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“Ten Films/Ten Countries: A Cinematic Journey”.

In The Beginning…

I was told once by an academy award winning director, that I had been studying with, that the director is the captain of the ship.

I like that analogy. It brings on images of a rough and ready crew of men and women (my ship would have both) with permanent scowls, tattoos, missing appendages, and five o’clock shadows. It was an adventure of great risk and peril with no promise of success and riches. But other thoughts also invaded my brain. The captain is only as good as the crew that sails the ship. What if the crew is inexperienced or can’t handle the journey? Where is the ship going? Who is the owner of the ship and is the captain still in charge when they  reach their destination? In truth, I can go on and on with this example. But for the sake of brevity, I will attempt to explain what directing means to me and what size boat I have and will be sailing (from a five foot row boat with oars to a Full-Rigged Tall Ship).

When I involve myself with any artistic endeavor, I find myself diving in head first with an obsession to immerse myself in that world. Not unlike, falling in love. There are many definitions for directors that have been written by much better directors than me. For me, a director’s job is to facilitate and communicate the visual aspects of the story about to be told. A director should have a clear and unwavering reason to shoot the film and be able to welcome collaboration from those that are part of the creative team. The director should have answers to questions asked of him or her. Of course, some directors go into a project not necessarily ready or knowing the story’s visual journey. Some directors either don’t want to collaborate because they think they know everything about the story and yet, some directors are easily swayed by everyones opinions of the visual story telling aspect. Some directors don’t have answers because they haven’t asked themselves the questions first.

I am guilty of all of these at some time in my career. So, where am I now?

Currently, I am involved in a project called, “Ten Films/Ten Countries: A Cinematic Journey”. A title that should cause fear and dread to any filmmaker who has ever attempted to make one film. Before I continue, I think a little perspective is needed. I have been writing and directing films all of my life. When I was a kid, I directed many action films. I didn’t write the story down or use a camera, but I volunteered my friends as actors and I directed them. Later as a young adult, I started a lot of scripts and films (this time I used a camera), but I never finished them. Fast forward to 2010 where me and two amazing filmmakers decided to work together and we came up with, “#: A Year of Filmmaking.” After that, I directed my first feature film on location in New Mexico. It was a period piece set in the 1860s and involved, wagons, horses, donkeys, wranglers, stunt men, armorers, and a full crew with my leads actors flown in from LA. The following year, I did the festival circuit in Europe winning awards for the film. Then I hit a snag. I attempted to shoot and release a web series, but shooting delays, scheduling conflicts, and lack of funds scuttled that project. There were a couple of more scripts and some more funding difficulties.

Finally it occurred to me that the only way I will have complete control over a project is to write, plan it, and shoot it whether the money was there or not. Thus was born, “Ten Films/Ten Countries: A Cinematic Journey”. This project involved me to shoot a feature film broken into ten episodes and shot in ten different countries. Did I have the money for this project? No. Did I have a script written and poured over for years and years? No. It would be an original new story based on a genre that I am not that familiar with spanning 4 continents. I figured if I give myself a deadline, all things would fall in place.

Join me on my journey through, “Ten Films/Ten Countries: A Cinematic Journey” and see where that leads us. I will chronicle this endeavor with all the things that go into such a project. The good, the bad, and the ugly will be revealed. Making this project work, or any for that matter, will take an undeniable faith, strength of perseverance, and never taking no for an answer. It time to do something epic no matter what the outcome. It’s like it always has been said, “It’s not the destination, but the journey that matters. See you next time.

The Renegade Opens!

Iconic NoHo Theater Transformed into New Restaurant & Bar. Welcome The Renegade to the NoHo Arts District!

renegade reopens noho arts district

The Renegade – a two-story, 8,700 square-foot restaurant & bar – has announced its grand opening on Friday, February 21 after more than three years of construction. Located in the heart of the thriving NoHo Arts District, the sophisticated venue boasts two bars with a lengthy list of unique cocktails and craft beers, modern tavern cuisine, large TVs for viewing major sporting events, and an event space for live entertainment. Joining a revitalized neighborhood with an eclectic range of nightlife options, the space aims to offer a complete experience.

renegade reopens noho arts district
renegade reopens noho arts district

An additional area upstairs features the second full bar and a stage for various performances and events such as stand-up comedy, trivia, and live musical acts. A VIP room is available to rent for private parties.

The building itself comes with a rich history. Built in 1908, it was one of the very first structures in North Hollywood (at the time known as the city of Lankershim.)

The Renegade’s name is a tip of the cap to The American Renegade Theatre, which occupied the space in the 90s. “The founder of The American Renegade Theater was an influential figure in the area,” said owner Eddie Keshishyan. “I admire the history of NoHo, so I wanted to honor an important piece of it by keeping the name.”

The American Renegade was then bought and transformed in the the award-winning NoHo Arts Center, a vibrant performing arts center that contained multiple theaters and hosted hundreds of shows over a decade long span.

“I was living in the area years ago, and decided to start a business because I saw how much potential NoHo had. I opened District Pub – a successful sausage and beer restaurant,” said Eddie Keshishyan. “After a few years, I wanted to open a bigger space, so when I saw the NoHo Arts Center for sale, I decided to buy the building and start working on The Renegade. I purchased the building in 2016.”

The Renegade is located at 11136 Magnolia Boulevard, North Hollywood, CA 91601

**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

Step Afrika! Brings “Drumfolk” to The Soraya

***

They took the drums away, but they could not stop the beat!

Step Afrika! returns to The Soraya with the West Coast premiere of “ chronicling and celebrating the African-American experience in America on Sunday, February 23 at 3:00pm

Step Afrika!’s high energy, full-bodied percussive dance returns to The Soraya for the West Coast premiere of “Drumfolk, “the company’s 25th anniversary production now on tour. Inspired by the Stono Rebellion of 1739, “Drumfolk “explores this little-known event in history that would forever transform African American life and culture. When Africans lost the right to use their drums, the beats found their way into the body of the people, the “Drumfolk.” New percussive forms took root leading to the development of some of our country’s most distinct performance traditions like ring shout, tap, and stepping.

Step Afrika! returns to The Soraya with the West Coast premiere of “Drumfolk” via www.nohoartsdisttrict.com
“Drumfolk” featuring Holly Tomlin. Courtesy of Step Afrika!

About “Drumfolk”

“’Drumfolk’ is the second work by Step Afrika! that celebrates and chronicles the African-American experience in America,” said C. Brian Williams, Founder and Executive Director of Step Afrika!. “This new production is grounded in extensive research and over 25 years of Step Afrika!’s percussive practice and investigation into the tradition of stepping. We’re thrilled to be sharing it with our audiences.”

“Drumfolk” takes audiences on a journey from the 17th century, when the African drum found itself in the then-colony of South Carolina, to present-day America, where the instrument has shaped new art forms like hip hop and African-American social dance.

Highlights include: Step Afrika!’s first presentation of dance and drumming traditions from Angola; an exploration of the ring shout, which is a 200+ year-old African American dance rarely seen on our country’s stages; a contemporary routine of stepping and vocal percussion to demonstrate the drum’s influence on other mediums; and an appearance by special guest Taylor McFerrin in select numbers.

A seminal addition to Step Afrika!’s dance canon, “Drumfolk” is inspired by the Stono Rebellion of 1739 – an uprising of 20 enslaved Africans from Angola, who used their drums to start a revolt in South Carolina. Although the rebellion was suppressed, this little-known event in American history forever changed African-American life and culture.

When Africans lost the right to use their drums through The Negro Act of 1740, they began to use their bodies as percussive instruments in response. This act of survival and activism earned them the name of “Drumfolk,” as coined by famed folklorist Bessie Jones, and their percussive movement gave rise to some of the country’s most distinctive art forms, including the ring shout, tap, hambone and stepping.

Step Afrika!’s “Drumfolk” explores this pivotal moment in history and honors the succeeding cultural evolution. The work is a celebration of human will and perseverance.

The presentation of Step Afrika! was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

Step Afrika! returns to The Soraya with the West Coast premiere of “Drumfolk” via www.nohoartsdisttrict.com
“Drumfolk“ Courtesy of Step Afrika!

About Step Afrika!

Founded in 1994 by C. Brian Williams, Step Afrika! is the world’s first professional company dedicated to the tradition of stepping—a polyrhythmic, percussive dance form that uses the body as an instrument. Step Afrika! promotes stepping as a contemporary dance genre through critically- acclaimed performances and arts education programs. Creatively engaging audiences in this nascent art form, the Company creates new full-length productions that expand on stepping’s unique American history.

With 14 full-time dancers and administrative team of 6, Step Afrika! is one of the top 10 U.S. African-American dance companies. The Company reaches thousands each year through a 50-city tour of American colleges and theaters and performs globally as an official U.S. Cultural Ambassador. New work, such as “The Migration: Reflections on Jacob Lawrence” and “Drumfolk,” tour to major U.S. cities. Step Afrika! is featured at the Smithsonian’s National Museum of African American History & Culture with the world’s first interactive stepping exhibit.

Step Afrika! returns to The Soraya with the West Coast premiere of “Drumfolk” via www.nohoartsdisttrict.com
Courtesy of Step Afrika!

About Taylor McFerrin

With “Love’s Last Chance,” his brilliant new studio album and first solo release in five years, Taylor McFerrin has emerged as the “complete artist” he’s always dreamed of becoming, writing and singing his own lyrics and vocals on top of his dazzling instrumental and production work for the very first time. Recorded in his recently adopted hometown of Los Angeles, the collection finds McFerrin working with more freedom and spontaneity than ever before, tapping into the moment with captivating performances that blur the lines between old-school R&B, classic funk, experimental electronic music, and progressive jazz. McFerrin’s vocals convey both deep intimacy and unsparing self-reflection, and their very presence on the album signals the start of a brand new chapter in an already-impressive career.

When McFerrin released “Early Riser,” his 2014 debut for Flying Lotus’ Brainfeeder label, he largely focused on instrumentals, relegating the occasional vocal part to special guests (including his father, the 10-time Grammy Award-winner Bobby McFerrin). The collection – which also featured appearances by Hiatus Kaiyote frontwoman Nai Palm, bass/production wizard Thundercat, and R&B titan Robert Glasper among others – earned praise on both sides of the pond, with “Pitchfork” hailing it as “an album built for slow weekend mornings spent in bed with a loved one” and “The Line Of Best Fit” calling it “superb.” Tracks from the album racked up nearly 20 million streams on Spotify alone, and McFerrin landed festival dates everywhere from Glastonbury to Central Park Summerstage.

In addition, McFerrin also discovered a new approach to recording thanks to his work with the jazz fusion supergroup R+R=Now, which found him teaming up with Glasper, trumpeter Christian Scott aTunde Adjuah, bassist Derrick Hodge, drummer Justin Tyson, and synth/vocoder player Terrace Martin, who’s produced Kendrick Lamar and Talib Kweli, among others.

WHEN:

Sunday, February 23 at 3:00pm

WHERE:

Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)
18111 Nordhoff Street
Northridge, CA 91330

TICKETS:

Prices: Starting at $36. Prices subject to change.
By Phone: (818) 677-3000

About Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)

The 2019-20 Season marks the ninth year for the award-winning Younes and Soraya Nazarian Center for the Performing Arts which has quickly become one of the cultural jewels of the greater Los Angeles region. Under the leadership of Executive Director Thor Steingraber, The Soraya continues to expand its programming and outstanding multidisciplinary performances. The Soraya presents a wide variety of performances that not only include new and original work from the Los Angeles region but also work from around the world appealing to all of LA’s rich and diverse communities.

Located on the campus of California State University, Northridge, The Soraya’s season offers a vibrant performance program of nearly 50 classical and popular music, dance, theater, family, and international events that have served to establish The Soraya as the intellectual and cultural heart of the San Fernando Valley, and further establish itself as one of the top arts companies in Southern California. The award-winning, 1,700-seat theatre was designed by HGA Architects and Engineers and was recently cited by the Los Angeles Times as “a growing hub for live music, dance, drama and other cultural events.

**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

The Group Rep presents “In My Mind’s Eye”

Written by Doug Haverty.  Directed by Bruce Kimmel.

Opening the Group Rep’s 46th Season is “In My Mind’s Eye,” written by Doug Haverty with direction by Bruce Kimmel. 

Precocious Patty has been legally blind since birth and wants more freedom from her protective mother’s care.  Pleading with her mother to go to a “normal” middle school, her mother fears that placing a child with special needs in a regular school setting would be too difficult for Patty.  But Patty is emphatic – she doesn’t want to live in a handicapped world.

Young Patty (Peyton Kirkner) meets Calhoon (Lloyd Pedersen), an elderly man who has fallen on the sidewalk outside Patty’s home.  They become fast friends, with Calhoon developing a true affection for Patty.  Patty’s overly protective mother, Mrs. Lola Henderson (Maria Kress), is leery of this friendship, not just because of the vast age difference, but Patty seems to be more interested in spending time with Calhoon rather than her.  After all, Patty is her whole life and all she has.

Lola takes Patty to see Miss Hester (Clara Rodriguez) the Dean of Women of the junior high that Patty wants to attend hoping that Miss Hester will discourage Patty’s requests.  Spanning 13 years, the play switches back and forth between young Patty and adult Patty, and the conflicts Patty faces become apparent.  Adult Patty (Kait Haire) has become a geography teacher accomplishing her need to live a “normal” life.  She still lives with her mother who still does everything for Patty.  But when Patty meets fellow teacher Hugo (Bobby Slaski), and a romance develops, Lola becomes more and more anxious that the Mother/Daughter relationship is about to change.

Doug Haverty’s script is full of feeling and compassion, and with excellent direction by Bruce Kimmel, each of these actors reaches into their characters giving us the courage, spirit, fortitude, and finally resolution to the difficulties life throws us.  Winning several Drama-Logue awards, “In My Mind’s Eye” was originally developed in Lonny Chapman’s Playwrights Unit, and was the first full-length play presented in the theater of the same name.  My first thought was that this play is truly a gentle story, but I think the perfect word is tender.  It is a tender yet strong and wonderfully written story, and one I became totally engrossed in.  Great set design by Pawena Sriha, new to the Group Rep.

L R ClaraRodriguez MariaKress photoDougEngalla

The actors are wonderful, the script is wonderful, and the direction is wonderful.  I recommend “In My Mind’s Eye.”  I’m still thinking about it.  It is memorable.  I hope you enjoy this first offering of the 46th Season at the Group Rep at the Lonny Chapman Theatre.  I know I did.

Enjoy!!!!!!!!!

Tickets and Showtimes

Cast:  Kait Haire, Peyton Kirkner, Maria Kress, Lloyd Pedersen, Torrey Richardson, Clara Rodriguez and Bobby Slaski;

           Additional Voices:  Clayton Conroy, Allie Elliott, Danielle Houch, Heidi Mendez, Jocelyn Riddle, Rena Strober

Producer and Assistant Director:  Bita Arefnia

Set Design:  Pawena Sriha

Lighting Design:  Douglas Gabrielle

Costume Design:  Michael Mullen

Sound Design:  Steve Shaw

Stage Manager:  Jody Bardin

Properties:  Leslie Young

Incidental Music by:  Bruce Kimmel

On-Line Marketing:  Kristin Stancato

Promotional Video/Photographer:  Doug Engalla

Public Relations:  Nora Feldman

Graphic Design:  Art & Soul Design

The Lonny Chapman Theatre

10900 Burbank Blvd

North Hollywood, CA 91601

Tickets:  www.theGROUPrep.com     General Admission:  $30.00     Seniors/Students w/ID: $25.00    Parties 10+: $20.00

Reservations & Information:  818-763-5990

February 7 – March 15, 2020             

Fridays and Saturdays at 8:00 pm   

Sunday Matinees at 2:00 pm

Talkbacks with cast and staff:  2/16 and 3/1

Website – www.theGROUPrep.com

Facebook – https://www.facebook.com/TheGroupRep/

Twitter – https://twitter.com/thegrouprep

Instagram – https://www.instagram.com/thegroupreptheatre

Why Learning to Write Well in College Is Difficult?

College professors share one serious complaint when it comes to their students, and this is not due to their tendency to be late for a lesson or the fact that they are too easy to offend.

Instead, professors agree that students’ lack of strong writing skills is the biggest factor hindering their university success. Since this problem is very important, colleges and universities

have created a number of systems to try to correct the problem, from tutoring centers to online writing trainers and ending with compulsory correction courses. However, to understand why writing has become such a serious problem for colleges and how to be a good writer in college, it is worth looking at the problems with writing at the high school level.

https://www.pexels.com/photo/person-sketching-on-paper-1394646/

  1. Changes in different disciplines

 Disciplines are discursive communities with their own methods for the development and transfer of knowledge. However, students attend classes in several disciplines (that is, in several discursive communities) at the same time and experience difficulties in mastering various forms of research and various applied stylistic conventions. It takes a long time to develop writing skills in one discipline, not to mention several. 

  1. Lack of common standards

The criteria, standards, and definitions of good addressing vary from course to course (even within the same department). Students develop the idea that this is arbitrary and depends on the personal preferences of the teachers. Of course, they can always find help with essay and other kinds of work on different languages and topics at studymoose.com but the question in this article is about problems with their writing skills, not only where to find help. This encourages them to look for “what you are looking for” or “what you want” in their assignments. 

  1. The need of clear criteria and standards

 In some courses, students have little or no information about what constitutes a suitable letter: there is no clear understanding of the goal that students should strive for. 

  1. Undeveloped writing processes

Composing should not be the hardest subjects in college. In many classes, students are expected to write well, but they are not taught to do so. Courses do not try to develop students’ composing skills; they simply require it. And students need to use any strategies and competencies that they have. But – unless they are given feedback and helped with their writing processes – students will not feel better just by composing a lot. 

  1. Misleading

In some classes, formal drafting can be considered solely as a list of rules governing the use of the language (grammar, spelling, punctuation), and not as a focused communication of ideas.  When this is done, the mechanical aspects of the language are emphasized, excluding important conceptual abilities as college writing skills. Often, key writing concepts are never covered in courses. For example, how to adapt your knowledge to your audience and situation (i.e., rhetorical thinking) is extremely important, but rarely taught. In the same way, how to develop a consistent train of thought is crucial for good composing – but rarely taught. 

  1. Deficient understanding of the subject

 Students very often have to write about subjects unfamiliar to them. And, typical of beginners in any subject area, their understanding, as they write, tends to be incomplete and naive. Thus, it is very common that their writing lacks consistency and structure, reflecting their fragmented understanding of the topic, and not their incompetence as writers.

  1. Loss of experience and lack of understanding of genres

 Most of the tasks are academic noting exercises: “tests” in which students demonstrate their knowledge to a teacher (for examples, essay, paper, languages, topics, library research). These are genres that are rhetorically complex and confused – and poorly prepared for the writing that they will do after graduation. Students have less opportunity to develop knowledge of other forms of composing and writing for different audiences. 

  1. Students are not interested in writing

Often students perceive academic noting as a routine work and not as a significant learning experience. Although it is part of modern student culture, it is not inevitable. Students are more likely to invest in their work when they have some control over the choice of topic, and the work has a “true purpose” in addition to getting an assessment.

  1. Unreflective writing experience

Students probably do not see composing as an intentional skill for the best development. For the most part, they do not analyze their own writing and do not reflect on their strengths and weaknesses and development as writers. 

Too often, students are expected to “develop” their skills, as if with the help of osmosis, and this is especially troublesome when it comes to students who need more help and direct training to achieve these goals. To solve these problems, teachers, teachers, high schools and colleges must work together to prioritize in writing and make sure that it is a skill that can be tested and measured, and not just what is expected.

The Whitefire Theatre Solofest Presents “Tied Up in Knotts”

Written and Performed by Karen Knotts.

Running February 2, 27 & March 20, 8pm as part of the Solofest.

Don Knotts is an icon.

He has been a part of the collective American consciousness for almost 80 years. It’s strange what can bring us together, what levels us, even in times like these.  Men like Mr Knotts, whose purpose in life is to make our days a little better, to fill it with laughter and warmth are more vital than ever.  Their importance, their necessity fills us with hope and connects us in ways few other things can. 

Karen Knotts grew up with a father who seems to have been everything we hoped he could be.  Kind, loving, supportive, hard working, inventive and magical…the Don Knots we saw in movies and on TV was real and this show, created by a loving and forever appreciative daughter, is a wonderful step back into the past.

“The Andy Griffith Show,” “Threes Company,” “The Ghost and Mr Chicken,” “The Incredible Mr Limpet” are just a few of his most memorable roles.  Karen Knotts covers them all.  With the help of family photos and home movies, as well as clips from all his most well-known roles, she fills in the blanks.  She guides us through his early years in stand up and theatre and then on to Hollywood. 

She gives us a beautiful glimpse into her life with this quiet and hilarious man.

There is nothing hidden, no anecdote too intimate or heartfelt and Karen seems as proud of his legacy as ever.  An actress herself she shares rare footage of herself on TV with her father in his variety show, which is particularly heartwarming.

This is not an expose, you wont find out sordid secrets or pain riddled stories.  Karen takes us by the hand and brings us gleefully into her life with her father, in all its subtlety and glory.  His three marriages, his relationships with his children, his staggering work ethic and his gentleness. 

Karen is as graceful as Don and although there is a resemblance to her father, especially when she magically pulls one of his famous faces, her sweet beauty seems to glow when she shares him with us.  It was a privilege, as if we sent an evening with her talking by the fireside. She shares her father with us because it gives her joy to do so….what better reason could there be for this lovely play.

Karen has created a piece that not only highlights her fathers life, but her own.  As a writer and a performer she masterfully brings us on her journey of self discovery.  Her skills as a mimic, comedic actor, writer and host are all vividly displayed…she is her fathers daughter true, but with a clear identity of her own.  This is wonderfully apparent in the footage of her performing with her father.  She had a strong, sweet, funny and authentic presence as a fifteen year old, on stage in front of a live TV audience of millions and this has clearly never dimmed.  Karen has been performing all her life and her experience glows.

There are a couple more dates during the Solofest, February 27 and March 20. 

If you love Don Knotts and yearn for his particular kind of simple, timeless humor, Karen Knotts is a testiment to his legacy…. you are in for a real treat.

The Whitefire Theatre, 13500 Ventura Blvd, Sherman Oaks, CA 91423

http://karenknotts.com

https://www.brownpapertickets.com/event/4452126

“Port Chicago 50”

Dare to remember………

After successful Off-Broadway run, “Port Chicago 50” returns to the west coast for encore performances.

It’s July 17th in Port Chicago, California, a cool summer Friday night at a munitions naval base 30 miles north of San Francisco. The year is 1944 and World War II is in full swing. Segregation in the United States is prevalent and African American sailors are being pushed by their commanders to load tons of dangerous missiles and explosives onto two large munition ships. Not one of these men has been properly trained to handle munitions, yet they are given orders and expected to load huge amounts of the highly dangerous cargo as quickly as possible. At approximately 10:17pm, something went terribly wrong. Explosion after explosion! So fierce, it shook the ground with the force of an earthquake, knocking out windows and shaking buildings as far east as Boulder City, Nevada. What happened next is even more mind-boggling than the explosion itself. Reading the newspaper reports, you are now treading in waters filled with chaos, anger, blame, finger pointing, and more importantly, guilt. None of these officers in the higher ranks were willing to take the responsibility for this tragedy. What happened that cool summer night? How did it happen? Why? Meet the sailors before, during and after that fated night. The dramatic story is told through the eyes of one of the survivors, Freddie Meeks. Come and witness this powerful presentation of “Port Chicago 50.” We dare you!

Port Chicago 50 is a story of love for country, the American Dream and a quest for equality and fairness.

“You, your company of actors and designers did an excellent job! It’s the next ‘Soldier Story.’” – Woody King, Jr. Broadway Producer

“The show was riveting!!” – Andrew Clarke, NY Braata Productions

“This play is a tribute to what these men endured.” – Linda Armstrong, NY Amsterdam News

“Port Chicago 50 is well written and well played.” – Berkeley Times

Port Chicago is a must see for everyone! Not only will it be a time of historical enlightenment but also a special time of entertainment.

The powerful story is co-written by David Shackelford and Dennis Rowe, and directed by Dennis Rowe. Led by JD Hall, from “Star Trek: Enterprise” (2/21 & 2/22 shows), the show features a powerful group of performers: Oren Williams, David Shackelford, Darrell Philip, Howard Lockie, CJ Dickinson, Izzy Dixon, Patrick Gathron, Cameron Ley, Nick Allen, Azeem Vecchio, Alex Mingo, Theodore Martinez and Lyndsey Watkins.

WHEN:

Friday February 21st, 2020 at 8PM
Saturday February 22, 2020 at 3PM & 8PM
Sunday, February 23 at 4PM

WHERE:

Morgan-Wixson Theatre
2627 Pico Blvd., Santa Monica

TICKETS>>

Early Bird discount general seating tickets are $30.00 until February 15th and $35.00 afterward. Tickets can be purchased on-line through Eventbrite at www.portchicago50.eventbrite.com. There are group rates available. For additional information, please call (866) 514-7250.

“Port Chicago 50” uses some strong language. The production is produced by Dennis Rowe Entertainment from Los Angeles, California.

  

We chatted with co-writer and producer Dennis Rowe who hails from North Hollywood.

“I have lived in the NoHo area for 26 years, and I’ve been a member of First Baptist Church NH for 25 years,” says Dennis Rowe.  “I have produced shows in the Whitmore Lindley Theater and El Portal Theatre. At First Baptist Church NoHo I am head of the drama ministry and have spearheaded over eight plays.”

What’s the Drama Ministry at First Baptist Church NoHo?

It’s a ministry at the church that does ministry through the visual and performing arts; film and on stage.  Under the ministry, over 20 years we’ve  produced a number of plays: “Kidnapped Christmas,” “The Reason For The Season,” “Grace and Mercy,” “A Presence In Hansen City,” to name a few.  Two years ago we did the short film “Pick Up” which was based on the conversation in a share drive car.  was also a member of the North Hollywood Community Alliance for two years.

How did you find this historical tragedy at Port Chicago, which is not well known?

Being inquisitive. In a church secretary’s office I came across a brochure about past dinners honoring some of the survivors, started reading it and was amazed about the story which I had never heard about. So David Shackelford (co-writer) and I decided to do a weekend of shows to honor the sailors. The demand to see the show has kept the show running for four years.

How did you find the survivor, Mrs. Freddie Meeks?

Mr. Freddie Meeks had passed away when I heard about the story, but his son Daryl Meeks is alive and I. spoke to him.

What do you want your audience to come away with?

A knowledge of this unbelievable story of sailors who put their lives on the line during WWII. We honor their stories of wanting a better life in America, and to live The American Dream.

What has been your greatest achievement in theatre?

Presenting historical and forgotten stories to the public. Presenting and creating opportunities for craftsmen and craftswomen on stage and behind the scenes.

Tell us about other shows you have produced/written?

I am blessed to have created eight shows (including “Port Chicago 50”): “Don’t Mess With God…He’ll Wash Your Feet,”- a gospel musical,” “Philly,” – a musical inspired by true events from 1985 when the city of Philadelphia dropped a bomb on its citizens- “Shades,” – a musical about the fashion industry- “Toy World,” – a fantasy where toys live, “Forest ,” – a children’s musical where a child gets lost in the forest which comes come alive to save her, “Family Heirloom.,” – a play about a family’s secret kept for many generations that finally comes out-  “Love In All The Wrong Faces,” – a musical about a woman seeking love.

Did any of the families see the show “Port Chicago 50?”

Yes, several off-springs saw it. Most didn’t know their fathers were involved in Port Chicago until later in life, as the fathers rarely talked about that period in their lives. So many didn’t know what their fathers actually did in Port Chicago until they saw the play. One gentleman who saw the play was born on the night of the blast. His father was killed in the blast and he never met his father so the play gave insight into what his father did.

Have you traveled with the show?

Yes. We were blessed to perform in the area where the blast happened: Pittsburg, CA, & Berkeley, CA, as well as Atlanta, Off-Broadway in New York. We are happy to be in Los Angeles before we perform a run in Chicago, IL in May. 

Tickets to “Port Chicago 50″>>

**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

The Whitefire Theatre Solofest Presents “The Long Goodbye”

Written and Performed by Mattilynn Rochester Kravitz.  Developed and Directed by Jessica Lynn Johnson.

One night only as part of the Whitefire Theatre’s Solofest.

I can’t tell you how deeply this show moved me. 

Ms Kravitz shares with us her long journey from over achieving academic to drop-out actress, with parents who expected a level of excellence and traditionally found success that few could ever reach. 

As Mattilynn unfolds this journey on stage, we begin to truly see her and to understand what led to the creation of this piece.  Through song and movement and the kind of deeply held storytelling tradition that unlocks connections on a far more intimate level than most,  she guides us.  Embodying fully the characters she uses to guide us through a journey of sadness, love and loss.  Both her parents suffered from Alzheimer’s.  This merciless disease leaves scars on those who love the sufferers that one can only imagine.  Mattilyn soulfully and with profound grace shares with us what she liked the least in her mother and their complicated relationship and why it was this that, in the end, bound her most surely to her. 

As the disease progressed and through her understanding of who her mother really was, she allowed herself to love her all the more, as she unravelled before her.  Alzheimer’s brutally and shamelessly strips us slowly of the person we love. It fades them from this world as they are still in it.  That Mattilynn found peace is a testament to her ability to forgive and to understand.  Her mother bore the emotional burdens of her mother before her and lived her own brutal journey.  Her fear was always that Mattilynn would suffer as she did and so she did her best to make her as strong as she could, preparing her for future possible hardships.  We, as children of strong and intimidating people, often fail to see the ‘why’ of who they are.  It’s far easier to see them as our enemies.  But nothing is ever as simple, or often even about us at all….parents after all were once children themselves and we all are fragile and layered, no matter our age or how we appear.

This is a beautiful play.  Full of longing and sorrow and hope.  Mattilyn finds the hope.  And in the final years with her mother she finds the love and through that love, herself.

If you get the chance to see this show, and I am hoping it might be in the Hollywood Fringe this year, then do yourself a very big favor and see it. 

For more information about Mattilynn Rochester Kravitz and a link to her work visit https://vimeo.com/375279375

The Whitefire Theatres Solofest Presents “Tales of Modern Motherhood II, Gender & Identity”

Written and Performed by Pam Levin.  Directed by Mark Hatfield.

Running January 30, February 4, 25, March 12 & April 4

Last year at Solofest I was lucky enough to see Pam’s first installment of “Tales of Modern Motherhood” and was completely blown away.

Pam is a veteran of solo work, having been writing and performing her own work for the past 22 years…wow.

The first show introduced us to Pam as she was beginning her journey of coupledom and parenthood, with hilarious and riveting stories of birth and love and narrowly avoided disasters…ie your average family life!  Although channeled through Pam it becomes super-real and far more funny than your own messy madness.

The second show begins pretty much where the last one left off.  Her two daughters and her husband and the usual, although brilliantly told dramas…but with one slight twist.  Her young daughter of five announces to her that for her graduation she would like to have a mohawk haircut…and then she decides that she is really a he.

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As a parent I can totally relate to most of Pam’s previous crazy situations…actually all of them if I’m honest. 

But this particular scenario is not in my immediate realm of experience.  Although I have had to face some eye-widening questions, some heart-pounding moments and quite a few cliff hangers with my brood. 

How Pam handles her child’s gender fluidity is epically masterful….although it’s clear that at the time Pam didn’t feel as if she had any handle on it what so ever.  Pam takes us through this deeply personal journey with her usual masterful storytelling style.  Funny, emotional, honest and profound.  Her ability to take these precious and mind boggling moments with her family and distill them into crystal clear, joyous, informative and leveling narratives is a rare and phenomenal skill.  She give us the gift of her story, the gift of her daughter’s story, in fact, and the time spent with her in a dark little theatre in Sherman Oaks is revelatory, moving and utterly worthwhile. 

Pam is a superstar to be sure but her Darby, her son, is most certainly a chip off the old block. Not that Pam is old…you know what I mean.  Darby is brave and totally true to himself and there can be no doubt that Pam is what gave Darby that strength. Although I’m sure Darby’s dad is great too!!  But seriously.  This show is exquisitely and artfully written and performed.  After all, it’s when art is at its most personal that it can be its most powerful and transcendent. And you really can’t get much more personal than this. But that’s Pam Levin for you – open and brave and beautifully bold.  She gives you everything and we are far, far the better for it, I can tell you.

Pam has had to add a couple of shows to her time in Solofest this year because she’s selling out all over the place!  So take advantage, book your tickets now!! I guarantee you wont be disappointed. 

Pam Levin is what the very best of solo work is all about…love it!!

http://talesofmodernmotherhood.com

The Whitefire Theatre’s Solofest Presents “Shattered”

Written and Performed by Diana Varco.  Directed by Jessica Lynn Johnson.

I was very lucky to see Diana Varco’s extraordinary show “Shattered” during last year’s Hollywood Fringe Festival.  Diana has a fascinating and hugely compelling way of transfixing her audience while she transforms into a myriad of disparate characters, some pieces of herself, some not.  She twists and turns herself both physically and emotionally, laying herself bare, taking the kind of psychological risks few would dare to…all to embrace us with her profound and hard won peace.  I would urge you to see the show and feel all this for yourself.

I am so in awe of solo performers and have a million questions for Diana. But in the name of reason, I whittled it down to five for you.

Why a solo show?

I didn’t intend to write a solo show. In fact, I actively avoided it. Getting to this point has been an evolution of several factors. I had been in the improv-comedy world and was often in classes or stand-up shows where rape and molestation were treated as a joke, at the expense of the victim/survivor. The effect was re-traumatizing. 

I wanted to create comedic content that used humor to speak to the truth of the survivor experience – especially the psychological impact of sexual assault, but didn’t know how. 

When I met Jessica, I knew it was time to tell my story and that story was going to be told as a solo show! 

Character of Truth, photo credit Clark & Main Photography (@clarkandmainphoto)
Character of Truth, photo credit Clark & Main Photography (@clarkandmainphoto) 

What brought you to Jessica Lynn Johnson?

I had been working with solo artist and sexual assault advocate Kimleigh Smith on taking hold of my story and that is when my writing moved from sketch-writing toward narrative and solo-work…but I vowed I’d never write a solo show. I didn’t want to expose my early childhood and parts of my story few people knew. 

At Hollywood Fringe, I attended the solo show Voices by Carla Delaney – a friend of mine from Groundlings. I was blown away by how she used her brilliant character work to weave a touching, comedic, and impactful story. At Carla’s show I met Jessica and was invited to a free solo show class she often offers at the Whitefire Theatre. 

Her style was similar to mine, and I knew I had no more excuses left. It was finally time to write my show and confront my fears. I sat in class for 5 months before writing anything. 

How did you discover your method of transforming into characters?

Characters are just something I gravitate to. During recess in kindergarten, I used to host a make-believe exercise program on the monkey bars a la Jane Fonda! And I’ve acted on stage for as long as I can remember. When I arrived in LA, I started studying improv, sketch, and character-work at the Groundlings and UCB, while I pursued acting. 

My style of solo show comes from my improv background, but really took hold when I began doing stand-up. I found myself popping into various characters to add commentary on my opinion and to build out my jokes. Self-respect is from my stand-up days, but most of the characters in “Shattered” are original to the script. 

Though the truth I bring to “Shattered” is very personal and difficult, the characters are what bring me onto the stage. They are so fun to perform and, in many ways, give me distance from the harsh reality of the story. 

I hope to expand my technique to help other trauma survivors take hold of their story. 

Did the creation of the show and its performance help you heal?

I’m still trying to decide (haha.) It was cathartic in many ways for sure, but sharing these deep traumas has had a residual impact. So, I’ve been active in learning how trauma shows up in the body, and I take steps to practice self-care before and after performances.  

I think the most healing piece of the show is how much I’ve seen it help others! It’s a humbling and gratifying feeling every time I hear of friends wanting to write their story or that my story helped them in some way.

At Edinburgh Fringe, I connected with some really great organizations – SeeMe Scotland, Scottish Women’s Aid, and UKSaysNoMore. I was able to support their impactful work with mine and that felt really valuable. This aspect of my work is what I hope to (and intend to!) expand.

Character of Love Bug, photo credit Clark & Main Photography (@clarkandmainphoto)
Character of Love Bug, photo credit Clark & Main Photography (@clarkandmainphoto) 

What do you hope the audience gets from your show?

I want people to enjoy the show and to love the characters as much as I do! I also hope that the show de-stigmatizes mental health and gets people to talk about their own experiences.  

My show is also in response to the society that protects the abuser instead of the abused. My hope, my prayer is that with enough awareness we can change that. 

But most importantly, “Shattered” is for the survivor. I want survivors to know that they are not alone and that there is a beautiful life beyond this pain. I put the darkest of dark thoughts on stage to release shame that far too many of us live with. 

Any tips on writing and performing a solo show?

Yes, follow your instincts. You already know what you want to write about 🙂 give it a voice!  Also, take care of yourself. It’s vitally important. People will ask you questions, but you are the one to decide how much of the story you are comfortable sharing.

Thanks Diana!! “Shattered” is running for one night only as part of Solofest. February 10th at 8pm.

February 10th at 8pm 

As part of the Whitefire Theatre SoloFest

13500 Ventura Blvd, Sherman Oaks , CA 91423 

Run-time: 70 min w/ talk-back to follow

Tickets: https://shattered.bpt.me/

Promo:https://youtu.be/v1l4GH6pgrI

And if you can’t make the show, no stress! Live-stream the event instead – 8pm PST! 

***SHOW-DAY PURCHASES ONLY*** FEB 10th 

Click here for tickets:  https://www.whitefiretheatre.com/live

February 6 NoHo News

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NoHo News: “Reflections” at Gallery 800. Dance District. Rock n Roll Hamlet. STOMP!. Blackface. Solofest. L.A. Theatre District

Here’s your NoHo arts community update!  We look forward to sharing lots of fun and unique news, events, profiles and updates on what’s happening in the NoHo Arts District.

Every Thursday we send out our NoHo e-News. Do you get it? It takes 30 seconds. Make sure you sign up, it’s FREE. Sign up HERE>>

This issue of NoHo e-News is about what’s going on in North Hollywood and a selection of some theatre shows. But we have a ton of them. Did you know that the NoHo Arts District has the highest concentration of theatres outside of New York City? Just check out the NoHo Arts District Theatre Guide>>

Here’s a glimpse at what’s going on in North Hollywood.

Click on the image and to see the online version of our NoHo News…ENJOY NOHO!

NoHo News:  

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**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

 

Financial Tips for Unmarried Couples

If you are in a long-term, committed relationship, you have many of the same financial concerns as married couples.

However, you lack many of the legal protections and advantages that married couples enjoy. Here are some tips that can help you and your partner stay on the road to financial security.

Talk about your finances

One of the first financial decisions you’ll have to make as an unmarried couple is whether you should handle your finances separately or together. Sit down with your partner and discuss each other’s financial values, priorities, and goals. Being open and honest now will help you and your partner avoid the arguments about money that plague most couples, married or unmarried.

How will you handle household expenses: separately or jointly? If you prefer a simple financial arrangement and want to avoid some of the liability associated with joint accounts, you can keep your finances separate. One of you pays the bills and collects money from the other, or you each pay for certain things separately. However, for the sake of convenience, many unmarried couples opt to pay household expenses together, as most married couples do. Keep in mind that if you do open a joint checking account, you’ll each be responsible for all checks drawn (or overdrawn) on the account.

What about the rest of your income and other personal expenses? Will you pool all of your finances or keep some income separate for your personal use? Even if you decide to pay your bills together from a joint checking account, you can always keep separate accounts for personal expenses.

Finally, will you hold joint credit cards? You can open joint credit card accounts or add your partner to an existing account as an authorized user. Remember, though, that with a joint account, you are each fully responsible for all charges on the account, including charges that your partner made.

Plan for retirement

As an unmarried couple, you and your partner don’t have to give up on planning for retirement together, but it may be harder for you than for married couples. Neither partner will be eligible for spousal benefits from two key sources of retirement income: Social Security and defined benefit pension plans (i.e., traditional pension plans). However, if you’re a little creative, there are other ways that you can provide an adequate living for your partner in retirement:

  • Designate your partner as the beneficiary of your retirement plan (e.g., 401(k)s, 403(b)s), if permitted, and of your IRAs.
  • Increase your savings now to replace the spousal benefits your partner won’t receive from Social Security and your defined benefit pension plan.
  • Consider using life insurance to fund your partner’s retirement. As long as you can prove that you have an insurable interest, you can purchase an individual policy that names your partner as the beneficiary.

Before you jump into planning jointly for retirement, however, consider all of the possibilities. Although it may seem unlikely now, your relationship could end before you retire, leaving one or both of you with inadequate retirement income. In some cases, it may be wiser for each of you to plan for retirement on your own, even if you plan on being together forever.

Make estate planning a priority

Proper estate planning is essential for unmarried couples. The laws that protect married couples don’t apply to you. Without proper protection, your surviving partner could be ordered out of a house that you share, and your next of kin could dispose of your estate however they choose. Your partner could also be left out of financial and medical decisions if you become seriously ill or incapacitated. You owe it to yourself and your partner to ensure that your estate will be handled according to your wishes. Here are some ideas to consider:

  • Consult an experienced estate planning attorney to help you protect your assets, your partner, and your family.
  • Prepare durable power of attorneys for health care and finances, and name your partner as your representative.
  • Execute a will if you want to leave certain property to your partner. Without it, he or she has no legal right to inherit your estate.
  • Sign a domestic partner agreement. It won’t replace your will, but it can support your will and your partner’s right to jointly held property by stating your wishes and intentions.

The information in this newsletter is not intended as tax, legal, investment, or retirement advice or recommendations, and it may not be relied on for the purpose of avoiding any federal tax penalties. You are encouraged to seek advice from an independent professional advisor. The content is derived from sources believed to be accurate. Neither the information presented nor any opinion expressed constitutes a solicitation for the purchase or sale of any security. This material was written and prepared by Broadridge Advisor Solutions. © 2018 Broadridge Investor Communication Solutions, Inc.

Graphic Design Degree for Artists: What Can You Do?

Having a passion and drive to earn isn’t enough for you to generate a stable income as an artist.

With the number of artists who have years of professional training and experience in the industry, it’ll be hard for new artists to stand out in the industry.

For aspiring artists who want to level out the playing field, earning a graphic design degree can be a great investment. This degree is one of the best platforms for you to study graphic design elements and incorporate different forms of technology to create outputs for clients. A graphic design degree also covers subjects that can teach you how to work well with clients and adapt to advanced design software and programs.

Aside from increasing your chances of being a successful artist in the future, earning a graphic design degree also qualifies you to work for the following positions:

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  1. Graphic Designer

A graphic designer is a professional who creates visual concepts for clients by using computer software or by hand. Depending on the needs of their clients, graphic designers create visual ideas that can inspire, inform, or attract customers.

A graphic designer works closely with their clients to determine the scope of the project. After the clients communicate their needs, the graphic designer will immediately create different visual elements that can include images, logos, and illustrations. The graphic designer works on the layout, colors, images, and typefaces of the project.

As a graphic designer, you’ll have the opportunity to work in different industries. Your skills as a graphic designer will be in-demand in the fields of publishing, public relations, and other specialized design services.

  1. Creative Director

As the name suggests, a creative director works by determining the creative vision of a specific project. A creative director often works with a team and is responsible for leading the team throughout the entire creative process – from creating a vision, overseeing the progress of the team, and providing guidance to the entire team working for the project.

The nature of the job requires all creative directors to possess strong leadership and management skills as they will work with different teams to complete one project. They are also expected to be skilled in budgeting and time management. 

For you to be successful in this profession, you have to stay up-to-date with the latest design, marketing, and advertising trends. Most creative directors work in advertising and marketing companies with other designers, artists, marketers, and copywriters.

  1. User Experience Designer

A user experience designer is responsible for making products, services, and processes enjoyable for users. They plan and conduct user research to determine what the users want and expect from their products, and analyze the competitors so they will know what to benchmark.

A user experience designer will create programs based on the information they’ve gathered. They run several user tests to assess how the product feels and how users will benefit from it. Every test will be followed by refining or tweaking certain elements of the design process to improve the user’s experience when using the program.

Depending on how extensive the program is, conducting tests and making adjustments will run for months and even years. It is crucial for a user experience designer to facilitate these tests to ensure that once their product is sold in the market, it is already flawless and creates the best user experience.

  1. Production Artist

A production artist works by assisting different teams that are responsible for producing graphic materials, display and advertising, and packaging. Usually, a production artist works with other graphic designers to format a specific artwork and make sure that the print quality is met and organize files.

A production artist can work with art, film, graphics, and other formats. They are also responsible for uploading and seeing the accuracy of the design files when it reaches the final stage of development. They basically check the output of the team and identify if it still needs any adjustments before offering the output to the public or client.

Since a production artist can also make minor improvements by scaling, cropping, repositioning, and retouching the material, computer application and creative design skills are highly necessary for the job.

Always Prepare

If you’re convinced that a graphic design degree is beneficial for aspiring artists like you, start scouting for schools that offer the program. Depending on your budget and schedule, you can opt to enroll in brick and mortar schools or sign up for online classes.

But regardless of the learning platform you’ll choose, always spend time to know more about the school and the specific subjects that come along with the degree. It’ll be very easy for you to prepare and excel in the degree if you have an idea of what you’re going into.

“STOMP” at The Soraya!

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The International Percussion Sensation “STOMP” Returns to The Soraya for Three Performances!

After sold out performances in 2016, The Younes and Soraya Nazarian Center for the Performing Arts is proud to welcome back the international percussion sensation, for three performances on Saturday, February 15 at 3:00pm and 8:00pm and Sunday, February 16 at 3:00pm.

From its beginnings as a street performance in the United Kingdom, “STOMP” has grown into an international sensation over the past 20 years, having performed in more than 50 countries and in front of more than 24 million people.

Created by Luke Cresswell and Steve McNicholas, “STOMP” continues its phenomenal run with four global productions: the ongoing sell-out production at New York’s Orpheum Theatre, a permanent London company, and North American and European tours. Throughout its life, the show has continued to change by creating new material; next year/this year (depending on when release goes out), it will incorporate two new pieces. It is safe to say you will never again look at supermarket carts or plumbing fixtures the same way… or paint cans, or kitchen sinks or…

“STOMP,” an overwhelming success marked by rave reviews, numerous awards, and sell-out engagements, is the winner of an Olivier Award for Best Choreography (London’s Tony Award), a New York Obie Award, a Drama Desk Award for Unique Theatre Experience, and a Special Citation from Best Plays.

In addition to the stage shows, “STOMP” has been an overwhelming success marked by rave reviews, numerous awards, an Academy Award nomination, four Emmy nominations and one Emmy Award for their acclaimed HBO special “Stomp Out Loud, “noteworthy TV appearances including The London 2012 Olympic Games Closing Ceremony, The Academy Awards (produced by Quincy Jones), “Mister Rogers’ Neighborhood,” and a series of award-winning international commercials.

The performers “make a rhythm out of anything we can get our hands on that makes a sound,” says co-founder and director Luke Cresswell. A unique combination of percussion, movement and visual comedy, “STOMP” has created its own inimitable, contemporary form of rhythmic expression: both household and industrial objects find new life as musical instruments in the hands of an idiosyncratic band of body percussionists. It is a journey through sound, a celebration of the everyday and a comic interplay of characters wordlessly communicating through dance and drum.

The International Percussion Sensation “STOMP” Returns to The Soraya for Three Performances via the official NoHo Arts District Guide; www.nohoartsdistrict.com

Synchronized stiff-bristle brooms become a sweeping orchestra, eight Zippo lighters flip open and closed to create a fiery fugue; wooden poles thump and clack in a rhythmic explosion. “STOMP” uses everything, but conventional percussion instruments – dustbins, tea chests, radiator hoses, boots, hub caps – to fill the stage with a compelling and unique act that is often imitated but never duplicated.

Critics and audiences have raved: “’STOMP’ is as crisp and exuberant as if it had opened yesterday,” says The New York Times. San Francisco Chronicle declares “STOMP has a beat that just won’t quit!” Los Angeles Times exclaims: “Electrifying! Triumphs in the infinite variety of the human experience.” “A phenomenal show! Bashing, crashing, smashing, swishing, banging and kicking – a joyous invention!” says the Chicago Tribune.

Single tickets for “STOMP” start at $39 and are currently on sale at The Soraya, (818) 677-3000 and at TheSoraya.org.

WHEN:

Saturday, February 15 at 3:00pm & 8:00pm
Sunday, February 16 at 3:00pm

WHERE:

Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)
18111 Nordhoff Street
Northridge, CA 91330

TICKETS:

Prices: Starting at $39. Prices subject to change.
By Phone: (818) 677-3000

The International Percussion Sensation “STOMP” Returns to The Soraya for Three Performances via the official NoHo Arts District Guide; www.nohoartsdistrict.com

About Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)

The 2019-20 Season marks the ninth year for the award-winning Younes and Soraya Nazarian Center for the Performing Arts which has quickly become one of the cultural jewels of the greater Los Angeles region. Under the leadership of Executive Director Thor Steingraber, The Soraya continues to expand its programming and outstanding multidisciplinary performances. The Soraya presents a wide variety of performances that not only include new and original work from the Los Angeles region but also work from around the world appealing to all of LA’s rich and diverse communities.

Located on the campus of California State University, Northridge, The Soraya’s season offers a vibrant performance program of nearly 50 classical and popular music, dance, theater, family, and international events that have served to establish The Soraya as the intellectual and cultural heart of the San Fernando Valley, and further establish itself as one of the top arts companies in Southern California. The award-winning, 1,700-seat theatre was designed by HGA Architects and Engineers and was recently cited by the Los Angeles Times as “a growing hub for live music, dance, drama and other cultural events.


**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

 

 

Meet Gabriel Ash…

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We ask all our dancers what their one favorite choreographer/piece was during their time with us. It’s hard to pick just one but that’s what makes that “one” spectacular. Their reasons are many like challenging and unique choreography, they feel like they’re being trained, they felt awesome dancing the choreo, the choreographer cares aobut the dancers, it was so hard but they got the counts in the end, etc. One of our beloved dancers, Or, responded to our question, “with no doubts, Gabriel Ash. It’s always a dance surprise.” The second time she came to L.A. she told everyone to take Gabriel’s class. Next, as dance captain for our Summer Dance in L.A., program she made it mandatory to try his class for our group. Then as dance captain for our 18+ dancer program launch, his classes were always on the schedule. Thanks, Or!

Gabriel Ash has been one of our dancers’ favorites because they are always surprised at what new choreography he will create, because it’s always different, fresh and challenging.

So who is Gabriel Ash?

Gabriel hails from Pittsburgh and has been involved in the arts from Rogers Middle School for the Creative and Performing Arts and then to high school at Pittsburgh Creative and Performing Arts. He went on to study dance education at the University of Arts in Philadelphia. From there he went on to create his own dance company, KG Dynasty, and now works at Millennium Dance Complex, Immaspace and other L.A. studios. He continues to travel around the world teaching, choreographing and educating young artists.

To get to know him better, we asked some questions we all were curious to know.

Your dance seems to have started in middle school. When did you take your first dance class?

Well.. .My first actual dance class ever was actually my audition for Rogers Middle School for The Creative And Performing Arts in my hometown of Pittsburgh, PA , in 1998. I was always a kid that loved to dance and sing, so in elementary school I was in chorus and I would always get the dace parts for the shows and do the school talent shows. My music teacher at the time, Mr. Wayne Walters, noticed this about me and suggested that I go to school for dance at Rogers. I had never done ballet or jazz or anything like that. I was a street kid so I was just doing me, like the butterfly, the bounce, the creep, the moonwalk, the running man and all the video dances of the late 80s and 90s. So when i show up at this audition and the first part of the audition was ballet!!??!! I literally panicked , then on to Jazz where I probably almost fainted and didn’t have any idea of what the hell I was doing, but i defiantly went for it because that’s just how I was raised. By some grace of the savior, I got into the school and the rest is history. So yeah that was my first ever real dance class.

You’ve trained in ballet to hip hop. How have you incorporated your diverse training into your classes?

Being trained in all styles , I have always been told it shows through out my choreo and style. I love to do a lot of stuff that has turns or some weird type of quick spin where you have to spot. I defiantly do a lot of it subconsciously, but its in there and I, actually proud of my style and lane, because of all the training I am able to change up quickly even with the style of hip hop i am trying to give for that particular piece.

Do you have a favorite style of dance?

I actually have two favorite styles of dance Hip-Hop Movement and Contemporary will always have my heart and be a part of my life.

What made you decide to move to Los Angeles?

There were many reasons why I made the move to LA. I’ll give a few. One being I just literally was just ready for a change, a lot was going on in my personal life, my dance career and training was stagnant. I truly just wanted so much more for myself and waned to train again. So LA ended up being where I fell which was so crazy because before that I NEVER wanted to go. It was Rhapsody James and Motivating Excellence Training Program that changed my life. Proud to be a Season 4 Alumni. it was that program that was in LA that had such a impact on me that after I didn’t want to leave LA. So I made it home, but I also said I wouldn’t move unless I was signed first.

What was your first L.A. teaching job?

My first LA teaching job was for a small competition studio named “Relieve” that an old friend hooked me up with teaching Hip-Hop and contemporary when I first got out here and still was trying to figure it out. I was all types of jacked up in life, so it didn’t last very long LOL! that was about 4 years ago now though. We all good over here.

How did you get signed by your agency?

I got signed to Bloc LA after my first month being in LA, I reached out to them after Rhapsody’s program to submit, and actually two things had happened. Before actually submitting I had spoke with Chuck Maldonado, because a friend had suggested it , so we spoke and I went to his class and after we spoke and he gave me a referral to Bloc, but when I went in for my interview, I had found out they actually were already looking for and interested in me after the Motivating Excellence Showcase for Rhapsody because all the agencies come to her showcase usually. So yeah, I was signed like that. It was pretty dope for real. I felt like a superstar. LOL!

Can you describe your style of dance? Our dancers have always said your classes are always a surprise, an awesome dance treat.

My style of dance I would say is your, ” Feel Good No Matter What, and Fun” style of dance. I never know what type of piece I’m going to do I love the fact that dancers come to my class and are always like we didn’t see that one coming but they still love it and had fun and enjoyed dancing it and didn’t feel too stressed. In my class you’re gonna dance and you’r egonna sweat and you’re going to feel good, I do my best to make sure of it.

Any advice for dancers new to L.A.?

I always give the same advice to new dancers coming to LA and wanting to be in this mix of social media LA classes, and industry, and that is to just NEVER forget why you started dancing in the first place. LA and for real and major dance city is tough but LA is a different type of beast and if you’re not strong you will be broken and forget who you are and why you started dancing in the first place. Which is your heard something that gave you a good feeling and you started to move for YOURSELF and it felt good. It’s supposed to feel like that. And for me once that feeling is gone I will leave this industry. So yeah just to never forget who you are and don’t forget why you started dance and what it does for you because no one should ever be able to take that initial feeling from you. So get in those rooms with closed doors, blast that music and dance for you.

Class pet peeves? What should every dancer do in class besides dance hard and have fun?

My class pet peeves are not answering me back when I address the class. Asking questions that you could easily get just by watching a few times. Like try first before you ask something that’s so simple, and I mean simple. Also if you mess up don’t walk off the floor. Recover or try to recover and get through it.

In class besides just taking class and having fun, you should always be focused and taking whatever you’re learning and finding a way to apply it somewhere else in your path. Class is always for learning it’s way more than steps. It truly is.

What’s coming up for you?

I have a lot of things coming up this year, Creative Director for the IMX/Marques Houston Reunion Tour, of course my classes at Millennium Dance Complex, and ImmaSpace. Doing another Europe Teaching Tour, releasing actual concept videos, but the biggest thing I’m excited for is I’m finally opening a Dance Studio in my hometown of Pittsburgh PA.

Anything you’d like to add or highlight?

Just never forget who you are, we are all great in our own way.

Get out of your dance comfort zone and get ready for some dance treats! Follow Gabriel on Instagram for up-to-date news, classes, choreo and fun!

Thanks for helping to #keepnohoartsy

Caltech Live Presents: “ The Life and Times of A. Einstein”

Written and Performed by Kres Mersky.  Directed by Paul Gertson

One night only , January 25th, 2020. Beckman Auditorium, Caltech, Pasadena

There are echos of Albert Einstein at Caltech and the Beckman Auditorium is the perfect blend of intellect, humor and glamor for this play.

   He came to the campus three times during his life as a visiting professor and even considered a permanent position there, before ended up at Princeton…

This quite brilliant solo play is centered not around Einstein at all really,  but around Ellen Schoenhammer, a fictionalized version of Einsteins actual secretary, Helen Dukas and developed over many years of pouring through interviews and documents and researching the books Dukas wrote about her time with the greatest mind of our human history. During the play we visit Schoenhammer three times, over a span of 20 plus years.  The entire performance is set in Einsteins office, which she shares with him.  We the audience are cast as journalists, waiting patiently for a conference with the great man…Mersky’s Schoenhammer is the gate keeper, trying, a bit desperately at first, to entertain the restless crowd as Einstein is delayed.

She regales us with stories from her life as Einsteins secretary.  How they met, she a young women unnerved by his godlike presence and yet clever enough by far for him.  How they work together, what he relies on her for, their closeness, his childlike nature, her admiration for him and her deep understanding of the privilege of her position…although it’s clear she would never share that with her employer. 

Mersky manages to flit through these beautifully chosen moments in time effortlessly, with no gratuitous place holders, no unnecessarily clumsy “here we are in 1934.”  She relies on the writing, the movement of the story, the attention of her audience and her inane ability to convey with grace and cleverness the passage of years.  She is magical in fact.  As she connects to her journalists…her audience, she becomes more familiar with every leap. More comfortable with her position. More intimate with her language and her demeanor.  Her German strength and her German shame all layers of history and time.

How to tell a story about Einstein without him…it’s a brilliant concept really.  A woman writer and actor with a need to tell a story, her story, about a man so familiar to us all.  A pop culture icon, a vivd creature seared into our collective memory as surely as The Beatles, Santa Claus or any number of gods.  The time jumps are a sublime gesture to the subject of his work. There are references to it, attempts to explain it even, but the actual physical sense of it, on stage and subtle to a fault is just really breathtaking.

Kres Mersky has created an exquisite piece of theatre. Funny, moving, insanely and mesmerizingly inventive. She weaves and spins and unfolds her performance with a kind of genius that even this master Einstein would envy.

If you ever get the chance to see this absolutely wonderful play I urge you to grab it with both hands…firmly.  Mersky is that perfection that exists when an actor’s authentic self inhabits the character and their story so completely that we wish it would never end.  I just can’t stop thinking about it…Bravo!

https://www.facebook.com/kres.mersky

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“Hamlet the Rock Musical”

 

“Hamlet the Rock Musical” – “Hamlet” reimagined with 35+ original songs, a rock and roll swagger, incredible stage craft,  and inventive, contemporary story telling.

In 1976 on Broadway, just 11 songs into the two-hour performance, the audience erupted into a show-stopping standing ovation. That, and the well-earned, nightly, show-ending standing ovations proved how powerful and moving this musical was in ’76 and will be again in February, with the re-imagined 21st century version of “Hamlet the Rock Musical.”

Premiering Friday, February 14 at El Portal Theatre, award-winning director Bill Castellino (“Cagney,” “Grumpy Old Men,” “Lizzie Borden,” “Rent,” “Gypsy,” “Rocky Horror,” “Carousel,” “Music Man,” “West Side Story,” “Tommy”) helms the anthem-driven original score by composer / lyricist Cliff Jones with additional music, lyrics and orchestrations by Craig Fair, who is collaborating on arrangements with multi-talented music director and conductor Doug Oberhamer. Based on Shakespeare’s timeless classic, this “HAMLET” fills the theatre with a rock and roll swagger, inventive staging, incredible state-of-the-art technology, and muscular contemporary dance.

“Hamlet the Rock Musical” at El Portal Theatre via the official NoHo Arts District Guide; www.nohoartsdistrict.com

The multifaceted cast includes Payson Lewis (Hamlet), Kevin Bailey (Claudius), Carly Thomas Smith (Gertrude), Fatima El–Bashir (Ophelia), Thomas Hobson (Horatio), Ian Littleworth (Laertes), Larry Cedar (Polonius), Michael Deni (Marcellus), Justin Michael Wilcox (Rosencrantz), Alli Miller (Guildenstern), Steve B Green (Ghost/Priest), Deanna Anthony (Ensemble), Marie Gutierrez (Ensemble), Tim McGarrigal (Ensemble), Bruce Merkle (Ensemble), and Julia Springer (Ensemble). The dynamic cast was brought together by respected and award-winning casting director Michael Donovan and casting associate Richie Ferris.

The ‘live’ orchestra includes Justin Smith (Guitar), Anthony Lucca (Keyboards), Rachael Coosaia (Cello), John Fumo (Trumpet), Ido Meshulam (Trombone), Danielle Ondarza (French Horn), Rick Shaw (Bass Guitar) and Mark Converse (Drums).

The creative team includes award winning L.A. choreographer Janet Roston, Tony Award-winning sound designer Leon Rothenberg, sound designer Jonathan Burke, set, video/lighting designer Nick Iwaskow, and NAACP Award-winning costume designer Mylette Nora.

Concert producer David Carver (Tom Petty and The Heartbreakers, Aerosmith, Bob Seger, Sheryl Crow, etc.) recalls previous versions of the production where during intermission, “I watched people literally leave their seats and go straight to the box office and buy tickets for the next available performance. The shows were that good. With the cast and creative talent assembled, and additions of elaborate sets, lighting and video projection, the shows that were that good will be even more spectacular.”

Is this a world premiere of the new “Hamlet The Rock Musical?”

Yes. There has been a few incarnations of this production in the past, but since the Broadway run in the late 70’s I think I can say this production, with its world premiere in Hollywood, will be the most elaborate version musically, creatively and visually. Bill Castellino (Director) and Janet Roston (Choreographer) have spent an enormous amount of time ensuring that the story of Hamlet is told not only through the lyrics of the songs, but the direction and choreography. We’ve added a fantastic lighting and video projection component to the production to support the vision of Bill and Janet and make this a truly 21st century version of the 16th century play.

Why did you select the El Portal Theatre?

It’s a legendary theatre with legendary people running it, including Pegge “The Legend” Forrest. Truthfully, the stage wasn’t really big enough for our vision but we managed to fit our production and orchestra into it, and in the process tested the patience and hard work of the El management and staff. They have been excellent and we are elated that we could bring pretty much our entire vision for this production into their theatre.

What is the future for this musical? Where does the show go after El Portal?

For me, the most important people in this equation or any concert I produce, are the people who spend their hard-earned money and take time from their busy lives to come and see the shows I produce. Once we gauge their reaction and receive their feedback after the El shows, plus perform our own analysis, I will decide where the show goes next. There are great theatre markets in all of California and indeed the entire country. Part of my vision is to perhaps take the show to smaller markets that may not see a lot of musical theatre come to their city or town. I am in the fortunate position to know that, musically and lyrically, this show will receive standing ovations every night. That is a fait accompli. It’s a moving, energetic, soul shaking, chilling, and emotional show. What’s left is for the L.A. cast to deliver those elements and make the fait accompli a reality. I’ve seen the cast in rehearsals. They got this.

What makes this musical something to see?

Where do I begin? A great L.A. cast, great director and choreographer. In music, it all starts with a song and in our case there’s more than 35 of them. The show is a completely sung through musical. Original composer Cliff Jones has written a brilliant score with a lot of lyrics ripped right from the play Hamlet. He originally balanced pop, rock and traditional musical theatre genres to create a very exciting musical and with his blessing we brought in the talents of Craig Fair and Doug Oberhamer to create the 21st century vibe of Cliff’s original 1970’s version. Musically, theatrically, artistically, and even technologically there’s something for everyone from ages 10 to 100. People will be taken on a roller coaster ride for sure. You will feel like you are in a rock show and a theatre show all at the same time.

“Hamlet the Rock Musical” at El Portal Theatre via the official NoHo Arts District Guide; www.nohoartsdistrict.com

WHERE:

El Portal Theatre
5269 Lankershim Blvd.
NoHo Arts District

WHEN:

Opening night gala: Friday, February 14  – 8pm
Saturday, February 15 – 8pm
Sunday, February 16 – 8pm
Wednesday, February 19 – 8pm
Thursday, February 20 – 8pm
Friday, February 21 – 8pm
Saturday, February 22 – 8pm
Sunday, February 23 – 8pm

ONLINE TICKETS>>

Tickets by phone: 866.811.4111 (p) 818.508.4200

More Info: https://www.hamlettherockmusical.com/


**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict. 

 

Meet Ranna Purohit of The Colony Inn.

The Colony Inn

***

The NoHo (unofficial) motto is: “NoHo is only as great as its people.”

NoHo Arts District hasn’t always been here. Before it became an arts district it was just plain old North Hollywood and struggled to define itself. One of the original business, in what was to become NoHo, was The Colony Inn. The Purohit family purchased the hotel in 1996, believing in the area’s potential for growth and renovation. They were also reassured that the district was soon to become a cultural destination once it earned its Arts District designation.

Meet Ranna Purohit of The Colony Inn in NoHo via the official NoHo Arts District Guide; www.nohoartsdistrict.com

Ranna Purohit became the sole owner of the hotel in 2002, operating the hotel while she raised her three boys, all of whom have recently graduated college, moving on to lives of their own.

As a mother and a business woman in the highly competitive world of a hotelier, with huge companies buying up independent inns like The Colony Inn everywhere, we wondered how Ranna has held onto her inn and has run it so successfully. So we asked!!

How did you feel operating the hotel by yourself and raising three boys in the hotel?

It was a challenge, but I found that my perseverance allowed me to succeed in both my roles as a mother and a businesswoman.

Meet Ranna Purohit of The Colony Inn in NoHo via the official NoHo Arts District Guide; www.nohoartsdistrict.com

What have been the joys and sorrows of operating Colony Inn?

One of the major joys of operating Colony Inn has been allowing myself to provide for my family, all while instilling in them the same values that have allowed me to prosper as a successful and ethical businesswoman. Though this has been a lifelong journey of mine, it has not come without hardship. Being the sole owner of a developing property and the sole caregiver of a family of three has proven challenging. I have endured periods of uncertainty and stress through my career and have had to persevere through mostly my own efforts. But it is through my determination and god’s willing grace that I continue to succeed.

If you had a magic wand what would you change about the NoHo Arts District?

I would like the neighborhood to continue its course of improvement and dedication to the arts.

What do you particularly like about NoHo?

I especially appreciate the neighborhood’s culture in relation to the city of Los Angeles as a whole.

What is special about Colony Inn?

Colony Inn is a family run business situated in the NoHo Arts District within close proximity to many L.A. attractions that is dedicated to providing its clients with the care and hospitality they deserve.

When a person is looking for a hotel, what are the main things they should look for?

There are many aspects to consider when choosing a hotel. The quality and affordability of the rooms and service, along with the location’s proximity to local attractions are usually at the top of prospective clients’ list. Hotels must also be situated in safe neighborhoods, in areas that are family friendly for tourists and those vacationing as well.

Since nohoartsdistrict.com’s inception in 2005, Colony Inn has been supportive of the work done by nohoartsdistrict.com. Ranna has always seen the importance of community involvement. She has played an important part in the growth of the NoHo Arts District as an entertainment and arts destination.

Bravo to Ranna Purohit who had the foresight to build the first hotel in a struggling, blighted area full of artists. She always believed that the district would be what it has become today!

Thanks for helping to #KeepNoHoArtsy … and for providing a comfortable, kind and warm place for folks to lay their head.


The Colony Inn

4917 Vineland Ave.
North Hollywood, CA 91601

(818) 763-2787

www.colonyinn.com


**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict. Meet Ranna Purohit of The Colony Inn in NoHo via the official NoHo Arts District Guide; www.nohoartsdistrict.com

Hollywood Homes: 5 of the best celebrity houses to visit in LA

LA – the home of the rich and famous.

Around every corner of this city in California, you’ll find mansions, many of which are home to A-List celebrities. The most expensive – and largest – home in America is situated in LA and went on sale last spring for a whopping $500 million. The lucky owner of this property will enjoy a nightclub, beauty salon, casino and even a jellyfish tank – all from the comfort of their home.

There are many guided tours available that will take you to see the celebrities’ homes but you might want to pick up a car hire in Los Angeles and explore yourself, at your own pace. 

If it’s the latter, then here are five that you won’t want to miss:

John Legend and Crissy Teigen – Beverly Hills

John Legend, recently named People’s ‘Sexiest Man Alive’, and his hilarious wife Crissy Teigen, purchased their mansion in Beverly Hills, which was once owned by Rhianna, for an estimated $14.1 million in 2016. Their modern home is open-plan and across three floors boasts a theatre, billiard room, a gym plus five bedrooms and eight bathrooms. Floor-to-ceiling glass windows allow them to enjoy the beautiful views across the city and ocean from both inside as well as outside.  

Angelina Jolie – Los Feliz

Now Angelina is no longer part of ‘Brangelina’, she has bought her own home in Laughlin Park in Los Feliz. The $24.95 million price tag has made it the most expensive property to sell in this area. The property, which was built in 1913, is still reminiscent of ‘old Hollywood’ but has recently undergone six years of renovations. Inside there are six bedrooms and 10 bathrooms as well as a library, while outside there is a pool and a separate building that houses a gym and guesthouse. Angelina’s celebrity neighbours include Kristen Stewart, will.i.am and Natalie Portman. 

Beyonce and Jay Z – Bel Air

The architect that built LA’s most expensive mansion is also behind Jay Z and Beyonce’s home in Bel Air, that the power couple purchased it in 2017 after a three-year search. They paid $88 million for the modern mansion – well below the $120 million asking price but still the highest-selling transaction in the city that year. Their hillside home sits behind iron gates and features 11 bathrooms, 8 bedrooms and a 15-car garage as well as four pools and a basketball court. It’s also a smart home and has bulletproof windows from floor to ceiling so they can enjoy the incredible views. 

Simon Cowell – Malibu

You may have seen inside Simon Cowell’s Malibu home; he recently invited the Celebrity X Factor contestants there for Judges’ Houses. This beachfront mansion, which set him back £18.7 million, benefits from wonderful views of the beautiful coastline. It features seven bedrooms, nine bathrooms as well as accommodation for staff and guest suite with a private entrance. Plus, there is a tennis court and a pool – which you’ll have seen on screen – and a spa. As well as taking in the view from the terrace, Simon can look out on the ocean from his bedroom thanks to floor-to-ceiling windows. There is a private drive leading to the property which he shares with his partner, Lauren Silverman.    

Taylor Swift – Beverly Hills

Taylor Swift owns homes across America. Although her main house, where she spends most of her time, is in Nashville. She did actually own two homes in Beverly Hills before selling one last year. The second one was purchased by the ‘Shake It Off’ singer in 2015. This home alone has six bedrooms, seven bathrooms, a pool, tennis court and guest house for when her girl gang comes to visit. The $25 million property boasts breathtaking views across California.  

You may not be able to step inside the homes of the rich and famous, but you’ll be able to catch a glimpse of the outside, enabling you to see how the other half live, with your own eyes.

January 30 NoHo News

…

NoHo News: In My Mind’s Eye. Blackface. Keep the Conversation Going. Giselle. Solofest. L.A. Theatre District

Here’s your NoHo arts community update!  We look forward to sharing lots of fun and unique news, events, profiles and updates on what’s happening in the NoHo Arts District.

Every Thursday we send out our NoHo e-News. Do you get it? It takes 30 seconds. Make sure you sign up, it’s FREE. Sign up HERE>>

This issue of NoHo e-News is about what’s going on in North Hollywood and a selection of some theatre shows. But we have a ton of them. Did you know that the NoHo Arts District has the highest concentration of theatres outside of New York City? Just check out the NoHo Arts District Theatre Guide>>

Here’s a glimpse at what’s going on in North Hollywood.

Click on the image and to see the online version of our NoHo News…ENJOY NOHO!

 NoHo News: In My Mind's Eye. Blackface. Keep the Conversation Going. Giselle. Solofest. L.A. Theatre District

Follow NoHo News with Bloglovin

**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

 

Oriana Setz “Metamorfosis” Album Release

This beautifully written album is a mixture of Spanish and English songs from this lovely young Ecuadorian singer songwriter.

Oriana Setz has established herself as a huge part of the independent Latinx music movement known as “AlterLatino.”

Already an award-winning artist, the Akademia Music Awards awarded her “Best Song Latin” and “Best Song Cover/Pop” in 2019.  Her soulful voice is breathlessly authentic and it’s no surprise that she was granted a full scholarship to study vocal performance and songwriting at Berklee College of Music, as well as a scholarship award from the Mediterranean Music Institute at Berklee.

These songs are gently commercial.  Full of evocative phrases and gorgeous arrangements, the brilliant musicians never over shadowing Orina’s warm, powerful voice.  Her songs are full of humor and biographical, anecdotal stories.  She is discovering herself in these songs, and her honesty is refreshing and very sweetly wrought.  I hear Florence and the Machine, Birdy, perhaps a little Alanis Morissette.

I love that she sings in Spanish and English.  She seems to have a foot in both worlds and perhaps she always should.  Her voice is evocative and passionate, her songs empowering and wise. I can tell she has much more for us, so many more songs, so much further to push herself….can’t wait to hear whats next!

Websites:

Official Website

Facebook

Instagram

Soundcloud

Youtube Channel

The Whitefire Theatre Solofest Presents “Deer Woman: An Autobiographical Fairytale of an Exotic Dancer and a Magical Encounter “

Written and Performed by Megan Rippey. Directed by Valerie Hager.

Megan Rippey is all woman…brilliant, beautiful, powerful, contradictory and brave. 

Like I said, all woman.  The show centers around her career as an exotic dancer, but really it’s far more about her fascination with sexuality and power.  For her, dance is an exhilarating and transcending experience that just happens to be taking place in a club, on a stage with her half naked and wrapped around a pole.  It is much more about herself than the audience.  Much more about controlling the situation, creating and then recreating herself on stage for her own satisfaction… being showered with money, occasionally is, for her, just a bonus.

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Megan has a BA in Women, Gender and Sexuality and is clearly intrigued by the process of seduction.  Her show seems to be autobiographical, and as she dances, performing incredibly athletic and frankly gorgeous feats of agility, she beautifully dominates us.  Manipulating where we look, what we see of her and how. 

It’s a show of lights and shadows and profound honesty.  She defines herself boldly and with such a grace and self effacing humor…more contradiction.  And then we meet her ‘why.’  There’s always a why in theatre, or any art, and of course there always should be.  But Megan’s ‘why’ is more startling than most.  She dreams one night that she meets a goddess – half deer, half human.  A giantess striding through the forest, beautiful and terrible and fearsome.  This dream changes her, it pulls out from deep within her most basic needs, her anger, her strength, her ruthlessness.  It gives her a power she hasn’t known before and it both invigorates her and scares her.

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As a show, “Deer Woman” is harder to define than most. 

There is Megan, so exquisitely good, such an amazing presence, her characters full of life and humor and quirk. Her story of an exotic dancer, a woman bold enough to take control of a career that for most would seem to be one of exploitation and darkness.  And then the goddess, the deer woman. Strange and unusual and totally, fearlessly real.  I have always believed that there is magic all around us if we only care to look for it.  Fairy dust, gods small and large, something unexplainable everywhere we go.  So why not a giant deer woman in a forest at night, showing us that we are the ones with all the power amd that we should not be afraid to use it.

There’s one thing that defines a truly excellent performer and that is belief. They must believe who they are and we must believe what we see. 

Megan Rippey is utterly believable.  The dance, the story, the fearless sexuality and the beautiful deer woman. I barely breathed the entire show.  I found it so inspiring and intriguing and warmly dangerous. I absolutely loved it.  The last few minutes are a gift worth waiting for…we meet deer woman and she is everything we hoped.

If you ever get the chance to see “Deer Woman: An Autobiographical Fairytale of an Exotic Dancer and a Magical Encounter“ you’d be a fool not to take it.

http://www.meganrippey.com/deerwoman

Whitefire Theatre Solofest Presents “Dear Yoko”

Written and Performed by Anzu Lawson.
 
Directed and developed by Jessical Lynn Johnson.
Running February 2 at 3pm.

I had the opportunity to review Anzu Lawson’s wonderful solo show last year.

“Dear Yoko” is an image to the iconic women herself and well as a magical exploration of Anzu’s life, her relationship with her mother and the truly remarkable parallels she has to Yoko.  

Solo shows are always born of fire of one kind or another, and at their very best they are the Phoenix we all believe we can be.  Anuzu’s skills are apparent as she inhabits Yoko Ono’s persona and gracefully flits from herself, to Yoko, and all the other cast of characters in the moments she shows us form her word. It’s such a remarkable blend of skills that we wanted to know how on earth Anzu managed this marvelous endeavor and so we asked!


WHY A SOLO SHOW?

For several years, I had been pitching a biopic screenplay and an all-original 28 song Broadway-ready musical called “DEAR JOHN, WHY YOKO?” I had written. And while researching Yoko Ono’s life every day for nearly 8 years, I continued to find surprising parallels between my life and hers, ala; the strict mothers, child kidnappings, overcoming drugs, scandalous pregnancies, feeling stifled in a patriarchal Japan, coming to America for artistic freedom and being misunderstood, just to name a few. Then my mother died on May 17, 2018.  I needed to channel my grief and somehow this story of my tiger mom, Yoko Ono and myself, started to intricately weave itself together. This story of three strong-willed Asian women in search of a meaningful life in a xenophobic world boldly revealed itself to me, and it had to be told…in this intimate way.

WHAT IS IT ABOUT YOKO ONO THAT DREW YOU TO HER?

I’ll be honest and say it was my dramaturge Jocelyn Jones that looked at me one day and asked me if I had ever thought of playing “Yoko Ono.” My knee jerk reaction was to scoff it off because unfortunately, I too, had grown up (even though I was Asian) to be conditioned to have some prejudice against her. It was never explained to me why but, growing up around musicians, I knew she wasn’t very liked and as a kid, I just wanted to be liked. Jocelyn assigned me to a “picture exercise” so I started researching Yoko Ono’s life and my mind was blown with the way she saw the world. Her non-conforming/mind-bending confidence to “beat to the beat of her own drum” gives me endless inspiration and strength today. Yoko continues to grow me as a humanitarian and as a forward-thinking female artist.

WHAT’S THE BEST ADVICE FOR PRODUCING YOUR OWN PLAY?

I certainly couldn’t have done this without my director Jessica Lynn Johnson holding my hand the whole way and without the support of her Solo Artist community that she’s created. Doing a One Person Show about something so deeply personal has been the scariest and most rewarding thing I’ve even done as a writer/performer. I’d say, find a director who creates a safe space for you… someone who has steered the ship and has successfully navigated those waters many times. Surround yourself with the best & experienced. My favorite saying is “Eagles Never Kick It With Pigeons” and I apply it to everything in life. Oh… and yes, get a publicist!

HOW HAS THIS SHOW CHANGED YOU, HEALED YOU, MADE YOU STRONGER?

I thought I was a fearless person before this show… but now, as an actress, I feel like I’ve earned my stripes and got my Masters and this show is my thesis. As a daughter, it has allowed me to honor my late mother for all the sacrifices she made, to give my sister and me a better life while celebrating my Asian lineage in a way I’ve never done before. As a woman, it has allowed me the proper medium to finally speak my truth about the transgressions I kept silent trying to “make it” in a male-dominated industry. But most importantly… as a writer, I know just how important it is to continue to excavate & execute stories of the underdog for the purpose of raising the consciousness of humanity

SOLOFEST IS A GREAT RESOURCE FOR ARTISTS, WHAT HAS YOUR EXPERIENCE BEEN WITH THE FESTIVAL AND OTHER FESTIVALS?

My Sunday, February 2 at 3pm  SOLOFEST performance at The Whitefire Theatre will only be my 3rd performance of “DEAR YOKO,” and it has been an honor to have been an official selection for The 2019 BFF Festival at The Santa Monica Playhouse and now an official selection for the 2020 SOLOFEST. This is my first One Woman Show and it’s true when they say “Build It And They Will Come.” I’m very grateful for these two LA-based Solo festivals for the opportunities they provide by shining a spotlight on solo theatre works. Solofest 2020 is featuring 80 solo shows in 90 days, and it keeps growing every year. It’s pretty amazing how one voice in a dark theatre can heal, inspire and transform an unsuspecting person in the audience. Would I dare say… it may even save lives? Ha haha. Well, it may have only saved mine but I will say… every show will touch a place in your soul you forgot was touchable.

YOUR FAVORITE ANECDOTE OF THIS YEARS SOLOFEST?

This is my first solo show and first Solofest. Now, I can see why John Leguizamo continues to make One Man Shows. You have so much freedom as an artist and as a storyteller. That freedom can become addicting to an actor like me, who is often typecast. But to answer the anecdote question, I had no idea how deeply it would affect me to hear that my unconventional life story told in all its vulnerability would bring men and women to tears & laughter the way it does. Turning pain into something positive is the unexpected and ultimate reward. Dear Yoko is playing at the Whitefire theatres Solofest on February 2nd at 3pm.  Its such a fantastical journey and Anzu is not the only one who transforms I can assure you.  This kind of exquisitely personal art is why theatre is the absolute best medium for women to tell their stories.

www.DearYoko.com 

 

The Whitefire Theatre, 
13500 VENTURA BLVD., Sherman Oaks, 91423

2020 Color of the Year; Classic Blue.

Blue has always been a favorite of mine.  However, it’s never been a color that was easy to design with until now.

Sure, the blue and white accents were always a staple, but to create a room around any shade of blue was a challenge at best.

Last year I worked on a few displays and client rooms with various blue tones and I was so happy to hear Pantone named Classic Blue this year’s choice.  The richness most shades of blue add to any space or accessory is timeless and calming.  I’ve personally used blue in my downstairs guest bath, living and dining rooms.

‘Imprinted in our psyches as a restful color, PANTONE 19-4052 Classic Blue brings a sense of peace and tranquility to the human spirit, offering refuge. Aiding concentration and bringing laser like clarity, PANTONE 19-4052 Classic Blue re-centers our thoughts. A reflective blue tone, Classic Blue fosters resilience.’

Pantone Color of the Year 2020, Leatrice Eiseman Quote.

No matter how you choose to use any shade of blue, whether in design or fashion, just know it’s a beautiful, grounding, calming, interesting and very ‘classic’ color to use.

Enjoy!

January 23 NoHo News

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NoHo News: Giselle. Open Mic. Bachata. Urban Kebab. Solofest. NoHo Dance Studios. Acting Class Guide. L.A. Theatre District

Here’s your NoHo arts community update!  We look forward to sharing lots of fun and unique news, events, profiles and updates on what’s happening in the NoHo Arts District.

Every Thursday we send out our NoHo e-News. Do you get it? It takes 30 seconds. Make sure you sign up, it’s FREE. Sign up HERE>>

This issue of NoHo e-News is about what’s going on in North Hollywood and a selection of some theatre shows. But we have a ton of them. Did you know that the NoHo Arts District has the highest concentration of theatres outside of New York City? Just check out the NoHo Arts District Theatre Guide>>

Here’s a glimpse at what’s going on in North Hollywood.

Click on the image and to see the online version of our NoHo News…ENJOY NOHO!

 NoHo News: Giselle. Open Mic. Bachata. Urban Kebab. Solofest. NoHo Dance Studios. Acting Class Guide. L.A. Theatre District

 

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**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

 

The Whitefire Theatre Solofest Presents “You’re Good For Nothing…I’ll Milk The Cow Myself”

Written and Performed by Natacha Ruck. Developed with David Marsh.

Part of the Whitefire Theatre’s Solofest

San Francisco-based Natacha Ruck’s hilarious solo play “You’re Good For Nothing…I’ll Milk The Cow Myself” is a retrospective of Natacha’s life.

Beginning in France as a child living with her beloved and very much ahead of her time mother and bringing us full circle to her American life while she learns to see the world with those two opposite and often dueling perspectives.

A born storyteller, Natacha has that rare and magical ability few performers somehow have to bring us deep into the world inside their head.  She becomes the people in her life with absolute ease and magically manages to give empathy to even the direst of characters.

thumbnail Youregoodfornothing NatachaRuck photoCredit GeorgeMaracineanu3

The audience sits spellbound as Natacha takes us to her childhood in France with her irritable grandmother, dopey father, battling sister and many of those life moments we all hold dear…the ones that change us.  Big and small, noticeable to others and barely perceptible to even ourselves, it is those precious and intensely held moments that make us who we are and the ones we jealously guard our entire lives.

Schoolyard bullies getting a slap by her warrior mother, stealing chocolate from her bitter grandmother, finding herself through memories of a life she never considered to be anything but average…until as an adult she realized that compared to most her life was anything but ordinary.

Natacha is fierce onstage.

Full of passion and humor and warmth, but you would absolutely want her on your side in a brawl. She has a beautiful voice, a lilting French accent and with it a comical grace.  With nothing but herself and the barest of stages, her stories unfold,. We can see the houses and the cobbled streets and the schoolyard and the memories dance around her with the vodka and the music and the gorgeously evocative descriptions of food.

We sometimes think we have the best anecdotes about our lives, don’t we?  We all have stories and memories and we trot out the ritualistic “remember when’s” at Christmas or Thanksgiving or birthday get-togethers. But oh to have the genius of this woman.  She regales us with her painful and her loving and her poignant memories, and they remind us all what it is to be a family, to be human and to be loved.

thumbnail Youregoodfornothing NatachaRuck photoCredit GeorgeMaracineanu2

Her mother passed away too young, Natacha loved up every last moment of her life with her and the sense of loss is palpable.  So many of us have lost the people that mean the most in our lives and it is a testament to Natacha’s mother that she is able to fill us up with her love for her.

This is a brilliant solo show written and performed by a vibrant and perceptive master storyteller.  She seems to learn as she speaks, discovering the beauty in her words as we do.  She is effortless and mesmerizing and I hope you get the chance to see her work.

Natacha is a founding producer of the Stanford Storytelling Project, teaches multimedia storytelling and creative nonfiction at the University of San Francisco and is the Managing Director for the Duolingo French podcast. Her documentary work has appeared at MoMa, the Whitney Museum of American Art, as well as on National Geographic, NBC NY and Link TV.  Her podcast work has appeared on National Public Radio affiliates nationally and locally.

You can find more about Natacha here: dotelldo.com

“Giselle” at The Soraya

Luke Isley

***

The Best of the (ballet) West Comes to The Soraya in February! 

The Younes and Soraya Nazarian Center for the Performing Arts continues their showcase of U.S. ballet companies with their next show – Ballet West’s beautifully traditional production of

“Giselle” is one of the most beloved and enduring cornerstones of classical ballet. Ballet West’s sumptuous production is conceived by Adam Sklute, the company’s artistic director, with choreography by Sklute after Jean Coralli and Julles Perrot. It will have a single performance on Tuesday, February 4 at 8:00pm.

With a music score composed by Adolphe Adam, Ballet West’s “Giselle” is a lavish production, complete with a cast of more than 55 dancers, live animals, and opulent sets and costumes.

The Deseret News raves, “Ballet West’s “Giselle” has stunning aesthetics, masterful drama, and heartstopping choreography.” The Salt Lake Tribune said, “Ballet West’s “Giselle” is an exquisite version of a classical ballet with modern-day relevance.”

Ballet West's
Photo by Luke Isley

About Ballet West’s “Giselle”

Since its Paris premiere in 1841, “Giselle” has been a triumph with audiences. A love story, a ghost story, and a tale of forgiveness, “Giselle” is about a peasant girl who falls in love with a nobleman, not knowing he is promised to another woman. When she finds out the truth, she goes mad and dies, only to become one of the Wilis, ghostly women who have been betrayed and must spend eternity haunting men.

Giselle was the first ballet to feature dancers “on-pointe” – and was done to emphasize the dancer’s ghostly movements; it was also the very first ballet to have its own original score. The title role of this ballet has been a touchstone in the legacy of many great ballerinas, who have mastered the technical demands and the emotional depth of the story.

In 2014, Artistic Director Adam Sklute reconceived this ethereal production to present a deeper understanding of “Giselle’s” characters. “’Giselle’ is one of the world’s oldest classics full of exciting and dramatic dancing, but what really keeps it fresh and alive to this day is the powerful, evocative, and timeless storytelling,” explains Sklute. “In my version, I have worked hard to develop the characters in in-depth and unique ways that makes them relatable and brings out the essence and beauty of the story.”

Sklute’s “Giselle” has themes of passion betrayal and forgiveness form beyond the grave. In the Utah Standard Examiner, Sklute added, “My biggest challenge has been getting in to the psychology of this classic. Unlike most ballets, “Giselle” is full of multi-layered characters. When you look at the principal characters in the ballet you can really see them all around us. “Giselle” is a teenage girl who bears the pain of falling in love with some who can’t love her back. What teenage girl today hasn’t experienced that degree of heartache?”

“At the same time, with additional choreography by Principal Ballet Master Pamela Robinson-Harris, we have expanded the dancing to magnify the scope and scale of the whole production,” said Sklute.

WHEN:

Tuesday, February 4 at 8PM

WHERE:

Younes and Soraya Nazarian Center for the Performing Arts
18111 Nordhoff Street
Northridge, CA 91330-8448

About Ballet West

For more than 50 years, Ballet West has ranked among the top professional ballet companies in America, entertaining and exciting audiences worldwide. They are regulars at the Kennedy Center and are known for classical ballets as well as new cutting-edge creations.

Since 2007, Sklute has introduced the elegant historical masterpieces from the great Ballets Russes of the early 20th Century and continues to preserve Ballet West’s classical legacy, while further energizing and expanding Ballet West’s remarkable repertoire with works by the most renowned choreographers of today including Ulysses Dove, Jiri Kylian, Mark Morris, Twyla Tharp, and Stanton Welch. Sklute has further strengthening Ballet West’s heritage by introducing new creations by local, national and international choreographers.

With 40 company members, 10 second company members, and a thriving academy that trains dancers of all ages, many of whom have gone on to professional careers with Ballet West and companies around the world. Ballet West ranks among the top professional ballet companies in America. Since its inception, the Company has had five artistic directors – its founder Willam Christensen, Bruce Marks, John Hart, Jonas Kåge and currently Adam Sklute, each who have helped to build Ballet West’s unique and expansive profile.

About Adam Sklute

Ballet West Artistic Director Adam Sklute was named Artistic Director of Ballet West in 2007. Since then he has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting company premieres, increased touring and public exposure, and greater focus on Ballet West Academy.

In his 10 years at Ballet West, Sklute has presented more than 60 world and Utah premieres. He has presented 27 works never before performed by Ballet West by such renowned historical choreographers as Sir Frederick Ashton, George Balanchine, Bronislava Nijinska, and Michel Fokine. At the same time, he has also expanded contemporary repertoire from Jiří Kylián, Mark Morris, and Twyla Tharp, to name a few. He has commissioned 12 world premieres by leading choreographers such as Val Caniporoli, Nicolo Fonte, Jessica Lang, Matthew Neenan, and Helen Pickett. In 2012, Sklute named Nicolo Fonte Resident Choreographer for Ballet West.

Sklute has reintroduced lost elements of Ballet West founder Willam Christensen’s beloved production of “The Nutcracker” and recently oversaw new sets and costumes for this acclaimed classic; the first new designs in almost 30 years. He also produced the reconstruction of Christensen’s 1967 “The Firebird.” He has conceived and produced critically acclaimed new productions of “Swan Lake” (2010) and “The Sleeping Beauty” (2011), and “Giselle” (2014) and launched Ballet West’s Family Series featuring Ballet West II and Academy dancers.

Notably, Sklute developed the Company’s wildly successful annual Innovations program, designed to nurture and present new creations by Ballet West Artists and emerging Utah, national, and international choreographers. Based on the success of Innovations Sklute ushered in two major new initiatives – Ballet West’s National Choreographic Festival, bringing together dance companies from around the country to share the stage with Ballet West all presenting new and innovative creations; and Works from Within a touring program presenting exclusively world premieres by Ballet West artists.

About Younes and Soraya Nazarian Center for the Performing Arts (The Soraya)

The 2019-20 Season marks the ninth year for the award-winning Younes and Soraya Nazarian Center for the Performing Arts which has quickly become one of the cultural jewels of the greater Los Angeles region. Under the leadership of Executive Director Thor Steingraber, The Soraya continues to expand its programming and outstanding multidisciplinary performances. The Soraya presents a wide variety of performances that not only include new and original work from the Los Angeles region but also work from around the world appealing to all of LA’s rich and diverse communities.

Located on the campus of California State University, Northridge, The Soraya’s season offers a vibrant performance program of nearly 50 classical and popular music, dance, theater, family, and international events that have served to establish The Soraya as the intellectual and cultural heart of the San Fernando Valley, and further establish itself as one of the top arts companies in Southern California. The award-winning, 1,700-seat theatre was designed by HGA Architects and Engineers and was recently cited by the Los Angeles Times as “a growing hub for live music, dance, drama and other cultural events.


**** For information on Los Angeles theatre, tickets to theatre in North Hollywood’s NoHo Arts District, theatre reviews, the NoHo Event Calendar, restaurants, news and local businesses in NoHo, or anything and everything about the NoHo Arts Community, bookmark nohoartsdistrict.com. Follow us on Twitter @OfficialNoHo. On Instagram @NoHoArtsDistrict and Facebook @NoHoArtsDistrict.

Relocation: Your main considerations before making the move

It’s something that you’re not going to take lightly, but relocation happens. In fact, in modern-day life, it probably happens more than we have ever been used to.

As we all know, the reasons can be few and far between. For some people, their decision might be fueled entirely for work purposes, having landed a job in a brand-new city. For others, family might be the key, and trying to get closer to loved ones.

Whatever your reason, there are some practical considerations to take into account. Through today’s guide, we will hone in on some of these in-detail.

You don’t have to find a new home in record speeds

This is one of the biggest mistakes that a lot of people make when it comes to relocating. Just because you are moving to a new city, it doesn’t mean to say that you need to acquire a new home in record speeds.

On the contrary, take your time. Use a storage company to house your belongings as you make your decision, and go from there. There’s nothing wrong with staying in a hotel or Airbnb as you bid to find the right permanent accommodation.

It’s actually quite difficult to find the good areas of a city, and living there for a few weeks and mingling with the locals might just provide you with enough insight to make that informed decision.

What is the cost of living?

Hopefully, this is something you have already factored in. After all, while the big salaries tend to be in London, so are the huge rents and other associated costs.

It’s not just London, and other capital cities through the world for that matter, which grab the headlines in this regard though. There can be huge differences between the cost of living between cities that are actually quite close to each other. In some cases, this can mean that the big salary rise you got for moving jobs, actually turns out to be quite small when you calculate the cost of getting yourself to work either through the bus or parking every morning.

How far detached is your “other” life?

Finally, every case is going to be different, and for some of you this might not be an issue. After all, you might not have family or friends in other cities; you are effectively moving your entire life to one location.

Of course, the above seldom happens. Instead, you will usually have some ties in other areas – and it’s about how you are going to manage these.

Again, this can relate to the cost of living. For example, if your new city of choice happens to be quite isolated, the cost of visiting family and friends might not only be very expensive, but also time intensive. Over time, this is something that can lead to the deterioration of relationships, which is clearly something that nobody wants.

It’s for this reason that you really have to assess your new city overall, and not just about the small perks that have led you to it in the first place.

Valentine’s Day at Toluca Lake Flowers

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Order early to ensure delivery by Valentine’s Day

“We have the BEST roses, lilies and orchids. Send your Valentine flowers now.” 

https://www.tolucalakeflowers.com/

818-769-1150

Toluca Lake Flowers
10601 Riverside Drive
North Hollywood, CA 91602

https://www.instagram.com/p/B7mIi5oFj44/

The Whitefire Solofest Presents “Too Old, Too Short, Too Asian”

The Whitefire Solofest presents “Too Old, Too Short, Too Asian,” written and performed by Pamela Najera.

What a fascinating story. It never ceases to amaze me how varied and challenging people’s lives are and how they can take all the negative twists and turns and make that into something wonderful.

Pamela Najera’s journey has taken her from one side of the world to the other.  Growing up in an entitled, comfortable existence in the Philippines, her life was far from happy.  Her mother abandoned her, her father was cold and indifferent and had many, many women, and her life was filled with secrets and lies.

Eventually her father brought the family to the US and her life changed dramatically…no more servants and drivers and a safe and closeted world. L.A. in the 80s was the absolute polar opposite.

Pamela went from good girl to Valley girl and embraced the culture of MTV and dance.  Although she was firmly on the path her family chose for her, training to be a nurse, once her father threw her out of the house and she moved in with her boyfriend’s family, she finally began to know who she really wanted to be.

Dance was her savior and, although she came to it a little later in life than most, she realized that a career as a professional dancer was really attainable, despite her diminutive stature and her age.

It seems like nothing could stop this fireball and Pamela went on to a long career as a professional dancer for the biggest cruise line in the world. She then parlayed this experience in performing into another career path as a magician’s assistant to Alexander Great….what a legend!

Solo shows are windows into lives so different to our own that they seem almost magical.  It’s particularly fitting then that Pamela performs with Alexander on stage during her brilliant show about her truly remarkable life.  The magic is wonderful, by the way.  But after a life like Pamela’s something very, very special is almost expected.

Pamela is brave, hilarious, a gifted dancer and fiercely talented.  But she has even more than that, she has heart.  As she dances and shimmies her way through her remarkable story she connects to the audience with her sweetness, her warmth and her inclusive nature.

This show is a celebration of her life so far…I wonder what the next 40 years will bring?

https://www.facebook.com/Too-Old-Too-Asian-Too-Short-101557121297317/