrew and Sir Toby played by Daniel J. Roberts, James Calvert and Gary Lamb, respectively, are the comedic glue of the play adding a backbone with every nuance of their comedy.

GO “I'm Just Wild About Harry is delightful. Every song is a sentimental chunk of Americana and musical director Reilly plays them with bouncy perfection. The energetic cast dances through the original dialogue and happily croons through the music. Casey Zeman is particularly charming as Babbs.” – Tom Provenzano, L.A. Weekly

“William Reilly and Gary Lamb have created a musical so breathtaking and exciting, you'll want to sing along and have just as much fun as the actors…-extraordinary musical theatre production. I watched the production enjoying every single moment never once needing to look in my program to check intermission status. Allow me to welcome [with open arms] Crown City Theatre Co. to the NoHo Arts District.” – P. Storiale, Stagehappenings.com

"Well-directed (Reilly and Lamb) and superbly choreographed by Chelsea Rae Bernier, this musical is an absolute delight performed by nine talented actor/singers accompanied ably by pianist William A. Reilly." - Beth Temkin, The Tolucan Times

“clever and delightful… Director's William A. Reilly and Gary Lamb did a splendid job of keeping the ensemble in the farcical mode. They were funny, outrageous, and running amok, as burlesque demands. Casey Zeman's terrific… he sings, dances, cross-dresses, and steals the show.” - Cynthia Citron, Curtainup.com and The Santa Monica Daily Press

“Blake Edward and Chris Shepardson are spry song-and-dance men, and they display a deft instinct for double takes and broad physical comedy. As the real aunt, Joanne McGee is a nimble farceur, and she boasts an excellent singing voice. Vsev Krawczeniuk makes the most of his soaring ballads. James Loren elicits laughs as a befuddled codger who lusts after the gender-bent impersonator Babbs. Three ingénue parts are beautifully sung and winningly portrayed by Tara Brown, Sarah French, and Tracy Mulholland.” – Les Spindle, Backstage West

The Tolucan Times “The Hunchback of Notre Dame Sings of Love” by Mary Mallory

The Crown City Theatre Company's excellent production of “The Hunchback of Notre Dame” packs an emotional wallop as it dramatically presents a tale of love, obsession, and sacrifice. Filled with strong songs and writing by Gary Lamb and William A. Reilly, the show features superb singing and acting by a strong cast. The Hunchback of Notre Dame” presents the lovely gypsy girl Esmeralda (Amy Bloom), who is desired by Pierre (Chris Kolb), the manipulative Phoebus (Derek Knight), and the devious archdeacon Claude (Vsev Krawczeniuk), while being truly loved by the Hunchback Quasimodo (Bill Mendieta). It reveals that true beauty is gentleness and character, not attractiveness or power._Acting and singing are first rate by the small cast. Bloom and Mendieta give expressive, heartfelt performances, and both Kolb and Krawczeniuk possess dynamic voices. Lamb and Reilly's songs seem influenced by Stephen Sondheim in their brooding nature, dark humor, and often minor keys. Lamb's lighting and Dean Cameron's costumes add visual punch to the story._An entertaining, emotional story full of fine acting and singing, “The Hunchback of Notre Dame” reveals the true, sacrificial nature of love._The Crown City Theatre Company presents “The Hunchback of Notre Dame” Fridays and Saturdays at 8 PM and Sundays at 7 PM, through February 17th at St. Matthew's Lutheran GLBT Church, 11031 Camarillo St. in North Hollywood. Admission is $20. Call 818-942-6684, or visit www.crowncitytheatre.com for information or reservations.

The story of Quasimodo, the monster with a heart of gold, was originally an 1831 novel by Victor Hugo that has become a perennial favorite. The 1939 movie is a classic, while Disney's “Hunchback” brought the story to children in 1997. Now Crown City Theatre, the summer Shakespearean company performing at Levitt Pavilion in Memorial Park, has relaunched its award-winning musical in — what more appropriate setting? — a church. With original music by William A. Reilly and book and lyrics by Gary Lamb, this version relies heavily on the music to tell the story of the Hunchback of Notre Dame, Quasimodo (Bill Mendieta), a ward of the church who uses the principle of sanctuary to save members of the Parisian underclass, including the beautiful gypsy dancer, Esmeralda (Amy Bloom). Lamb's libretto emphasizes the torment of Archdeacon Claude Frollo (Vsev Krawczeniuk), whose desire for Esmeralda causes him to violate his religious vows, thus pitting him against his ward, Quasimodo. The clear villain becomes Phoebus (Derek Knight), the cad who beds and leaves Esmeralda and coldly pledges to wed a noblewoman despite his many amorous affairs. Director's Lamb and Thomas W. Ashworth have brought together a compelling and talented ensemble of singers. The voices are uniformly strong, from Mendieta and Bloom in their title roles, to Rachel Howe in multiple personas. Lamb's staging makes full use of the cathedral setting, with the actors marching down the center aisle in a ritual of pomp and circumstance, or Quasimodo appealing to the crowd from the choral balcony. What's more, Lamb and Ashworth use a clever combination of sight and sound to replicate the Hunchback's famous bell-ringing sequence. Traditionally structured, “Hunchback” features several key songs, including “The Tangled Web of Love,” “The Gardener's Song,” and the duets and finales in both acts one and two. The lyrical “Heart of Stone” threads through the action and scores as outstanding . Dean Cameron's colorful costumes are often enough in themselves to bring a scene to life.

There's something enduringly touching about the hopeless love of the hideous, deformed bell ringer, Quasimodo (Bill Mendieta), for the beautiful Gypsy girl Esmeralda (Amy Bloom), who misguidedly loves Phoebus (Derek Knight), the caddish captain of the guard... quite moving. Mendieta, with the assistance of an eloquent, knobby mask created by Joanne McGee and Lamb, achieves genuine nobility. This rendition, directed by Thomas W. Ashworth and Lamb, is more concise and stripped down than the production 12 years ago... solid performances by Alissa-Nicole Koblentz and Melissa Bailey.

John B. - This performance was FANTASTIC! I really didn't expect much when I paid a low price for these tickets. And when we arrived and saw it was actually in a Church I really thought we'd be leaving soon; we sat in the back row so we could "sneak" out without notice. But, when the musical play began it became clear after a few minutes that these were VERY accomplished singing actors of the first caliber! The piano music was beautiful. The scenes were VERY dramatic! I could go on but you get the idea. This experience was so good that I gave the guy at the front door an extra $20 as I LEFT the performance! I kid you not!

Anonymous Membe - We attend the theater regularly. Everything about this production, from the story, music, direction and especially performance, is first class. I highly recommend everyone see this show.

James - A wonderfully staged musical, with beautiful music, costumes and strong performers. The Victor Hugo story is a timeless tale about intolerance, hypocrisy and love. The show is like seeing "Les Miserables" in an intimate setting!

Anonymous Member - An actress friend and I (we both love LIVE theatre!) enjoyed the play immensely. The acting was wonderfully professional, the costumes were excellent, and the LIVE background music was terrific! All in all, there is nothing negative we could say other than that of the play's destiny for Esmeralda. But in that, the message of goodness and love strongly triumphed. How terrific to have Classic theatre this good at such a wonderful cost!!! The Crown City Theatre Company is definitely going places and I look forward to future events like this awesome production. Marianne 2/11/08 Five Stars!!!

Marikae Tischler - What a fabulous play. the music and lyrics are awesome. Everyone should see this play. I have seen it twice now and the second time was as good if not better than the first time.

David B. - We LOVE live theater in LA! Exciting and excellent flow of action, seamless scene-to-scene activities. Top-drawer performances overall. At least three of the majors had Broadway-quality performance level and voices. Pianist had a daunting job providing all the music to his wonderful drama, and he came through remarkably. Fantastic!

Rose N. - It was a very enjoyable evening. My elderly mother loved it too. We were participating in the show. The church was so right for the setting: the sanctuary for the oppressed and troubled. Thanks

Douglas North - The wonderful script, memorable music, powerful singing, and passionate acting work together beautifully to make this production of The Hunchback of Notre Dame a truly joyful experience!Anonymous Member - Little drama troupe that is packed with talent. The setting is modest, but the music is original and the singing very good.

Sandy & Jesse - This was a really wonderful show, given the limitations of the "church"....I really would like to see this group when they move into their larger quarters here. The male leads are excellent: very strong & moving voices. We really enjoyed this evening.

Elizabeth - I didn't realize it was so much of a musical, I would have prefered more acting. However, the singing was very good and if I was into musicals, I would have given it 4 stars. I brought my 3 kids and they didn't take their eyes off the stage (for two hours is not easy to accomplish), we were all very entertained.

Anonymous Member - Amazing!! such talent! even through the humble production, the raw talent and love of theatre truly impressed me. Grateful for the experience!!!!

Anonymous Member - We really enjoyed it. Although it was not the Disney version, my kids loved it. They really liked how the characters ran up and down the aisles.

Anonymous Member - This show is very well staged in the small church setting. The acting and singing are good, and it is performed in a cozy environment. The show ended this past weekend, I believe; but if it is staged again in the future, I highly recommend it!

Anonymous Member - We attended the Friday night performance, which was held in a North Hollywood Church. Set decorations were practically non-existent and we wondered how we were going to see a "theatrical production." We soon found out! The Hunchback of Notre Dame is an original musical, composers of both lyrics and music were in attendance. The lights dimmed and the actors started to appear on stage and we became instantly enthralled with the musical story as it unfolded. The actors were top drawer talent and we were as moved by this production as any we have seen at the Mark Taper Theatre. We are looking forward to attending their next production. We thank Goldstar for making us aware of this event.

Outdoor Shakespeare can feel as natural as any artistic marriage. It can also provide numerous atmospheric challenges for actors, directors, and designers alike. Between the sounds of nature and industry, and the visual distractions surrounding the audience, playing the Bard outdoors can make it difficult to focus on the text. Crown City Theatre Company's production of Henry V succeeds in conquering the obstacles of nature.

The text of Henry V is a fascinating magnification of the private lives of those involved in war. The dichotomy of a ruler attempting to understand and be one of his own people is as timely a story line as it is challenging. Lamb aggressively addresses the issue by staging the history play a la 1960's story theatre. The presentational style, often used in political and social protest, functionally addresses issues by commenting on the narrative and simplifying the symbolism.

Setting down a blanket on the beautiful lawn of Memorial Park in Old Town Pasadena creates an exquisite evening atmosphere for Shakespeare's lovely words. Levitt Pavilion, essentially a band shell, is slightly crowded with highly-stylized flats painted with the production's logo. The bright colors and patterns are admittedly distracting, and detract from the “Story Theatre” style by pulling focus from the artists' vital words.

The costumes and props are simple and help tell the story. Wearing mostly black with splashes of red or blue, the color choices give the audience a clear picture of the two warring camps. There is nothing too exciting about the aesthetic, but the characters are easily identifiable.

Lamb's staging is inventive and courageous, pushing the envelope with representational movement and live sound effects. The actors must be commended for their commitment and bravery, as they give great effort to the challenging style.

Matthew J. Williamson gives the role of the young King Henry a strong vitality with a good dose of charm. Nicole J. Adelman plays a variety of roles including Catherine, the Princess of France with great energy and skill. Dennis Benjamin is consistent and enjoyable as Captain Fluellen, adding necessary humor and character physicality throughout the production. Joanne McGee and Elizabeth Wells play a Greek Chorus of sorts with a strong handle on the language and style. Both play other characters with fair range and complete commitment to the larger-than-life style. Andrew Graves also gives an extremely colorful performance, doing an excellent job of standing out from the set and staging for his brief moments on the stage. The rest of the ensemble cast maintains the integrity of performance throughout, keeping the audience engaged despite the detached ambiance of the production.

At the end of a cool Fall evening, hearing Shakespeare's thoughts on a completely relevant issue in the fresh air remains enjoyable thanks to the care and heart put into Crown City Theatre Company's production of Henry V . Though the environment and presentation may make one yearn for a more intimate connection with “Harry's” men before battle, the actors do a fine job of bringing the words and private moments of the soldiers and royalty back home to the audience. If you're seeking a relaxing evening that requires only a blanket, a picnic basket and an appreciation for a rarely presented piece, Henry V might be just what you've been looking for.

Shakespeare in the Park sticks to the script By ANTHONY DEL VALLE - LAS VEGAS REVIEW-JOURNAL

Something unusual happened over the weekend at the Clark County Government Center. Vegas got a "Hamlet" that was full of vision and still loyal to Shakespeare.

Los Angeles Crown City Theatre Company's Gary Lamb, directing for Henderson Arts Council's Shakespeare in the Park series, turned the Bard's tale of a young man seeking to avenge the death of his father into what felt like a dream.

Lamb delivered a traditional production in set and costumes, but gave the events of the play a melodramatic overtone.

An accompanist (composer William A. Reilly), seated far stage right, commented on the dramatic action with some old-style piano playing.
Four black-hooded creatures in skeletal white face (choreographer Terra Shelman, with locals Chelsea Bernier, Cassie Butcher and Breaana Joy Skagen) observed the proceedings and reacted with interpretative movement and occasional nightmarish whisperings (it was "Macbeth"'s three witches on vacation in Denmark).

An eerie, angelic vision punctuated the final tragic moments, as if to tell us it was now okay to wake up.

What was skillful about all this was how Lamb managed to prevent the atmosphere from feeling like a gimmick. The music and the demons didn't upstage the world of the play. They were perfectly proportioned so that they "belonged."

The mostly union cast delivered a professional level performance.
Joanne Marie was a particularly moving Gertrude (Hamlet's mother). She made her character a vulnerable woman who had trouble keeping up with the fast-paced events.

Vsev Krawczeniuk was an amusing Polonius (the father of Hamlet's girlfriend) who managed to convince us he belonged both in the world of royalty and idiots.

Matthew J. Williamson in the title role…played the prince as a sane, down-to-earth man who simply gets very angry, and that's legitimate.
This production… was intelligent and entertaining.
And it's rare that we get a piece of theater built on a creative director's strong and logical point of view that remains nurturing enough to allow the script its proper life.

‘TEMPEST' MAKES SHAKESPEARE ACCESSIBLE – DIRECTOR GARY B. LAMB KEEPS A MASTERFUL HAND ON ALL THE VARIOUS PLOT LINES; AND THE PRODUCTION MOVES ALONG WELL, BOTH ENTERTAINING AND MORALLY INSTRUCTIVE. THE ADDITION OF BACKGROUND MUSIC BY WILLIAM REILLY ADDS ATMOSPHERE WHILE KEEPING THE VIEWER ENGAGED ON CENTER STAGE. JANE LONGENECKER PLAYS THE PART OF ARIEL AS LIGHT AS THE WISPS OF AIR THE FAIRY PRETENDS TO BE. SHE ALSO PLAYS THE TRAGEDY OF HER ENSLAVEMENT WITH A YEARNING DELICACY. THE SENSUAL TENSION OF LOVE AND LONGING WITH HER MASTER PROSPERO IS TRULY MAGICAL. ‘THE TEMPEST' IS ACCESSIBLE TO ALL BECAUSE OF FINE THEATRICAL CRAFTSMANSHIP AND A LITTLE SOMETHING FOR EVERYONE.

UNDER GARY B. LAMB'S INSPIRED DIRECTION, VAUDEVILLE SHTICK, CAMP, AND WISTFUL ROMANCE SEAMLESSLY CO-EXIST IN THE KIND OF HIGH-SPIRITED, OLD-FASHIONED MUSICAL COMEDY THAT IS ALL BUT EXTINCT NOWADAYS. PRODUCTION CREDITS ARE PRIMARILY TOPNOTCH. WILLIAM REILLY'S MUSICAL DIRECTION AND ACCOMPANIMENT ARE ZESTFUL.

THE SHOW'S STRENGTH LIES IN ITS MUSIC (MUSICAL DIRECTION WILLIAM REILLY), WHICH THIS CAST RESOUNDINGLY DELIVERS. SMARTLY DIRECTED BY GARY B. LAMB, THE SHOW ALSO FEATURES ROUSING CHOREOGRAPHY BY ELLEN ROONEY W/ ADDITIONAL CHOREOGRAPHY BY KRISTY ROY TAPP.

DIRECTOR GARY B. LAMB HAS SMARTLY STRUCTURED THIS CLASSIC, AND LEADS THIS EXCEPTIONAL ENSEMBLE IN AN HILARIOUS, EFFECTIVE RENDITION. WILLIAM REILLY IS MUSICAL DIRECTOR, AND DOES A FINE JOB AS THE ACCOMPANIST ON PIANO. MAGNIFICENTLY CHOREOGRAPHED BY ELLEN ROONEY W/ ADDITIONAL CHOREOGRAPHY BY KRISTY ROY TAPP. A GRAND EVENING OF FUN THEATER.

THIS IS A TALENTED CAST WITH A PLETHORA OF TERRIFIC VOICES. SUSAN BRINDLEY, WHITNEY LEIGH, MELISSA BAILEY, GREGORY FRANKLIN, AND SANDY MULVIHILL SPARKLE IN THEIR RESPECTIVE NUMBERS AND THE CHORUS WORK IS SUPERB. THEATER AUDIENCES WILL BE THOROUGHLY ENTERTAINED BY THIS ABLE REMOUNTING ON AN OLD THEATRICAL WARHORSE.

IS ACTION-PACKED HUMOR AND ROMANCE, ALL ROLLED INTO ONE. DIRECTION BY RAJAN DOSAJ IS SUPERB. HE HANDLES THE LARGE PARK AMPHITHEATER MASTERFULLY; USING LARGER MOVEMENT, BROADSTROKES OF COMEDY AND PLENTY OF SWORDPLAY TO DRAW THE AUDIENCE IN. THE ACTORS CREATE WELL-ROUNDED CHARACTERS THAT CAPTILIZE ON HUMAN COMMONALITIES SHARED THROUGH THE CENTURIES.

THIS SHOW ORIGINATED AT THE NEVADA SHAKESPEARE FESTIVAL AND THE RESULT IS NOT UNLIKE A SHOW THAT HAS WORKED OUT THE KINKS IN BOSTON BEFORE HITTING NEW YORK: THE ACTORS HAVE THOROUGHLY INHABITED THEIR ROLES AND KEEP THE BEAT OF EVERY SCENE LIKE A WELL-PRACTICED TEAM. CARL J. PFEIFER AND GARY B. LAMB PLAY WITH DUMAS-LIKE RELISH, AND LAMB ESPECIALLY PULLS OFF THE MOST DIFFICULT SCENE WHEN PROTEUS SWOONS FOR VALENTINE'S BELOVED SYLVIA (A GLOWING JANE LONGENECKER) AND INSANELY DECIDES TO STEAL HER AWAY.

Musical “Apple Tree” Bears Fun Fruit Written by Amy Lyons – www.nohoartsdistrict.com

Don Shirley, theater critic at the late LA CityBeat Revoew

Musical “Apple Tree” Bears Fun Fruit
Written by Amy Lyons – www.nohoartsdistrict.com