Robey Theater Company and playwright Kellie Roberts talk about their upcoming production of “Transitions” on 710 ESPN AM
514 S. Spring St. Los Angeles, CA 90013
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The Robey Theater Company and playwright Kellie Roberts talk about their upcoming production of “Transitions” on 710 ESPN AM Radio!
Wednesday, June 9th, 2010
1951-2006 Review by ACCESSIBLY LIVE OFF-LINE
Wednesday, May 26th, 2010Donald Freed’s 1951-2006, a play about two people living in the same New York City brownstone for over a half century, makes its world premier at the Los Angeles Theatre Center.
The play opens in late ’51. Meg (Debra De Leo), an Irish Catholic young lady from Chicago, moves into her apartment set in a turn of the century era walk up on Manhattan’s upper east side. She meets her neighbor David (Michael Matthys), a man who is wheelchair bound related from a military based injury. Meg is a teacher by trade and David is a writer with a political view that leans toward the left. As time moves forward, Meg and David develop somewhat of a rather curious relationship with the battles of seeing their government go from the left to the right while their own beings perform on their keep as tide and tide shift right up to the ultimate moments.
This particular work by writer and director Donald Freed is a love story of sorts. Meg and David’s affection doesn’t get started right away, and there no nothing very foo-foo about it even when it gels. Within this play, scenes unfold that skip a few weeks ahead with the occasional jump starting to multiple years later. Meg and David’s character age with time. Sometimes they age gracefully, while other moments they age with a harsher tone, finally moving up to full circle as Meg, now well into her 80′s, encounters a new Donald–just like she did some 55 years before!
The two leads in this show (Debra De Liso and Michael Matthys) carry their portrayal throughout. Although they stay in the same dumpy apartment building for all of this time only to meet in the dumpier hallway set in between their doorways, it shows that Meg and Donald only replace themselves with the times, even if the times don’t change with them!
A special note goes to Francois-Pierre Couture for his set design of the apartment hallway, consisting or a dim and dreary place not to congregate in, but to move by while coming and going with each day and date.
Also appearing within the cast is Christopher Fairbanks (playing multiple roles), and Reynaldo Pacheco.
Its been stated that a lot of events can occur in a very short time span. 1951-2006 is a very long movement of moment. Then again, it’s also an instant of being. The more things don’t change, the more that they don’t stay the same!
1951-2006, performs at the Los Angeles Theatre Center, 514 South Spring Street, downtown Los Angeles, until June 13th. Showtimes are Thursday, Friday, and Saturday nights @ 8:00 PM, and Saturday-Sunday matinees @ 3:00 PM. For reservations and for more information, call (213) 489-0994 x 107, or via http://www.The Latc.org
LA Times Theater review: ’1951-2006′ at Los Angeles Theatre Center
Friday, May 21st, 2010May 21, 2010 | 6:00 am
Politics and storytelling have always been inseparable for activist-writer Donald Freed, and his new play “1951-2006″ remains true to form. Directed by the author under the auspices of LATC’s resident Latino Theatre Company, the show spans five decades of American history as reflected in the romance between neighbors in a tawdry Manhattan brownstone.
Sparks of wit fly fast and furious when embittered war hero and self-styled Jewish “sit-up comedian” (he uses a wheelchair) David (Michael Matthys) meets Meg (Debra DeLiso), a free-spirited Irish Catholic teacher. In alternating snapshot scenes with documentary audio clips, their deepening relationship plays out against a backdrop of major social turning points and leftist causes, from the McCarthy witch hunts to the Iraq War.
The nicely paced love story and history lesson dovetail in Freed’s sharp dialogue, though his staging overindulges cleverness. As the pair trade quotes from Shakespeare, Beckett and pop culture, they often seem to be performing for each other rather than conversing. There’s more poignant, natural chemistry in Meg’s occasional scenes with her other lover (Christopher Fairbanks, in one of several well-differentiated roles).
The production amusingly evokes the look and feel of each passing era, particularly in the ghastly attire of the 1970s. And if you’ve been struggling to erase the mental imprint of Cat Stevens’ “Where Do the Children Play,” you’ll probably have to start over.
– Philip Brandes
“1951-2006,” Los Angeles Theatre Center, 514 S. Spring St., Los Angeles. 8 p.m. Thursdays and Fridays, 3 and 8 p.m. Saturdays, 3 p.m. Sundays. Ends June 13. $35, $10 on Thursdays. (213) 489-0994, Ext. 107. Running time: 2 hours, 10 minutes.
Photo: Debra DeLiso and Christopher Fairbanks. Photo credit: Brooks Wachtel
LA Weekly’s Review of ’1951-2006′
Monday, May 17th, 2010NEW REVIEW GO 1951-2006
Photo by Brooks Wachtel
Writer-director Donald Freed’s romance about a military veteran, Dave (Michael Matthys), who, in 1951, finds himself confined to a wheelchair in a grubby fourth-floor New York City walk-up, and the woman, Meg (Debra De Liso), who moves in across the hall. François-Pierre Couture’s set shows the hallway with its grimy tile floor and slats emerging through the edges of the cement walls, offering an intersection of realism and surrealism that will play itself out in the drama — nicely aided by Christopher Ash’s lighting schema. If you recall Bernard Slade’s comedy, Same Time, Next Year about an adulterous affair that is sliced into scenes occurring at regular intervals through the decades — as the culture ages along with the characters — that’s pretty much the template here. Sound designer John Zalewski serves up a soundscape of scene transitions that will stir any number of associations in people who have lived through them — the McCarthy hearings, news reports of the unfolding details of the JFK assassination, Nixon’s resignation, Ronald Reagan’s speech celebrating the continuity of our political process as the Carter administration handed over the reins of power. Dave is a Jewish anarchist who, in one scene, draws the attention of the FBI (Christopher Fairbanks), when he harbors a Black Panther Party member accused of shooting a police officer. Dave’s is a sort of attraction of opposites to Meg, a lapsed Irish Catholic. The drama has far more literary and political resonance than dramatic momentum, largely because — with the exception of the FBI raid, when the characters must decide something in the moment — director Freed isn’t entirely successful in drawing out the emotional tugs and pulls that lie beneath his very intelligent, often snappy and largely reflective dialogue, which says that this politically charged and appealingly smart couple have a deeply abiding love; I just got the sense that they were very friendly neighbors who enjoyed talking about politics. When Meg turns 86, a couple of hours after we saw her as a late-20-something, it’s more than evident that time is the protagonist here, and we’re seeing the aging of the progressive wing. I just wish that the romance were as persuasive as the history is poignant. Los Angeles Theatre Center, 514 S. Spring St., dwntwn.; Thurs.-Fri., 8 p.m.; Sat., 3 & 8 p.m.; Sun., 3 p.m.; through June 13. (213) 489-0994, ext. 2. Produced by Latino Theater Company. (Steven Leigh Morris)
- via LA Weekly
LA Times reviews ‘Dementia’
Friday, May 14th, 2010Theater review: ‘Dementia’ at Los Angeles Theatre Center
May 14, 2010 | 11:00 am
“It’s all about the exit, you know” is the keynote of “Dementia,” and what an enthralling finale its dying protagonist orchestrates. Evelina Fernández’s surreal dramedy about an AIDS-stricken stage director planning his own farewell party receives a stunning return engagement at Los Angeles Theatre Center.
Meet Moises (originator Sal López, beyond praise), better known as Moe, who may be losing control of his faculties, but he’s hardly going out with a whimper. As the end nears, Moe gathers his remaining intimates for one last bash around the Expressionist nudes and forced-perspective stairs of designer Christopher Ash’s marvelous set.
All his guests have issues, which gradually surface as Lupe (the ferociously talented Ralph Cole), Moe’s drag queen alter ego, prompts him to push the envelope. Amid the mordant swirl of François-Pierre Couture’s lighting and John Zalewski’s sound, more than one revelation occurs before Moe embraces infinity.
A GLAAD award winner in its 2002 workshop, “Dementia” carries some calculated telenovela elements, which nonetheless land like gangbusters within Fernández’s assured blend of camp, poetry and trenchant cultural observation. Director José Luis Valenzuela stages this Latino Theater Company production with unerring tonal control, and his ensemble could not be better.
López is hilarious and heartbreaking as Moe, while Cole carries the house from his first rendition of “My Life” (credit costumer Nikki Delhomme for Lupe’s parade of fabulous gowns).
Geoffrey Rivas and Lucy Rodriguez as a longtime collaborator and his spouse, Danny de la Paz’s childhood friend, and Esperanza America Ibarra’s pregnant teenage niece are uniformly formidable. And when author Fernández tears into Moe’s justifiably embittered ex-wife, “Dementia” enters searing territory, after choreographer Urbanie Lucero’s group dances have sent everything giddily aloft.
Those who think protease inhibitors render this remarkable play irrelevant should reference current Center for Disease Control statistics. In content and form, style and substance, “Dementia” may just be the sanest show in town.
– David C. Nichols
“Dementia,” Los Angeles Theatre Center, 514 S. Spring St., L.A. 8 p.m. Thursdays and Fridays, 3 and 8 p.m. Saturdays, 3 p.m. Sundays. Ends May 30. $35. www.thelatc.org.
Sal López, left, and Ralph Cole Jr. Photo credit: Ed Krieger.
Joe Straw #9 Dementia Review
Monday, May 10th, 2010Saturday, May 8, 2010
Dementia – A Play by Evelina Fernandez
By Joe Straw
My wife, lying in a bed at County USC Medical Center and dying of cancer, was taken to the room. We knew what the room meant. And in spite the few short months of prayers and tears, they were taking us there.
A decision had to be made. Coming in the next morning to tell her, she interrupted me and said they were looking in on her. The tile in the ceiling had been moved she said, there was a hole “there” this morning and they looked down at her. She said they spoke Spanish.
“Well, leave it to you to have angels that don’t speak your language.” I quipped. We both had a nice laugh.
“Why don’t we (and there was a long pause here) celebrate Christmas and New Years at home?” She shook her head, yes.
Dementia by Evelina Fernandez and directed by Jose Luis Valenzuela is another celebration and a remarkable achievement! Produced by the Latino Theater Company at the Los Angeles Theatre Center and playing through May 30, 2010.
The Scenic Design by Christopher Ash majestically lifts one from the bed and up three levels into the heavens. He bathes us in these magnificent blue nude bodies stretching high above the stage with pictures frames highlighting various parts of the human anatomy. One can only imagine if our main character decorated his home this way or if the dementia had already set in in his being.
Moe (Sal Lopez) is a man, a gay Chicano man, and a director/writer who wants to live and die in his paradise that is EAST L.A., because as his life would have it, the good life is cruising in a convertible along Whittier Boulevard.
Unfortunately, he is dying of AIDS and the act of death is his emotional countdown to his own sublime observations. Not completely bedridden he leaves his bed when enthusiastically inspired but not so far away as to terminally distance himself from his oxygen tank.
His chola pregnant niece Tamara (Esperanza America Ibarra), an angel in her own right, helps him through the disease. Humiliated, after being wiped, and wearing adult diapers Moe wants to go out in his silk boxers. “The end has to be brilliant!” – Moe
Moe lives a life where simple language is inadequate. It has to be expressive, layered with so many levels of truth and only the kind of truth that batters the human condition that strikes a nerve so deep the characters explode with happiness, shame or any other end effect as long as it is dramatic.
So what better way to witness human frailties and absorb the last ounce of human emotion than with a party of friends? Not only that, a Going Away for Good Party. After all, death is your last great party, and you might as well be alive to take pleasure in it. Adjust the lights, turn up the music, grab the Demerol patches and let the visions come as the last night was meant to be.
Moe’s visions come rather quickly in the way of alter ego Lupe (Ralph Cole, Jr.) a glamorous, magnanimous, fabulous drag queen, and a sparkling guide to the netherworld. The drag queen entices with lights, fingers, and song to pull Moe into the light with a rendition of “My Life”.
Only, there’s a problem. Lupe wants Moe to come with him now, wants to take him to (pick your belief) but the party has just started and Moe is not prepared.
Martin (Danny De La Paz), his best friend since childhood, has left East L.A. in favor of the west side of town to be a hair stylist to the stars (namely, everyone living on the west side). He has an important job to do and has promised to pull the plug when the time comes, but only then. The pressure of not one second before or one second after drives him absolutely mad.
Eddie (Geoffrey Rivas), a former writing partner to Moe, and his wife Alice (Lucy Rodriguez) are having marital problems. Their lives are in turmoil as Alice has divulged an affair with a younger man 25 years old. They agree to go to the party with reservations on settling their problems at another time.
And of course Moe wants to see all of this and more. With the help of his friends he slips into his boxers, a stunning evening dress, wig and makeup, and dances until he can dance no more and then disaster strikes when his former wife Raquel (Evelina Fernandez) calls and wants to see him.
The coming of Moe’s death is a great equalizer to those who want to be heard and haven’t found their voice. The smallest of whispers become something of great importance from someone who is dying. And why would you not want to be a part of this event?
Lopez, as Moe is outstanding by and large getting what he wants and pushing all of the buttons to get there. Outstanding as the performance may be, his reactions to the events unfolding around him seem not have an effect on his leaving.
Rivas as Eddie, also outstanding, is his tormented writer partner coming to the end to get a truth lacking in his recent material sans Moe. As he is witnessing the death of his friend, he is taking mental notes for new material.
Rodriguez as Alice is having a hard time understanding why her husband wants to see a dying man when there are more pressing problems in their relationship. A touching portrait of a character that is devastated by a truth that leaves her numb.
Ibarra as Tamara is “plan B” in case Martin doesn’t work out. Compassionate and loving until the end. She gives a charming and witty performance.
La Paz as Martin is the picture of health against the backdrop of Moe. The reasons of “Why him? And not me?” on his mind as he watches his friend slip into unconsciousness. La Paz is funny and emotional.
Cole, Jr. as Lupe was equally delightful. He has a number of costume changes throughout the night and a number of songs as well. One of those songs Que Sera Sera is a haunting number from an Alfred Hitchcock’s film the Man Who Knew Too Much plays well into Moe’s dying heart. One has to question the reasons for the songs and how each song gradually entices Moe to come with him. (That may be my own fault for not understanding the songs in Spanish.)
Beautiful costumes by Nikki Delhomme and wonderful choreography by Urbanie Lucero which works well with Karl Carrasco’s musical direction.
Evelina Fernandez has written an outstanding play that is a simple understanding of death, as one would have it. A simple truth met to enlighten. As the character Raquel she stands and waits for a visual truth to come to her. So powerful is her stare, moments taking it all in, waiting without the words to say, “I forgive you.”
Certainly all of the characters go through a catharsis and self-realization brought about by Moe’s imminent demise but here it is displayed as Latina truth. Inspiring!
Jose Luis stands outside, smoking a cigarette, waiting for tidbits of audience reaction as they leave. He graciously thanks each and everyone for coming to the performance gathering bits of reactional information from this play that is a celebration of life. The genius that is Jose Luis is his constant exploration of the human condition: life filled with exaggeration and meaning.
Valenzuela’s direction leaves no marker untouched. He explores the physical life of death to great dimensions. Life, death and afterlife, is either real or imagined. The first act ended in a song and dance number, which was quite remarkable, but leads us into the second act that seemed to lose a little focus. It seemed to be more about the other player’s problems and left Moe to stare mostly upstairs where the action was taking place.
Bring the conflict into the living room/bedroom where it belongs and take it to its flat line conclusion.
Los Angeles Theatre Center through May 30th, 2010.
via Joe Straw #9
Dementia’s Playwright & Director Interview on ESPN 710 Radio
Monday, May 10th, 2010_______________________
AIRING NEXT WEEK, MAY 16, 2010
Latino Theater Company’s Jose Luis Valenzuela and Evelina Fernandez – “Dementia”
“Dementia” is a play written by Evelina Fernandez. Directed by Jose Luis Valenzuela. Choreographed by Urbanie Lucero. Produced by Latino Theater Company at the Los Angeles Theatre Center, in its 320-seat Theatre 3, 514 S. Spring St., Los Angeles, CA 90013. This play has adult themes. For audiences 16 and older. For tickets and more information please go to: http://www.thelatc.org/
In 2003, the Latino Theater Company’s production, Dementia, garnered the prestigious GLAAD Award for Outstanding Theater Production in Los Angeles as well as four Ovation Award nominations in the mid-size theater category. In the same year, the Latino Theater Company incorporated 21 young theater artists to form the Latino Theater Lab. The Latino Theater Lab presented two works: the movement piece War, in 2003, and Melancholia, in 2005.
The Latino Theater Company has demonstrated over 23 years of commitment to creating and producing some of the most exciting main stage theater in the Los Angeles area. Founded in 1985 by current Artistic Director, Jose Luis Valenzuela, under the auspices of the former Los Angeles Theatre Center, and known then as the Latino Theater Lab, the company began its legacy of producing memorable work. Examples include: August 29th, Stone Wedding, Roosters, The Promise, La Victima, and Noche de Risa y Susto or Die Laughing, a Day of the Dead fundraising celebration. The Company also created the New Voices Playwriting Series that commissioned many playwrights including Octavio Solis, Jimmy Santiago Baca, Cherrie Moraga, and Milcha Sanchez-Scott.
Director Jose Luis Valenzuela is the Artistic Director of the Latino Theater Company and a Professor at UCLA’s MFA Directing program. His amazingly prolific career includes credits both in Europe (“Peer Gynt,” “Kiss of the Spider Woman”) and the U.S. (the stage and screen versions of “Luminarias” and “How Else Am I Supposed to Know I’m Still Alive?”; collaborations with Culture Clash including “Carpa Clash,” “Radio Mambo,” “A Bowl of Beings,’ the last of which was also filmed for PBS ‘ Great Performances; “Melancholia,” “Bandido!,” “Hijos,” “Solitude,” “August 29th,” “La Victima,” “Roosters,” “The Promise,” and so much more).
Playwright Evelina Fernandez is a Humanitas finalist and scripted the Latino Theater Company’s famed annual Christmas pageant, La Virgen De Guadalupe, Dios Inantzin,” as well as the recent acclaimed hit “Solitude,” an L.A. Times Critic’s Choice. Several of her other plays also transitioned to film including “Luminarias,” and “Premeditation.” Also an actor, she has had recurring roles on several TV series, including “Roseanne,” “Judging Amy,” and “City of Angels.”
The cast of the new production of “Dementia” includes, in alphabetical order, Ralph Cole Jr., Danny De La Paz, Evelina Fernandez, Esperanza America Ibarra, Sal Lopez, Geoffrey Rivas and Lucy Rodriguez.
Most shows by the Latino Theater Company include big dance numbers. This one is no exception. Choreography is by Urbanie Lucero. Set design: Christopher Ash. Lighting design: Francois Pierre Couture. Sound: John Zalewski. Costumes: Nikki Delhomme. Stage manager: Henry “Heno” Fernandez.
You are invited to join Moe’s party at “Dementia.” There’s some sadness, but lots of joy. Just like life. More Info: www.thelatc.org
via ESPN 710 Radio Los Angeles
LaFern Cusack currently produces and hosts 710 ESPN’s Experience (Sun. 5a-6a) and Radio Disney AM1110 Playground (Sun 6:30a-7a). With these shows LaFern delivers an inspiring, dynamic and insightful experience to listeners. She brings her humor, warmth and talent for tackling topical community issues with her unique style connecting with every aspect of the show.
‘Dementia’ Review | ACCESSIBLY LIVE OFF-LINE
Monday, May 10th, 2010DEMENTIA, a melodramatical play written by Evelina Fernandez about a dying man’s wish for his own “going away party” and the colleagues that are in attendance, opens at The Los Angeles Theater Center in downtown Los Angeles.
Sal Lopez is Moises–better know to his circle of friends as just “Moe”. In his youth, he was a man of Mexican heritage that lived the lifestyle of east Los Angeles, embracing the Latino community with its music, its fashion, and the passage of cursing down Wittier Blvd. in a slick and clean low rider. One fault he has was the fact that he was gay, and had to stay in the “closet” otherwise, he would be picked on. (Or as Moe would state, the cholos would kick his ass!) Now, many years later as a middle aged man, he is in the final stages of his illness with AIDS–bedridden and hooked up to various life support devices! As his final call, he summons a handful of people he’s been acquainted with for a party of sorts to give him his passing. Present are his playwright friend Martin (Danny de la Paz), his spouse Alice (Lucy Rodriguez), his best friend Eddie (Geoffrey Rivas) who also as a Latino gay youth in east LA, has to keep his personal lifestyle to himself, his fifteen year old niece Tamera (Esperanza America Ibarra) who is pregnant, and Raquel (Evelina Fernandez) who was once Moe’s wife! (He married to keep his orientation under cover!) Between encounters with his companions, Moe drifts back and forth to his other fantasy of being a drag queen; A torch singer that is suave and slinky while wearing the special sequined black dress! Hovering over Moe is a (wo)man known as Lupe (Ralph Cole, Jr.). (S)he provides the musical tone to this story of Moe’s, singing out numbers in both English and Spanish that highlights the ultimate desire of his. Of course, Moe won’t go out with a fight for his life, and would even spill some rather startling details about his friends and acquaintances–the only people in a life that is about to expire!
This play written by Evelina Fernandez (who is also cast at Raquel), holds a harmonious blend of comedy, tragic episodes, somberness, and even music that brings its festiveness to a story that showcases one man’s way to life his life to its very end. The cast of players holds out as equals, but the real stars in this production are Sal Lopez as the doomed Moe, and Ralph Cole, Jr. as Lupe, the torch singer that guides several moods along each unfolding circumstance.
As to the play’s technical aspects, Christopher Ash’s scenic design of Moe’s domain is a vast setting of a staircase hovering above the environment dressed with larger furnishings (including a stand alone closet where in one scene, Lupe makes a grand entrance), and a comfortable bed as Moe spends much of his stage time in, complete with medical machinery that is less glamorous than his personal space in order to expire! Choreography is provided by Urbanie Lucero, and transcribed music is presented by “Fiesta” under the musical direction by Karl Carrasco.
There is really nothing “demented” with DEMENTIA. In fact, it is as sane and sober as the illness depicted in this stage work. But it does holds its lighter moments as well, in spite of the subject matter expressed. This party isn’t really of the going away variety, but its focus is a celebration of one’s life and the people involved. Even if coming out of the closet has to be taken care of–skeletons and all!
DEMENTIA, presented by the Latino Theater Company, performs at the Los Angeles Theater Center, 512 South Spring Street, downtown Los Angeles, until May 30th. Showtimes are Thursday, Friday and Saturday nights @ 8:00 PM, with Saturday and Sunday matinees @ 3:00 PM. For information and for ticket reservations, call (213) 489-0994, or online at http://www.TheLatc.org
A Journey into “Dementia”
Thursday, May 6th, 2010By Karina Castillo
Evelina Fernandez’ tale of an AIDS stricken man and the impact the illness has on, not only him but his friends and family, is no less than thought provoking. Those who remember the 2002 workshop of Dementia, you will not be disapointed as Sal Lopez reprises his role as Moises, who spends the entirety of the play planning his ‘going away’ party. But this time he’s going away for good.
The party is attended by his close friends, including his best friend Eddie (Geoff Rivas) and his wife Alice (Lucy Rodriguez), his childhood friend Martin (Danny De La Paz), and ex wife Raquel (Evelina Fernandez), all of whom gave commanding performances. Their friendships are tested by Moises, and each other, the night of the party as they begin to drink tequila and reminisce about old times.
Through Moises’ journey his fragile state brings him in and out of consciousness where we meet his Drag- Queen conscience Lupe, played by the very talented Ralph Cole Jr., who only stops his soulful singing long enough to ridicule Moises for not being honest with his friends, especially ex -wife Raquel. Twists and turns abound when we find that all relationships are not what they seem, and that honesty may not always be the best option. With funny punch lines juxtaposed with somber moments, Dementia proves to be a great night at the theater.
Dementia received a GLAAD Award for Outstanding Theater Production in 2002. It is currently showing at the Los Angeles Theater Center located at 514 S. Spring St in downtown. Thurs.-Fri., 8 p.m.; Sat. 3 & 8 p.m.; Sun., 3 p.m.; thru May 30. ext. #107 or www.thelatc.org A Latino Theater Company Production
LA WEEKLY’S NEW REVIEW GO DEMENTIA
Tuesday, May 4th, 2010
Photo by Ed Krieger
Anyone who survived the deadly HIV plague time of the ’80s, when the best and brightest of the arts community was virtually wiped out by the disease, can’t help but be moved by the pathos of playwright Evelina Fernández’s AIDS melodrama. And while the urgency of the play might have diminished somewhat in the intervening years of antiretroviral successes, director José Luis Valenzuela’s re-staging of the Latino Theater Company’s acclaimed, 2002 production has lost none of its rousing panache or theatrical luster. Sal López reprises his tour de force performance as Moises, a flamboyant theater director drifting in and out of consciousness on his deathbed in 1995. He spends his lucid moments planning his final exit scene in a party to be attended by his close associates, which include his lifelong friend, the gay hairdresser, Martin (the excellent Danny de la Paz), and best straight friend/writing partner, Eddie (Geoffrey Rivas), and Eddie’s wife, Alice (Lucy Rodriguez). Moises’ less coherent spells are spent in phantasmagoric dialogues with his conscience and drag-queen alter ego, Lupe (Ralph Cole, Jr. in a show-stopping performance), who belts out disco dance hits in between haranguing Moises about coming clean with his ex-wife, Raquel (Fernández), on the circumstances surrounding their 15-year-old break-up. A first-rate production design, including François-Pierre Couture’s evocative lights, Nikki Delhomme’s Mackie-inspired gowns and Christopher Ash’s expressionist-surrealist set, underscores Fernández’s Eros-trumps-conventional-morality theme with elegance and eloquence. Los Angeles Theatre Center, 514 S. Spring St., downtown; Thurs.-Fri., 8 p.m.; Sat. 3 & 8 p.m.; Sun., 3 p.m.; thru May 30. (213) 489-0994 ext. #107 or http://www.thelatc.org A Latino Theater Company Production (Bill Raden)
via LA Weekly
