Tuesday, July 23, 2019

Sybil Jatta Plays Billie Holiday: Front and Center

Sybil D. Jatta as Billie Holiday
By Scott Morgan Photography

By Darlene Donloe
  
She ready!  Sybil D. Jatta is ready to take the stage and bring one of her favorite singers to life in Billie Holiday: Front and Center, a musical she wrote about one of the most beloved jazz singers in music history.

Set to open Friday, July 26, at the WACO Theater in North Hollywood, the show, directed by B’Anca, takes the audience on a journey through Holiday’s tumultuous, tortured, yet brilliant life – cut short due to cirrhosis of the liver. Billie Holiday: Front and Center had its world premiere in 2006 at the Fremont Centre Theatre in South Pasadena.

While writing the show, Jatta, who previously played the legendary singer in Sang Sista Sang, a tribute piece to the great legends of jazz and blues said she wanted to present the raw truth about Holiday’s story – warts and all.

In the show, she portrays multiple characters and sings several songs from Holiday’s hit list including Strange Fruit, God Bless The Child, All of Me, Good Morning Heartache, What A Little Moonlight Can Do, Don’t Explain and My Man.

Holiday’s stormy life included prostitution, drugs, incarceration, abusive relationships, being the victim of sexual assault and racism.

Still, she prevailed – recording multiple hits and selling out Carnegie Hall three times.

Jatta, who will be accompanied live by jazz musicians, is no stranger to the stage or to musicals. The Phoenix native’s stage credits include The Music Man, Jesus Christ Superstar, Bubbling Brown Sugar, Ain’t Misbehavin’, Little Shop of Horrors, Simply Heavenly and her own show Just Let Me Sing. Her film and TV credits include Veep, Deliver Us From Eva, Two Can Play That Game, The Sarah Silverman Show, Strong Medicine and more.

Jatta, who recently wed (King Raul F. Jatta) was formerly known as Sybil Harris and now performs under her new name.

DD: Describe the show.

SJ:    Our show is about the life and times of the legendary jazz and blues singer Billie Holiday. This show gives you snapshots into her life journey from childhood through adulthood.

DD: Why did you decide to do a show about Billie Holiday?

SJ: We decided to do our own show about this icon of music because we wanted the world to see Billie's strength and perseverance through her many struggles in life.

DD: There have been numerous shows about Holiday. What makes yours different?

SJ:    We see Billie Holiday as a trailblazer! Many other shows focus on her substance abuse issues however, we allow our audiences to see the behind the scenes of her life. They leave the theater saying, "Wow I never knew that about Billie Holiday."
                                                                                                  
DD: There are lots of shows in Los Angeles. Why should anyone come to see your show?

SJ:    Prior audiences of various ages and racial backgrounds have seen this production. They have sung along with the songs featuring a quartet of the greatest jazz musicians of our era. Our show is returning to the stage by audience demand. Many people still want to see it so we are humbled to bring the show back to the stage. The WACO Theater Center is the vision of Richard Lawson and Tina Knowles Lawson. We are so excited for this opportunity to perform at their prestigious venue, "Where Art Can Occur".

DD: Talk about the process of writing this show. How long did it take and what do you want audiences to know?

SJ:    The research was extensive because the writing and storyline are based on true facts of Billie's life. It actually took a few months to complete everything. I also wrote two original songs for the show.

DD:  What is your artistic vision of the show?

SJ:    My artistic vision for this show as an artist is to be transparent in my work, writing, and performance. Our future goals are to produce more truth revealing shows on other jazz icons, giving inspiration to audiences globally.

DD:  How did you go about developing this story and making it your own?

SJ:    In developing our story we first had to compare and contrast other stories out there about Billie. We had to ask ourselves "what are we doing differently." We proceeded to make our story different by taking a positive fact-based approach to her life.

DD:  How do you “become” a character?

SJ:    Becoming a character is an integral part of the acting process. Thinking about how the character stands, walks, speaks, enters a space, and what motivates them are keys to developing characters. I thank God for my great teachers, Richard Lawson, Pemon Rami, Masequa Myers, and Gary Imhoff.

DD: You play several characters in the show.  Who are they and what is their significance to the story?

SJ:    Each character portrayed in our show was key to Billie's life. I portray nine different characters including her mother Sadie Fagan Harris. An interesting note is that we are all named Harris. Billie, her mother and myself are Harris, which is my maiden name.

DD:  Talk about the first time you heard Billie Holiday sing. What did it do to you and for you?

SJ:    The first song I heard was Don't Explain.  I felt her sadness in the delivery of the song. I researched the lyrics and discovered that she wrote it. I have always wanted to sing this song! This song was based on her life experience with husband Joe Guy and his infidelity.  My late grandfather, Peter Martin Sr., a jazz pianist, accompanied Billie Holiday at a gig in Maryland. He shared that experience with me and I felt connected to Billie Holiday.

DD: You first portrayed Billie in Sang Sista Sang.  How will this Billie differ from that Billie?

SJ:    My first portrayal in the Smokey Robinson, Mickey Stevenson production of Sang Sista Sang, was a tribute piece to the great legends of jazz and blues. It featured Billie Holiday, Bessie Smith, Josephine Baker, and Dinah Washington.  Our show focuses only on Billie Holiday's life and music. We are dedicating this show’s run to our late Sang Sista Sang director Lonnie Stevens. He encouraged me to go forward with this project and was so eager to see our show. Unfortunately, he passed away last month. 
  
DD:  In your research what did you learn about Billie that you didn’t already know?

SJ:    I learned that Billie Holiday was a trailblazer! She persevered through so many obstacles in her childhood...racial discrimination. I learned that she had to always pee in a bucket offstage because she could not use the toilets while touring with white bands.  Yes, she was a trailblazer and we are still writing and speaking about her today.

DD: What do you like and what don’t you like about Billie?  

SJ:    I love Billie's heart of giving and her love and respect for musicians. All of the greatest musicians wanted to play with her because she thought of herself as an instrument.  I absolutely hate the fact that in her weakest life moment she chose heroin. I hate drugs and what they have done to some of our most gifted and talented artists globally.

DD: Why are you the right person to bring this show to life?

SJ:    I am the right person because I  have mastered her style of singing, and we share the same last name, Harris. Who knows maybe we are related.  And my grandfather accompanied her at a gig in Maryland. Therefore, I am feeling Billie's essence in every performance.

DD:  What challenges did you encounter bringing this story to life?

SJ:    We were challenged by the fact that there were so many stories out there about Billie Holiday. We had to research and keep our facts straight because there are still people around who saw Billie Holiday perform live. The legendary Corky Hale, the only female to accompany Billie Holiday came to see. She said, "Where are all of the big Broadway show producers, they need to see this show and get it to Broadway?"

DD: What happens to you on stage?

SJ:    On stage I allow the characters to speak through me as I become the vessel.
  
DD:  What do you look for when taking on a project?

SJ:    I look at the integrity and purpose of the project. 

DD:   What do you learn about yourself during the run of the show and after each show ends?

SJ:  I always seek to get better after each performance and each run. We have audience members who continue to come to our shows observing the progress, supporting the journey and giving feedback.  I give my absolute best to every performance.  I strive for excellence in making each character believable.  During one of our earlier shows, we were performing a music medley and for some reason, I got caught up in the moment and pointed to the musicians as they each gave solos. After the show an elderly couple approached me and said, "Billie never did that...she never pointed to anyone...don't ever do that again because that's not Billie...she just stood front and center and sang her songs!" Lesson learned and I never did that again.

DD: What is it about theater and what does it do for you?

SJ:  Theater is now! Theater keeps you in forward motion up on your toes and I love love, love, theater.

DD:   How do you measure your success?

SJ: We have a very strong team. B'anca our director/stage manager, Linda Bronson-Abbott, our associate producer and I have known and worked together for many years. We meet and set up our goals and timeline. We follow up on our progress -what worked and what we need to improve upon. After each run, we look at audiences, feedback, reviews, and the success of the run.

DD:   What is your philosophy in life that influences your creative work?

SJ:  My philosophy in life comes from the words of the great leader Kwame Nkrumah..."Forward ever Backwards never."  So when creating a new project I ask is it propelling my life, career, and audiences forward. 

DD:  What play, other than this one, has influenced you the most? In what way did it influence you?

SJ: The Color Purple, featuring Fantasia was an amazing experience. I was a part of the American Idol Choir when Fantasia won. We prayed together backstage with Fantasia for God to bless her career. Seeing her light up the stage in the play, The Color Purple inspired me as an artist. It influenced me to start writing my own projects.

DD: What do you do when you’re not singing your heart out on stage?

SJ: I am also an administrator at Franklin High School. I am honored to work with the best team of teachers, administrators, and students. We are the best-kept secret in the entire LAUSD school district.

DD: You come from quite a family.

SJ: As the firstborn of nine to my mom, Abbie, and my father Peter, I was raised to lead by example and make no excuses because we are a family of champions. My niece Jessica McDonald is a part of the current World Cup Champion team. My niece Mariah Hall is currently national pageant winner at age 14. We have many extraordinary gifted people in our family of champions, excelling on many levels.

DD: Do you have a philosophy of life?

SJ: I want to always encourage, inspire and motivate others to do their best and never give up on their dreams...no matter what.

Billie Holiday: Front and Center, Waco Theater Center, 5144 Lankershim Blvd., North Hollywood; 8 p.m., Friday, July 26, 2019; 8 p.m., Sat., July 27; 3 p.m., Sun., July 28; 8 p.m., Fri., August 2; 8 p.m., Sat., August 3; 8 p.m., Fri., August 16; 8 p.m., Sat., August 17; 3 p.m., Sunday, August 18; General $52; Groups of four or more $45; Students with I.D. (high school/college) $40; Seniors (65+) $30. Except for the Opening Night Gala on Fri., July 26, when seats are $100. Tickets for the Opening Night Gala includes dinner. Audience members are encouraged to wear fashions in the style of the 1930s and 1940s; Online Ticketing:  https://www.eventbrite.com/e/billie-holiday-front-and-center-tickets-63407808462

Friday, July 19, 2019

Open Captioning Service Now Available At The Pasadena Playhouse As Part Of 2019-2020 Season


Pasadena Playhouse will partner with TDF, one of the nation’s leading theatre support organizations dedicated by bringing the power of performing arts to everyone, in presenting Open Captioning during its 2019-2020 plays and musicals.

Each of the five mainstage productions will have a performance that will feature technology that provides a text display of the words of the performance that is visible from a particular seating area.  For audience members with hearing disabilities, and who now use assistive listening devices, hearing aids, cochlear implants, sign language and lip-reading, this display – which can be used or ignored – allows them to have a larger enjoyment of the experience of live theatre. With this technology, no guest is labeled as needing the captioning, or the need for special equipment required when seated.

The four main stage productions for 2019-2020 include new productions of favorite musicals – Little Shop of Horrors with book and lyrics by Howard Ashman and music by Alan Menken, directed by Mike Donahue, and Irving Berlin’s Annie Get Your Gun with book by Herbert and Dorothy Fields, directed by Sarna Lapine – and  two plays – the Los Angeles premiere of Lauren Yee’s The Great Leap directed by BD Wong, a co-production with East West Players, and Alfred Molina starring in the critically acclaimed West End and Broadway hit The Father by Florian Zeller and directed by Jessica Kubzansky. One more production and additional programming will be announced at a later date.

The dates of these performances are as follows:

  • Little Shop of Horrors: Sunday, October 6 at 2:00PM
  • The Great Leap: Sunday, November 24 at 2:00PM
  • The Father and Annie Get Your Gun: TBD
  • And a fifth production to be announced

Tickets for Open Captioning seating for Little Shop of Horrors and The Great Leap will be available beginning Tuesday, July 23, at 
www.pasadenaplayhouse.org, or by calling 626-356-7529.

This Open Captioning is a technology of c2 (Caption Coalition) Inc., a consultant and service provider of both theatrical captioning and CART (Communication Access Realtime Translation) captioning; to date, c2 members are collectively responsible for captioning over 800 theatrical productions in more than 180 venues.  Furthermore, c2 also provides CART captioning of various lecture series in the arts.

About 10-15% of the population is hard of hearing or deaf.  Based on statistics from the Office of the Deaf, it is estimated that there are 800,000 deaf and hard of hearing people in greater Los Angeles; If roughly 3% of these individuals attend arts events, that translates into 24,000 potential audience members for captioning.  Within the next 10 years, it is estimated that one out of every five Americans will be 65 and older, and 25% of them will have some level of hearing loss.  There is an enormous need for open captioning, and audiences for the service continue to grow.

ABOUT THE PASADENA PLAYHOUSE
The Pasadena Playhouse is a place where people have gathered for 100 years to experience bold and important theater.  It is one of the most prolific theaters in American history with a legacy of profound theatrical impact and courageous new work. In 1937, the Playhouse was officially recognized as the State Theater of California for its contribution and commitment to the dramatic arts. Today it continues that tradition of excellence under the helm of producing artistic director Danny Feldman. Dedicated to enriching lives through theater, community programs, and learning initiatives, Pasadena Playhouse is a living force in the community.

ABOUT TDF
TDF is a not-for-profit service organization, dedicated to bringing the power of the performing arts to everyone. Founded in 1968, TDF’s mission is to sustain live theatre and dance by engaging and cultivating a broad and diverse audience and eliminating barriers to attendance. TDF fulfills its mission with a variety of programs that expand access, cultivate communities and support the makers of the performing arts. Best known for its theatregoing programs (including the TKTS by TDF Discount Booths and TDF Membership Programs), TDF’s accessibility (including open captioned, audio described and Autism-Friendly performances), school (serving over 12,000 New York City students annually), community engagement and information programs — as well as the TDF Costume Collection Rental and Research Programs — have introduced millions of people to the theatre and helped make the unique experience of theatre available to everyone. To learn more about TDF, go to www.tdf.org.

Wednesday, July 17, 2019

LA LGBT Center Announces Festival Lineup



The Los Angeles LGBT Center presents CineArte, the sixth annual arts festival of the queer Latinx community, Friday and Saturday, August 2-3, at The Village at Ed Gould Plaza, located at 1125 N. McCadden Place in Hollywood. CineArte is dedicated to showcasing the stories of LGBTQ, two-spirited, Latinx, Chicanx, and indigenous identities through film and visual art in a space that builds on their rich and diverse cultural history.

The 2019 program includes two short films programs, digital media, art installations, and musical performances representing the intersections and complexities of Latina/o queerness through arts and culture. The two-day celebration will include red carpet events, receptions, music, workshops, and Q&A sessions with filmmakers and featured cast members. Films selected to screen at CineArte will be shown out of competition. 

 
CineArte Art Exhibition
LIBERACIóN:
From Volcanoes to Hope 

Curator: Salvies Who Lunch
Opening Reception: Friday, August 2, 7–10pm

 
Featured Artists: 
Liliana Castro, Valerie Cienfuegos, Isabel Erroa, Carlos Funes, Khris Garay, Jose Oscar Gonzalez, Steven Moises Hernandez, Jasmin Iraheta,
Kiara Machado, Rachel Renderos, Carlos Rogel, Jennafer Viera.

 
The exhibit will be open until September 21, 2019.
 
 Film Selections for CineArte 2019
 Saturday, August 3

 “Revolutionizing familia” Short Films Program
1:00–2:30pm
(Donation-based families encouraged to attend)
Run time: 76 min.


GOLD STAR (USA, 13 min., English)
Director: Karla Legaspy
A young daughter dedicates a love song to a female teacher. A mother must face her biases.

BROKEN SUNFLOWER HEARTS (USA, 14 min., English)
Director: Miguel Angel Caballero
When his ex-boyfriend, Sam, shows up on his doorstep a year after separating, Anthony weighs the impact it will have on his life and young daughter, Luna.

HOW TO BE A TRANS ALLY (USA, 3 min., English)
Director: Matt Kresling
Written and Performed by Emotions The Poet


GUARDING SANTOS (USA, 10 min., English/Spanish)
Director: Adelina Anthony
A Mexican-American child rebels against gender norms, forcing her traditional parents to make a choice about how to raise her.

SOLEDAD DE LOS INCENDIOS – THE FIRES OF SOLEDAD
(World Premiere, USA, 16 min., English)

Director: Daniel Eduvijes Carrera
A migrant family in a state of mourning unleashes fiery mystical powers.

LA SERENATA (USA, 12 min., English)
Director: Adelina Anthony
Mexican-American parents struggle with their beloved musical tradition when their son requests a love song for another boy.


“Reflections” Short Films Program
3:00–4:30pm


LA SAD BOY
(USA, 13 min., English)

Director: Edwin Alexis Gomez
An aspiring Puerto Rican actor must ask himself:
When the world typecasts you, who will you choose to be?

PENANCE  (USA, 4 min., English)
Director: Kayden Phoenix
Latinnials usurp their conversion therapy and take their justice.

FORTALEZA  (World Premiere, USA, 4 min., English)
Director: Christopher Becerra
Christopher takes us on a journey through their healing from a romantic betrayal and finding their true self.

PAISA  (USA, 8 min., English)
Directors: Graham Kolbeins and Dorian Wood
An immersive fever dream that celebrates the beauty of queer brown sensuality, body positivity, and individuality.

TO BE WITH YOU  (USA, 20 min., English)
Director: Elliott Feliciano

JOVAN WOLF AT G.A.R.R.A.S.  (World Premiere, USA 2 min., English)
Director: Jovan Wolf

ODE TO PABLO (USA 12 min., English)
Director: Adelina Anthony
A young, queer deaf man holds his ground against the neighborhood boys on the basketball court.

SUICIDRAG  (Mexico, 10 min., Spanish)
Director: Andrea Perez Su
 
UN NUEVO SOL  5:00–5:15pm
(World Premiere, USA, 14 min., Spanish with English subtitles)
Co-directors: Aurora Guerrero (Mosquita Y Mari), Armando Ibañez (Undocumented Tales), Nancy Meza, and Wil Prada
The film follows Manuel, Gaspar, and Tomas as they take a trip to Mt. Shasta, California, to see the 2017 total solar eclipse. While traveling, they share their past, present, and future dreams, and it was all captured by our documentary filmmakers.

LA CHUNTA  5:30–6:30pm
(Mexico, 60 min., Spanish with English subtitles)
Director: Genevieve Roudané
In a small town in Mexico, once a year, men transform into women and become the Chuntá. Follow two gender‐bending gangs of dancers as they face off in a struggle between queer identity and powerful traditions.


RED CARPET  5:30–6:30pm
To request media credentials, contact Gil Diaz at mediarelations@lalgbtcenter.org.

WORLD PREMIERE DOCUMENTARY FEATURE
7pm

WERK OF ART  (USA 70 min., English)
Director by Abel Soto
 An insider’s look into the world of drag, as we follow three performers who form a strong bond as they navigate their way through the LA drag scene.

For the latest updates on film programming, visit https://cineartela.org.
✯✯✯
Food vendors and a bar will be on site during the entire festival.
✯✯✯ 

The following CineArte staff thanks you for your support
of this unique event for the Latina/o queer community:
Jon Imparato, Creative Director
Karla Legaspy, Film Program Director
Luisa Crespo, Director of Media
Cynthia Gonzalez, Director of Live Entertainment
Art Exhibit Curator, Salvies Who Lunch
# # #
About the Los Angeles LGBT Center
Celebrating its 50th anniversary in 2019, the Los Angeles LGBT Center has cared for, championed, and celebrated LGBT individuals and families in Los Angeles and beyond since 1969. Today, the Center's nearly 700 employees provide services for more LGBT people than any other organization in the world offering programs, services, and global advocacy that span four broad categories: Health, Social Services and Housing, Culture and Education, Leadership and Advocacy. We are an unstoppable force in the fight against bigotry and the struggle to build a better world; a world in which LGBT people can be healthy, equal, and complete members of society. Learn more at lalgbtcenter.org.

Playing With Fire Opens November 8 2019



When straight-laced fire superintendent Jake Carson (John Cena) and his elite team of expert firefighters (Keegan-Michael Key, John Leguizamo and Tyler Mane) come to the rescue of three siblings (Brianna Hildebrand, Christian Convery and Finley Rose Slater) in the path of an encroaching wildfire, they quickly realize that no amount of training could prepare them for their most challenging job yet – babysitters. Unable to locate the children’s parents, the firefighters have their lives, jobs and even their fire depot turned upside down and quickly learn that kids – much like fires –are wild and unpredictable.


Paramount Pictures and Paramount Players Present
In Association with Walden Media
A Broken Road Production
“Playing With Fire”

DIRECTED BY: Andy Fickman 
EXECUTIVE PRODUCED BY Mark Moran
PRODUCED BY: Todd Garner, Sean Robins 
STORY BY: Dan Ewen
SCREENPLAY BY: Dan Ewen and Matthew Lieberman
STARRING: John Cena, Keegan-Michael Key, John Leguizamo, Brianna Hildebrand, Dennis Haysbert, Judy Greer

Monday, July 15, 2019

MeShell NdegéOcello Shines Bright At The Ford



By Darlene Donloe

In what can only be described as a perfect night under the stars, Me’Shell NdegéOcello killed it during her sold-out set at the John Anson Ford Theatre’s Ignite @ The Ford series in Hollywood.

Accompanied by a tight-knit band that included Abe Rounds on drums, Jebin Bruno on keyboards, and Chris Bruce on guitar, NdegéOcello of course on bass, asked the audience if they could tell she was nervous. if she was, it certainly didn't show. She opened with Wasted Time and received a huge round of applause. She also hugged the audience with Suzanne, I Wonder If I Take You Home, and Good Day Bad.

She vacillated between her own material to covers of Al B. Sure’s Nite and Day, TLC’s Waterfalls, Force MD’s Tender Love, Sly and the Family Stones’ Sing a Simple Song and George Clinton’s Atomic Dog. She puts her own special folksy blend on each one practically making them unrecognizable – but keeping all of the intended flavor.

It was clear some fans were a bit disappointed that NdegéOcello didn’t sing more songs from her own original repertoire like Diggin’ You and didn’t sing anything from her debut album, Plantation Lullabies.


Even when someone yelled, “play something from Plantation Lullabies,” NdegéOcello was undeterred.

Her audience is always geared up to hear Soul Searching or Bitter, but it was not to be on this night. This night NdegéOcello was groovin’ to something else – and it was all good. True fans understand that a genius can’t be put in a box. They have to move to their own rhythm. It was still a magical evening as the audience hugged her every note and every meaningful lyric. An incredible lyricist, NdegéOcello is known for words that are empowering, emotional and always thought-provoking.

There are no smoke and mirrors at one of her shows. No scantily-clad dancers shaking their rumps no videos, strobing lights, or special effects. This is NdegéOcello raw and in all her glory. She stands and delivers.

NdegéOcello, who is phenomenal whether she picks up her bass or not, but who is on another plane, when she does have it in her hands, is so smooth she glides from one fabulous song to the next enticing her audience to take the musical journey with her.

She’s not much of a talker, though. She does banter back and forth with the audience too much. She would much rather have her music dominate whatever conversation is to be had.

“Talkin’ is not my thing,” she said. “It gets you into trouble.”

A superstar who is still humble, NdegéOcello said she “Sometimes struggles with accepting the good. Please know that I am grateful you listen to the music.”

NdegéOcello, who lives in New York, added that she was “filled with gratitude in this strange land called LA.”


Her latest and 12th CD is titled, Ventriloquism, which covers 11 R&B and pop tracks originally recorded in the 1980s and 1990s. She said the music came at a dark time when her father had passed and her band member Chris Bruce’s father had also passed.  She said the covers were an opportunity to pay a new kind of tribute.

Saturday, July 13, 2019

Whether It's Right or Wrong, It's Really Funny!



By Darlene Donloe

The hilarity starts immediately in The Play That Goes Wrong, the Tony Award-winning hit Broadway comedy currently playing at the Ahmanson Theatre through August 11, 2019.

While the audience is walking into the theater, several stagehands are putting the finishing touches on the stage. There’s a problem with the main door continuously opening and a mantelpiece that won’t stay put.  That’s just the beginning. Things get worse!

Hang on to your hats - it’s going to be a bumpy ride.

This Los Angeles debut is everything it has been hyped up to be.

The madcap production is a comedy about – what else - the theatre.

So the story goes like this - The ‘Cornley University Drama Society’ are attempting to put on a 1920s murder mystery called, The Murder at Haversham Manor, but as the title suggests, everything that can go wrong…does.  I mean this show makes the Keystone Cops look like Scotland Yard. One after the other the actors and even some of the crew become a clumsy, bumbling bunch of thespians.

One of the funniest bits is when Jonathan (Yaegel T. Welch), the man who was allegedly murdered, doesn’t know how to stay dead. He reacts when an actor steps on his hand. He reacts again when an actor sits on the couch, drops a tray on his head and more. You get the idea. He gets so tired of actors stepping on his hand that he slowly moves it – as if the audience can’t see him moving. At one point he even sits up, he pushes people off of him, and he even comes in on scenes where he is not supposed to appear.  At one point two characters are supposed to remove his body from the stage but to no avail. Jonathan hilariously removes himself by slinking out the room on the floor and eventually even standing and just walking out.  Welch is brilliant in his delivery.

Jamie Ann Romero plays Sandra, Jonathan’s fiancé, who keeps getting knocked out of the play. While unconscious, Annie (Angela Grovey) a stagehand who has a lot more girth than Sandra, appears in a similar dress to take over the role.  It’s frickin, off-the-charts funny because Annie doesn’t know the lines or the blocking. Eventually, Sandra makes her way back to the show – but by that time Annie is all-in and doesn’t want to relinquish the role. Zany doesn’t even begin to describe the chaos.

Ned Noyes brings the funny. Smelling himself, he keeps playing to the audience for laughs.  He gives himself kudos throughout the show bowing frequently and cheesing to the crowd at every turn.

Another hilarious bit is when four actors say the same lines about eight times in a row – as they try to get the one actor to say the right line. Because he keeps missing the line, they are forced to go around and around saying the same thing until the actor finally figures out his mistake.

Kudos to the set designer who is the integral reason why Peyton Crim was able to pull off a brilliant bit. As the second floor slowly starts to collapse, Crim is trying to keep a chair, desk, plant, and globe from crashing to the floor, all the while trying to keep himself from doing the same. It’s a hoot and a holla and one of the best scenes in the show.

What a disastrously, entertaining night of theater. This play within a play has so many rip-roaring, slapstick moments that it’s hard to write about them all. The two-act play is a nonstop chaotic romp that moves from one frantic moment to the next.  From the very beginning, things fall, they break, the move, they collapse and they crash. People drop lines, upstage each other, give each other the stank eye, whisper under their breath, move when they are not supposed to, forget to move when they are supposed to, mishandle props, move props, and drink things they are not supposed to.

Some bits wear out their welcome – but other bits and pieces make up for it.

The cast is in constant motion. They have to be athletic, have great timing, and of course, be able to deliver the comedy. 

Everyone in the show brings their A-game!

The Play That Goes Wrong co-written by Henry Lewis, Jonathan Sayer and Henry Shields is directed by Matt DiCarlo, with original Broadway direction by Mark Bell.

The national tour features Scott Cote as Dennis, Peyton Crim as Robert, Brandon J. Ellis as Trevor, Angela Grovey as Annie, Ned Noyes as Max, Jamie Ann Romero as Sandra, Evan Alexander Smith as Chris and Yaegel T. Welch as Jonathan. The cast also features Blair Baker, Jacqueline Jarrold, Sid Solomon, and Michael Thatcher.

Kudos to Nigel Hook (scenic design), Roberto Surace (costume design), Ric Mountjoy (lighting design), and Andrew Johnson (sound design).

The Play That Goes Wrong, Ahmanson Theatre,135 Grand, Los Angeles, 8 p.m. Tues-Fri; 2 and 8 p.m. Sat.; 1 and 6:30 p.m.; no performance on Mondays: added 2 p.m. performance on Thurs., Aug. 8; no 6:30 p.m. performance on Sun., Aug. 11; through August 11;  $30-$135; 213 972-4400 or www.CenterTheatreGroup.org

Running time: 2 hours and 15 minutes, including intermission.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah) and E (exceptional), The Play That Goes Wrong gets an E (exceptional).