Who would have thought that in the early days of April, inspired by William Shakespeare’s A Midsummer Night’s Dream, the composers Claude Debussy, Luca Lombardi, and Felix Mendelssohn-Barthony would come to NoHo in the hands of masterful and the world-renowned piano duo of Alessandra Ammara and Roberto Prosseda. 

Once again, we have the Athena Foundation for the Arts to thank for bringing internationally acclaimed musicians to NoHo.

The Ammara•Prosseda Piano Duo program started with Debussy’s iconic Clair de Lune and continued with Prelude No. 11 La Danse de Puck. Alessandra Ammara’s interpretation of this well-known piece convinced me that musical talent such as this can still surprise, taking something familiar and making it new again. 

Roberto Prosseda was up next with a highly unusual performance. Mr. Prosseda played Luca Lombardi’s Mendelssohn im Jüdischen Museum Berlin in unison with a video, some of which was shot at the Jüdischen Museum Berlin. What made this performance even more special was the magical melding of music and pictures to bring this powerful and important work to the forefront. Mr. Prosseda and Mr. Mendelssohn were as one, literally and figuratively. Incorporating images of Mendelssohn composing the score and Mr. Prosseda playing the piece at Jüdischen Museum Berlin, juxtaposed with heartbreaking images of the holocaust and, of course, the live performance.

If the first half of this program was the warm-up act, then the second half was the main event. As beautiful as these two pianists played solo, together they were astonishing. Four hands on a single piano, you could have knocked down the audience with a feather. Each selection of Mendelssohn, A Midsummer Night’s Dream, was played with such brilliance and exquisite timing that if I had not heard it with my two ears, I would not have believed it. It was soul searing and warmed the heart. My mind couldn’t get over the speed in which Madam Ammara’s hands moved over the right side of middle C. Signore Prosseda’s command of the other side of the piano was utterly sublime. 

Together, Ammara and Prosseda embody the meaning of “Piano Duo,” four hands, two minds, one heart. 

I am always impressed by the quality of the performances, the talent of the musicians, and most of all the intimacy of the venue in which an audience in the San Fernando Valley can experience like other audiences around the world. The Athena Foundation for the Arts brings these internationally renowned musicians to our humble community year after year. Bravo.

About The Athena Foundation for the Arts

Our Mission: Create. Culture. Community. The Athena Foundation for the Arts sets the stage, providing an annual world-class concert series, bringing stellar musicians from around the world to share their outstanding programs with our community. Your tax-deductible donations make these programs possible. Ask about our corporate sponsorship program, connecting culture with commerce. Help the Athena Foundation for the Arts by donating today! It’s a Sound Investment.

Donate at: https://athenafoundationarts.org/donate/

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The Two Roads Theater put on a pretty terrific show called Hughie. The great American playwright who brought dramatic realism to the stage, Eugene O’Neill, was the author of this Tony Award-nominated, one-act play. Hughie is set in the lobby of a small hotel, whose better days are far behind it, on a West Side Street in Mid Town Manhattan. The year is 1928. The Roaring 20s were almost at an end and the Great Depression was right around the corner.

Hughie is two-character play written in 1942, but it wasn’t brought to stage until 1958. Last night myself and the audience experienced this masterwork almost a hundred years after it was set. I mention this only to illustrate that greatness has no expiration date. 

A small time hustler enters the hotel in obvious pain and takes a seat in the lobby. The gentleman in question is Erie Smith, played by Dan Frischman with a great command of this long monologue spoken with such affection that everything this character thinks and feels is hiding in plain sight. Erie speaks to Charlie Hughes, the night clerk, a man with not much to do except be the recipient of Erie’s stories, observations, and lamentations of bad luck. Scott MacDonell plays Charlie with such careful focus and interest deep understanding of what Erie is saying, that I found myself often looking at Charlie just to see his reactions.

Special mention has to go to the set designer and scenic designer Katherine Bulovic and Gabriel Ortiz, respectively. The set was very well designed and the attention to detail was impressive. David Svengali, the tech designer, never missed a sound or light cue. But, that is to be expected from the quality of the shows that The Two Roads Theater at present. And finally, I would like to commend the director, Bill Schres, who did such a great job in simplicity and also in the great understanding of the themes and the gorgeous language of this play.

When the show was over, the full house of appreciative audience members did not, “run out powder,” “The cat’s pajamas,” said some of the “frails and queens.” Even the “Bimbos and Bluenoses” thought the play was “Berries.” For me the play was absolutely “Darb.” You’ve got to love the way the language of the time was used, almost as another character.

Tickets: 

https://www.onstage411.com/newsite/show/play_info.asp?show_id=7354

Where:

Two Roads Theater

4348 Tujunga Ave, Studio City, CA 91604

When: 

March 29— April 20

Friday and Saturday 8PM and Sunday 7PM

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It’s not every day you can walk into a community auditorium and hear a piano trio. Let alone one of this caliber and virtuosity. The Elixir Piano Trio consists of internationally acclaimed musicians pianist Lucy Nargizyan, violinist Samvel Chilingarian, and cellist Fang Fang Xu. This particular concert was presented by the Athena Foundation for the Arts. The house was packed and the audience, including myself, was astonished, entertained, and brought to our feet after each piece was played.

The musical selections chosen by The Elixir Piano Trio were eclectic, diverse, and mesmerizing. The first half featured two women composers in honor of International Women’s Day.

The first composer, Clara Schumann, has been regarded as one of the most distinguished pianists of the Romantic era. Schumann’s Piano Trio in G Minor, Op. 17 could not have been a better selection. The synergy between the musicians and the piece was so connected that it seemed to touch everyone in the audience. There was a little girl of about 7 or 8 that was as enchanted as I was. This little girl couldn’t take her eyes off the musicians. Great musicians and master works create magic.

The next composer was one I was not familiar with was Jennifer Higdon, and thanks to the Elixir Piano Trio, now it will never be forgotten. Pale Yellow was like gentle rain falling down from a sunlit sky. Whereas Fiery Red thundered in like a tempest. Both played beautifully and expertly. As the musicians left the stage, the audience had to be reminded that there would be a brief intermission. No one moved for a long moment. The music lingered after the musicians had left the auditorium.

The second half was met with great enthusiasm. The Elixir Piano Trio had won the audience over and next would come Rachmaninoff.  The rich orchestra colors of this composition danced around the auditorium. The Elixir Piano Trio not only played this piece lovingly, but each instrument brought its own tonal colors. It was like witnessing an aural painting. It was enchanting and emotional.

The final composer of the evening was Aram Khachaturian. The selection was Khachaturian’s best-known ballet music, Gayaneh Ballet. The Elixir Trio captures this piece with great care and musical sophistication. At times, I had to remind myself that this was a trio and not an orchestra. The sounds were so rich and lustful that they brought each note to life.

I just can’t say enough about the Elixir Piano Trio. Their interpretations of these carefully selected pieces show what a great talent and love of the music this trio embodies. I, for one, was completly present throughout this concert. As for the little girl who sat next to me, she seemed so happy and excited that I imagined her returning home to practice on the piano, violin, or cello.

About The Athena Foundation for the Arts

Our Mission: Create. Culture. Community. The Athena Foundation for the Arts sets the stage, providing an annual world-class concert series, bringing stellar musicians from around the world to share their outstanding programs with our community. Your tax-deductible donations make these programs possible. Ask about our corporate sponsorship program, connecting culture with commerce. Help the Athena Foundation for the Arts by donating today! It’s a Sound Investment. Donate at: https://athenafoundationarts.org/donate/

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It was just an ordinary Sunday afternoon in the San Fernando Valley. The venue was the Playhouse West Theatre. The play I was to review was called Gruesome Playground Injuries. I liked the title, but I had no idea how the next two hours would affect me so. The phrase that immediately came to mind was, “Devastatingly Beautiful.” I was not prepared in any way for the presentation of this play, to affect me in a way that still stays with me. I figured I would see a nice entertaining play in a small theatre with an audience of eager friends and family members. What I got was a depth of experience that I hadn’t felt in a very long time.

The stage was adorned with a playground setting that would be the habitation of childhood traumas, adolescent transgressions, and adult reckonings. The residents of this intrepid place are Doug (all fingers and thumbs), who wears his pain on the outside of his body,  played with quiet and heartbreaking care by Grant Terzakis. His “guardian angel or relentless antagonist, Kayleen, is played by the remarkable Marilyn Bass. Ms. Bass not only holds your attention with her heartrending performance, but she brings you into the space and demands you feel what Kayleen is feeling.

Together, Mr. Terzakis and Ms. Bass not only inhabit these tragic figures, but they form a bond that transcends actor and character.

There were moments in this play that I had to fight myself from not climbing on stage and to help both wonderfully tragic characters. Their interactions were that devastating and beautiful.

Gruesome Playground Injuries is exquisitely and powerfully written. It kept me on the edge of my seat. Each scene poured into the next and left me wanting more. If only Kayleen would tell Doug how she really felt. If Doug would just stop for a moment and see the pain that flows out of Kayleen. I was not only drawn in, I was both of them at different points of the play. That is what great writing does. It transfixes you and grabs a hold and doesn’t let go.

However, I would be remiss not to mention the director of Gruesome Playground Injuries, Wolfgang Bodison. With writing this good, the casting needed to be perfect. I am glad to say that sometimes the best thing a director can do is find the right actors for the role. Terzakis and Bass are the only actors for these roles.

I don’t usually go on and on about a production that is outstanding. But, in this case, the success of this production was not only what happened on stage, but what the audience walked away with. As the final blackout turned to the curtain call, the pain that I just witnessed had made its way into my soul. That’s the whole point of art. The actors, the best of them, always leave something behind on stage at every performance. They gave enough of themselves that I took pieces of them home with me.

Bravo indeed. Highly recommend!

The Cast:

Marilyn Bass – Kayleen
Grant Terzakis – Doug 

The Crew:

Rajiv Joseph – Playwright
Wolfgang Bodison – Director & Set Design
Sandra Kuker-Franco – Publicist (SANDRA KUKER PR)

Where: 

Playhouse West
4250 Lankershim Blvd., North Hollywood, CA 91602

When: 

February 15 – March 2
Saturday 7pm and Sunday 2pm
Running time: 90 min. (no intermission)

Gruesome Playground Injuries Tickets:

https://www.onstage411.com/newsite/show/play_info.asp?show_id=7347

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Step into the Lonny Chapman Theatre in North Hollywood, and prepare to be delighted. The Group Rep Theatre Company, one of the longest-running theatres in the NoHo Arts District, presents The Curious Savage, a testament to the enduring spirit of great entertainment in the San Fernando Valley.

Set in 1950, a few years after the end of World War II, The Curious Savage introduces us to The Cloisters, a sanitarium where people from diverse backgrounds come to heal from their past traumas. The characters here are instantly recognizable and relatable, each with their own unique quirks and struggles.

Among the guests at The Cloisters is Hannibal, a violin-playing statistician portrayed with gentle kindness by Patrick Anthony. Florence, a statuesque woman with a strong maternal instinct, is convincingly played by Maria Kress. Fairy May, a young woman constantly seeking reassurance, brings an intense energy to the role, played by Jessica Kent. Jeffrey, a young man whose scars run deeper than anyone can see, embodies quiet dignity in the hands of Christopher Landis. And Mrs. Paddy, a woman who detests everything and mistrusts electricity, is hilariously portrayed by the gifted Julie Davis.

The plot thickens when newly widowed Ethel Savage, portrayed by the talented Sara Shearer, embarks on a philanthropic mission in memory of her late husband. Amidst this, her three stepchildren—Titus, Samuel, and Lily Belle—played with comedic timing reminiscent of classic screwball comedies, brilliantly brought to life by Danny Salay, Steve Young  
and Kathleen Taylor. Their mischievous attempts to commit Ethel are driven by their desire to secure the inheritance they believe they were unjustly denied.

The compassionate dignity of Miss Wilemina, the keeper of the guests, is beautifully portrayed by Amy Shaughnessy. Dr. Emmett, the caring chief of The Cloisters, is played by an audience favorite, Lloyd Pedersen. Together, the staff and guests navigate the unfolding chaos, leading to a heartwarming and uplifting story.

The play’s kindness and gentleness are evident throughout. Written by John Patrick and directed by Doug Engalla, The Curious Savage was a sure bet to entertain and touch the audience with its subtle message of hope. The set design, with its simplicity and accuracy, complements the story perfectly. The lighting and sound design are spot-on, while the costumes are a perfect match for each character.

From start to finish, The Curious Savage is an absolute delight. The entire ensemble cast delivers brilliant performances, each with their own compelling individual story. Don’t miss out on this lovely play—rush out and experience it for yourself!

Tickets:

https://thegrouprep.com/show/the-curious-savage

Where: 

Lonny Chapman Theatre
10900 Burbank Blvd., NoHo Arts District, CA 91601

When: 

January 17 – February 23
Fridays and Saturdays at 8:00pm; Sunday Matinees at 2:00pm

The Cast

THE CURIOUS SAVAGE cast features the talents of Patrick Anthony (Hannibal), Julie Davis, Lee Grober (Titus Alternate Performs 2/7, 2/8 & 2/9), Jessica Kent (Fairy Mae), Maria Kress (Florence), Christopher Landis (Jeffrey), Lloyd Pedersen (Dr. Emmett). Danny Salay (Titus), Amy Shaughnessy (Miss Wilhelmina), Sara Shearer (Ethel), Kathleen Taylor (Lily Belle) and Steve Young (Samuel).

The Team

The production team includes Doug Engalla (Director), Aly York (Producer), Cynthia Bryant (Assistant to the Director), Mareli Mitchel-Shields (Set Design), Shon Le Blanc (Costume Design), Nick Foran (Lighting Design), Brent Beerman (Sound Design), and Bita Arefnia (Stage Manager).

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By stepping back into the McFadden Place Theatre (I’ve been there before and seen a multitude of wonderful plays) I thought to myself, “Will this be an exercise of patience, or will I be entertained, be transported into an alternate reality where the playwright is the creator, be educated?” Thankfully, the latter was true for me and what an endearing and delightful Rom-Com.

The play was fast paced and throughly entertaining. Every character was written with the familiarity of someone I knew or knew of. The dialogue was crisp and witty. The set design was simple, but not cumbersome in anyway. It allowed the actors to make each location their own. I especially enjoyed the efficiency of the set changes between the scenes.

The plot of the story seemed familiar to me, but just when I thought I knew where the story was going, it took a turn I didn’t expect. This is also known as good writing. As far as the direction was concerned, Pearson Jenks, also the writer, kept the characters’ movements natural and not like we were watching a play. The gem of this play is the ensemble cast. The brother/sister team of Corey, played by Pearson Jenks, and Mags, a charming and hilarious talent, played by Katie Northrop Niday, were spot on with tender chemistry and wry exchanges. 

I don’t want to give any of the story away, but let’s just say that the man that Corey thinks he is in love with, Ben, played by a convincing Nick DiCola, surprises Corey with his intended, Josh, played with a devilish flair by Rylie Decocq. Adding to the chaos is a scene stealer, Sam, played by a terrific Tanner Munson. Rounding out the cast was Tommy, played by the likeable and hilarious Jackson Gordon. There was a show-stopping moment when, “Gay Cupid,” popped out of nowhere, played by an outlandish, Michael Alexander.

This wonderful cast, along with deft writing, and likeable and relatable characters, made for a lovely theatre experience. I do have one complaint though. I just wanted to say that as an audience member, I wanted more. Perhaps the Man of Honor II or maybe, Gay Cupid Strikes Again?

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Charming, delightful, and a perfect blend of holiday cheer. The 55 Strings Trio is comprised of Violinist Phillip Vaiman, Harpist Ko-Ni-Choi, and Cellist Simone Vitucci. Each of these musicians on their own brings a musicianship to a Maestro quality, but together, they truly did bring the holiday spirit to an adoring audience and a whole lot of Paris in tow. The addition of masterful art pieces makes for a sublime artistic pairing that enhances our eye as much as these musicians enhance our hearing.

The musical selections for the evening were wonderfully arranged by Stefanie Fife and Ken Gist, and how they were presented added to the pleasure. The trio was beautifully balanced by the quality of each of the instruments. The heavenly musings of the harp coupled with the vibrato of the violin and the rhythm of the cello brought such joy and holiday spirit that I was hoping it would be snowing when I left the auditorium. 

The audience was very responsive and was motionless during the pieces. But, once a piece was finished, the audience roared with appreciation. I was caught off guard a few times when pieces by DeBussy, Bach, or Tchaikovsky were played, which I thought I knew so well, were played so distinctly. It was as if I had heard them for the first time. I must also mention that the Community Auditorium is an excellent venue for such artists of this world-class quality. 

The Athena Foundation for the Arts is responsible for bringing us such rare and beautiful talent to a local community and is furthering the cause of art to the masses.

I have been privileged to have been asked to attend these concerts and each time I am pleased to the hilt and enjoyment. Now it is your turn to attend these concerts that are held throughout the year. The concert series for 2025 will be another offering of internationally acclaimed musicians performing in your community for you. Do yourself a favor and attend these concerts. Your heart, soul, and mind will thank you. Cheers and Happy Holidays. 

About The Athena Foundation for the Arts

Our Mission: Create. Culture. Community. The Athena Foundation for the Arts sets the stage, providing an annual world-class concert series, bringing stellar musicians from around the world to share their outstanding programs with our community. Your tax-deductible donations make these programs possible. Ask about our corporate sponsorship program, connecting culture with commerce. Help the Athena Foundation for the Arts by donating today! It’s a Sound Investment.

Donate at: https://athenafoundationarts.org/donate/

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The Athena Foundation for the Arts has brought another incredible artist to the San Fernando Valley in the guise of the internationally acclaimed Argentinian pianist, Daniela Salinas. I have been coming to these concerts now for about two years and every time I do, it is a special and memorable experience. And the performance given on October 13 by the master pianist Daniela Salinas keeps the Athena Foundation for the Arts’ reputation intact.

This concert, like all the others I have had the privilege to attend, was held at the Community Auditorium located at the Church of Scientology. The acoustics are grand. The lighting was succinct, and the performance was sublime. The virtuosity of Ms. Salinas’ playing is only matched by the grace and subtleties of the beautiful pieces performed. Among these pieces, there were selections from Heitor Villa-Lobos, Astor Piazzolla, Manuel Ponce, Radames Gnattali, and George Gershwin.

Ms. Salinas’ interpretations of said pieces are presented masterfully and with deep emotion. When you have the combination of great composers and musicians of this caliber, there is a magical sense of wonder and familiarity. Wonder from the beauty that comes from the playing and the familiarity is the connection from the artist to the audience. But, there is more. Ms. Salinas pays each note with such confidence and skill, but what struck me the most was the way she played the music inside the music. The silence in between the notes was just as stirring as the sounds we heard. She made me hear the silence between the notes. This is a first for me.

There was also a sense of fun and lightness and ease to the way she plays the piano. Her personality is evident in every selection. I had the sense that if I heard some of these selections by other artists, it wouldn’t be exactly the way I experienced her playing. Ms. Salinas plays the pieces and shows us a bit of herself with each selection. At times I found myself smiling as she finished a piece as if she was winking at the audience.

The Athena Foundation for the Arts has world-class musicians and each of these artists brings not only their talent but also themselves. Ms. Salinas is such an approachable artist that you feel like she would invite you to her table and share a glass of Argentinian wine with her. Do yourself a favor and catch the rest of the season. The concert series for 2025 starts March 9 and runs through September 7.

In case you missed the concert, here’s a glimpse of pianist Dianiela Salinas’ work.

About The Athena Foundation for the Arts

Our Mission: Create. Culture. Community. The Athena Foundation for the Arts sets the stage, providing an annual world-class concert series, bringing stellar musicians from around the world to share their outstanding programs with our community. Your tax-deductible donations make these programs possible. Ask about our corporate sponsorship program, connecting culture with commerce. Help the Athena Foundation for the Arts by donating today! It’s a Sound Investment.

Donate at: https://athenafoundationarts.org/donate/

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It is not an easy task to describe the play, Mercy, which was performed on the Main Stage at The Broadwater Theatre for the Hollywood Fringe Festival. As I sat in the audience of a sold-out performance, the stage was populated by seven actors seated around the stage where a Persian rug was laid.

The lights dimmed and the few remaining patrons took their seats. An actor takes center stage and announces to the audience that this play is not a performance, but a rehearsal. He takes his seat and the adventure begins. One by one we are introduced to the characters.  Danny, played by the very believable and angst-driven Sam Golzari. Sol, the father of Danny is played by the remarkable Bernard White. The delicately crafted character of Danny’s wife, Terri, played lovingly by Julia Frith. Together they show the marriage of two diverse cultures joined by tender love. Danny’s sister, Yaz, who is wickedly brought to life by a convincing and biting Afsaneh Dehrouyeh. The Police Inspectors, Taylor and Surgeon, played by William Charlton brought an atmosphere of calm and confidence when he took the stage.

To not spoil the main plot points of this beautifully written and directed play, I shall not give you a blow by blow,  needless to say, that the relationships of every character to one another are brought together in a symphony of deft and poignant dialogue.  I must say that when the actress, Shila Ommi, who plays Sol’s strong-willed wife, Amireh, takes the stage, my eyes, ears, and heart were captured by her endearing and heartbreaking performance. Not to say that there isn’t any humor in the play. In one particular scene where the good Dr. Van BenSchotn, played with playful delight by, Jeff Sugarmen sits between Sol and his pleading wife, the magic lifts the energy and the stakes to its highest points.

I sat in a darkened room amongst strangers and all of us united by the sublime performance of the cast felt as if we were somehow included in this family’s most personal and private world. This particular subject of dignity of a human being to choose their own fate rang a personal chord with me. I watched as my heart broke with Amireh. Sol’s desperation was my desperation. The cluelessness of Danny and Yaz’s knowledge of what was happening to their mother became my concern for them. And feeling like the outsider of a family bonded by grief was mine as well. That is the magic of theatre. Being in a collective and feeling like the play was specifically written for me to watch and feel on this night alone.

To the cast and crew, producer Gary Copeland, and the writer-director Mandi Riggi, thank you, merci, متشکرم.

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Disarming, charming, and alarming are the words that come to mind when I think of Andrea Parson’s (that’s Parson, not Parsons), solo show called, You Can’t Be Serious. After my many years attending this festival, I have seen some lovely shows full of pathos, magic, and brilliance. But, Miss Parson brings that element of performance that can only be seen, heard and felt in person.

The 75-minute show went by in a flash and yet was filled to the brim with such intimacy and care for proper storytelling, that one is immersed and felt safe. Whether the subject was the Titanic, the boat and the movie, cookies, or cancer, every word, facial expression, and physical movement was perfectly choreographed. Speaking of physical movement. Miss Parsons (whoops, I mean Parson) was incredible to watch. Her melding of dance and emotions was as important as sound is to film.

The show began with one of the most original ways to start a show. She began but didn’t really begin until she was ready to actually begin and even that had to wait for her to begin. You had to be there. The whole stage was her playground and by adding dance moves to coincide with dramatic points, was a stroke of sheer beauty. I must warn you though that a great many cookies were harmed during the performance. I was kept guessing throughout the show, not in the sense of what she was going to do, but in the matter of how she was going to do it.

There were times, during the show, that I could swear she was looking right at me and was brought on stage with her accompanying her along the journey. At this point, I must congratulate Katherine Murphy Lewis, whose direction never got in the way of the story and flowed beautifully in sync to the dialogue. The humor that was a big part of You Can’t Be Serious came in the form of the Chaplinesque manner of Miss Parson.

It was her unabashed sincerity that kept my eyes on her from ‘lights up’ to ‘black out.’ What a grand way to close out my Hollywood Fringe experience of 2024. Andrea Parson is an award-winning performer, but I suspect that this show and this performance just very well might put her on the map. She is definitely on my map of performers to keep track of. 

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