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Flamenco Live Productions  Presents Maria Bermudez’ Sonidos Gitanos ~ ConVivencia ~ 


Flamenco Music & Dance direct from Andalusia, Spain

November 18 & 19, 2017, El Portal Theatre, NoHo

 

Featuring Special Guest Bailaor/Dancer Pedro Córdoba

 

Celebrated by the artists of Jerez de la Frontera as an Ambassador of Gypsy culture, critically acclaimed director, choreographer, and lead dancer, Maria Bermudez brings her internationally successful Sonidos Gitanos (Gypsy Sounds) back to Los Angeles for two nights only at the El Portal MainStage Theatre in North Hollywood on November 18 and 19, featuring ​​master musicians from her adopted home of Jerez, the “birthplace of Flamenco.” Since 1995, Sonidos Gitanos has presented California audiences unique opportunities to experience Flamenco in its most authentic form, laced with spontaneity, improvisation and highlighting the most accomplished dancers Spain offers with distinctive and ever-evolving performances.

 

Photo Credit: Triana Reyes

 

​​Starring alongside Bermudez are Ana de los Reyes, Cante/Singer; Miguel Rosendo, Cante/SingerBernardo Parilla,Gypsy Violin; and Jesus AlvarezGuitar. Along with Bailaoras/Dancers direct from the Linda Vega Dance Studio inSanta Barbara, and Special Guest Artist Pedro CórdobaBailaor/Dancer.

 
Bermudez, a deeply musical artist known for soulfully expressive dancing, was born and raised in Los Angeles, but driven to learn from the legendary gypsy artists with whom she has professionally collaborated for more than two decades – one of very few foreigners to do so. Bermudez is highly recognized for her extraordinary loyalty to the art form and furthering its worldwide reach. Having presented Sonidos Gitanos at such venues as the Hollywood Bowl and John Anson Ford Theatres in Los Angeles, The Joyce Theatre and Lincoln Center in New York, the Festival de Beaucaire in France, the Folk Culture Festival Obwalden in Switzerland, and back home again to the revered Teatro Villamarta, during the prestigious Festival Flamenco de Jerez.

 

​​Onstage, Bermudez invokes the traditions she knows intimately from her earliest days of study under the great dancer and Patriarch, El Farruco (whose great-grandsons grace international stages today). Through a ConVivencia – in the sense of Community or “a life lived,” the respected artist, teacher and choreographer seeks to strengthen the connection between the Andalusian elders and her southern California communities. For the first time, Bermudez and the great musicians of Sonidos Gitanos share the stage with a group of stunning young professionals from Santa Barbara. This quinteto of young artists includeJocy CardenasAmanda CuevasMarisa HaroSabrina Ibarra, and Talia Vestal.

 

“A sense of community is one of the great joys of Sonidos Gitanos … led by Maria Bermudez, a [dancer] capable of focusing on complex percussive heelwork in one passage, powerful emotional projection in another and then throwing it all away in glorious idiosyncratic outbursts….”  – The Los Angeles Times

 

​​In a spirit of coming full circle, this show celebrates the arc of Bermudez’ formidable professional career, as well as the path ahead of aspiring artists drawn toward the sometimes lamenting, sometimes euphoric cry of Gypsy flamenco.

 


Maria Bermudez
 Sonidos Gitanos performs on Saturday, November 18, 2017 at 8:00 p.m.; and Sunday, November 19, 2017 at 6:00 p.m. Tickets range from $40$75. El Portal MainStage Theatre is located at 5269 Lankershim Blvd. in North Hollywood. For tickets and information, call (818) 508-4200 or go to www.elportaltheatre.com. Like us on Facebook: www.facebook.com/SonidosGitanosFlamenco.

 

 

Details for Calendar Listings
Maria Bermudez Sonidos Gitanos

~ ConVivencia ~

Flamenco Music & Dance Direct from Andalusia, Spain

 

WHAT:
Celebrated by the artists of Jerez de la Frontera as an Ambassador of Gypsy culture, critically acclaimed director, choreographer, and lead dancer, Maria Bermudez brings her internationally successful Sonidos Gitanos (Gypsy Sounds) back to Los Angeles for two nights only, featuring master musicians from her adopted home of Jerez, the“birthplace of Flamenco.” Since 1995, Sonidos Gitanos has presented California audiences unique opportunities to experience Flamenco in its most authentic form, laced with spontaneity, improvisation and highlighting the most accomplished dancers Spain offers with distinctive and ever-evolving performances.


WHO:

• Director/Choreographer/Dancer:  Maria Bermudez
• Guitarra:  Jesus Alvarez
• Cante/Singer:  Ana de los Reyes

  • Cante/Singer: Miguel Rosendo
    • Gypsy Violin:  Bernardo Parrilla
    • Guest Artist Bailaor/Dancer:  Pedro Córdoba
    • Bailaoras/Dancers direct from Linda Vega Dance Studio in Santa Barbara:  Jocy Cardenas, Amanda Cuevas,Marisa HaroSabrina IbarraTalia VestalWHEN: 
    Saturday, November 18 at 8 p.m.
    and
    Sunday, November 19 at 6 p.m.

    WHERE:
    El Portal MainStage Theatre
    5269 Lankershim Blvd., North Hollywood, CA 91601

HOW:
•  (818) 508-4200 or www.elportaltheatre.com
• Visit us on Facebook: www.facebook.com/SonidosGitanosFlamenco
• YouTube: https://www.youtube.com/watch?v=ZvOgfRpeyho

https://www.youtube.com/watch?v=hxuItlaujgI

https://www.youtube.com/watch?v=zsSdZO510wY&t=150s
TICKETS:
• VIP seating, includes post-show meet-n-greet reception (first four rows): $75
• Center Orchestra seating: $55
• Sides seating: $40

 

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Celebrity News

Don’t call me P. Diddy call me Love or Brother Love

Yes, honey! You read the headline correct. P. Diddy is now Brother Love! On November 4th which is Sean ‘Diddy’ Combs birthday, he gifted himself with a new name. In a video on Twitter Sean Combs made the announcement to the world stating,

“I have some very serious news, I’ve been praying on this and… I knew it was risky, cause it could come off as corny to some people, but I decided to change my name again… I’m just not who I am before. I’m something different. So my new name is Love a.k.a. Brother Love. I will not be answering to Puffy, Diddy, Puff Daddy, or any of my other monikers but Love or Brother Love.”

 

Little Kim even cosigned the new name in a Tweet.

According to Forbes, the name change corresponds to the release of Brother Love’s sixth studio Album No Way Out 2 which is due to release in December. With everything going on in society, what the world needs is a little bit more loving so, cheers to love!

RELATED ARTICLES: Sean ‘Puffy’ Combs Changes Name To ‘Brother Love’

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Entertainment News

Inspired by a true story, ‘The Red Dress’ explores politics, art, romance in Germany between two wars

LOS ANGELES  — Set in Berlin and inspired by a true story, Argyle Road Productions presents the world premiere of a romantic drama by Tania Wisbar that explores the intersection of politics and art during the years between the Treaty of Versailles and the rise of Fascism. The Red Dress opens as a visiting production at the Odyssey Theatre where it runs through Nov. 19

 

Wisbar’s fictionalized account of her parents’ marriage and their forced divorce by the Nazis begins in 1924 Berlin.  Alexandra Schiele (Laura Ligouri) is a famous film actress from a prominent Jewish family who falls in love with a down-on-his-luck World War I vet, Franz Weitrek (J.B. Waterman). Franz is able to parlay his wife’s connections into work as a film director. But when his career takes off making Nazi propaganda films, his wife suddenly becomes a liability. Also in the cast are Rebecca Larsen, Shanti Reinhardt and Dylan WittrockKiff Scholl directs.

 

Although in real life Wisbar’s mother was not an actress, she was from a well-connected Jewish family that was able to get her father, Frank Wisbar, his start in the German film business. Later, when Frank emigrated to the U.S., he became the producer/director of the first filmed series made for television, Fireside Theater. Tania, who was born in Berlin, came to the U.S. as a baby after her parents divorced. She first learned about her family history decades later.

 

 

“In 1999, I discovered an 88-page manuscript my mother wrote as part of a contest for Harvard University,” she explains. “It detailed the continuous harassment she and my father received at the hands of the Gestapo. It was my first and only view of what their marriage was and who they were as a couple in that horrible time.”

 

After her parents were divorced, Wisbar’s mother was brought to the U.S. by the Quakers. Wisbar didn’t learn of her Jewish heritage until she was in her twenties.

 

“It’s a huge loss when you grow up without any community,” she says.

 

In addition to the enormous social and political changes that took place in Germany between 1924 and 1936, those years bridged the history of film — from silents, to black and white, to color. The Red Dress also touches on the Eugenics Movement, which originated in the U.S. but was perfected by the Nazi regime.

 
The creative team includes set designer Pete Hickock, lighting designer Kelley Finn, projections designer Nick Santiago, sound designer Dave B. Marling, costume designer Shon LeBlanc and casting director Ferne Cassel. The production stage manager is Danny Crisp, and Victoria Watson and Racquel LehrmanTheatre Planners produce forArgyle Road Productions.

 

Tania Wisbar’s novel, “Last Cemetery in Berlin,” was optioned for film by producer Jonathan Sanger. In 2011, Sanger directed a critically acclaimed production of her play Birthday Present 2050, which starred Salome Jens

 

The LA Weekly called it

 

“beautifully detailed and elegiac… GO!”

 

Tania is the founding president and CEO of B.E.L.I., a day program for developmentally disabled adults with a large dance troupe that performs throughout Los Angeles. For 14 years she was the editor and reporter of a weekly newspaper in Imperial Beach, CA. She holds degrees in Theater Arts, Speech Pathology and Special Education.

 

Performances of The Red Dress take place Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m.,  through Nov. 19. The Odyssey Theatre is located at 2055 SSepulveda Blvd. West Los Angeles, 90025. For reservations and information, (323) 960-5521 or go to www.Plays411.com/reddress

Details for Calendar Listings
The Red Dress

 

 

WHAT:
World premiere of The Red Dress — Set in Berlin and inspired by a true story, Tania Wisbar’s romantic drama explores the intersection of politics and art during the years between the Treaty of Versailles and the rise of Fascism.

 

WHO:
• Written by Tania Wisbar
• Directed by Kiff Scholl
• Starring Rebecca LarsenLaura LiguoriShanti ReinhardtJ.B. Waterman, Dylan Wittrock
• Produced by Racquel Lehrman and Victoria WatsonTheatre Planners
• Presented by Argyle Road Productions

 

WHEN:

Performances: through Nov. 19:
• Fridays at 8 p.m.: Nov. 3, Nov. 10, Nov. 17
• Saturdays at 8 p.m.: Nov. 4, Nov. 11, Nov. 18
• Sundays at 2 p.m.: Nov. 5, Nov. 12, Nov. 19

 

WHERE:
A visiting production at the 
Odyssey Theatre
2055 S. Sepulveda Blvd.
Los Angeles CA 90025

 

HOW:
(323) 960-5521 or www.Plays411.com/reddress

 

TICKET PRICES:
• All performances $30
• Preview: $20

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Entertainment News

Miss Heart Of Hollywood International Pageant

Miss Heart Of Hollywood International Pageant            Register Now                 

 

Begin your journey to the 2018 Miss Heart Of Hollywood International Pageant, held on Saturday, October 20, 2018.  There are no height or weight requirements for this pageant and all ethnicities are welcome! We are looking for women who are beautiful on the inside and out.

 

The title “Miss Heart of Hollywood” will be awarded to the candidate that embodies inspirational and leadership qualities to be honored as an international role model.

 

You will have the opportunity to represent Heart Of Hollywood Motion Pictures for one year. Gain exposure for your career by empowering and motivating women, as well as participating in community events such as charities and education by bringing happiness and hope to today’s world citizens.

Visit Heart Of Hollywood:

Register for Miss Heart of Hollywood 

www.heartofhollywood.com

www.heartofhollywoodmedia.com

http://www.youtube.com/watch?time_continue=5&v=kpZdbBMdIfU

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For the Love of Felicia

For the Love of Felicia (Part 8)

A few days had passed since Felicia had the argument with Terrence. To her surprise, she heard nothing from him, not even to check on their son, TJ. Felicia felt that it would only be a matter of time before he decided to contact her or show up at her house. Until then, she was enjoying the quiet of not being bothered by him.

Thinking that she spoke too soon, Felicia reluctantly picked up her phone when the text message alert went off several times in a row. She knew that it would be Terrence begging for her forgiveness and explaining how he had changed. Opening her text messages, she saw that it was Sergio instead. Before Felicia could read the messages, her phone started ringing.

“Hello,” Felicia timidly answered.

Responding in that strong Cuban accent, Sergio said, “Hello, Beautiful! I hope I haven’t caught you at a bad time.”

Smiling, Felicia said, “No, not at all. How are you?”

“I am well! I apologize for taking so long to call you, but I was back in Cuba visiting family.”

“I didn’t realize it had been that long,” Felicia playfully said.

“Oh really? So are you saying that you do not care that I called?” Sergio sounded offended and hurt at the same time.

“No, no, Sergio, that isn’t what I’m saying. I was playing with you; I’m happy that you called! I didn’t mean to offend you,” Felicia stated apologetically.

Laughing, Sergio said, “I was also messing with you, Beautiful!”

“I knew that,” Felicia chuckled.

“Before I go on, I was calling to see if I could take you out for some dinner and dancing on Saturday.”

“Well…”

“And to make you more comfortable, you can bring Jessica along. I have a friend who she may like.”

“Wow! You have thought of everything! Do you mind if I call you back after I talk to her?” Felicia was amazed that he also remembered her best friend’s name. She was impressed indeed!

“Oh, yes, that will be fine. Don’t make me wait too long, Beautiful!”

“I won’t. I will let you know as soon as I know. Talk to you in a little while.”

“Until we speak again…” Sergio ended the call.

Felicia wasted no time calling Jessica. As soon as Jessica answered, Felicia exclaimed, “Sergio called me and wants me and you to go out with him and his friend! They want to take us out to eat and to dinner! Tell me that you will go!”

“Slow down,” Jessica laughed. “When is this date? I can’t believe you actually agreed to it. I’m happy that you did, but I can’t believe it! You may really be over Terrence! I’m so proud of you!”

“Hush, woman! I didn’t say anything yet. I’m waiting on you!”

“Hurry up and call him back! I’m in! I don’t even care who his friend is…I want to see you having some genuine fun!”

“Ok, ok! I will talk to you later!” Felicia quickly hung up so that she could call Sergio back.

“Hello, Beautiful!” Sergio said as he answered her call.

“Jessica and I can’t wait to see you and your friend this weekend…”

 

Read For the Love of Felicia (Parts 1-7) HERE.

 

Written by Dani Powell, RM Entertainment Original Story Contributor

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Entertainment News

An Evening with Jonatha Brooke

Critically Acclaimed American Folk Rock
Singer-Songwriter and Guitarist


Zipper Concert Hall, The Colburn School


Wednesday, October 18 at 8:00 p.m.


Who:
Merging elements of folk, rock and pop, often with poignant lyrics and complex harmonies, Jonatha Brooke performs live in concert for one-night only at Los Angeles’ Zipper Concert Hall at the Colburn School in downtown Los Angeles. Jonatha has been a singer, songwriter, and guitarist since the late 80’s, and her songs have been used in television shows and movies. Jonatha began her career as one half of The Story (originally called “Jonatha & Jennifer”), a duo which played the coffeehouse folk circuit and radio in Boston along with two successful albums. After four major label releases, Jonatha started her own independent label, Bad Dog Records in 1999, and has since released eight more albums including the companion CD to her critically acclaimed one woman, Off-Broadway show My Mother Has 4 Noses (which ran for 10 weeks) and her most recent studio release, the timely “Midnight. Hallelujah” (2016), the first time ever a woman has composed, arranged, produced and performed a complete album of Woody Guthrie songs.


In recent years, Jonatha has co-written songs with Katy Perry (for her album PRISM), and The Courtyard Hounds. She’s also written for four Disney films, various television shows, and composed the theme song for Joss Whedon’s Dollhouse.


“I’m so looking forward to playing Los Angeles again. It’s been way too long, and there’s certainly a lot to sing about. Sometimes it feels like music is the ONLY way to try to make sense of what’s going on in the world. I’ll be bringing some shiny brand new songs, and I will polish off the old beloveds too,”

exclaimed Jonatha

Expect provocative songs, performed with great wit and charm. 

Charming and very funny. A seasoned musician with a beautiful voice, Brooke rocks it

— The New Yorker


When:             Wednesday, October 18, 2017 @ 8 p.m.


Where:            Zipper Concert Hall
                        Colburn School
200 South Grand Avenue, Los Angeles, CA 90012


How/Information:
– Tickets: $37; $28; $18
– 
www.kalakoa.comhttp://kalakoa.tix.com/(800) 595-4849kalakoaent@mac.com
– 
https://www.facebook.com/kalakoa/; @kalakoa
– 
https://www.youtube.com/watch?v=7pzLWqJQOTc
– 
http://www.npr.org/sections/world-cafe/2016/11/21/502894044/jonatha-brooke-on-world-cafe

– http://jonathabrooke.com/

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Entertainment News

Latino Theater Company announces ‘Encuentro de las Américas’ 14 theater companies from across the Americas, one vibrant celebration in the heart of downtown Los Angeles

L.A.’s Latino Theater Company will be joined by 13 companies from the U.S., Canada, Mexico, Cuba, Peru and Colombia for a three-week celebration of dynamic, contemporary Latinx and Latin American theater. Encuentro de Las Américasproduced by the Latino Theater Company in association with Latinx Theatre Commons, is set to take place at downtown’s The Los Angeles Theatre Center from Nov. 2 through Nov. 19.

 

The 14 companies will present their work in repertory, with performances running simultaneously every Thursday, Friday, Saturday and Sunday in the five spaces that make up The LATC’s multi-theater complex. The companies include 24th Street Theatre from Los Angeles, CAArgos Teatro from Havana,CubaCara Mía Theater Company from Dallas, TXCompañía Nacional de las Artes from BogotáColombiaCulture Clash from Los AngelesCAÉbano Teatro from LimaPeruEnsemble Studio Theatre/LA from Los Angeles, CAGuadalupe Cultural Arts Center from San AntonioTXLatino Theater Company from Los AngelesCAMarga Gomez from San FranciscoCANightswimmingfrom Toronto, ONCanadaOrganización Secreta Teatro, from Mexico CityMexicoPregones Theaterfrom BronxNY; and Vueltas Bravas from BogotáColombia.

 

An additional 12 Los Angeles-based artists will be represented in Patas Arriba (“Upside Down”), a late night “micro-theater festival” set to take place in the “belly” of The LATC, where audiences will cycle through the non-traditional performance spaces of the building — Vault, Sub Lobby, Green Room and Tunnel — to experience four 15-minute works during each hour-long performance. Patas Arriba will take place every Thursday, Friday and Saturday, with two staggered start times (9:30 p.m. and 9:50 p.m.) and a different line-up of four plays each week.

 

A free Cinema & Music mini-festival on Tuesday and Wednesday nights will pair musical performances with screenings of soon-to be-released films, including Chavelaa new documentary about Costa Rican-Mexican singer Chavela Vargas and NALIP, an evening of short films followed by a concert by Spanish singer Patricia Kraus in her American debut.

 

Finally, the 26 companies will work together to share creative methodologies that will culminate in the co-creation of five new works presented on the last day of the festival. This unique collaboration offers participants an in-depth opportunity to mesh aesthetic diversity of Latinx and Latin American work, thus furthering the mission of the festival to create a global theater community.

 

“That’s what makes our Encuentro so unique, so different from any festival here or anywhere else in the world,”

 

says Latino Theater Company artistic director José Luis Valenzuela.

 

“It’s about artists working together and creating new work.”

 

According to Valenzuela, Encuentro de Las Américas is a natural extension of the national Encuentro presented by LTC three years ago.

 

“In 2014, we explored the relationship of American Latinos to the rest of the theater landscape in the U.S.,”

 

he explains.

 

“The question this time, with artists participating not only from this country, but from Canada, Latin and South America, and the Caribbean, is how can American Latinx and Latin American theater-makers have a conversation? Where are we going? How do we jointly embrace our voice?”

 

The Latino Theater Company is dedicated to providing a world-class arts center for those pursuing artistic excellence; a laboratory where both tradition and innovation are honored and honed; and a place where the convergence of people, cultures and ideas contribute to the future. Now in its 31st year, LTC has operated The Los Angeles Theatre Center, a facility of the City of Los Angeles Department of Cultural Affairs and a landmark building in Downtown’s Historic Core, since 2006.

 

 

Encuentro de las Américas takes place from Nov. 2 through Nov. 19. Single tickets are $22 for students, seniors and vets and $44 general admission. Discounts are available for 2-play, 6-play and 13-play packages. Tickets to the Patas Arriba micro-theater festival are $20. Tickets to the Cinema & Music mini-festival are freeTheLos Angeles Theatre Center is located at 514 S. SpringSt., Los AngelesCA 90013. For more information and to purchase tickets, call (866811-4111 or go to www.thelatc.org.

 

 

Detailed descriptions and scheduling:
Encuentro de Las Américas

 

WHAT:
Encuentro de Las Américas
 — Fourteen companies from the U.S. Canada, Mexico, Cuba, Peru and Colombia  celebrate dynamic, contemporary Latinx and Latin American theater during a three-week festival, with five performances presented simultaneously every Thursday, Friday, Saturday and Sunday in the five performance spaces that make up The Los Angeles Theatre Center. An additional 12 Los Angeles-based artists will be represented in Patas Arriba (“Upside Down”), a late night “micro-theater festival” set to take place in the “belly” of The LATC, where audiences will cycle through the non-traditional performance spaces of the building — Vault, Sub Lobby, Green Room and Tunnel — to experience four 15-minute works during each hour-long performance. A free Cinema & Music mini-festival on Tuesday and Wednesday nights will pair musical performances with screenings of soon-to be-released films, including Chavela, a new documentary about Costa Rican-Mexican singer Chavela Vargas and NALIP, an evening of short films followed by a concert by Spanish singer Patricia Kraus in her American debut. Produced by the Latino Theater Company in association with Latinx Theatre Commons.

 

WHO:
24th Street Theatre, Los AngelesCA
♦ La Razón Blindada
 (“Armored Reason”)written and directed by Arístides Vargas — In this sublimely witty and provocative play, two political prisoners are allowed to interact with one another for one hour each week. Confined to their chairs and never allowed to stand, they entertain each other with stories of Don Quixote and Sancho Panza as we witness the power of theater to transport them. Triply inspired by the classic novel “El Quixote” by Cervantes, “The Truth About Sancho Panza” by Franz Kafka, and testimonies from Chicho Vargas and other political prisoners held in Rawson Prison during Argentina’s “Dirty War” of the 1970s. A Los Angeles Times “Critic’s Choice” and winner of the 2011 LA Weekly “Production of the Year” award, this 24th Street production has toured around the U.S. as well as to Mexico City, Culiacán, Baja Mexico, San Salvador, Colombia and Ecuador. (Performed in Spanish with English supertitles)

 

La Razón Blindada
(“The Armored Reason”)
24th Street Theatre
Los Angeles, CA
Photo by Juan Tallo

 

 

Argos TeatroHavana, Cuba
♦ 10 Million / 10 Millones, written and directed by Carlos Celdrán — Cuba, 1970s and ‘80s. A young man comes of age during the tumultuous aftermath of Fidel Castro’s revolution. Torn between the ideals of his communist mother and his alienated middle-class father, he seeks to find his own way in a world turned upside down by history. Winner of the Cuban National Theater Award 2016 and awarded the Cuban Critic Award 2017. (Performed in Spanish with English supertitles)

 

10 Million Argos Teatro Havana, Cuba Photo by Manolo Garriga

 

 

Cara Mía Theater CompanyDallas, TX
♦ Deferred Action by David Lozano and Lee Trulldirected by David Lozano — Javier Mejía arrived in the U.S. as an undocumented minor. Now, years later, he finds himself caught in the tangle of existing immigration laws, new presidential policies and the harsh reality of living in the shadows. Deferred Action follows the lives, loopholes and dangers of those who dare to dream. (Performed in English and Spanish, with Spanish and English supertitles)

 

Deferred Action
Cara Mia Theater Company
Dallas, TX
Photo by Karen Almond

 

 

Compañía Nacional de las ArtesBogotáColombia
♦ Las mariposas saltan al vacío (“The Butterflies jump to the void”) by José Miliándirected by Jorge Cao —  In 1993, José Milián shook the Cuban theatrical scene when he premiered this work about living with AIDS. Shadowed by the presence of death, a motley group of institutionalized individuals debate about life, illness, tolerance, love, treason, loneliness, reality, dream and fantasy before presenting an improvised play for the other patients. (Performed in Spanish with English supertitles)

 

 

Las mariposas saltan al vacío saltan al vacío
(“The Butterflies jump to the void”)
Compañía Nacional de las Artes
Bogotá, Colombia
Photo courtesy of the artists

 
Culture Clash, Los AngelesCA
♦ Culture Clash: An American Odysseywritten by Richard MontoyaRic Salinas and Herbert Siguenza, directed byRobert Beltran — The Chicano kings of comedy perform 33 years worth of monologues and scenes from award-winning productions such as Radio Mambo, Nuyorican Stories, and Bordertown as well as an exclusive piece created just for Encuentro de las Américas. Along the way, we meet the unheard voices of the marginalized and give space to their truth. (Performed in English, Spanish and Caló with Spanish and English supertitles)

 

Ébano TeatroLimaPeru
 Ropa Intima (“Intimate Apparel”) by Lynn Nottage, directed by Haysen Percovich — Set in 1905 New York, Esther, a black seamstress, painstakingly crafts delicate undergarments for clientele ranging from young brides to wealthy matrons to ladies of the night. As Esther yearns to escape her life of drudgery and isolation, letters from a distant admirer in Panama offer the promise of love and a future. (Performed in Spanish with English supertitles)

Ropa Intima
Ébano Teatro
Lima, Peru
Photo courtesy of the artists

 

 

Ensemble Studio Theatre/LA, Los AngelesCA
♦ WET: A DACAmented Journey
written and performed by Alex Alpharaoh, directed by Kevin Comartin — Based on the playwright’s own experiences, Alex Alpharaoh’s acclaimed solo show tells the story of Anner Cividanis, an American in every sense of the word except one: on paper. Chronicling Anner’s life as an undocumented worker, WET: A DACAmented Journey captures the desperation of being a DREAMer in the U.S. (Performed in English with Spanish supertitles)

 

WET: A DACAmented Journey
Ensemble Studio Theatre/LA
Los Angeles, CA
Photo by Youthana Yuos

 

 

Guadalupe Cultural Arts Center, San AntonioTX
♦ Conjunto Blueswritten by Nicolás R. Valdez, directed by Ruben C. Gonzalez — Nicolas Valdez time travels seamlessly through button accordion riff and character as he shares a live-music history lesson of conjunto music as a form of cultural resistance and liberation from the campos to the cantinas. (Performed in English and Spanish with Spanish and English supertitles)

 

Conjunto Blues
Guadalupe Cultural Arts Center
San Antonio, TX
Photo courtesy of the artists

 

 

Latino Theater Company, Los AngelesCA
♦ Dementia by Evelina Fernández, directed by José Luis Valenzuela — Skeletons aren’t the only things that come out of the closet in this award-winning Latino swansong about the glamorous death of Moises (his friends call him Moe). Mortality never seemed so fabulous as he invites his closest friends over for a “going away for good party.” Demented fantasies abound as his alter ego, a torch singing drag queen, tempts him into his famous final scene. (Performed in English and Spanish with Spanish and English supertitles)

Dementia The Latino Theater Company Los Angeles, CA Photo by Christopher Ash

 

 

 

Marga GomezSan FranciscoCA
♦ Latin Standardswritten and performed by Marga Gomez, directed by David Schweizer — The adult child of a Cuban entertainer attempts to honor her macho immigrant dad by launching a hipster comedy night at the legendary San Francisco Latino drag club, Esta Noch. An energetic, funny and poignant story of perseverance and creative addiction passed down from immigrant father to lesbian daughter. (Performed in English with Spanish supertitles)

 

Nightswimming, Toronto, ONCanada
 Broken Tailbone, written and performed by Carmen Aguirre, directed by Brian Quirt — Carmen Aguirre leads a public Latin American dance lesson, woven together with hilarious and moving stories of her own experiences in the hidden world of dancehalls in Canada. DJ Don Pedro Chamale creates an irresistible musical environment to get even the most reluctant dancer up on their feet! Daring, sexy and above all, fun, each dance lesson flows into Carmen’s stories of intimacy, politics, culture and the forgotten origins of each dance. (Performed in English and Spanish with Spanish and English supertitles)

Broken Tailbone
Nightswimming
Toronto, ON, Canada
Photo courtesy of the artist

 

 

Organización Secreta TeatroMexico CityMexico
♦ Quemar las naves. El viaje de Emma (“Burning the ships: Emma’s Journey”) written and directed by Rocío Carrillo— A powerful and visually stunning feminist adaptation of Homer’s The Odyssey. Following the death of her husband, Emma embarks on a maritime journey in search of the meaning life. She and her ragtag crew of sailors, pirates, past loves and Greek gods face trials and challenges of mythical proportions. (Performed without words)

 

Quemar las naves. El viaje de Emma
(“Burning the ships: Emma’s Journey”)
Organización Secreta Teatro
Mexico City, Mexico
Photo by Luis Quiroz

 

 

 

Pregones TheaterBronxNY
♦ El Apagón /The Blackout, adapted for the stage by Alvan Colón-LespierJorge B. Merced and Rosalba Rolón, directed by Rosalba Rolón — While riding the New York subway uptown from Brooklyn to El Barrio, eager to witness the birth of his firstborn, a Puerto Rican factory worker and his best friend, Trompoloco are caught in the Great Northeastern Blackout of 1965. Acclaimed as “the quintessential ‘Boricua’ play,” the production is an adaptation of the short story “The Night We Became People Again” (“La noche en la que volvimos a ser gente”) by José Luis González, performed in Spanish and English, and set to the beat of popular Latin songs from the 1950s and ‘60s. (Performed in English and Spanish with Spanish and English supertitles)

 

El Apagón /The Blackout
Pregones Theatre
Bronx, NY
Photo by Marisol Díaz

 

 

Vueltas BravasBogotáColombia
♦ Miss Julia, a bilingual adaptation by J. Ed Araiza based on the play Miss Julie by August Strindberg, directed byLorenzo Montanini — Set in Colombia on Midsummer Eve, Miss Julia and her servant Juan have an encounter that will change their lives forever. As Juan tries to rise from the depths of his servile life, Miss Julia wants to escape the bonds that tie her to a meaningless upper-class existence. The result is a power play of love, lust and a battle of the classes which becomes violent and seemingly out of control. (Performed in Spanish and English with English and Spanish supertitles)

 

Miss Julia
Vueltas Bravas
Bogotá, Colombia
Photo by Federico Rios

 

 

Late night micro-theater festival 
♦ Patas Arriba
 (“Upside Down”): An L.A. Anthology, a late night “micro-theater festival” set to take place in the “belly” of The LATC, where audiences will cycle through the Vault, Sub Lobby, Green Room and Tunnel to experience four 15-minute works during each hour-long performance.

 

WEEK 1:
♦ Morir en Vida, choreographed and danced by Ela Aldrete — Human beings who risk their more valuable possession (their bodies, their lives) in search of a utopian life. (The Vault)
♦ Blood Match by Oliver Mayer — Amidst the heroin fields of Sinaloa, Mexico, three young people form a lover´s triangle in a world where life is cheap and poppies can make or break a man. (Sub-Lobby)
♦ Las García, written and performed by Gabriela Ortega — Two Dominican women of the same bloodline fight to find their true selves. (Green Room)
♦ Ka Ata Quilla by Milagros Lizarraga — The pre-Incan moon divinity of the Titicaca Lake, where the Incan culture began. (The Tunnel)

 

WEEK 2:
♦ Quetzal y Colibrí, written and performed by Alex Alpharaoh and Elisa Noemi (The Vault)
♦ Miss Honduras by Rickerby Hinds — the story of Maria Estela Gallardo. (Sub-Lobby)
♦ Aprender A Caer by Mick García and Cris-lan García — 10 seconds can feel like 10 minutes in which you see a whole life pass by. (Green Room)
♦ Samudrachoreographed by Beatriz Eugenia Vásquez — Inspired by the water issues the planet currently faces and the denial of global warming by some of our world leaders. (The Tunnel)

 

WEEK 3:
♦ Browner, Queerer, Louder, Prouder, written and performed by Monica Palacios — Speaks to our present divisive political and social climate. (The Vault)
♦ Manos Arriba by Mercedes Floresislas — When the guests fail to show up, Ramon needs help from the audience to show the Deaf Latinx pride. (Sub-Lobby)
♦ Queen of Califas by Israel Lopez and the Southland Company — Three drivers make their way through the California Highway system on a lonely Sunday evening. (Green Room)
♦ Jardín by Chicanas, Cholas Chisme — Dia De Los Muertos in Los Angeles: the night when our ancestors come back to visit. (The Tunnel)

 

Cinema & Music mini-festival (free)
♦ Chavela, directed by Catherine Gund and Daresha Kyi — An evocative, thought-provoking documentary about the iconoclastic, game-changing artist Chavela Vargas. Followed by a musical performance,
♦ NALIP — an evening of short films followed by a Q&A and concert by Spanish singer Patricia Kraus in her American debut.

 

WHEN: 
Nov. 2 – Nov. 19:

Thursday Nov. 2
• 6 p.m. – 7:30 p.m.: Red Carpet and Opening Ceremonies
• 8 p.m.: Culture Clash: An American Odyssey (Theatre 1)
• 8 p.m.: Las mariposas saltan al vacío (Theatre 2)
• 8 p.m.: WET: A DACAmented Journey (Theatre 4)
• 8:30 p.m.: Dementia (Theatre 3)
• 8:30 p.m.: Broken Tailbone (Avalos Theatre)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)

 

Friday, Nov. 3
• 8 p.m.: Deferred Action (1)
• 8 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: Miss Julia (4)
• 8:30 p.m.: Dementia (3)
• 8:30 p.m.: Broken Tailbone (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)

 

Saturday, Nov. 4 (matinee)
• 2 p.m.: Deferred Action (1)
• 2 p.m.: Latin Standards (2)
• 2 p.m.: Quemar las naves. El viaje de Emma (3)
• 2:30 p.m.: Ropa Intima (4)
• 2:30 p.m.: Conjunto Blues (Avalos)

 

Saturday, Nov. 4 (evening)
• 8 p.m.: El Apagón / The Blackout (1)
• 8 p.m.: Latin Standards (2)
• 8 p.m.: Quemar las naves. El viaje de Emma (3)
• 8:30 p.m.: Ropa Intima (4)
• 8:30 p.m.: Conjunto Blues (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)

 

Sunday, Nov. 5 (matinee)
• 2 p.m.: El Apagón / The Blackout (1)
• 2 p.m.: 10 Million / 10 Millones (2)
• 2 p.m.: Quemar las naves. El viaje de Emma (3)
• 2:30 p.m.: La Razón Blindada (4)
• 2:30 p.m.: Conjunto Blues (Avalos)

 

Sunday, Nov. 5 (evening)
• 7 p.m.: Culture Clash: An American Odyssey (1)
• 7 p.m.: 10 Million / 10 Millones (2)
• 7 p.m.: La Razón Blindada (4)
• 7:30 p.m.: Dementia (3)
• 7:30 p.m.: Broken Tailbone (Avalos)

 

Tuesday, Nov. 7
• 7:30 p.m.: Cinema & Music: free screening of the soon-to-be-released documentary Chavela followed by a musical concert

Wednesday, Nov. 8
• 5 p.m.: La Razón Blindada (4)
• 7:30 p.m.: Cinema & Music: free screening of NALIP (short films) followed by a Q&A and concert by Spanish singerPatricia Kraus
• 10 p.m.: Miss Julia (4)

 

Thursday Nov. 9 
• 12 p.m.: Ropa Intima (4)
• 8 p.m.: El Apagón / The Blackout (1)
• 8 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: Quemar las naves. El viaje de Emma (3)
• 8:30 p.m.: Ropa Intima (4)
• 8:30 p.m.: Conjunto Blues (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)

 

Friday, Nov. 10
• 2:30 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: El Apagón / The Blackout (1)
• 8 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: Ropa Intima (4)
• 8:30 p.m.: Dementia (3)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)
• 10 p.m.: Conjunto Blues (Avalos)

 

Saturday, Nov. 11 (matinee)
• 10:30 a.m.: Miss Julia (4)
• 2 p.m.: Culture Clash: An American Odyssey (1)
• 2 p.m.: Latin Standards (2)
• 2 p.m.: Miss Julia (4)
• 2:30 p.m.: Dementia (3)
• 2:30 p.m.: Conjunto Blues (Avalos)

 

Saturday, Nov. 11 (evening)
• 8 p.m.: Culture ClashAn American Odyssey (1)
• 8 p.m.: Miss Julia (4)
• 8 p.m.: Dementia (3)
• 8:30 p.m.: Broken Tailbone (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba (Vault, Sub Lobby, Green Room and Tunnel)
• 10 p.m.: Latin Standards (2)

 
Sunday, Nov. 12 (matinee)
• 2 p.m.: Deferred Action (1)
• 2 p.m.: 10 Million / 10 Millones (2)
• 2 p.m.: Quemar las naves. El viaje de Emma (3)
• 2:30 p.m.: WET: A DACAmented Journey (4)
• 2:30 p.m.: Broken Tailbone (Avalos)

 

Sunday, Nov. 12 (evening)
• 5:30 p.m.: Deferred Action (1)
• 5:30 p.m.: 10 Million / 10 Millones (2)
• 5:30 p.m.: Quemar las naves. El viaje de Emma (3)
• 6 p.m.: WET: A DACAmented Journey (4)
• 6 p.m.: Broken Tailbone (Avalos)

 

Thursday Nov. 16
• 8 p.m.: Culture Clash: An American Odyssey (1)
• 8 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: Emma (3)
• 8:30 p.m.: WET: A DACAmented Journey (4)
• 8:30 p.m.: Broken Tailbone (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba  (Vault, Sub Lobby, Green Room and Tunnel)

 

Friday, Nov. 17
• 8 p.m.: Culture ClashAn American Odyssey (1)
• 8 p.m.: Las mariposas saltan al vacío (2)
• 8 p.m.: La Razón Blindada (4)
• 8:30 p.m.: Dementia (3)
• 8:30 p.m.: Broken Tailbone (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba  (Vault, Sub Lobby, Green Room and Tunnel)

 

Saturday, Nov. 18 (matinee)
• 2 p.m.: Deferred Action (1)
• 2 p.m.: 10 Million / 10 Millones (2)
• 2 p.m.: Ropa Intima (4)
• 2:30 p.m.: Quemar las naves. El viaje de Emma (3)
• 2:30 p.m.: Conjunto Blues (Avalos)

 

Saturday, Nov. 18 (evening)
• 8 p.m.: Deferred Action (1)
• 8 p.m.: 10 Million / 10 Millones (2)
• 8 p.m.: Ropa Intima (4)
• 8:30 p.m.: Quemar las naves. El viaje de Emma (3)
• 8:30 p.m.: Conjunto Blues (Avalos)
• 9:30 p.m. and 9:50 p.m.: Patas Arriba  (Vault, Sub Lobby, Green Room and Tunnel)

 

Sunday, Nov. 19 (matinee)
• 2 p.m.: El Apagón The Blackout (1)
• 2 p.m.: Latin Standards (2)
• 2 p.m.: Dementia (3)
• 2:30 p.m.: Miss Julia (4)
• 2:30 p.m.: Conjunto Blues (Avalos)

 

Sunday, Nov. 19 (evening)
• 7 p.m.: El Apagón / The Blackout (1)
• 7 p.m.: Latin Standards (2)
• 7 p.m.: Dementia (3)
• 7:30 p.m.: Miss Julia (4)
• 7:30 p.m.: Broken Tailbone (Avalos)

 

WHERE:
The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles, CA 90013

 

HOW:
(866) 811-4111 or www.thelatc.org

TICKET PRICES:
• Single Show: $44
• 2 shows in one day: $80
• 6 shows (mix ‘n match): $180
• 13 shows: $310
• Patas Arriba micro-theater festival: $20 (includes four 15-minute plays)
• Cinema & Music mini-festival: Free
Discounts available for students, seniors and veterans.

 

PARKING:
• Metered parking available on streets surrounding the theater.
• Parking lots range in price from $6 – $12.
• Take the Metro: nearest stop is Pershing Square (two blocks west of The LATC).

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Entertainment News

Company of Angels, Los Angeles’ Oldest Professional Theater, Debuts This Land by Mexican-American Playwright Evangeline Ordaz

A deep, painful, joyful story about one extended California family with roots in different parts of the world, who make their home on the same plot of Southern California land over 150 years. Los Angeles native and Mexican-American playwright, Evangeline Ordaz, crafts a rich and complex web of diverse characters from Los Angeles’ Latino, African-American, Anglo, and Native American communities who co-exist as if time were a wheel that constantly doubles back on itself. Through triumph and despair these families discover how deeply they are rooted in the dreams of their ancestors and the land on which they stand. Directed by Company of Angels artistic director, Armando MolinaThis Land debuts on October 20, at Company of Angels, Los Angeles’ oldest professional theater.

 

 
A host of old curses and blessings, traditions and recipes, loves and betrayals, conspire to threaten successive displacements. As the story unfolds, each successive generation grapples with their claim to the land on which they live. This Land takes place through the years; 1843, 1848, 1949, 1965, 1992, on what is now a residential street in Watts. “What’s so exciting about this play is that it’s not your typical history play. The stories are intimate and small yet they seem to whisper a big question so pertinent to Los Angeles today – “Is gentrification just another form of manifest destiny?” comments Artistic Director, Armando Molina.

 

 
Richard Azurdia (My Mañana Comes at Fountain Theatre, Backyard at Echo Theater Company, Bill & Joan at Sacred Fools, one of 54 “fascinating Angelenos” profiled by LA Weekly’s 2015 People issue) stars as Tomas and Fidel Avila. Niketa Calame (voice of young Nala in Disney’s Animated Feature The Lion KingThe Color Purple at Celebration Theater, Ain’t Misbehavin at ICT) portrays Leslie Parker/Mel Miller/Pepe, Ian Alda (Lieutenant of Inishmore at Mark Taper Forum, Broadway Bound at La Mirada and Odyssey Theater) takes on the role of Patrick Dalton/James and Dalton Hill, LeShay Tomlinson Boyce (Hellcab and Seven Red Neck Cheerleaders at Elephant Theater Company, Ma Rainey’s Black Bottom at Mark Taper Forum, Nominated for a NAACP Theater Award for Insurrection Holding History) plays Leola Parker/Sharon Curtis. Jeff Torres (Theatre: Henry IVLove’s Labour’s Lost, TV: Criminal MindsTelenovela) plays Enrique Avila/Ricardo Reyes, Cheryl Umana (Latino Theatre Company, Artists at Play at LATC, Kaiser Educational Theatre) plays Toya/Della, and Johanna McKay (performed in several productions at Circle X, and The Rubicon Theatre) plays Maeve Hilman. Scenic and Lighting Design by Justine Huen, Costume design by Manee Leija, Sound Design by Becca Kessin, and Video Design by Benjamin DurhamHeather McClane is the Assistant Stage Manager/Props and the Production Stage Manager is Daniel Munoz.

 

 
Ordaz is a UC Berkeley-trained attorney who practiced public interest law before becoming a full-time playwright and television writer. As an attorney she has practiced immigration, fair housing litigation, criminal appeals, and human rights law both in the United States and Mexico. Ordaz’s play This Land was first commissioned by the Center Theater Group which produced a public reading in February 2015. Her play Visitors’ Guide to Arivaca was featured at the Denver Center for the Performing Arts’ New Play Summit and was the subject of a December 2006 cover story in American Theater Magazine. Borderlands commissioned Visitor’s Guide, which also saw production by Teatro Vision in San Jose and Company of Angels Theater in Los Angeles. Company of Angels also produced Ordaz’s play Bordering on Love. Evangeline is currently a writer on the Starz drama Vida, the Netflix dramaSeven Seconds, and the BET drama In Contempt. She recently completed a film about the underground music scene in East L.A. for Odd Lot Entertainment.

 

 
Molina is a director and writer with a background in theater development. His recent directing credits include The Long Road Todayby Jose Cruz Gonzalez at South Coast Repertory, Distracted by Lisa Loomer at TheaterWorks, in Palo Alto, California, Visitors Guide to Arivaca by Evangeline Ordaz at Teatro Vision, San Jose, California and Company of Angels. Hippie Mexicana aka Digging Rios by Evangeline Ordaz at Borderlands Theater; Sissy by Ricardo Bracho at Company of Angels in Los Angeles, Anna In The Tropics by Nilo Cruz at PCPA Theaterfest in Santa Maria California; Living Out By Lisa Loomer at TheatreWorks and at Mixed Blood Theatre in Minneapolis, The Waiting Room by Lisa Loomer at Company of Angels in Los Angeles, Conjunto by Oliver Mayer at Borderlands Theater Company in Tucson, Arizona, Rocio by Oliver Mayer at King King in Hollywood. Armando received national recognition from the NEA and the Theater Communications Group as a recipient of their Career Development Program for Directors. Before leaving to freelance as a director, Armando was a member of the Cornerstone Theater ensemble. Armando co-founded Latins Anonymous, the critically acclaimed Latino Comedy Group, whose plays were published by Arte Publico Press and continue to be performed nationally.

 

 
Founded in 1959 by a group of television and film actors that included Richard Chamberlain, Leonard Nimoy and Vic Morrow, Company of Angels is the oldest professional theater in Los Angeles.  As such it has a revised mission to provide a space for the voices and audiences neglected by the major regional theaters.

 

 
Company of Angels now produces original work by professional theater artists who reflect the communities that make up the City of Los Angeles and engages residents from low-income communities including Boyle Heights and Skid Row to develop original theater pieces for performance. In this way CoA re-envisions theater to reflect and respond to the richness, diversity, and complexity that is Los Angeles, entertaining new audiences and serving the City of Angels.

 

 
Performances of This Land take place FridaysSaturdaysMondays at 8 p.m. and Sundays at 7 p.m.Oct. 20 through Nov. 13. Tickets are $25; seniors $15; and students $12; Monday performances are Pay-What-You-Can. Company of Angels is located at 1350 San Pablo Street, Los Angeles, 90033. For reservations and information, (323) 475-8814 or go to www.companyofangels.org

 

 

 

Details for Calendar Listings
‘This Land’

 

 

WHAT:

A deep, painful, joyful story about one extended California family with roots in different parts of the world, who make their home on the same plot of Southern California land over 150 years. Los Angeles native and Mexican-American playwright, Evangeline Ordaz, crafts a rich and complex web of diverse characters from Los Angeles’ Latino, African-American, Anglo, and Native American communities who co-exist as if time were a wheel that constantly doubles back on itself. Through triumph and despair these families discover how deeply they are rooted in the dreams of their ancestors and the land on which they stand. Directed by Company of Angels artistic director, Armando MolinaThis Land debuts at Company of Angels, Los Angeles’ oldest professional theater.

 

 


WHO:

• Written by Evangeline Ordaz
• Directed by Armando Molina
• Starring Ian AldaRichard AzurdiaNiketa CalameJohanna McKayLeshay Tomlinson, Jeff Torres, Cheryl Umana

  • Scenic and Lighting Design by Justine Huen
    • Costume Design by Manee Leija
    • Sound Design by Becca Kessin
    • Video Design by Benjamin Durham
    • Assistant Stage Manager/Props by Heather McClane
    • Production Stage Manager by Danny Munoz
    • Presented by Company of Angels
  • WHEN:
    Performances October 20 – November 13
    • Fridays at 8 p.m.: Oct. 20, 27; Nov. 3, 10
    • Saturdays at 8 p.m.: Oct. 21, 28; Nov. 4, 11
    • Sundays at7 p.m.:Oct. 22, 29; Nov. 5, 12
    • Mondays at 8 p.m.: Oct. 23, 30; Nov. 6, 13

  • WHERE:
    Company of Angels
    1350 San Pablo Street
    Los Angeles, CA 90033

  • HOW:
    • Go to www.companyofangels.org
    • Email us at  info@companyofangels.org
    • Visit us on Facebook: https://www.facebook.com/companyofangels
    • Follow us on Twitter: @CoAngels

  • TICKET PRICE:
    $25; senior $15; students $12; Monday performances are Pay-What-You-Can

  • PARKING:
    Free parking in lot and ample street parking.

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For the Love of Felicia

For the Love of Felicia (Part 7)

“Now tell me how you figure you can ignore my calls and stay out all night when you have my son to take care of!” Terrence barked at Felicia.

“You know it isn’t even like that. How often do I go out? And you know TJ was well-cared for. I would never do anything to put him in harm’s way! I can’t believe that you think I would!”

“I know you aren’t raising your voice at me! You better respect me when you talk to me!” Terrence warned as he closed the distance between him and Felicia.

Backing up, attempting to regain some space, Felicia responded, “I can’t with you anymore, Terrence! I swear I put up with so much junk from you. And for what? You are in MY house telling me to respect you.” Laughing, Felicia continued, “You don’t even know what that word means. You come and go as you please. You don’t help me with anything except giving me headaches and stressing me the freak out. Hell, you can’t possibly love me. You have a woman at home, with more kids that you do nothing for. You…”

“I take care of mine!” Terrence interjected. “You sound like you have been letting Jessica get all up in your head with the crap you speaking.”

“No, Terrence, this is all me! I can’t take it anymore! I can’t take you! I can’t take taking care of you and all of your kids! I can’t take always making myself available to you! I can’t take not living my life because I stupidly think that you will one day change and do right by me! All you take care of is yourself. Maybe it’s time that I do the same.”

Surprising Felicia, Terrence suddenly lunged forward and wrapped his hands around her neck. Applying enough pressure to make her take notice, Terrence said, “Don’t start something that you can’t finish. You’re being real reckless with your words right now. What are you going to do without me? Be careful what you sayin’.”

Gaining some inner strength, Felicia stood as tall as she could and said, “This is the last time that you put your hands on me! Let go of my neck and get out of my house!”

Terrence released his grip, realizing that Felicia was serious and coming from a place he didn’t recognize. “My bad, Felicia, you know that I love you. You gotta stop making me act like this.”

“Nah, I don’t have to stop making you do anything. This is the last time that I’m going to tell you to leave. As far as TJ is concerned, I will let the courts handle that.”

Stepping back, Terrence lost the edge when he spoke, “I will leave because I can see that I have upset you. We will talk when you calm down. And you aren’t taking my son from me, so don’t do anything stupid.”

As Felicia stood and said nothing, Terrence continued to back towards the door. Once at the door, he turned and let himself out without another word. Only time would tell if he really got what Felicia had said to him. For now, at least he was gone and Felicia was still standing.

 

I can’t take taking care of you and all of your kids! I can’t take always making myself available… Click To Tweet

Get into ‘For the Love of Felicia’ (Parts 1-6) HERE.

 

Written by Dani Powell, RM Entertainment Original Story Contributor

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