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"A
SPLINTERED SOUL
is a good historical play
that catches you up in the rabbi’s dilemma and the
woes of the people in his circle of refugees.
Director Daisy Walker
allows the audience to keep its eye on each new
character as they arrive with their problems and the
way in which the rabbi gallantly tackles them. She
gets good performances
from John Michalski as the rabbi, Lisa Bostnar as
his wife’s ghost, Ella Dershowitz as Elisa
Strewliskie, Michael Kaplan as Sol, Davie Lavine as
Jan, Anya Migdal as Gerta, Kenny Morris as the
judge, and Sid Solomon as Harold Strewliskie....A
stunning conclusion
to the play."
- History News Network
CLICK HERE
for full
review.
"To the
annals of Holocaust plays worth taking
seriously, one should add Alan Lester Brooks'
thoughtful, concerned
A
Splintered Soul...directed
by Daisy Walker with unfailing sensitivity and
played with conviction by the eight-member
cast...Brooks
makes a memorable point when suggesting that the
true Holocaust sufferers were not those
slaughtered but those left living and condemned
to the aftermath."
"A compelling exploration into post-World
War II identity and belief set in 1947 San
Francisco. ... Brooks also interestingly
presents the juxtaposition of the American
versus Eastern European Jewish experience.
...And Kevin Judge has created just the right
closed doors, and what’s behind them, in his
beautifully usable set, which is accented nicely
by Patricia M. Nichol’s lighting and Valerie
Marcus Ramshur’s aesthetically and
historically pleasing costumes. Combined
with Daisy Walker’s natural direction, a
sturdy cast of eight and Gillian Lane-Plescia’s
formidable dialect coaching, A Splintered
Soul has just the right balance of
showmanship and emphasis on Brook’s heady
language.
A Splintered Soul
deftly presents the complicated post-War Jewish
world that, on many levels, still exists today."
- Theatre is Easy
CLICK HERE
for full review.
"SAVAGE
IN LIMBO is well done, nicely directed, and
boasts some fine performances....In
performing their roles, Brian Patrick
Murphy is truly outstanding as Tony and
both Kendall Rileigh (as April) and Shara
Ashley Zeiger (as Linda) are equally good."
- A Seat on the Aisle
CLICK HERE
for
full review.
"George Bernard Shaw’s MISALLIANCE comes sparklingly alive in Rosalind Productions’ smashing revival of his 1910 comedy....explodes with passion and surprises...directed with style and verve by Elina de Santos, who has elicited vibrant performances from her entire cast....this is a Misalliance that looks like a million bucks....In a production as fine as this one, Misalliance is a sure bet to delight." - StageSceneLA.com CLICK HERE for full review. LA WEEKLY says GO! "Misalliance...really flies...Solomon's captivating turn...she's seconded in her charm by Maggie Peach, endearing as her wise, albeit mildly ditzy mother....Considerable humor, and it's heightened further by the on-target performances of Mennell...and Schaffer...Delivering up more than our ticket's worth of laughs." - LA Weekly CLICK HERE for full review.
BACK STAGE CRITIC'S PICK:
"This is a delightful production...still au courant in
the affairs of the heart...The production is beautifully
cast, by Raul Clayton Staggs, and joyfully directed by
Elina de Santos, who doesn't miss a beat... Greg
Mullavey is central as the marvelously awful John
Tarleton...super set design by Stephen Gifford...a
warmly human Maggie Peach...hunky Nick Mennell...exotic
Molly Schaffer...wildly hilarious...a nicely twitchy
David Clayberg... The production is wondrously
funny and stunningly visual, and one could hear
every word."
"Rosalind Productions’ mounting of MISALLIANCE at the
Odyssey is clockwork-precise, strongly acted, and
gets its share of laughs....vivacious Abigail Rose
Solomon...Elina de Santos has directed Misalliance with
an emphasis on excellent timing...Stephen Gifford’s
stage set of a classy sitting room is detail
perfect...the acting is consistently good...Greg
Mullavey, still best-known for his stint on Mary Hartman
Mary Hartman, does a wonderful turn... He’s funny and a
blowhard without being too much of a blowhard...Peach is
also excellent...Molly Schaffer is a scene-stealer and
lights up the stage at all times....David Clayberg
delivers a multi-layered performance...Misalliance is
a jolly good evening of fun."
"The cast moved at a precise pace, keeping the scenes
lively and surprising.... All the actors were
entertaining and well suited for their roles....Produced
by Rosalind Productions, Inc. and under the expert
direction of Elina de Santos, Misalliance is a
charming show. Rosalind Productions, Inc. succeeds in
staging a classic play with contemporary female issues."
"Shaw’s frothy Misalliance
is entertaining...Despite its venerable age,
Misalliance is a thoroughly modern play....Elina
de Santos directs with a keen eye and keener
ear...under De Santos's glib direction, and with the
assistance of dialogue coach Jeffrey Phillips, the
dialogue trips liltingly off the tongues of this cast,
who keep the pace careening madly from subplot to
subplot....The lovely English garden conservatory set is
by Stephen Gifford."
"PROOF's
staging adds up...
In her modestly scaled and thoughtful staging at the
Macha Theatre -- an extended run of a production that
initially played at The Odyssey Theatre-- director Elina
de Santos offers the opportunity for quiet
reevaluation.... Auburn's ultimately uplifting
play revolves around a very human core....Adam
Blumenthal's poignantly dilapidated set... De Santos has
reined in her performers to a fitting emotional
spareness, a bracing naturalism embraced by her able
cast. Most notable is Mullavey, who captures the tragic
glint of self-awareness under Robert's manic
optimism....Robert's sudden, crushing realization of his
incapacity is the evening's most exquisitely realized
moment."
"Abigail
Rose Solomon, the actor playing the Gwyneth Paltrow role
in "Proof," at the Macha Theatre in West
Hollywood...gave a profoundly moving performance...She
has that rare quality to freeze time and allow you into
her very soul, without having to say a word."
"Under the
focused, inventive and passionate direction of Elina de
Santos, a strong cast takes us on an in-depth journey of
the mind and heart...Abigail Rose Solomon gives a
captivating performance as Catherine. Capable of great
range and dimension...Greg Mullavey, as her gifted
father...is fearlessly flawless, and the scenes shared
between the two are theatrical magic!...This is a
rewarding evening of riveting and thought-inspiring
theatre, with humorous moments for comic relief."
"A wonderful
play...it's a pleasure to be able to suggest that anyone
who enjoys theater should make the time to go see the
current production of David Auburn's Proof,
directed by Elina de Santos, at The Odyssey Theatre...Ms.
Solomon’s company, Rosalind Productions, aims to produce
plays with vital, complex, and influential women
characters, and it has certainly hit that target here."
An effective and affecting Abigail Rose Solomon...a
gruff-tender Greg Mullavey...a lusty Ariana Johns...well
designed by Adam Blumenthal...Director Elina de Santos
makes good use of the setting...Solomon...is lovely...Mullavey
serves the play well, as does Johns."
"A splendid, deeply affecting Abigail Rose
Solomon...Accomplished director Elina de Santos...makes
full use of the attractive setting...Solomon is the
lovely waif in dubious charge of the situation, feeling
but unsentimental, down-to-earth when she needs to be,
but pulsatingly sad at soul's level, demanding not pity
but understanding."
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"AS YOU LIKE IT Recommended" - LOS ANGELES TIMES. CLICK HERE for review. "AS YOU LIKE IT is a superb production" - THE TOLUCAN TIMES. CLICK HERE for review. CLICK HERE for a PDF copy. "And Yes, Mad Likes It" - MADELINE SHANER, PARK LABREA NEWS. CLICK HERE for review. |
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 As You Like It May 17, 2007 By Travis Michael Holder Since 1993 the L.A. Women's Shakespeare Company has turned the tables on tradition, reversing the original concept of male actors playing the Bard's female roles by casting only women in its productions. LAWSC attracts hugely talented performers eager to pencil in sideburns, adopt a wide-legged swagger, add a well-placed sock, and find a new kind of artistic empowerment. This time it's even more interesting, not only because of the already gender-bent nature of the material but because the Forest of Arden has astral-projected into the American West of the 1880s. Lisa Wolpe directs with an assured hand, cleverly adding period music and dance to grace a magically versatile rough-hewn set by Mia Torres, which, accompanied by the faint clink of spurs, transforms from frontier town to open plains to cathouse-saloon, the actors decked out in Christina Wright's splendid cowboy drag. Suspension of disbelief happens with surprising alacrity, thanks to such stalwart L.A. stage royalty as the formidable Fran Bennett, who bellows in perfectly modulated Shakespearean tones as both Dukes; the durable Mary Cobb, almost unrecognizable as the bewhiskered Corin; and Brady Rubin as Adam, turning the aged servant into a resident Gabby Hayes. Among many unswervingly committed performances, Wolpe is riveting in her simplicity as the melancholy Jaques, Kimberleigh Aarn crafts a suitably dashing Orlando, Katrinka Wolfson teases effortlessly as Celia, Kate Roxburgh is a slickly Cockney Touchstone, and Emme Geissal makes an auspicious L.A. stage debut as the Chaplin-faced Kid. |
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"A great play... I just really enjoyed that so
thoroughly... They play the parts really well and
they're funny... This was really good." -- ESTHER ABOUD, Host of "VOICE OF LA" PUBLIC ACCESS TV CHANNEL 24, TIME WARNER CABLE |
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In
"Travis Michael Holder's PICKS OF THE WEEK" -- ReviewPlays.com |
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"The technical elements come together nicely-
particularly Christina Wright's costumes and Alex
Wright's musical arrangements....Katrinka Wolfson
delivers an assured performance as Celia, Rosalind's
cousin and close friend. The best moments come from
among the supporting players, including Brady Rubin as
Orlando's fiesty 80-year-old manservant, Dreya Weber as
the wrestler Charles and Allison Allain as the
love-smitten shepherd Silvius. Paired with Cate
Caplin's choreography, the musical numbers- which extend
to include the cowboy classic "Dogie's lament" ("get
along, little doggie")- prove charming." -- LA WEEKLY |
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"Expert makeup on the "male" faces... the voices of
Wolpe (Jacques), Dreya Webber, and Mary Cobb are
convincing." -- CITY BEAT |
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ACCESSIBLY LIVE OFF-LINE Week of July 24th, 2006, Vol. 11-No. 30 Abigail Rose Solomon's STAGES, a melodrama about one woman's relationship between her best friend, her "boyfriend", her soulmate of long before, and her own being, makes its reappearance at the Matrix Theatre in Hollywood. Solomon plays Rebecca, a mid-20's actress living in a San Francisco apartment with her roommate and close friend Sarah (Jocelyn Jackson) who works for a local non-profit organization. Both have known each other since their middle college years, and they also look after one another inspite of their differences. Sarah is no nonsense, while Rebecca is more of a free spirit. (After all, she is an actress!) Currently, Rebecca has a role in a Shakespeare play at a regional, but prominent theater company. One of her cast members is Michael (Christian S. Anderson), who is a bit of a slacker type who later becomes her "boyfriend". But among all of this, one special person comes back into her life: Priscilla (Sarah Sido), a friend since childhood. However, she died unexpectedly five years before, so it's her spirit that returns. Priscilla acts as a muse, a guidance cohort, and a real soulmate to Rebecca that offers her the chance to ease away the guilt she has carried for all of those years in not being there for her best friend right when she passed away shortly after her 21st birthday. It's a production that shows some of the "stages' within Rebecca's short but sturdy life. This play, had it been originally a novel, would have had a shot of being on Oprah's book club hit list. It contains all of the qualities of a character and emotional driven story; the kind that caters to the 24-39 female demographic. This element is not to be confused with something that's called "chick-lit" that can at times become overly aloof and borderline silly! In fact, the play itself is very well written and successfully compacts one person's moment in life on stage in a neat one-act ninety minute package. STAGES is a emotionally moving piece or work. Perhaps this play is loosely based on a real episode within the playwright's life? Maybe. Nevertheless, it is a show that offers everything from joy and pain, to comfort and hope, to a peace of mind. STAGES, presented by Rosalind Productions, performs at the Matrix Theatre, 7657 Melrose Avenue, Hollywood, until August 20th. Showtimes are Friday and Saturday nights @ 8:00 PM, and Sunday afternoons @ 3:00 PM. Reservations, call (323) 960-7782. Tickets may also be obtained via the web site http://www.plays411.com/stages |
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"The dialogue is well-crafted, and the story- complete
with a twist- is interesting. The work is aided by
naturalistic performances and Jon Lawrence Rivera's
sharp direction... Rivera's evenly paced direction
allows the characters room to develop the relationships
without making them seem forced... Solomon's script and performance are realistic... Bathe offers subtle bits of comedy...[Willcox] is enjoyably ethereal... Recognition should be given to Kimberly Lyons' set design." --- BACKSTAGE WEST |
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"Director Jon Lawrence Rivera and his cast give the
piece an efficient and professional staging" ---LA WEEKLY |
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"They say that some friendships can survive almost
anything and Abigail Rose Solomon's Stages...certainly
illustrates that point on a number of levels...The wrong
guy, played by Nick Hoffa, was right on target: intense
without going over the top, with an excellent comedic
range. But it's Ryan Michelle Bathe who really stands
out with an admirable portrayal of the troubled control
freak who is Rebecca's longtime friend/roommate." --- THE TOLUCAN TIMES/ CANYON CRIER |
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http://www.reviewplays.com/stages.htm By the name, you may think this could be a story about the Old West where people traveled in stagecoaches – WRONG! Others may think it has to with theatres and plays and actors – and to some extent, it is. But Stages is more a metaphor about various periods of the lives of people – different stages where values and beliefs are often molded or shattered by singular events, seemingly trivial at the time, but overwhelmingly significant as time goes on. Stages could be considered the theatrical equivalent of the type of films some people call “Chick Flicks”, which by some definitions “ . . . mostly include dialogue-laden, formulated romantic comedies (with mis-matched lovers or female relationships), tearjerkers and gal-pal films, about family crises and emotional catharsis, some traditional 'weepies' or fantasy-action adventures, sometimes with foul-mouthed and empowered females, and female bonding situations involving families, mothers, daughters and children.* ”
That pretty much covers the story, and if not for some
excellent acting, it could slide right into that genre.
However, there is a good twist involving
Priscilla, best friend of Rebecca, who died while
Rebecca was in
With
Director Jon Lawrence Rivera moves the quartet easily around a set that has huge transparent flats painted with swirls, waves and cloud-like splashes, perhaps to simulate the environment where Priscilla navigates. Anytime a man interacts with two women, there are bound to be problems and the problem the characters have to confront becomes a huge issue that threatens to destroy all sense of trust between them. Given the circumstances, the characters do the best they can, proving again that when people reach certain stages of their lives, they often have to make choices that may not always mesh with their set of beliefs. It's a fun show that brings up some issues that seem targeted to narrow group, and it's pretty clear that Abigail Rose Solomon writes her character to provides a vehicle for the author to vent or make a personal statement. But then again, so did Woody Allen in the early days.
Stages continues through |
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METRO LA Stages is a comedic, touching play about a young woman who is working through her grief over the death of a dear friend that haunts her and even visits her as a spirit. The author of the play, Abigail Rose Solomon, plays the lead character that she created, Rebecca Golden, with great verve and wit in this world-premiere production directed by Jon Lawrence Rivera and presented at the Hudson Mainstage Theatre. The play begins with Golden deep in a dream of a lost golden time in her childhood. She's playing with her pal Priscilla, played by Jules Willcox (filling in for Madison Dunaway) with sweetness and grace. It's the wistful dream of a woman who's been out drinking all night and feels tormented, a woman whose first thought each day when she wakes up is that Priscilla is gone. Soon Golden's roommate, Sarah Jakea, played with a terrific naturalness and ease by Ryan Michelle Bathe, wakes her up. They're college buddies, but the intensity of their connection isn't equal to Golden's feelings for Priscilla. The story moves quickly through scenes involving Golden's struggles to find herself in San Francisco and come to terms with career and personal issues. A boyfriend, Michael Smith, played with fine dunderheaded verve by Nick Hoffa, adds complications to her life. And, throughout, Golden is being visited by the ethereal, sprightly spirit of Priscilla, who challenges her to face her feelings and her past and move on. The play is a production of Solomon's Rosalind Productions company, an organization devoted to creating and promoting stories that show women in roles as complex, vital and powerful often played by male characters. This play succeeds in doing that and is enjoyable, fast-paced, funny, and moving. At times, however, it seemed a little precious, a tale of a privileged woman whose big issues in life have to do with her sadness over a childhood friend who died young and whether to stay in a role in a major production of "As You Like It," or take part in an independent film directed by a friend. In that context it feels a bit like a sitcom about the torments of well-off friends moaning about relationship and career issues. Even so, it's a moving story because Solomon's emotionally charged performance is so effective at bringing us into her world and causing us to share her feelings. CLICK HERE for Metro LA/Noho LA review. |
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