Black Men Film Festival Delivers A Reel Impact

Sandra Evers Manly

By Darlene Donloe

The 27th Annual Reel Black Men Short Film Festival, which showcases the talents of up-and-coming Black male filmmakers from around the industry, is set to take place on Saturday, October 25, 2025, 10 a.m.-6 p.m., at the Writers Guild Theater in Beverly Hills. 

The Reel Black Men Short Film Festival, hosted by the Black Hollywood Education and Resource Center (BHERC), is a premier event for emerging Black filmmakers, providing a platform to showcase their work and connect with industry professionals. 

The festival features a diverse range of short films, each offering a unique perspective on the Black experience. 

John Forbes and Sandra Evers Manly

This year, the festival will showcase 21 films curated by a committee headed by BHERC Executive Director John Forbes. 

This year’s crop of films includes thrillers, comedies, dramas, relationship storylines, horror, sci-fi, and documentaries. 

“To be in the festival, the films have to be directed by a Black director,” said Forbes, who has been with the festival throughout its 27 years. “It doesn’t have to be a Black film, though.” 

Celebrating the creativity and talent of Black filmmakers, Sandra Evers Manly, who founded BHERC in 1996, said the festival provides a showcase to discover new talent and innovative storytelling from emerging Black filmmakers, and for them to connect with industry professionals and learn about the latest trends and opportunities in film. It also opens the door to community building among filmmakers, industry experts, and film enthusiasts.

“We launched Reel Black Men because the voices of Black Men were not being heard,” Manly said. “We had just celebrated 30 years of Sistas Doin' It For Themselves, and during that time, Black men said, ‘What about our perspective? What about us?’ That’s how this got started. It wasn’t a bad idea.” 

“The voice of Black men is important,” said Forbes, who studied cinema at Washington State University. “There was a time when there were no Blacks in television. There was a time in the 60s when I would see only one direction. Nine out of 10, it was a white director. But they would miss the beat. They would miss the point. There was a time when Black people had nowhere to showcase their work. Sandra and Scott created a space and opened the doors.” 

Some of the Black men who came out of the Reel Black Men Short Film Festival who went on to have successful careers include Ryan Coogler (Black Panther, Sinners), Nate Parker (The Birth of a Nation), Malcolm D. Lee (Girls Trip, Barber Shop, Best Man Holiday), and Tim Story (Fantastic Four, Ride Along). 

“We are so very proud of them,” Manly said. “When we look at our history, we still see a lack of diversity behind and in front of the camera. We have seen improvement. There is still a lot of work to be done.  Black male directors need attention. That’s a big key. A part of that is  - we want to see the artistry and hear and see the great stories.” 

Director Marcellus Cox

Filmmaker and writer Marcellus Cox’s 15-minute film, ‘Liquor Bank,’ is one of the films in the festival.

The drama, based on a true story, is described as a true depiction of someone fighting the demons of alcohol addiction. This film shows what alcohol does to people’s mental health, which can lead to depression, uncertainty, self-depreciation, insecurity, and self-doubt. Still, it becomes a trap that many can’t get out of, even when help is standing in front of them.

In a recent interview on Bond on Cinema, award-winning writer and director Cox, whose films have been showcased at more than 200 international film festivals and won more than 150 international film awards, said his love of film began with his grandmother when he was about 9 years old. 

“That’s when I really started paying attention to film,” he said. “My grandmother loved LA rebellion films. She liked Killer of Sheep and Daughters of the Dust. She had an appetite for films like On the Waterfront and Casablanca. I just began to have a massive passion for it. It was something I loved. But it was Who Killed Roger Rabbit that really spoke to me. I also love old school period films. I’ve now been going at it for 25+ years.” 

‘Mickey Hardaway,’ Cox’s 2023 directorial debut, screened in more than 20 film festivals, winning 11 awards and scoring 100 percent on Rotten Tomatoes. 

“Back in 2023, when I did Mickey Hardaway, I had a chance to meet an executive at PBS,” said Cox, a South Central native. “He introduced me to Eddie, on whom the story is based. The two of us talked about his story. We talked about him being in the Marines and fighting for our country. We talked about the causes of his going into alcoholism.” 

Cox said Eddie’s story was ‘heartbreaking.’ 

“It was really something I felt he was blessing me with the opportunity to tell his story,” Cox said. “I wanted to do justice to it as much as humanly possible. With this kind of film, it wasn’t really something that was going to be super attractive to an investor, and I had a hard time trying to find the money. I was working on another short film when I found an investor in December of 2024 who was interested.” 

Through film festivals, award ceremonies, book signings, script readings, contests, scholarships, other programs, and special events, BHERC recognizes the contributions of Black and other diverse talent in front of and behind the scenes in the entertainment industry, and provides scholarships, development, and training. 

“We have a middle and high school film festival as well,” Manly said. “This past year, four of those students graduated from USC film school. We’ve given scholarships. Some of the people are now at Howard University. How we are impacting our communities is what is important to me.  We had a person come through UCLA. We helped fund her project out of the AFI program. I like the stories of purpose coming out of the programs. We have to work to get more. We are now working with the film schools.”

Manly called The Reel Black Men Short Film Festival, ‘an incredible film festival.’  

“Since we launched the festival, the level of talent we have seen continues to soar,” she said. “We want the community to come out and support these filmmakers.” 

Next year, Manly said BHERC will include another film festival called ‘Films of the Movement.’

“They are trying to remove our history,” she said. “Some of the films will deal with civil rights. We are working with major organizations right now. The conversation is about how we use film to change lives.” 

Manly said in addition to filmmakers, she wants to see more Black executives and writers in the industry. 

“We need Black people in those roles,” she said. “I also want to see wholesome stories about our communities. I want them to tell success stories. This is more than a festival, it’s a movement. It’s creating careers and opportunities for young people to come and learn. Our history is real and powerful, and it’s purposeful 

Manly said BHERC’s reach is expanding. 

“There are people everywhere telling real stories,” she said. “We’ve been asked to come to 20 cities with our films. We are going to Maryland in January. We have got to be about it. This is not a time of pity. We have to be about purpose.”

 

The Black Hollywood Education and Resource Center (BHERC) is a nonprofit organization dedicated to advocating for and educating the community about Black representation in film and television.

Founded in 1996 by Sandra Evers-Manly, BHERC has been a driving force in promoting diversity and inclusion in the entertainment industry. 

27th Annual Reel Black Men Short Film Festival, Saturday, October 25, 2025, at the Writers Guild Theater, 135 S. Doheny Drive in Beverly Hills, $40, available online.

 

 

 

 

 

 

 

 

 

"Love is Blind" Shines Bright: Parneille Walker's Romantic Comedy Short Takes Center Stage

Parneille Walker

By Darlene Donloe

In the world of film, making a lasting impression is key, and Parneille Walker's directorial debut, "Love is Blind," is certainly doing just that.

This sharp, modern romantic comedy short has been making waves on the festival circuit, earning 16 nominations and 12 wins, including honors at prestigious events such as the BronzeLens Film Festival, Diversity in Cannes, and The People's Film Festival.

Walker, who will enter five additional film festivals next week, has her eye on the Pan African Film Festival in Los Angeles and the Tribeca Film Festival in New York. 

The film is currently set to screen at the Micheaux Film Festival in Culver City on Saturday, October 25, 2025.

“It helps my confidence to get nominations and some wins at these festivals,” said Walker, a Sacramento native, who now lives in Los Angeles. “I had impostor syndrome going into this.”

Walker describes her directorial debut as a “roller coaster.”

“It definitely was,” she said. “It started and wouldn’t stop. It was exhilarating and scary. There was a lot of stuff that I wasn’t expecting.”

Walker said in the end, it was rewarding.

“That was a great experience,” she said. “It taught me that I could do it. I really want to do this.”

For Walker, a seasoned post-production supervisor turned filmmaker, "Love is Blind" is more than just a film—it's a passion project that showcases her unique voice in comedy and character-driven storytelling.

With a background working on major studio productions across CBS, Warner Bros, Fox, and Disney, Walker, who has worked as an NBC page, production assistant, coordinator for executives, a set production assistant, a first assistant director, a writers assistant, and a post production supervisor, brings a wealth of experience to the table. Her transition from post-production supervisor to director may seem unexpected, but it's clear that she's found her calling.

“In the beginning, it was like - when do I start?” she said. “I was worried about the budget. Then I had the money and didn't have the time. I thought, ‘When am I going to do this? I did it while I was working. I did everything on the weekends. I prepped on the weekend.”

Walker said she was determined to bring her project to life, so she asked her mother to match the money she had in her savings to finish it. Her efforts proved to be fruitful.

Brandon Fobbs and Ivonnah Erskine in 'Love is Blind'

"Love is Blind" follows a hapless protagonist on a blind date in Los Angeles, where everything that could go wrong does.

With comedic twists and poignant moments, the film captures the awkward beauty of modern dating through the lens of Black and Brown leads. Walker said the inspiration for the film came from life, her dating history, and her natural silliness.

“Yes, I’m naturally silly,” she said. “I’m a natural storyteller. I’ve lived in Los Angeles for 20 years. I’ve had crazy dating experiences.  I used a lot of my own experiences and those of my friends’ crazy experiences. The question was - What are the crazy things that could happen in one night? I didn't want it to be dramatic.” 

Walker hopes the film contributes to the ongoing conversation about diversity and inclusion in the entertainment industry.

“I hope the conversation continues and brings more positive films back,” she said. “The year 2000 rom coms inspired me.  They were beautiful Black rom-coms. It was beautiful Black love on screen. For a while, it left. I wanted to bring it back.”

The film's relatability factor is high, and audiences will laugh, cringe, and root for the protagonist all at once.

The film's nomination in three categories at the Micheaux Film Festival in Culver City is a testament to its excellence.

With its diverse cast, witty dialogue, and nuanced exploration of relationships, "Love is Blind" is a standout in the romantic comedy genre.

As Walker continues to make her mark on the film industry, audiences can expect great things from this talented filmmaker.

 With "Love is Blind" garnering attention on the festival circuit, it's clear that Walker's future in comedy and character-driven storytelling is bright.

Along her journey, Walker said she learned lessons about herself and directing.

“When it comes to directing, it’s my vision, but it’s a team effort,” she said. “You can’t be a dictator on the set. Everyone is putting so much into it.

When it comes to the lessons I learned personally, I realize I am stronger than I think I am. I’m used to playing backseat to everyone. I’m the one rooting everybody else on. This showed me I can drive the product and finish it. Because I’m new, I give myself an 8 out of 10 for my first time directing. The success of the film is proof that I have what it takes.”

“Love is Blind,” directed by Walker, stars Brandon Fobbs, Melvin Jackson Jr., Aasha Davis, and Ivonnah Erskine. 

"Love is Blind" will screen during the Micheaux Film Festival at 9:15 p.m., Saturday, October 25, 2025, in the Culver Theater Auditorium, 9500 Culver Blvd, Culver City, CA 90232

 

 

Unchaining the Past: 'Mascogos' Brings a Hidden History to Life

Miranda Gonzalez

By Darlene Donloe 

A dynamic historical drama infused with sci-fi elements is causing a stir at the Los Angeles Theatre Center – and for good cause. 

"Mascogos," by playwright Miranda Gonzalez, and directed by Jose Luis Valenzuela, who helms the world premiere, is a powerful historical sci-fi drama that shines a light on a little-known chapter in American history.

Rama Orleans-Lindsay, Rogelio Douglas III,
Monte Escalante and Lakin Valdez

The story follows the descendants of Black Seminoles who bravely escaped slavery in the southern United States to forge new lives in northern Mexico. 

These freedom-seekers, known as Mascogos, settled primarily in Coahuila, Mexico, where they built vibrant communities and fought tirelessly for their freedom. 

Rama Orleans-Lindsay

The play's narrative, which shines a light on the untold stories of Mexico’s Underground Railroad, weaves together said Underground Railroad, the barrios of Mexico, and the streets of Chicago, highlighting the ongoing liberation struggle that spanned generations.

Gonzalez, a Chicago native who is proud of her Mexican and African American heritage, brings this untold story to life with "Mascogos," a production that is part of the Latino Theater Company's 2025 season 

Through a blend of history and science fiction, "Mascogos" explores themes of identity, resilience, and the power of community. 

Rogelio Douglas III

Gonzalez’s work, which sheds light on overlooked chapters in history, empowering marginalized communities and fostering a deeper understanding of their experiences, often explores themes of identity, freedom, and resilience, particularly in the context of the African American and Latinx experiences. 

A circle of Imaginistas playwright, the award-winning (International Centre for Women Playwrights 50/50 Award), Gonzalez has held various leadership roles, including Producing Artistic Director at UrbanTheater Company and founding member of Teatro Luna, a groundbreaking all-Latina ensemble. 

The play, produced by The Latino Theater Company, stars Rogelio Douglas III, Monte Johnson, Rama Orleans-Lindsay, Lakin Valdez. 

Rogelio Douglas III and Lakin Valdez

Rogelio Douglas III and Monte Escalante

‘Mascogos’ is playing at the Los Angeles Theatre Center through November 9. 

Miranda Gonzalez

I recently caught up with Miranda Gonzalez (MG), a mother of three, to talk about ‘Mascogos’. 

DD: You went to DePaul in Chicago and received a BA in marketing.  Now you’re a playwright. 

MG: I always wanted to be in the arts. I was always performing since the age of 14. When I was 18-19, I saw friends struggling to make money. I wasn't going to major in theater because no one has money.

DD: What happened that made you want to be in the arts? 

MG: I was a singer and dancer. I started taking voice lessons. My teacher said I should audition for The Happiness Club as a dancer and as a singer. We went around singing and sending out positive messages. The kids in the group were actors. I told my mom, I think I want to try it. I got an agent. I did TV and film. I was in SAG and AFTRA by 15. My first theater audition was at 18. I fell in love with the stage. I got involved in Teatro Luna, now Studio Luna, as a founding ensemble member. It became a 501 (c) (3) in 2000. I became the director of artistic development at Teatro Luna. In 2016, I came into the Urban Theater Company.

DD: Talk about becoming a playwright. 

MG: Writing what you know is authenticity. When you write from familiarity, it gives you more creativity. It resonates a lot more with audiences. You give nuances that people can connect to. I’m not saying I wouldn't write something I don’t know about. There is something different about writing from your own identity and your own lived experience.

DD: Tell me about how you came up with Mascogos? 

MG: When I was doing this research and found out there was a town…and I realized my grandmother was born there, it was a sign—the Mascogos people. I had to write about it. How fascinating it would be to speak Gullah Creole, have that English base, and go to Mexico to learn Spanish. I’m bilingual. I’ve always been fascinated by dialects and phrasing, and when verbs come together. I wouldn't want to see a play that is just about history. I chose historical science fiction. 

DD: Talk about the show. 

MG: Jamari is getting spells, attacks. Every time he gets them, it pushes him into the future. Once he’s in the future, it pushes him back in the past. It’s a historical sci-fi that plays in time. Are we really free? Are we free? – We are living something right now. I’ve always been a fan of quantum physics and Octavia Butler.

DD: Why do you think this story is lost in history? 

MG: The script is about love and remembrance. There are so many reasons why governments across the world don't feel it’s important to archive subcultures.  They have purposely erased specific histories. It’s that easy to forget and not have access to heroes who look like you. Somebody had to write about the Underground Railroad. I remember thinking that running north would mean the likelihood of dying. It makes sense that people would go to Mexico. 

DD: Can you describe the central theme of the play and how you wove historical and sci-fi elements together? 

MG: It’s wild, but it’s fun. The central theme is different for me than my director. It’s about love and remembrance. What have we sacrificed to exist?  And yet, it’s worth it. It’s worth fighting for. Our blood is meant to survive. 

DD: Talk about the research you did for this show.

MG: All of it. I have researched so much. What was difficult for me was writing the play to where it is now.  Luis (the director) would say to me, ‘That’s something you know, but we don’t know. You have to say it.’ I read South To Freedom: Runaway Slaves to Mexico and the Road to the Civil War. The author and I will have a talk back about it.  The book had all the history in one book. Research was extensive. I learned that some people will help you. Everybody has a little Congo in them. I did a lot of research and understanding. With the play, I give the idea that we are not a monolith. Blackness is not one thing. 

DD: How do you think the experiences of the Mascogos people resonate with contemporary issues of freedom and identity? 

MG: They were just looked at as indigenous folks. Their towns still don't have infrastructure.  They founded the town El Nacimiento de los Negros (“Birth of the Blacks”) in Coahuila, Mexico.  A lot of them left Mexico and went back north because of opportunity.  We are all seeing where the best place for us to be is. We all want to make it. 

DD: How did you balance historical accuracy with creative liberties?

MG: That was the hardest thing I had to do. I had a lot of support from the other playwrights. You have to be true to the relationships you’re building. I did a lot of crying. I felt like when Rapunzel finally touches the grass. I was drunk with emotions. I don’t know if I balanced it well. 

DD: What inspired your use of time-travel and sci-fi elements in the play?

MG: I don't want to regurgitate history to you. I want you to ask yourself, should I learn more about this? 

DD:  How did your own background and identity influence your approach to telling this story? 

MG: It came through for me in many of the characters because of my own lived experience. I’m a Black girl who speaks Spanish.  Mexicans and African Americans – the dialogue we have with each other. My whole life, it’s been about – who is more oppressed. We’re so stuck on that, nothing changes. Your activism isn’t as good as my activism. We all want to just live our lives. We want to remember our history.  I’m trying to plant seeds in the audience indirectly. I want my audience to ask questions about themselves. 

MG:  What was the collaboration like with director Jose Luis Valenzuela, and how did he contribute to shaping the play's vision?

MG: So much. I was excited that the play I wrote made him imagine. His understanding of storytelling. He’s an artist. He was able to create what he calls transformations on how the world moves from the past to the present. The way he weaves it together supports the text. He was also able to lean over and tell me we’re missing a line about X, Y, Z.  We collaborated well together. He’s a historical storyteller. He’s been doing it for 50 years. He’s brilliant. 

DD: What is your writing process? 

MG: I have to be in a stationary place for a minimum of three days. I have to focus. I can’t leave the computer unless it’s to have a mental break. I have to get the whole story out. In an ideal place,

I wrote the bones of it in three days somewhere by water to get the first draft, somewhere like Lake Katherine in Illinois. I need to be by water. 

DD: Where would you like this play to go? 

MG: I want it to travel in every Black and Latin-founded theater in the country. We deserve to know our history and find our own histories. 

DD: Why should people see this show? 

MG: Because I think it is something they have never seen or heard. It's a fantastical ride.

The creative team for Mascogos includes scenic designer François-Pierre Couture; lighting designer Xinyuan Li (Lee); composer and sound designer Robert Revell; projections designer Yee Eun Nam; and costume designer Maria Catarina Copelli. Choreography is by Urbanie Lucero and assistant choreographer Cydney Watson. The production stage manager is Alexa Wolfe, and Martha Espinoza assists.  All photos, except those of Miranda Gonzalez, by Grettel Cortes Photography.

“Mascogos,” The Los Angeles Theatre Center, 514 S. Spring Street, Los Angeles, CA 90013, Thursdays, Fridays, and Saturdays at 8 p.m.; Sundays at 4 p.m., through Nov. 9, $10-$48, latinotheaterco.org, (213) 489-0994.

Robey Theatre Company Presents 'The Great Lover'

By Darlene Donloe

"The Great Lover" at the Los Angeles Theatre Center is a captivating production that embodies the essence of romance, wit, and danger. 

Alexandre Dumas' classic comedy-drama, masterfully directed by Ben Guillory and presented by The Robey Theatre Company, brings to life the charming Duke de Richelieu, a silver-tongued devil with a penchant for seduction, and it’s all done with a cast filled with people of color.

Director Ben Guillory

Guillory told an audience during the opening weekend that he did not pursue “colorblind casting,” in fact, quite the opposite. His casting of all Black and Hispanic actors was intentional. 

The result is an exquisite tour-de-force Robey Theatre Company production.

Tiffacy Coty-Goines (Marquee De Prie)

The story revolves around a high-stakes wager: Richelieu claims he can seduce the first beautiful woman he lays eyes on. However, his target, Gabrielle, is under the protection of the clever Marquise de Prie, adding a layer of complexity to the narrative. 

As Richelieu navigates the intricate web of relationships and desire, he finds himself in a precarious situation that may ultimately be his downfall.

CJ Obilom (Gabrielle De Belle-Isle)

The cast delivers outstanding performances, with standout talents from Tiffany Coty-Goines, Julio Hanson, CJ Obilom, Jenny Cadena, Dane Gbrayes, and Jason Mimms. The entire ensemble is stellar. 

Jenny Cadena (Mariette)

(l-r) Jason Mimms (Lieutenant Sevran) and Julio Hanson (Duke de Richelieu)

The musical score perfectly captures the essence of 17th-century France, adding an epic grandeur to the production.

(l-r) Cardena, Coty-Goines, and Dane Gbrayes (a servant)

There is a complex web of relationships, seduction, and danger that will keep the audience on the edge of its seat.

(l-r) Joshua Bruce (Chevalier Chamblay), Kermit C. Burns (Count D'Aumont),
and Talmadge Talib (Chamillac)

Dumas's clever writing elicits laughter and nodding in agreement.

Kudos to costume designer Naila Aladdin Sanders and her elaborate, gorgeous clothes and Joel Daavid's handsome set design.

The score, which includes works by 18th-century Black French composer Joseph Bologne, Chevalier de Saint-Georges (1745-1799), transports the listener to the world of Dumas' classic novel.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), ‘The Great Lover’ gets an E (excellent).

‘The Great Lover’ is 90 minutes with no intermission. No late seating.

‘The Great Lover,’ Los Angeles Theatre Center, Theatre 4, 514 S. Spring St., Los Angeles; Thursday through Saturday at 8 p.m., Sunday at 3 p.m. Dark on Saturday, October 18. Added Saturday matinee at 2 p.m. on November 8. Closes Sunday, November 9; $40, Students, seniors, veterans, and LAUSD teachers, $25.

 

Rose Byrne Shines in Unflinching Drama

By Darlene Donloe

From the moment she engulfs the screen, Rose Byrne gives a haunting performance in Mary Bronstein’s "If I Had Legs, I’d Kick You," a visceral, anxiety-inducing exploration of motherhood, mental health, and the unraveling of a woman's life. 

In this film, described as an unflinching portrayal of a woman on the brink of collapse, Byrne plays Linda, a therapist turned patient.

This film is a wild ride that will leave you gasping for air. 

Rose Byrne

Bronstein's masterful direction puts Byrne front and center as Linda, a worn-out mom on the brink of collapse. 

Her life is a maelstrom of chaos with a child struggling with a mysterious illness, an absentee husband nagging her about everything, and a therapist who's more interested in his own notes than her well-being.

The film's use of close-ups, sound design, and cinematography creates a claustrophobic atmosphere, plunging the audience into Linda's world of despair.

Byrne delivers a tour-de-force performance, conveying Linda's complex emotions with a nuanced intensity that's both captivating and heartbreaking. She shines in this complex role, effortlessly oscillating between exhaustion, anger, and desperation. 

Her performance is nothing short of phenomenal, making it easy to empathize with Linda's plight. 

Her portrayal of a woman teetering on the edge of sanity is both mesmerizing and devastating.

Conan O'Brien

The supporting cast, including Conan O’Brien as Linda's therapist and A$AP Rocky as a motel clerk, adds depth and complexity to the narrative. 

O'Brien provides a delightfully awkward contrast to Byrne's unraveling character.

His deadpan delivery provides a darkly comedic counterpoint to Byrne's frenzied performance, while Rocky's presence injects a sense of empathy and humanity into the film.

Through Linda's story, Bronstein sheds light on the often-invisible struggles of motherhood, mental health, and the expectations placed on women. 

The themes of motherhood, mental health, and societal pressures are timely and thought-provoking. 

Bronstein's script doesn't shy away from exploring the taboo aspects of motherhood, where the expectation of unconditional love and care can be suffocating. Linda's struggles will resonate with many, and the film's conclusion can leave audiences breathless.

The film's unflinching gaze into the abyss of Linda's psyche is both a testament to the resilience of the human spirit and a scathing critique of the societal pressures that drive women to the breaking point.

The film's dark humor and satire are biting, poking fun at the impossible expectations placed on mothers. Linda's world is turned upside down —literally and figuratively —by a gaping hole in her ceiling, which becomes a potent metaphor for her emotional state. 

A$AP Rocky

A$AP Rocky's turn as a motel neighbor offers brief moments of levity, but even his charm can't distract from the crushing weight of Linda's responsibilities.

One of the most striking aspects of the film is its deliberate choice not to show Linda's child on camera, putting the focus squarely on Linda's psychological journey. This decision adds to the sense of claustrophobia and anxiety that permeates the film, making it a viscerally emotional experience.

Rose Byrne

"If I Had Legs, I’d Kick You" is not an easy watch, but it's a powerful and thought-provoking film that lingers long after the credits roll. 

It’s a stunning, anxiety-inducing film that will linger long after the credits roll. 

With its outstanding performances, masterful direction, and unflinching portrayal of the human condition, this film is a must-see for anyone interested in complex, challenging cinema.

‘If I Had Legs, I’d Kick You,’ written and directed by Mary Bronstein and starring Rose Byrne, Conan O’Brien, A$AP Rocky, Danielle Macdonald, and Christian Slater.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), ‘If I Had Legs, I’d Kick You,’ gets an E (excellent).

Recommendation: This film is not suitable for all audiences. Viewer discretion is advised due to mature themes, strong language, and intense emotional content.

'LITTLEBOY/LITTLEMAN': Where Poetry Meets Passion and Family Ties Bind

(l-r) Marlon Alexander Vargas and Alex Hernandez
Photo by Jeff Lorch

By Darlene Donloe 

"LITTLEBOY/LITTLEMAN" at the Geffen Playhouse is a mesmerizing exploration of brotherhood, identity, and the American Dream. 

Written by Rudi Goblen and directed by Nancy Medina, this world premiere production tells the story of Fíto and Bastian, two Nicaraguan brothers with contrasting visions for their futures. 

(l-r) Movement Director Christopher Scott, writer Rudi Goblen,
and director Nancy Medina
Photo by Jeff Lorch

The entire cast delivers outstanding performances, with Alex Hernandez and Marlon Alexander Vargas bringing depth and nuance to their respective roles.

Vargas plays the high-energy Fíto, a poet with a fiery passion, who is willing to take risks to achieve his dreams. In contrast, Bastian, played effectively by Alex Hernandez, is a steady telemarketer who prioritizes caution and stability. 

(l-r) Alex Hernandez and Marlon Alexander Vargas
Photo by Jeff Lorch

Both Vargas and Hernandez display brilliant craftsmanship, delivering the dialogue with passionate authenticity.

Vargas's portrayal of Fíto is captivating, conveying the character's impulsiveness and ambition.

Hernandez brings a sense of gravitas to Bastian, making his struggles with identity and loyalty deeply relatable. 

The play's use of poetry, live music, and ritual adds a rich layer of emotional complexity, immersing the audience in the brothers' world.

Tonya Sweets
Photo by Jeff Lorch

The music, featuring Dee Simone’s bad-ass kick drum and Tonya Sweets' funky bass, pulsates with rhythm and emotion, underscoring the characters' struggles and triumphs.

Dee Simone
Photo by Jeff Lorch

One of the play's greatest strengths is its thought-provoking exploration of identity, family, and belonging. 

As Fíto and Bastian navigate their differences, they must confront the harsh realities of their circumstances and the sacrifices they've made for their dreams. 

This production is both a powerful exploration of the immigrant experience and a universal story of brotherhood and love.

This is a production you don’t want to miss!

Alex Hernandez
Photo by Jeff Lorch

Marlon Alexander Vargas
ignites the crowd.
Photo by Jeff Lorch

‘LITTLEBOY/LITTLEMAN,’ written by Rudi Goblen, directed by Nancy Medina, stars Alex Hernandez, Marlon Alexander Vargas, Dee Simone, and Tonya Sweets. 

‘LITTLEBOY/LITTLEMAN’ is produced in association with Brixton House—scenic design by Tanya Orellana, Samantha C. Jones is the costume designer, Scott Bolman is the lighting designer, sound design by Uptownworks – Noel Nichols, Bailey Trierweiler, and Daniela Hart. Rudi Goblen is the composer, Christopher Scott is the movement director, Dee Simone is the music director, Velani Dibba is an associate director, and Alberto E. Morales is the Spanish translator.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), ‘LITTLEBOY/LITTLEMAN’ gets an O (oh, yeah).

Running time: 85 minutes, no intermission. 

The production contains strobe lighting effects, theatrical haze, profanity, loud music, and aisles used for actor entrances and exits.  Children under 10 years of age will not be admitted. 

‘LITTLEBOY/LITTLEMAN’ Geffen Playhouse, Audrey Skirball Kenis Theater, 10886 Le Conte Avenue, Los Angeles; Monday, Tuesday No performance, Wednesday – Thursday 7:30 p.m., Friday 8 p.m., Saturday 3 p.m. and 8:00 p.m., Sunday 2 p.m. through Nov. 2, 2025. Tickets: $36- $139, available by phone at 310-208-2028.

*Two performances will be captioned in Spanish: Saturday, October 18, at 8 p.m. and Thursday, October 30, at 7:30 p.m.

 

Purr-fect Tribute: Thomasina Gross Channels Eartha Kitt Live at Velvet Martini Lounge

 

Thomasina E. Gross plays Eartha Kitt

By Darlene Donloe

Thomasina E. Gross is set to dazzle audiences as the legendary Eartha Kitt in "An Evening with Eartha Kitt Live Tribute" at the Velvet Martini Lounge. This one-woman cabaret show, conceived, written, and starring Gross, promises to be an unforgettable evening of raw glamour, intimate storytelling, and timeless allure.

With her smoldering vocals, biting wit, and magnetic charm, Gross, a Chicago native, brings Kitt's spirit to life, backed by a sensational live band.

The show, directed by Nohely Quiroz and produced by Keturah Hamilton, Thomasina E. Gross, and Ryan Jordan A-W, features Gross as Kitt, regaling the audience with sultry renditions of "Santa Baby" and "I Wanna Be Evil."

The Velvet Martini Lounge, with its intimate setting and Rat Pack-inspired decor, provides the perfect backdrop for this celebration of Kitt's life and work. The show's costume design, by Ryan Jordan A-W, hair design by Christopher Enlow, and makeup by Darian Darling, will transport audiences to a bygone era of glamour and sophistication.

"An Evening with Eartha Kitt Live Tribute" is a testament to Kitt's enduring legacy as a boundary-breaking star of stage, screen, and television. With her fearless and unapologetic portrayal, Gross honors Kitt's memory while showcasing her own impressive talents.

The show has been hailed as "unforgettable" and "sublime," with Gross's performance being praised for its nuance and depth.

I recently caught up with Gross (TEG) to talk about her upcoming Eartha Kitt tribute.

DD: Why did you want to portray Eartha Kitt?

TEG:  The moment I found out who she was. I wasn’t just magnetized to her charisma; I learned about what she stood for. It was interesting to see the things she fought for and the gumption to talk about them. She was ahead of her time. She was striking. She wasn’t willing to back down. She was a truthteller. It didn't hurt that wherever I went, people said I looked like a young Eartha Kitt.

DD: Give me one thing she stood for that struck a chord with you.

TEG: Being a survivor and choosing to overcome all odds. The best thing is that the price you pay for being yourself is priceless. She was unapologetic. 

DD: How did you prepare to portray her in this tribute? 

TEG: I’ve been studying her and emulating her for over 20 years. When I was on Broadway doing 'Mamma Mia,' people told me I had her mannerisms.

They dressed her on Broadway many years ago.  They said they see her in me. That was like, wow, to me. I do have some of her in me. The timber of our voices is similar. I watched hours of cabarets, movies, and interviews to get her whole story. The more it unfolded, the more obsessed I got with her. She is a legend. It makes me awestruck. She chose to survive and do what she had to do. 

DD: How do you balance capturing Kitt's essence with bringing your own interpretation to the role? 

TEG: I try to make her naturalistic. I didn't want to do a caricature.  The interesting thing is that when I heard about her background, I noticed many parallels. I would draw from that. I combine the flirty and fun aspects of myself. I always wanted to emulate her. That is the heart of who she was. It’s empowering too.

DD: Can you walk us through your process of conceiving and writing this tribute? What inspired your approach?

TEG: I’ve been trying to write this for 23 years. A piece of me went back and forth with what is most important to say about her story. It was a one-act play, so I wondered how to get it off the ground. I wanted to make it a mini-series. Then I thought about putting it on its feet as a cabaret. What inspired that was that, for some reason, she keeps resurfacing. Younger people only know her from ‘Boomerang; or Cat Woman, or Santa Baby. 

DD: Eartha had a whole life.

TEG: There were so many iterations of her. It was important to honor her complete timeline. It brings me such joy. This is the perfect time to do it. Now that I’ve lived a bit of life and been through some things, she is more relatable to me. She is my North Star. I lost my sister on May 31, my birthday, suddenly. The one thing that stuck with me was that three days before she passed away, she said I had to get the show on its feet. She made me promise to do it this year. That was our last conversation. On my birthday, I got an email from Velvet Martini Lounge giving me some dates for the show. My sister, who was always my cheerleader, and Eartha are my North Stars.

DD: How did you choose the songs and monologues featured in the show? 

TEG: It was important to give the audience songs that, as soon as they heard them, would know every word and start bopping in their seats. I also wanted to peel back some of that and show more vulnerable parts of her – like her story. She’s from the south and actually picked cotton. She came from poverty and an abusive background. So many things could have taken out her light. But it was her fierce sense of self and her determination to survive.

DD: How was working with director Nohely Quiroz, and what insights did they bring to the production? 

TEG: What I love is that it is a collaborative effort from everyone. I have friends who knew Eartha and shared a stage with her. It’s nice to get ideas from everybody. The director helped me get back to the ‘why’ I was doing this in the first place. 

DD: How has portraying Eartha Kitt impacted you?

TEG: So far, sitting with her every day and her material makes me more empowered. It’s a pride that I get to amplify her story. I would love to tell her daughter and family that she truly is my North Star, and this tribute is to show how wonderful she was. 

DD: What did you learn about Eartha that you didn’t know, or that surprised you about her story?

TEG: So much. Just to know what it must have taken for her to keep going when she was given up at a young age by her own mother. The reasons why her mom had to give her up.  She gave her away, but gave her away because she came from a white man. She never knew who her father was. 

DD: What makes the Velvet Martini Lounge a fitting venue for this tribute, and how do you think the space enhances the show?

TEG: What I love about the lounge is that it's covered in red velvet and wood. It’s an intimate and cozy setting, which is everything Eartha was. It's a perfect match.

DD: Why should someone see this show?

TEG: Because there are parts of the show, the songs, the catchphrases she’s known for that will bring back the nostalgia. It will show her whole story. Her story hasn't been told properly. I want to gift them with what I know. I’m excited to see where this goes. 

DD: What do you hope audiences take away from this tribute about Eartha Kitt's life and legacy?

TEG: One thing I want people to live with is to love yourself and choose yourself so fiercely that you don't abandon yourself. We can get through anything. 

An Evening with Eartha Kitt Live Tribute is a special cabaret entertainment.

The Velvet Martini Lounge, Upstairs at Vitello’s, 4349 Tujunga Ave., Studio City, CA, Tuesday through Thursday, October 7-9, 2025, at 8 p.m. Doors open at 6:30 p.m. for cocktails and dinner, $25, $35, $45, $50, $60.

Estimated Running Time: One hour, 25 minutes.

Consumer Advisory: For audiences age 21 and over.

Optional valet parking (a fee applies) is available at the venue.

The Velvet Martini Lounge has a food and drink minimum of $35 per person. Cocktail attire is encouraged.

Dedicated with love to the memory of Tanya Gross.

An Evening with Eartha Kitt Live Tribute includes original monologues and dramatizations based on publicly available information. It is not affiliated with or endorsed by the Eartha Kitt estate.

 

'Paranormal Inside' Brings Supernatural Thrills to East West Players

Tamika Simpkins is Delia
in 'Paranormal Inside'
Photo by Daniel Vallejo

By Darlene Donloe

 

You can hear the joy and excitement in Prince Gomolvilas’ voice as he talks about the upcoming opening of his latest play, ‘Paranormal Inside,’ set to open at East West Players on October 9 through November 2, 2025.

 

It’s an anticipatory enthusiasm that engulfs the conversation – and rightly so. This is a sequel to his highly successful play, ‘The Brothers Paranormal.’

 

“I fully intended THE BROTHERS PARANORMAL to be my last show—a fitting bookend to a career that began at East West Players so long ago,” Prince Gomolvilas said. “But East West Players, Perseverance Theatre, and Theater Mu had the audacity to offer me a new-play commission. I couldn’t refuse. I found I had more to say about supernatural phenomena, Thai America, cross-cultural connectivity, and the mysterious world in which we all inhabit.”

 

Paranormal Inside, directed by Jeff Liu, reunites audiences with Delia and Max – who once again are forced to navigate the perilous intersection of grief, ancestry, and identity- as a sinister spirit threatens to upend the fragile peace they built five years after the events of THE BROTHERS PARANORMAL, also written by Gomolvilas and directed by Liu.

 

Paranormal Inside promises to be a thrilling ride, with a sinister spirit threatening to disrupt the fragile peace Delia and Max had built.

 

As the curtain opens, audiences will be transported to a world where the lines between reality and the paranormal are blurred. With its unique blend of horror, drama, and cultural exploration, this play was set to leave a lasting impression on all who experienced it.

 

The Paranormal Inside cast features the lead actors returning from the 2022 East West Players production of THE BROTHERS PARANORMAL, Tamika Simpkins as Delia, and David Huynh as Max.

 

The cast also includes Christine Corpuz as Bincy, Alberto Isaac as Somboon, Aja Hinds as Tasha, and Davide Costa as Ethan. Understudies include Dekontee Tucrkile, Ace Christensen, Ratana, and Ryan Beaghler. 

 

PARANORMAL INSIDE finds Max and Delia once again navigating the perilous intersection of grief, ancestry, and identity, as a sinister spirit threatens to upend the fragile peace they built five years after the events of THE BROTHERS PARANORMAL.

 

As the boundaries between the living and the dead once again dissipate, the play explores the generational trauma and cultural legacies that linger long after the lights go out. Will they survive or be claimed by the forces that haunt their past?

 

This is the first production of the highly anticipated National New Play Network Rolling World Premiere of PARANORMAL INSIDE.

 

The production marks another milestone in Gomolvilas’ prolific collaboration with East West Players, which includes ‘Big Hunk O’ Burnin’ Love' (1998), ‘The Theory of Everything’ (2000), “Mysterious Skin’ (2010), and the East West Players Theatre for Youth show ‘Scrimmage’ (2019).

Prince Gomolvilas

I recently caught up with Gomolvilas (PG) to talk about the show.

 

DD: Why did you become a playwright?

 

PG: I have a natural facility for writing dialogue. I always wanted to write since I was a kid. I would write scenes and include my stuffed animals in them. When I arrived at college, I channeled all that energy into writing.

 

DD: Did you grow up around the theater?

 

PG: Growing up in Indiana and Monrovia, CA, the concept of theater wasn't in our consciousness. My parents are Thai immigrants. Our media were TV and radio. I went to a couple of plays in high school.

 

DD: Is writing difficult?

 

PG: It’s one of the hardest things in the world. It’s like pulling teeth.

 

DD: How do you write?

 

PG:  I need to be on a deadline or I will procrastinate. I have a 3 p.m. deadline to get all rewrites done today. They have to be delivered to the stage manager.

 

DD: What inspired you to write a sequel to The Brothers Paranormal (about two Thai brothers who launch a business to investigate paranormal activities. They investigate the home of an African American couple, who were displaced by Hurricane Katrina. Their notions of reality, fantasy, and sanity clash against the shocking truth. How did you approach the challenge of continuing the story?

 

PG: ‘Brothers’ said everything I needed to say. I never thought there would be a sequel. It was one and done. East West, Theater Mu (Minneapolis), and Perseverance Theater in Juneau, Alaska, offered a co-commission to write a sequel. The play was really successful.

 

DD: Are you ever satisfied with something you’ve written?

 

PG: For a particular production – yeah, but I’m always thinking about what I can change.

  

DD: Can you walk us through your writing process for ‘Paranormal Inside,’ and how you developed the characters and plot?

 

PG: The two lead characters have a documented backstory in ‘Brother Paranormal.’ Max and Delia – they went through an entire play together. I had already done all that rich character work. I had to think about how to get them on the next leg of their journey. I had to build out the other characters. I do one character at a time.

 

DD: How do you explore themes of grief, ancestry, and identity in ‘Paranormal Inside,’ and what do you hope audiences take away from the play?

 

PG: I’m trying to Trojan Horse some big themes in a popular genre, which is horror. It's a mainstream genre not always taken seriously, but it’s fun. Themes of cultural identity, loss and grief, inheritance and ancestry – these things have been on my mind. My mother’s dementia was aggressive. My father needs to be taken care of. These things are present in my life and in my mind. They find their way into ‘Paranormal Inside.’ It comes from an emotional place. I’m forced to confront things. It can be cathartic. Holding it in can cause problems.

 

DD: The play touches on intergenerational trauma; can you discuss how you incorporated this theme into the story?

 

PG: I felt the need because the question is present in everyone’s mind. The rise of epigenetics. The way things are passed down from one generation to the next. Family lineage and history have been a growing obsession. The subject is unavoidable.

 

DD: How have Max and Delia's characters evolved since the events of ‘The Brothers Paranormal,’ and what challenges do they face in this new installment?

 

PG: They went through a horrific experience together. There was an understanding that they would get through their grief together. The play ended on a hopeful note. They are estranged after five years. She doesn't want to live through past trauma. Max is a reminder of that trauma. He is married and has a child on the way in this play. People believe an evil spirit possesses him. He goes to Delia, who is not happy to see him.

 

DD:  What role do the supporting characters play in the story, and how do they contribute to the overall narrative?

 

PG: Max’s wife, Bincy, is in the show, and so is his father-in-law, Somboon. They are Thai. Max is Thai-American. Delia has a niece named Tasha. She has a white fiancé named Ethan. They come to Delia for guidance.

 

DD: What was it like collaborating with director Jeff Liu on ‘Paranormal Inside,’ and how did you work together to bring the play to life?

 

PG: We have known each other for years. He helped on ‘Brothers Paranormal.’ He has a deep understanding of the play. He also helmed the East West production in L.A. He and I have a shorthand. He knows what I’m aiming for. I know what he’s aiming for.

 

DD: How does your own experience as a Thai-American playwright influence your writing, particularly in exploring themes of identity and cultural heritage?

 

PG:  You’re always told to write what you know. It can easily be misinterpreted. You can only write what you know if you think it’s your life.  It’s what you know about the world, and what you know is true about friends and family. I have some familiarity with Thai-American characters, as well as Black characters, in all shapes and sizes, because they have been in my orbit for my entire life. I’m not writing about your woe-is-me.

 

DD: Are there any personal connections or experiences that you drew upon when writing Paranormal Inside?

 

PG: The play explores themes related to the paranormal. I'm not sure if any of the characters exactly reflect me, but their inner lives do. I identify with everyone in this play because of their beliefs and viewpoints.

 

DD: Why should people see this play?

 

PG: People who are into horror will be pleased with our world-class design team. They pulled off a big spectacle. There is also a family story, and what it says about lineage and ancestry.

 

DD:  Describe how you feel and what you do the day your plays open.

 

PG: You mean if I don’t throw up. I’m super-nervous until the day is over. I’m also super excited. A lot of people say you should write for yourself. For me, I think about my audience a lot. I want to be liked. I love thinking about the people who will receive this play and how to calibrate each moment to their needs. I enjoy sitting with an audience and watching the play alongside them.

 

DD:  Are you currently working on anything?

PG: I was commissioned to write another play called ‘Artificial,’ a comedy about AI. I have developed it.

 

Director Jeff Liu helmed both the Pan Asian Repertory Theatre and East West Players stagings of THE BROTHERS PARANORMAL, as well as EWP’s ‘Ixnay’ (2009), ‘Chinglish’ (2015), and ‘Unbroken Blossoms’ (2024).

East West Players (EWP) is reportedly the nation’s longest-running Asian American theater and the largest producer of Asian American artistic work.

 

PARANORMAL INSIDE, The David Henry Hwang Theater at the Union Center for the Arts at 120 Judge John Aiso Street, Los Angeles, CA 90012, in the historic Little Tokyo neighborhood,

October 9, 2025, through November 2, 2025.

 

Performance times are Thursdays (select weeks), Fridays, Saturdays, and Mondays (select weeks) at 8 p.m., with additional 2 p.m. matinees on Saturdays and 5 p.m. performances on Sundays.

 

Opening Night is scheduled for Sunday, October 12, 2025, at 5 p.m. All Saturday 2 p.m. performances are “Masked Matinees,” making theater more accessible to audiences who prefer a masked experience.

 

The Pay-What-You-Will performance takes place on Monday, October 20, 2025, at 8 p.m. Special events during the run of PARANORMAL INSIDE include Student Night on October 16, a Playwright’s Conversation after the October 19 performance, an Artist Talkback after the October 26 performance, and a Halloween costume contest to accompany the October 31 performance.

 

All performance dates and details are subject to change.