Saturday, May 23, 2015

Hoyt Hilsman on the AEA Election

Hoyt Hilsman reports on Huffington Post.  His take on the recent election of officers and councilors for the Actors Equity Association make sense to me.  This is posted with his permission:

This week, the membership of Actors Equity, the union of American stage actors, voted to oust an incumbent president - virtually unprecedented in the history of the organization. The ouster was the result of an organized revolt by actors in Los Angeles, who have been fighting Equity's efforts to gut LA's vibrant intimate theater scene. While the election is the first step in a long battle, it may significantly impact the future of American theater.
Actors Equity has a long and proud history of championing the rights of actors, beginning in 1913 when it was founded by a courageous group of a few hundred actors. The union has been in the forefront of the struggle for civil rights and freedom of expression, notably during the McCarthy era when it refused to ban blacklisted performers. However, as the LA battle illustrates, Equity has at least temporarily lost its way.
As far back as the 1950's and '60's, when the burgeoning Off-Broadway and Off-Off-Broadway movements were spawning a generation of playwrights, directors and actors who would dominate the next generation of American theater, as well as film and television, the seeds of the future have been planted in storefronts, basements and church halls where actors not only perform, but build sets, sew costumes and staff the box office. They devote their time - inevitably without pay - not only because they love the theater, but also because they want a chance to experiment, to test their creative wings and to dream beyond the boundaries of commercial theater.
While Equity has sometimes been resistant to these grassroots movements - as they were initially to Off and Off-Off-Broadway - it has also been instrumental in helping these movements to grow and blossom. In the case of New York, Equity came to recognize the importance of nurturing new theater companies and carved out a number of exceptions to its strict union rules to permit actors to work in non-commercial theater. This, in turn, led to a vital and prolific theater scene in New York that produced many of the most significant plays and theater companies of the twentieth century.
There is no doubt that Actors Equity has a vital role to play in American theater in the 21st century, much as it did throughout the 20th century. However, if it wants to preserve its vital role it must change its vision of the future, as well as the manner in which it pursues that vision. Its heavy-handed approach to the Los Angeles theater community reveals serious flaws both in Equity's vision of the future and its ability to implement any vision at all. From the beginning, Equity misread the sentiment of its LA membership - perhaps out of a myopic view of LA theater - or simply out of ignorance. To compound the problem, Equity ham-handled the rollout of their proposal, turning what may have been intended as an opening gambit for discussion into a dictat from an uncaring union.
Hopefully, the union leadership has learned its lesson after the open revolt of LA membership and the ouster of an incumbent president. Ironically, the bungled rollout of Equity's LA theater proposal may have strengthened the hand of other insurgent groups in New York, Chicago and other cities, who would like to see a more progressive approach to their small theater scene. New York's Showcase Code is in many respects more restrictive than LA's, and actors in Chicago small theaters are in an even worse situation. As actor Chris Agos wrote in his book about the Chicago acting scene "The overwhelming majority of live theater in Chicago is happening in storefront spaces and being done by actors who aren't affiliated with AEA. Audiences will see innovative, powerful performances in these theaters, but they simply can't afford to pay their actors a living wage."
Far from killing off LA's intimate theater scene, Equity may have spawned a national movement to follow LA's lead. As in any adventurous endeavor, the quality of Los Angeles theater varies wildly from the groundbreaking and inspiring to the narcissistic and pedestrian. However, the same can be said of the early days of Off and Off-Off-Broadway. This is the nature of the theater, of creativity and of change. Whatever one's view of the LA theater scene, it is indisputably one of the most vital theater communities in the country, if not the world, and could certainly serve as a model for the future. At this important turning point in its proud and storied history, Equity has the opportunity to provide leadership for the next century of American theater. Let us hope that it will step up and embrace that opportunity.

Friday, May 15, 2015

ACCOMPLICE at Theatre 40 pleases and then some

Better known for “Winnie the Pooh,” A.A. Milne is responsible for a little one act called THE MAN IN THE BOWLER HAT. One wonders if playwright, iconic musician Rupert Holmes, may have discovered Milne’s play as a high school drama student and worked the issue into his charming and twisty turny two act with some extra twists and turns.  Best known for “The Pina Colada Song” and scores of other tunes, Holmes is also known for the Broadway musical “Drood.”   ACCOMPLICE, will… as noted by LA Times’ critic Dan Sullivan reviewing the show at the Pasadena Playhouse in 1989, “run in the dinner theatre circuit forever.”  Indeed, though Theatre Forty is not a dinner theatre, there is slight air of that feeling as we find our way to the Box Office.  The well established company (celebrating fifty years of productions next year!) is located in the tiny space within the hallowed halls of Beverly Hills High School. 

Jeff G. Rack’s set is exquisite and just slightly like a stage set on a decent though limited budget.  In his curtain speech, producer, David Hunt Stafford, welcomes and informs the small audience that actor Michael Taylor Gray will be replaced by understudy Paul Delgado.  “Odd,” I remarked to my guest who had driven all the way from the Orange County to see this show.  “Opening night and this Gray fellow must have gotten a paying gig.”

(*A brief note.  In the old 99 Seat Plan for Equity Actors, every small theatre company would be sure that all parts were covered so that should a feature film or a TV role be offered to any of the actors that they would be released with impunity.  Professionals can handle any situation and everyone understands. )

ACT ONE.. At rise, we encounter veddy British and veddy broad Mr. Delgado trouncing in and calling to Janet (Alison Blanchard, quite quite) with trippy dialogue that all seems to be leading to a murder plot.   I was impressed with Delgado’s impressive impression of his character, never missing a beat.   Scene Two introduces Mr. Richard Horvitz as Derek who wrestles with his bumbershot and, at last,  trounces in and calls for HIS WIFE..  Janet!  Much of scene one repeats.  A drop of poison in his whiskey and away we go:  Off to the races! Tally Ho..  ho ho.. ho..

The beauty of this old chestnut is that even if you remember all of the plot twists and turns, enjoying the performances with the audience is literally a part of the game.   The introduction of Blonde Cutie, Alice Cutler, stirs the pot at the steamy conclusion of Act One, sending the audience off to the refreshment table with odd little grins, expecting more of the same in ACT TWO.  Dream on.

Long ago, while writing for Drama-Logue, I reviewed the premiere performance at The Playhouse that Dan Sullivan reviewed in 1989.  Spinal Tap pals, Michael McKean and Harry Shearer did the strutting and bellowing back then to a standing O. I was nuts about Pamela Brull (their Blonde Cutie) making the show even more fun. The production at Theatre Forty has all the nuance (well, schtick) and well acted characters that the Playhouse had, only up closer and maybe a bit broader.  I think that Holmes would approve of Martin Thompson’s expansive direction, aided and abetted by some groovy effects on Jeff G. Rack’s set. 

At this crucial time in the business of Intimate Theatre in Los Angeles, it’s important that audiences make a special effort to buy tickets and bring friends.  Free parking with lots of places to have a bite before or after the show are available in Beverly Hills!  What more could you ask for?  I recommend the deep dish pizza at BJ’s!  Just tune up your funnybone and bring a friend to see ACCOMPLICE during the run.  Hopefully, Mr. Gray will have returned to the cast, but topping Mr. Delgado’s performance will be a challenge for sure.   Fun stuff.  Highly recommended.

ACCOMPLICE by Rupert Holmes
Beverly Hills High School / Rueben Cordova Theatre
241 S. Moreno Drive
Beverly Hills, CA  9021something
Thursdays, Fridays and Saturdays at 8PM
Sundays at 2PM
Through June 14, 2015
For tickets and information:
310 364 0535

Sunday, May 10, 2015


The Echo Theatre Company’s production of Adam Bock’s A Small Fire is mostly a hit as it examines what happens when everything doesn’t work out the way we had planned.  Emily (powerful Lily Knight) is a tough little cookie who runs a construction firm with an iron glove.  She banters with Billy, her foreman (Darrett Sanders who shines), laying down the law regarding getting the job they are working on done properly.

Understanding that this play concerns the issue of a strong woman with tough opinions and a firm personality is a good thing to know going in.  Initially, it seemed as though Ms Knight was having trouble with lines, when, in fact, she was playing the issues that were yet to come.  It’s a tour de force performance, to arc from the Alpha person on the job and even in her household to becoming almost totally dependent as her infirmity advances. Husband, John, well limned by Michael Mantell, rises to the occasion beautifully.

A highlight of the piece is a scene that has little to do and at once a lot to do directly with the plot. It reveals itself in analogy to virtually rescue John from his own issues and Emily’s.  Billy races homing pigeons.  In the scene where he and John are anxiously waiting on a rooftop for Mister Buddha (Billy’s prize racer) to come in from South Carolina, the story is elevated to an unexpected height. Billy’s revelations about his own life and losses parallel what we see in store for Emily and John.

Factor in Emily’s harsh criticism of her daughter, Jenny’s (nuanced Mackenzie Kyle) choice for a husband (he imports cheese!) and the inability of Jenny to cope with her mother’s infirmity, we have a peek into the angst that follows in the lives of people who love one another and may just lack the ability to cope with tragedy. 

Under Alana Dietze’s subtle direction Bock’s script is tight, but motivation for some issues still remain a mystery to me.

The Echo’s space at The Atwater is wide.  Amanda Knehans’ spare multipurpose set features appropriate lighting by Matt Richter that guides us seamlessly from one scene to the next. A fifth “character” that helps to move the plot along is Corrinne Carrillo’s well textured sound effects and music that punctuate throughout the piece literally buoying it up. I’m still mulling the climax of this play where Emily and John literally come to grips with dealing with the dilemma that her illness has thrust upon them. 

The character of Billy is double cast so a repeat viewing may be in order.  These are highly skilled actors totally engaged a very interesting story.  See this one.

By Adam Bock
The Echo Theatre
At The Atwater Village Theatre
3269 Casitas Avenue
Los Angeles, CA 90069
Alternating with Row After Row
Through May 31, 2015
With performances at 4PM and 7PM
Both plays may be seen as a double feature 
Tickets and information:
310 307 3753

Sunday, May 3, 2015


There is a pure joy that comes with busting one’s behind on a hard plastic chair in the depths of an industrial space to see the Independent Shakespeare Company’s work.  I always thought that “agitprop” meant that one took whatever was at hand and made art from it.  Well, I was wrong.  It has to do with the political aspect of art or theatre that artists make a statement with.  I was headed off into a land of review of the Independent Shakespeare Company’s wonderful production of Pericles, Prince of Tyre by Wm S with a boost from George Wilkins (1576 – 1518), not only did my misconception of “agitprop” get me off on the wrong foot, but I am not enough of a scholar to have ever heard of Mr. Wilkins!   His history is a mixed bag that includes his being a minor dramatist of the Times but also ran a brothel where Shakespeare would hang out. Thus, this play may be a collaboration.
André Martin as Pericles 
PHOTO CREDIT: Grettel Cortes

Pericles, Prince of Tyre is a fantastical tale that may turn a bit on Homer’s epic tale of Ulysses.  The twists and turns are each and all presented beautifully by a tiny cast doubling and tripling to whirl poor Pericles from one situation to another with logic that certainly is clear to Wilkins and the Bard, but between adjusting to the actors’ dedication to the language (all trippingly tongued with imaginative action nicely directed by MELISSA CHALSMA), you really need a program to figure out who’s who.  This is not to criticize because the action moves a pace and the actors are so adept that even losing the thread now and then doesn’t much matter. 

The ISC is famous for their Shakespeare in the Park presentations.  However, tonight, we now file into the rehearsal space, scene shop, wardrobe department, and offices  and performance space for the Company.  Emphasis is on Company because unlike fancy schmancy programs at other theatres, ISC cranks out what could be mimeographed programs lovingly typed on a typewriter that simply list the facts.  To me, this is endearing because Budget is always an issue for these intimate theatre companies. Had this company been forced to pay minimum wage for this show with seven actors and an Equity stage manager, the approximate costs at the current AEA edict of $9.00 an hour would have been in excess of $7,000 not including taxes, P and H, etc. etc., just to get to opening night with an audience of about 35!  But I digress. This Company includes everyone and this diverse cast with creative costumes by Houri Mahserejian lists their names simply and directly with Director Melissa Chalsma listed last!

Andrè Martin as Pericles convinces us of his dedication not only as an actor to the role, but drags us kicking and screaming through the trials and tribulations of the young man off to find adventure.  Here’s the tricky part.  The protean cast is changing characters so quickly that it might be a good thing for them to have team numbers that would let the audience know who’s who as the Prince travels from his escape from Antioch to Tyre and on to Tarsus and then to SomethingOpolis and on and on, eventually back to Tyre. Kalean Ung is amazing as Marina, enchanting with her singing voice also acting as Chorus/Narrator opening the play and closing it beautifully.   The attempt to figure out the rest of the company and their roles got lost as I was drawn into the story.  Here they are.  All Company Members who, thanks to fine directing and their own excellent skills brought to life over twenty characters.  Director, also acting: Melissa Chalma, Christina Frias, Daniel Jimenez, Nikhil Pai, Evan Lewis Smith, Kalean Ung, and Andrè Martin.  It’s clear that these company members are dedicated to the work.  Do your own research about the story.  It’s a quest, a tragedy, a comedy and almost a history that may get lost from time to time in the details, but over all is a real treat.  Okay, Helicanus might step back from his old age a little, but he was old when Pericles took off from Tyre and left him in charge, I guess, but that’s just a gray note.  This is an excellent production that will charm the pants off an appreciative audience.  Read a synopsis and bring a pillow.

By William Shakespeare and George Wilkins
The Independent Shakespeare Company
3191 Casitas Avenue #168
Los Angeles, CA
Thursdays, Fridays and Saturdays at 7:30 PM (Note the curtain time!)
Sundays at 2PM
Through May 24, 2015
Tickets and Information:
818 710 6306

Wednesday, April 29, 2015


As I have said, I am not a member of Actors Equity.   I passed up that opportunity years ago when I realized I wanted to actually make a living as an actor.  The stage is a calling where making a living wage is dicey at best.  So.. It was television (mostly) for me.  

As you can see from the activity on this modest site, my stake in the Pro99 Seat issue is secondary.  I write reviews on the Intimate Theatre  I am privileged to review here in LA.   Hopefully, the restrictive and uninformed edict by AEA against the wishes of Los Angeles Equity members is not a done deal.  I encourage all AEA members to review these candidates and encourage your Equity friends to campaign for leaders who will appreciate LA actors and most important, will listen.  
I have not vetted any of these candidates, but I do trust Frances Fisher.    
Michael Sheehan  onstagelosangeles

This information is via Frances Fisher via Jeff Marlow:

"ATTENTION ALL ACTORS EQUITY MEMBERS: We are in an election cycle ending May 20. If you want to know how to vote; who has your back as ‪#‎PRO99‬, Read this and share with every AEA member you know across the nation. This is a National Election; we vote for President as well as the Western and Eastern Regions. From Jeff Marlow:
In light of the recent events surrounding Actors Equity's addressing of Los Angeles' 99 seat theater community, we the undersigned Council candidates have decided to inform voters like yourself in the upcoming AEA elections of where we stand.
We are for a union that:
- Believes first and foremost that inclusion is the best way forward for AEA's well-being, and the more Equity members working on a stage, whether on contract or stipend, the healthier its membership.
- Applies comprehensive strategy specifically adopted for its targeted region, not a one-size-fits-all solution.
- Communicates with its members on a local level, and designs its contract system from a truly bottom-up model of information.

In solidarity,
Donal Thoms Cappello
Edgar Landa
Jeff Marlow
Jeffrey Todd
Mary-Pat Green

To that end, we hope to have the opportunity to work with the following candidates as fellow members of the Actors’ Equity Association National Council:

Kate Shindle for President of Actors Equity Association (Actors Equity President)
Donal Thoms-Cappello for AEA Western Regional Vice President (Western Regional VP)
Jeff Marlow (Western Regional Councillor, Principal)
Jeffrey Christopher Todd (Jeffrey Todd) (Western Regional Councillor, Principal)
Edgar Landa (Western Regional Councillor, Principal)
Mary-Pat Green (Western Regional Councillor, Principal)

Sid Solomon (Eastern Regional Councillor, Principal)
Christopher Gurr (Eastern Regional Councillor, Principal)
Kate O'Phalen (Eastern Regional Councillor, Principal)

Thank you for reading. Please ‪#‎GOTVpro99‬ and SHARE THIS!"

Monday, April 27, 2015

ROW AFTER ROW by Jessica Dickey at The Echo

The Echo Theatre plunges back into the fray with two short plays. 

Jessica Dickey’s ROW AFTER ROW embraces the spare approach with simple wooden walls for backdrops by Amanda Nehans featuring the American flag.   A wooden table with a woman soldier drinking a tankard of ale sets the scene.  Leah (excellent Jennifer Chambers) is just back from her first Civil War Re-Enactment of the Battle of Gettysburg.  Tiny and lithe, Leah barely looks up as Cal (Ian Merrigan) and Tom (John Sloan) rumble in from the same annual battle.  Cal plays General Longstreet and is up to his eyeballs in his authentic beard and regalia.  Tom plays a deserter who ran from the battle.  All aspects of authentically re-enacting Pickett’s Charge are adhered to right down to the thread count of the fabric of the uniforms worn by the eventually defeated South.

Playwright Dickey actually participated in one of these battles either to research the play or to just have had the experience and then deciding to write about it.  It’s a polemic that embraces the place of women not only as mostly helpmates in the time of the Civil War, but, also women’s place in the 21st Century, as well.  Initially, Cal is incensed and mean in dealing with this snip of a girl who has invaded the special table where he and Tom have always come to rehash the day’s excitement.  Leah doesn’t budge, but eventually invites the boys to join her.

The ensuing action and dialogue flash back from time to time to the actual Battle of Gettysburg.  We get the flavor not of hobbyists engaging in their deep love for this particular time in history, but the actual place and time itself.  Quick lighting changes and sound cues by Matt Richter and Corinne Carrillo respectively are all these talented actors need to return to July, 1863.  It’s the serious business of how the United States attempted to kill itself. 

The title, Row After Row, refers to the acres of dead soldiers, Yanks and Rebs who died that day, more than 30,000 soldiers, dead or wounded never left Gettysburg.  The sad story is sadder still for the South because the Confederate States eventually lost the war.  Dickey points out that the reason that the South may still be fighting this terrible war is because they cannot admit defeat.  She says through the dialogue, “If you can’t say you lost, you can’t recover.”  This sad statement defines not only the unhappy truth of the Civil War, but it also defines the eventual beginning of what might be a happy ending for Leah and Cal.  After his unsuccessful attempts to humiliate Leah, Cal realizes that he has been simply wrong. He admits it. After a bad break up that still haunts him, meeting this slip of a woman might be a way for them both to recover from their previous disappointments in the past. 

It is hilarious and touching. Director Tara Karsian, moves the characters around beautifully.  We gain sympathy for Tom, half Cal’s size, as we hear Tom tell the truth to Cal about how they need to be better friends and why.

Row After Row plays concurrently with A Small Fire. That review will come soon.  This play should be seen and enjoyed by a full and appreciative audience.  Great writing, fine acting. It’s a short and fulfilling evening of theatre.

By Jessica Dickey
The Echo Theatre
The Atwater Village Theatre
3269 Casitas Avenue
Los Angeles, CA  90039
Through May 9, 2015
Tickets and information:
310 307 3753

MOUSE!!! by and with Trevor Allen

When Trevor Allen worked at Disneyland, his goal was to become the living embodiment of Peter Pan.  A noble goal for a guy who wants to play the part that traditionally has been played by a girl.  The lure of Disney and Never Never Land captured him as a small boy when the illusion of Peter, then played by Sandy Duncan in her long time tenure in the play, was undeniable.  In WORKING FOR THE MOUSE, Allen marches out onto the stage and relives in touching detail, the life and times of a walk about character and the adventures that he had as he pursued his elusive and ultimate goal.  “Here Weeee Gooooooooo!  

Theatre Asylum is aptly named.  A tiny black box with a Santa Monica address, but secreted away next door to The Lillian (actually on Lillian Way in Hollywood), fit the intimate tales that the actor spun non-stop for a little over an hour, using only a large black box to serve as a locker room bench. Three distinctive spots of light on the back wall immediately recognized by virtually anyone in at least the First World as the ‘trefoil’:  THE Mouse! greets the audience as we file into the 35 seat venue.  Allen brings to life several characters, human and otherwise, including the Sailor Suited Duck, the six foot floppy dog who was a dog, the White Rabbit, The Mad Hatter and many others who emerge full blown in his show.

The attraction of Disneyland is one that few are wishy washy about. One either loves The Park or.. may not.  There are life time employees who do love the Park, or those, like Gary, the little guy who waddled his entire working life in the Donald Duck suit, who was a cynical and outspoken critic.  Fact is that for years Disney opted not to have Donald and Daisy appear “on stage” strolling in the Park because the proportion of Donald’s legs to his body didn’t work out.  Somewhere along the line, the proportions were configured and Donald became a regular.  I could write an essay on why I love The Duck!

Each of the characters and comrades that Allen limns in his exhausting and exhilarating seventy minutes actually come to life.  Gary (the Duck) and the character supervisor who leaped from behind bushes to catch the guys unawares and the bruiser whom he met when he thought he might be going for a tryst with Alice in Wonderland.. all live! They sprinkle the show with not Fairy Dust, but grace notes and seasoning that make his memoir more than just a guy standing on a stage and telling stories.   

Sadly, I didn’t find out about Working For The Mouse until the last weekend of the show. However, after chatting with Trevor, it seems that he would love to put it up here in LA for a longer run.  This is a show that falls outside the purview of AEA because when you do your own thing, hire the space, pay the crew and keep the cast down to one… Ta daaaaaa:  You may, at least break even financially.  The upside is that Mr. Allen’s show is funny and touching and (disclaimer!) because I worked in Disneyland for many summers, it touched my heart; brought back fond memories and did the work that a performance is supposed to do: It took me home. Thank you, Trevor Allen.

 I hope I can alert readers to the good news if and when WORKING FOR THE MOUSE returns.

By Trevor Allen
Just closed at
Theatre Asylum
Santa Monica and Lillian
Hollywood, California
Watch this space for announcements of future performances in the LA area.

Sunday, April 26, 2015

FANTASTIC at The Boston Court

In their program notes, Boston Court Artistic Directors Michael Michetti (who directs this play) and Jessica Kubzansky remind the audience that The Boston Court is not your average theatre company.  They pride themselves on taking chances. They are warm and welcoming in their curtain speech and invite the audience not to sit back and relax, but to “come to the edge of your seat, lean in and enjoy…”   The man sitting next to me did just that through the entire show. 

Commissioned by the Cleveland Public Theatre, this is the second production of Eric Coble’s play, My Barking Dog. It’s allegorical and literal and silly and after a pokey start in the dark we witness not only character arcs that build to a totally unexpected fantasmagorical climax but virtually experience the characters metamorphoses as they evolve.

Unemployed Toby (Ed F. Martin) stands on Tom Buderwitz’s stark multifunctional, essentially bare stage and decries his loneliness of fourteen years, never been kissed for seventeen, and his being unemployed for months.  He mimes his attempts on a laptop to get free WiFi from a neighbor, making excuses as to why he can’t just hit a Starbucks to do his job search.  His take on life has declined to every day becoming a Sunday: a day that he describes as God’s Joke Day of Existential Angst as it is the day most people are dreading their return to work. Being out of a job, he experiences that angst every single day.

Contrapuntally, we meet Melinda (protean and mercurial Michelle Azar) who works nights in a printing plant.  Dowdy and shy, she enjoys not working with people.  She points out that in fourteen years she has not changed from her original ID badge photo, proudly showing the audience.  We discover in time as both characters directly address the audience that they live in the same apartment building.  They live in the City.  It’s a Big City.  Melinda returns from work in the middle of the night and Toby can’t sleep and so, both up in the wee small hours they concurrently see a dark shape progressing up the back stairs to their apartments.  It’s not a dog.  It’s a coyote who is now existing in the City. Inevitably, Sad Sack Toby and Pitiful Pearl Melinda meet and begin to court the coyote. 

There’s a third “character” not listed in the cast list, but essential to this fantasy. It’s Buderwitz’s set which begins as a simple platform with some informational projections by Tom Ontiveros.  It then expands in unexpected ways.  The first designer to impress me since the magic of The Company Theatre’s Russell Pyle, Buderwitz’s design drives the City to its knees and the fantastic business of transformation brings the story to its inevitable conclusion.  Additionally, Ms Azar is one of few actors we have ever seen who literally transforms before our eyes. 

This is a tough ‘two hander’ (plus one) that offers a challenge for the actors as well as for the audience.  Leave your expectations at home and come to Pasadena to see something just a little bit different.  Truly, Fantastic.

By Eric Coble
The Boston Court Theatre
70 North Mentor Avenue
Pasadena, California 91106
Opened April 25, 2015  
Thursdays  through  Saturdays  at  8  p.m.
Sundays  at  2  p.m.  through  May  24, 2015  
with  an  added  performance  on  Wednesday,  May  20, 2015
Free parking behind the theater