Evangeline, The Queen of Make-Believe: A lighthearted take on politics and family

by Angela Imperial

Staff Writer

pLAywriting in the city

Evangeline, the Queen of Make-Believe is a collaborative venture that includes About Productions Theresa Chavez and Rose Portillo and Louie Perez of Los Lobos, is an enjoyably light take on the lives of a Mexican-American family dealing with death and war while attempting to find one’s own identity.  Loosely based on the Los Lobos song Evangeline and with the creative forces of Chavez, Portillo and Perez, began to create the narrative of the play two years ago. It includes many songs from the Grammy Award Winning duo David Hidalgo and Louie Perez, a musical team that started in high school and led to the legendary Mexican- American group Los Lobos. It also includes songs from their off-shoot project called Latin Boys. Claudia Gonzalez-Tenorio of CAVA is the plays fairy godmother of sorts singing to the characters as well as the audience.

With a live band the musical element of the play was spectacular and entertaining, the set was whimsical and fun. It was a throwback to the 60’s, including rotating pieces taking you from the home of the Ibarra’s to the go-go club where Evangeline discovers her “calling” in life.  Set Designer Francois-Pierre Couture’s psychedelic take on the story was reminiscent of a vibrant 1960’s game show. It takes the audience on a harmless acid trip that is cut short by pseudo dramatic subject matter of the play.

Although the play has politic undertones that include the famous student walk outs of the 60’s and the Vietnam War, it does not dive too deep onto either subject. It is more focused on the plight of a teenage girl known as Evangeline. Her journey begins after her father dies from a sudden heart attack forcing her to become the homemaker of the family while her mother must take a low paying factory job. Drawn to dancing, she takes on a job as go-go dancer at night.  The audience watches as Evangeline, played by an enthusiastic Catherine Lidstone, her performance is entertaining yet it lacked a certain aspect that comes with being a Mexican-American raised in East Los Angeles. It left one questioning the casting, are there really no Mexican-American actresses out there who sing, act and dance?  There are plenty, I happen to know a few. Karen Anzoategui’s delivers an emotionally charged performance  as the busybody cousin showcasing her range as a true comedienne and dramatic actor. Daniel Chacon and Jorge Diaz stand out as the males in the play, both leaving the audience laughing and rooting for the underdog aspects of both their characters. Overall the play is fun and witty, and will make you move to the beats of the band.  The play closes June 2^nd, so put on your boots that were made for walking and shimmy over to the Bootleg Theater!

Evangeline is running at the Bootleg Theater until June 2^nd. For more info and tickets please call (213) 389-3856 or www.aboutpd.org

Bang! Pajama Party Story Slam!

by Tony Bartolone

Staff Writer

The genius of Lizzie Czerner’s Bang Theatre is the ability to take everything great about hanging out with friends – the warmth, the fun, the excitement, the familial love – to take all that stuff and translate into live entertainment. Shows at Bang never feel like “shows.” Instead, their programming feels like a kickback or a party or a friendly get-together. It is punk rock theatre. They are not concerned with “production value” as much as the raw energy and primal response from a crowd.

So it was rather fitting that their most recent story slam was performed under the guise of a pajama party. Brought to life by Don’t Tell My Mother creators, Nikki Levy and Lizzie Czerner, it was remarkable how informal the whole thing was (that’s a good thing, by the way). The problem with theatre is the reverence with which it is treated. Is not a man singing on the side of the street just as much theatre as a bloated, big budget production of Chicago?  The only way theatre can exist as art is if it is available to all stages of society. Bang’s loose, anti-theatre is exactly what keeps art alive in the times of economic peril.

Creators Nikki Levy & Lizzie Czerner posing in PJs.
Copyright Bang Comedy Theater 2012

With subject matter ranging from growing up to ghosts to a hot, young guy at Trader Joe’s, the Pajama Party Story Slam truly achieved the feeling of an adolescent sleepover (And there were cookies!). The party started with creators, Lizzie and Levy reminiscing, and smoothly transitioned into a more traditional story-telling format, never losing the casual attitude that sets Bang apart from other theaters.

Barbara Cole shared her mid-life temptations of which anybody who has ever had a long-term relationship could connect with. As Vanessa Marshall immersed the audience in an England haunted house, the lights begun to flicker suggesting we were not alone. And the effusive Scout Durwood closed out the night with her summer stories of growing up and growing apart from friends. Although Scout’s story was intrinsically feminine in subject matter, I found myself deeply identifying with the overall emotion and themes woven in her well-told, personal account. It begs the question: Is loss of innocence something that happens suddenly, forcibly? Or is there some sort of gradual, natural progression to becoming an adult? All we really have to draw from is our own story and the stories shared by friends.

Ultimately, the PJ Story Slam succeeded in casually concealing the “work” (which is a mark of strong comedy) to give us an unpretentious evening of interest and fun. There is not a single thing more an audience can ask for.

Antaeus Theater Company sets flight With Chekhov’s The Seagull

by Angela Imperial

Staff Writer

pLAywriting in the city

Antaeus, the award winning classical theater ensemble and academy that call the Deaf West Theater in North Hollywood home, have kicked off their 2012 season with Anton Chekhov’s The Seagull. Penned by one of the greatest Russian playwrights of all time, director Andrew J. Traister guides the actors through this theatrical classic.  Taking Paul Schmidt’s crisp translation of a play filled with unrequited love, jealousy, and wicked humor, Traister put together a wonderful cast.  Antaeus traditionally double-casts all of their productions allowing their actors to continue with their lives outside the theater, this production of The Seagull is double-cast consisting of 23 actors with 12 speaking roles. Traister purposely cast polar opposites for each character, adding more dimension to each performance. This method also proves successful to the actors involved, allowing them to contribute to each others growth of the shared characters.

With a Monet inspired backdrop, wonderful costumes and antique furniture setting the stage, the actors embark on personal journeys resulting in elegant chaos. The audience watches a delicate Treplev, a slightly successful writer, as he jockeys for his mother’s attention and acceptance. The dashing Antonio Jaramillo, one of the few Latino members of Antaeus, plays Treplev.  The character is also facing the stark reality that he is losing ground on many levels of his life including the affections of Nina, a young woman desperate to be a famous actress. The strikingly beautiful Jules Wilcox depicts a tragically lost soul as Nina, playing her with a subtle fragility that leaves your heart breaking when the cards of fate reveal their losing hand. Gigi Bermingham’s witty portrayal of the insensitive, narcissistic and famous Arkadina, Treplev’s mother and ultimate downfall, is rich with comedy and timely sarcasm. Joanna Strapp lights up the stage with her hilariously clever version of Masha, a woman who dresses in black because she is “in mourning for her life” as she is yearning for Treplev’s affection. Trigorin, a well-established writer who succumbs to his desires for Nina, leading her down a twisted road comes to life in the hands of the charmingly handsome Adrian LaTourelle. One aspect of the production that stood out was the lack of accents, however no accents is much more enjoyable than potentially unbelievable ones.

Playwright Anton Chekhov’s work is a master of classical theater and Antaeus is one of the masters of classical theater in Los Angeles, proving so with the exemplary production of The Seagull. The stellar cast shows how Chekhov should be performed, with grace, class and witty timing.  This is a lovely production worth supporting.

The Seagull at Antaeus Theater Company, March 1 to April 15^th, 2012 with performances on Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 2 p.m. For reservations or more information call 818-506-1983 or www.antaeus.org

Zoltar Machine: “I Want Big Laughs”

by Tony Bartolone

Staff Writer

pLAywriting in the city

Sketch Comedy is in a state of disrepair. Saturday Night Live is at its absolute worst, and Los Angeles black box theaters are littered with unfunny, dime-a-dozen sketch shows. However, we are not without beacons of hope. Portlandia offers an interesting variety of untapped sketch material. And shining through the black box darkness, I was lucky enough to see another ray of light, Zoltar Machine. After breaking a record for cage match wins at Second City Hollywood, the three-man sketch team has been given a four-week, Thursday night run of their own show.

Full of interesting ideas and refreshing energy, the sketches employ novel approaches as well as nods to old comedy standards. The show also combines lovable silliness with subtly poignant concepts, all played out in a seamless, comedic montage that never looses the attention of its audience. Each sketch casually slips into the next with innovative transitions giving the show a rhythmic, musical quality. The whole thing seems effortless, which is a mark of great comedy. Anybody who’s ever done theatre knows these three men are working their asses off, yet they all seem completely aloof.

Left to right: Derrick Denicola, Michael McCusker & Garret Kirby. Photo credit: Heather Landis

The impressive material showcased the ability to succinctly make cutting observations and lampoon an entire generation. It is easy to look back and say “This is the way it was.” It is much more difficult to look at what’s happening now and say, “This is the way it is.” One sketch, in particular, stood out in this respect. The “Pity Party” sketch in which a young man goes through the process of planning an actual pity party was actually pretty powerful. Social networking sites have turned the internet into one big pity party, and we’ve all played a part in it. Good comedy should hurt a little bit. Something missing in a most sketch nowadays is the power it has to make people think and take a long, hard look at themselves and society.

Sketch comedy is a tricky medium to master, but when done right, it can be the most fun you can have sitting in a chair, not moving. Ultimately, what you get with Zoltar Machine is three talented performers putting in the work to spawn a smart, edgy show well-worth watching.

For tickets, check out Second City’s performance calendar and click “SKETCHCASE – Zoltar Machine” on the night you want to go.

Project Twenty12 Brings Electricidad to Bilingual Foundation of the Arts

by Angela Imperial

Staff Writer

pLAywriting in the city

As oldies music streams through speakers, I notice the old shoes hanging from the electric wire, graffiti on the walls, and the old tires in the front yard. A veterano sits next to me singing along to “In the Still of the Night” by The Five Satins and for a minute I feel as if I’m at a Sunday BBQ in El Sereno somewhere hanging out with the homies.

In reality, I’m sitting at Bilingual Foundation of the Arts eagerly anticipating Electricidad, an adaption of the Greek tragedy Electra, written by the extraordinarily talented Luis Alfaro.  The renowned playwright has won a plethora of awards including the MacArthur “Genius” Foundation Fellowship in 1997, and the 1988 National Hispanic Playwriting Competition Prize.  He was recently awarded the 2012 Joyce Award.  It is being produced by Project Twenty12, a group of old college friends who came together with the sole intent of getting Electricidad on stage.

Griselda Marquez as Electricidad at Bilingual Foundation of the Arts.

Partnering with Homeboy Industries, Project Twenty12 offered a Stagecraft Apprentice program collaborating with Los Angeles’s leading non-profit organization helping gang involved youth and adults become thriving members of society through education and job training.   The six men selected did everything from cutting wood to painting the set to assisting the wonderfully talented set designer Geronimo Guzman. With 15% of the ticket sales being donated to Homeboy Industries, Producer/Director Sylvia Blush’s goal of offering “a safe environment” for gang members learning a new definition of survival will surely be met.

In Electricidad, Luis Alfaro takes Greek text and transforms it into a modern day version filled with cholos and cholas battling over gang infested land teetering on ruin after the “king” of this gangland is gunned down. Armed with black eyeliner, AquaNet and baggy pants, Sylvia Blush directs an ensemble that brings their struggle to survive to the stage.

As the title character Electricidad, Griselda Marquez stands out as a young chola coping with family loss, betrayal and the need for revenge. Her dedication to the role is frightening and refreshing; especially as she battles her mom who is portrayed by the hilarious Rebecca Cherkoss dressed as a chola version of Peg Bundy. Tom Sandoval as Nino and Sara Guerrero as Abuela embrace their roles fully, physically and emotionally. The actors in this production are so well made up it’s as if the makeup is a character of its own.  Make-up/hair designer Alma L. Griffin does an impeccable job of giving the actors faces that truly define each of their characters, especially the vecinas (or neighbors in Spanish) beautiful calavera type masks. The few technical problems experienced on opening weekend were expertly maneuvered with immense professionalism by the talented cast.

Tom Sandoval as Nino and Enzo Canepa as Orestes in Electricidad by Luis Alfaro at Bilingual Foundation of the Arts.

Electricidad is an emotionally packed production that addresses family loyalty and pride. Luis Alfaro has taken a Greek tragedy and rewritten a modern day fairy tale complete with a joint smoking fairy godmother and conniving evil queen. This story will strike a nerve even if you haven’t spent time cruising down the boulevard. It goes well beyond the white eyeshadow and crisply ironed Dickies pants. This is a provocative take on a family fighting for sanity and thrusts the audience into theatrically uncharted territory.

Electricidad runs until March 17, 2012. All shows are 8 p.m at Bilingual Foundation for the Arts 421 N. Avenue 19 Los Angeles, CA 9003. More information can be found at www.ProjectTwenty12.com and www.brownpapertickets.com.

Make It A “Girl’s Night Out” At CASA 0101

by Fanny Garcia

Editor

pLAywriting in the city

The Pinche Mentirosa Sisters (P.M.S.) are at it again and this time it’s a no holds barred confession about about dates, sex and the truth about what happens when women go out for a little (or a lot) of fun.

The show was written by Josefina Lopez and the women who make up the cast, Blanca Melchor, Miriam Peniche, April Ibarra and Margie Gutierrez. Miguel Ortega Garcia and Gabriela Tagliavini contributed pieces as guest writers. Pinche Mentirosa Sisters started as a protest against casting practices that exclude full bodied women from roles as ingénues.

“We wanted to create a comedy team of funny full figured women who could play all the roles they always wanted to play but were never cast because of [their] size,” says Lopez.

The show uses sketch comedy in hilarious scenes of all types of female debauchery. Have you ever slept with a guy in a bunk bed? Well the PMS sisters have a scene for that and it leaves you wondering where exactly women find these men. Well they are everywhere and sometimes a little drink makes you forget that the dude with the cute smile might not be worth it.

The cast has done an expert job of showing the audience that a girls night out might start out something like this:

Margie Gutierrez, Blanca Melchor, Miriam Peniche and April Ibarra make up the cast of PMS. Photo by Shane Sato

and probably ends something like this:

Pinche Mentirosa Sisters. Photo by Shane Sato

“Girls Night Out” is a production written, performed and produced by women for women. It is natural then to have only one male in the cast portray the various douche-bags, bartenders and male strippers in their lives. Actor Jeremy Mascia expertly handles all his characters and serves as a perfect reference point in all scenes.

Audiences will laugh out loud when watching this show and they will do so because of the talented writers, actors and crew that have created this perfect girls night out.

PMS (The Pinche Mentirosa Sisters) in “Girls Night Out” ends April 1st, 2012. Don’t miss it!

PMS (The Pinche Mentirosa Sisters in “Girls Night Out” March 9 – April 1, 2012, Friday & Saturday at 8 pm. Sunday at 5 pm at the new Casa 0101 Theatre 2102 E. First St. Los Angeles, CA 90033. For more information visit their website.

CalArts brings the Reality of the Mexican Drug Cartel to REDCAT with Timboctou

By Angela Imperial

Staff Writer

pLAywriting in the city

Cocaine, guns & polar bears, oh my! So begins the adventure that is Timboctu, Redcat’s latest production and collaboration with Duende CalArts and the University of Guadalajara Foundation. Timboctou transcends borders and lives. This production is penned by playwright Alejandro Ricano and directed by the famously talented Martin Acosta; both gentlemen are internationally recognized for their work throughout Mexico and the United States.  Timboctou is a lurid tale of the Mexican drug cartel played out through a montage of scenes revealing a dark, seedy, and corrupt world. A world where no one is safe or protected, yet this play manages to also be funny.

With the butterfly effect set in motion, Timboctou tells the story of the exploits of two hit men, their need to survive, and the tailspin of harebrained mishaps that lead the audience on a whirlwind journey from drug use to the extinction of polar bears. The story unravels as the life of each character is poetically put on display with well-orchestrated movement pieces choreographed by the incredibly talented Ichi Balmori. Beginning with a color guard march performed impeccably by half of the cast, the story steadily increases in momentum from the first scene, and continues to unravel until the end. This is a portrayal of human beings making painful choices and the consequences that ensue.

The use of the stage and unique props showcases the training, commitment and talent of everyone involved.  The cast is a fierce mix of actors from Mexico and students from CalArts whose presence demands the audience’s attention. Each actor boldly embraces of his or her character, truly being in the moment and not holding anything back. The results? A fantastic take on the horrid reality of drugs, manipulation and a volatile life. Mario Montano Mora and Axel Garcia are entertaining and quite likable as two wandering souls taking their last adventure here on earth, an adventure documented by an old school camera transporting images of the actors on to an equally old television. Prerecorded images give a unique take on a dangerous lifestyle, showing that government officials are often no different than street thugs, sharing corrupt morals often erupting in chaos and death. Juan Parada makes an impact with his superb portrayal of Xavi, an obsessed lovesick soul out to retrieve his unfaithful lover only to be met by the wicked hand of fate.

The CalArts Center for New performance is dedicated to producing innovative works and Timboctou is indeed that and more. The CalArts students Michael Aurelio, Jeremy Kinser, Kyle Stockburger and Juan Parada went through an extensive audition process to get roles in Timboctou. The dedication they are giving to their education and training is evident in their willingness to embrace the movement and language of this piece and their characters. Timboctou is an honest look into the lives of individuals all connected through one incident. Individuals who are trapped in a desolate web of drugs and money, a web so big, they are destined to lose what little they do have.

Timboctou was made possible with the generous support from the California Community Foundation, the University of Guadalajara Foundation, and the City of Los Angeles, Department of Cultural Affairs. The production ends March 11, 2012. For more Infomartion, please visit REDCAT’s website at www.redcat.org

The Hollywood Fringe Festival Is Ready For You

by Tony Bartolone

Staff Writer

pLAywriting in the city

Registration is open, and the jingling and mingling is well underway. For anybody who is new to Fringe, know that it is a fantastic opportunity to see and perform interesting theatre in Los Angeles. There are plenty of exciting shows and people bursting at the seams with energy and enthusiasm for live theatrics of all kinds. Simply said, it is the most fun you can have (legally).

Hollywood Fringe Festival Director Ben Hill, provides important information to a theater filled with festival participants at Open Fist. Photo by Fanny Garcia

The first Town Hall was held at Fringe Central this past week, and there’s plenty of information to sift through if you are thinking about being involved in the festival.

First of all, here are some important dates:

• April 1- Registration Deadline for Guide Inclusion
• June 7-12- Fringe Previews
• June 13- Fringe Opening Night Gala
• June 14-24- Third Annual Hollywood Fringe Festival
• June 24- Fringe Award Ceremony

April 1 is the last day to register if you want your show listed in the guide. Registration does not close, but this is the deadline to have a listing included in the Official Fringe Guide, which is of great benefit and included in the registration package.

June 7-12 is Fringe previews. This a chance to get your show up early and get people talking before the festival officially begins. Venues usually limit preview performances.

June 13 is the Opening Gala. This is a great way to meet others involved in the festival, plug your show, and have some fun making friends.

June 14-24 is when all the action happens. Eleven days of theater all concentrated within a two to three mile radius.

June 24 is the Fringe Award Ceremony. This is not a black tie affair. The “ceremony” is a casual, entertaining event more akin to a bar bash than the Academy Awards.

Registration for the Fringe is a relatively simple process, but it is easy to become overwhelmed along the way. Organization and preparation are key.

Ask questions. Be as communicative as possible with your venue. Talk to people who have been involved in previous Fringe Festivals. Talk to producers. Talk to everybody you can.

Actress and comedienne Kim Coles and Abraham Ramirez. Photo by Fanny Garcia

Be realistic. When thinking about budget and the type of venue. What is the best venue for your audience? What can you spend, and what are your goals financially?

See other plays. Fringe is a close community. Get out there and support. Get everything you can out of the festival.

Click to listen to the entire Town Hall.

Company of Angels Tackles Family Secrets in Wind Chimes

By Angela Imperial

Staff Writer

pLAywriting in the city

Beginning as an artist cooperative in 1959 led by Richard Chamberlain and Leonard Nimoy, Company of Angels has become a leading theater company here in the city.  They found their permanent home in 2007 at one of Los Angeles’ landmark’s, The Alexandria Hotel. The company recently celebrated their 53^rd anniversary. CoA has won many theatrical awards throughout the years by producing new works and American classics. The company is currently in the middle of the World Premiere production of Wind Chimes by John Dubiel.

Set in 2002, Wind Chimes is the story of a middle class family in Boston, Massachusetts trying to keep secrets hidden, and the chaos that ensues when those “secrets” rear their ugly heads. The audience finds themselves thrown into a dramatic battle of brotherly love when the “prodigal son” returns as an unwelcome surprise.

The cast of Wind Chimes. Photography by Rafael Cardenas

In an intimate setting, the cast takes us on an emotionally charged journey depicting the bittersweet realness of family struggles and issues. Playwright John Dubiel’s play creates characters everyone can relate to. Regardless of race or religion we all have things in our families we try to ignore or sweep under the rug.

Scenic Director Art Betanzos does a terrific job of creating the intimacy of a living room, complete with old family photos and several crucifixes.  Directed by John Miyasaki, everything from the set to the cast was completely believable. This play takes unpredictable turns, making the audience laugh and cry at the same time.

Tripp Pickell and James Andrew Walsh give emotionally packed performances as two brothers who must finally come to terms with their choices and confront their personal truths that have haunted them for years.  Fred Ochs was hilarious as the grouchy, lovable “sourpuss” and patriarch of the family, making me laugh, and reminding me of my own grandpa Frankie. The entire cast is remarkably talented and real. Daniel Amerman was charming as the youngest of the clan. Playing women struggling to keep the family together, the touching performances by Melinda deKay and Anne McCarthy brought tears to my eyes.

The scantily clad Amielynn Abellera, playing the newly introduced girlfriend, has incredible comedic timing, although her over the top costumes were somewhat distracting at times. All the elements of the production fit together and even the transitions never took you out of the moment.  Popular songs from various artists from 2002 played over the speakers as the actors smoothly went from scene to scene effortlessly.

This is a production that gets your attention from the beginning and doesn’t let it go. It will strike a chord with anyone who has had to keep a secret or discovered the truth about their own family. It is thought provoking and genuine, from the writing to the acting. It is a glimpse into this family’s life, and reminds us that sometimes family secrets are not so secret at all.

Wind Chimes will be running until March 18^th, with performances Fridays & Saturdays at 8 p.m., and Sundays at 7 p.m. For more information visit the theater company’s website at www.companyofangels.org.

CAPTURED AURAL PHANTASY THEATER: A COMIC BOOK LOVERS DREAM!

by Angela Imperial

Staff Writer

pLAywriting in the city

As the band plays some rocking tunes, I sit tapping my foot to the music and take in the red velvet curtains as I eagerly await the performers of Captured Aural Phantasy Theater (CAPT) to take the stage. Captured Aural Phantasy Theater is an entertaining group of actors, dancers, and musicians who bring comic books, some as far back as the 1940’s, to life. CAPT shows often have a holiday theme to them, the last show was the Valentine’s Day “Panorama of Love”, which featured original comics from the 1950’s, with titles like “I Joined a Teenage Sex Club” and “The Irresistible Lois Lane”. CAPT was originally started in the 1990’s by Ben Ziola and Ben Dickow in Chicago and made their way to Los Angeles in 2000. Ben Dickow continued CAPT’s mission to entertain audiences with a vaudeville style that can make anyone watching yearn for past times.

After many years of commuting back to Chicago to perform and being unsure if he would be able to find a “group of actors who weren’t just interested in shameless self-promotion” here in Los Angeles, Ben Dickow was finally able to put together a multi-talented collective. The collective has performed throughout Los Angeles, including the Improv Olympic West in Hollywood and they also just completed a two year residency at Company of Angels. As Nicole Ortega, a member of CAPT for almost four years puts it “we are a family, we know each other’s strengths, we have fun and we really mesh well.” All of that is evident when the troupe is on stage and off. Many of them work on other projects together, and are close friends. That closeness creates a very welcoming environment for the audience. When it comes to the musical elements of the show they are led by the musical goddess Laurel Robinson Dickow, whose voice is sultry and sexy. Having a holiday theme to their show adds a certain element of thrill, knowing you usually only have one night to catch the show, you make it a point to get there. CAPT has a devoted fan base here in LA, me included. As a member of the audience, the excitement and intensity that the performers exude make for a delicious evening of light-hearted fun!

CAPT has found a rare formula that combines well known comic book heroes and obscure stories with the raw talent of several individuals who have fun while telling these stories. The theater company consists of thirteen devoted artists; the cast is incredibly talented and always impeccably dressed! The men are always in suits and the ladies add a touch of class with gowns that replicate the era they are portraying. They took a very original concept and have managed to turn it into a comedy filled orgy of singing, acting, simple props, and live music. All of these elements, combined with a lack of this kind of theater here in Los Angeles, create a perfect combination for the kind of troupe that will continue to bring amusement and laughter to audiences everywhere.

Although they have not set the date for their next show, you can find out when and where at capturedauralphantasy.com or on Facebook. This is a troupe that will grow and bring new ideas to their shows, and I look forward to watching these actors as well the show itself evolve! So in true vaudevillian style, next time they pass through your town be sure to get a ticket and hold on for an exciting night of humor that will make you say “Holy Birdhouse Batman!”