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
to the play."
- History News Network
annals of Holocaust plays worth taking
seriously, one should add Alan Lester Brooks'
by Daisy Walker with unfailing sensitivity and
played with conviction by the eight-member
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
A Splintered Soul
deftly presents the complicated post-War Jewish
world that, on many levels, still exists today."
- Theatre is Easy
for full review.
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
Has Never Been This Funny...
a hilarious, tight little drama,
superbly acted by five real pros."
"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."
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
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
- Madeleine Shaner, Back Stage
for full review.
"HIGHLY ENTERTAINING ROMANTIC COMEDIES TO RECOMMEND
THIS WEEK: A charmingly witty, deliciously quirky
romantic farce...The widely respected, multi
award-winning Director, Elina de Santos, has chosen a
stellar cast, and guides them with great skill and a
playful heart. You will likely recognize many cast
members from previous roles on TV, stage, and film....a
superb Abigail Rose Solomon...an animated Orestes Arcuni...a
saucily sarcastic Christopher Franciosa...a feisty
Maggie Peach...Greg Mullavey (from “Mary Hartman”) and
Armin Shimeran (from “Star Trek”), two consummate
actors, both give flawlessly fabulous performances as
the fathers...Nick Mennell, the hunky pilot is
charmingly believable. Molly Schaffer sizzles...Capably
rounding out the cast is David Clayberg. Such silly fun!
Exceptional behind-the-scenes efforts here too. Stephan
Gifford’s detailed set is stunning, Dennis Ballard’s
period costumes are gorgeous, and Leigh Allen’s lighting
and Christopher Moscatiello’s sound are technical
perfection. A fine production with plenty of spicy
twists ‘n’ turns… Do see this one!"
- The Tolucan Times
for full review.
"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."
for full review.
"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."
- SoCal Magazine
for full review.
"It’s quite astonishing how fun, funny, witty and
clever “Misalliance” is, considering George Bernard
Shaw wrote this play in 1909. This amusing
farce...is quite apropos and timely for Los Angeles
2009....“Misalliance” is sure to bring a laugh a minute,
with its eloquent diction, poetic soliloquies and
charming banter and romps between the sexes."
- Campus Circle
for full review.
"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."
for full review.
"George Bernard Shaw's MISALLIANCE,
a play about strong spirited women, aristocratic
personnel, not-so-traditional romantic efforts, and some
company who just "drop in", open its run as a guest
production at West Las Angeles' Odyssey Theatre.
Taking place on a single Saturday afternoon at the
Traleton family estate near the hamlet of Hindhead,
Hypatia (Abigail Rose Solomon) the daughter of John
Tarleton (Greg Mullavey), a self made underwear
manufacture tycoon, feels that she had her fill with the
stuffiness that is going on within her life, being the
fact that she is currently engaged to Bentley Summerhays
(Orester Arcuni), a man from a rather aristocratic
background. (His father is the noble Lord Summerhays-performed
by Armin Shimerman). Bentley may possess the brain
power, but lacks the physical and emotional stability to
be in a high status that such blue-bloods tend to hold.
Hypatia feels that she should be part of the "new
women", a sort of clan that shows strong independence in
wit and spirit. But she, along with the entire
dominance, receives a pair of visitors who arrive at the
home not by motorcar or carriage; They arrive in those
newfangled "areo-planes"! Dropping in are Joseph "Joey"
Percival (Nick Mennell) and his companion, aviatrix Lina
Szczepanowska (Molly Schaffer) an eastern European
acrobat. Another visitor, "Gunner" Baker (David Clayberg)
who seeks revenge while packing a firearm, proves that
in spite of all the situations, every element ties
itself up to the merry end-GBS style!
This play was first performed almost one hundred years ago
(c.1910). Although it's at its near century mark, all
of the wit and wisdom of playwright George Bernard Shaw
still holds out. It's also a frolic that pays
tribute to the art of flight, something that was rather
a novelty back in the day when such a feat was performed
by the mechanically inclined, and by those that risked
their lives doing such! With plays of this vintage, it's
rather "talky" with each character speaking out lines
upon lines! But since each line possess lots of
discipline within its writing, early 21st century
audiences will find every bit of dialogue to ring out
true. (Attention spans were a lot longer in those days
as well!) Outside of the writing and plot structure,
this production does boast a terrific repertory line up
that also includes (besides those noted above), Maggie
Peach and Nick Mennell. Each member of the cast performs
in their high ethnic personas (British and Polish),
under the stage direction of Elena de Santos.
It's been stated by the theater scholars that one can
never lose with a George Bernard Shaw play.
MISALLIANCE is one of those plays that just get better
with age! It's so classic, it's nearly new again!
It's just like taking to the air was new then when such
flying meant being free, and there were no bottlenecks
at the airport 'cuz there were no airports! Alas,
this reviewer isn't as witty as Shaw was to end this
report on a humorous state of mind! And it's just as
MISALLIANCE, presented by
Rosalind Productions and performs at the Odyssey
Theatre, 2055 South Sepulveda Blvd. (North of Olympic,
and south of Santa Monica Blvds., West Los Angeles,
until April 26th. Showtimes are Thursday, Friday, and
Saturday nights @ 8:00 PM, and Sunday matinees @ 2:00
PM. For ticket reservations, call (310) 477-2055, or via
-Accessibly Live Off-Line (Week of March 23rd, 2009,
Vol. 14-No. 12)
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
- LA TIMES
for full review.
"This adaptation of "Proof" is beautifully cast
and directed by Elina de Santos. Abigail
Rose Solomon depicts the character of Catherine with
grace, delicacy and fearlessness. Ariana Johns
plays Claire and is so convincing as the controlling
older sister...Robert, a lovely and endearing
performance by Greg Mullavey, will break your heart.
One of the most spectacular experiences of this show is
observing the dynamic relationships between the
characters in such detail and complexity...this is a
truly great production. It will leave you guessing
at every turn, warm your heart and even bring out a few
- Campus Circle
for full review.
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."
---Laurence Vittes (of The Hollywood Reporter)
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."
- The Tolucan Times
for full review.
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."
for full review.
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."
- Back Stage West
"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
- Park Labrea News/Beverly Press
"David Auburn's PROOF, a melodrama about a
middle 20's woman, Catherine (Abigail Rose Solomon)
dealing over the recent loss of her father Robert (Greg
Mullavey) a math professor at the University of Chicago.
During the final years of his life, Robert wrote
hundreds of mathematical theories in dozens of
notebooks, all stashed away in his study. Catherine, who
took care of her father, feels that much of what's in
these notebooks is nonsense. But a one time student of
his and currently a mathematician, Hal (Micah Freedman)
discovers that her father may have found some sort of
equation that has let to be released to the math world.
Meanwhile, Catherine's older sibling Chaire (Ariana
Johns), who is in town for their father's funeral,
encourages her younger sister to move with her and her
fiance back to where she lives for the family's sake.
Could it really be that Robert really discovered a new
theory that had mathematicians baffled for generations,
or was his writings in his 100+ notebooks really just a
load of crap??
"This is a solid play that harks on the notion between
grief (a loss of a loved one) and how one's mind can
work in unique ways. (Creating an element that can start
of revolution within its own right, while that same mind
can turn into mush!) Elina de Santos directs this cast
of four that shows its proof that this play, winner of
the coveted Pulitzer prize, is a prime number to its
fullest! (Puns intended!!)
"PROOF, presented by Rosalind Productions, performs
Thursday, Friday, and Saturday nights @ 8:00 PM, and
Sunday matinees @ 2:00 PM, through June 1st.
Performs at the Odyssey Theater, 2055 Sepulveda Blvd.
(North of Olympic Blvd, and south of Santa Monica
Blvd.), West Los Angeles. Reservations, call (310)
477-2055, or via the web site
-Accessibly Live Off-Line (Vol. 13-No. 18-Week of
May 5th, 2008)
YOU LIKE IT Recommended" - LOS ANGELES TIMES.
HERE for review.
YOU LIKE IT is a superb production" - THE TOLUCAN TIMES.
CLICK HERE for review.
for a PDF copy.
Yes, Mad Likes It" - MADELINE SHANER, PARK LABREA NEWS.
CLICK HERE for review.
As You Like It
Travis Michael Holder
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.
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.
"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
"Travis Michael Holder's PICKS OF THE WEEK"
"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
"Expert makeup on the "male" faces... the voices of
Wolpe (Jacques), Dreya Webber, and Mary Cobb are
-- CITY BEAT
ACCESSIBLY LIVE OFF-LINE
Week of July 24th, 2006, Vol.
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
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
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
"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
"Director Jon Lawrence Rivera and his cast give the
piece an efficient and professional staging"
"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
The Hudson Mainstage Theatre
By the name, you may think this could be a story about
the Old West where people traveled in stagecoaches –
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
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 her boyfriend.
That’s not the twist.
The good parts come when Priscilla appears to
Rebecca – a ghostly figure trying to help her get
through the guilt and the problems she faces now.
as the background, we meet Rebecca’s new best friend and
roommate, Sarah, an artist who has very little
self-confidence, who seems way too needy at first, until
we learn the truth about a terrible experience in her
teens. The pieces begin to float, albeit gently, into a
neat fitting puzzle where the two women who share an
apartment have formed a fragile bond based primarily on
the fact that neither one has anyone else close.
Rebecca is an actress, involved in a production
where she plays Rosalind.
Shakespeare’s Rosalind wants to find a lover
without losing her sense of self in the process. She is
a lovesick maiden and yet she remains an intelligent,
witty, and strong character.
By no small
coincidence, the character of Rebecca is almost exactly
the same, and when she hooks up with fellow actor
Michael, things seem to be going well, until Rebecca
receives an offer to do a film in
. Now the
decision is – should she leave her apartment – her
roommate and her new love for a career, or pass up the
chance of a lifetime to keep those she loves.
The actors do a great job developing
their characters, and the ménage works well intertwining
their problems and stories.
Nick Hoffa, who is excellent as the somewhat
reluctant love interest to Abigail Rose Solomon’s
Rebecca, handles Michael’s role with total credibility,
now jumping all over Rebecca with passionate sex, but
quickly backing off when she brings up the “L” word –
and even worse, when the “M” word slips in.
Author Solomon draws a woman who has been without
love for some time and now seems to wants to make up for
the lost time.
She’s great at depicting a woman conflicted
between a career and a relationship, all the while
dealing with the apparition of her best friend who seems
to nag her at times.
Madison Dunaway actually seems to float as she
plays the spirit of Priscilla – sometimes funny,
sometimes introspective and almost omnipresent.
If you watch Boston Legal on TV you’ve seen Ryan
Michelle Bathe, a hot lawyer with a sharp mind.
Here she plays Sarah, self-serving, sort of
spoiled and ready to lie at the drop of a hat if it
means saving her skin.
You like her at first – then you don’t and then
you like her again – sort of. She's great at
switching the bitchy factor on and off.
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
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
July 9, 2006
at the Hudson Mainstage Theatre,
Santa Monica Blvd,
Reservations at (323) 960-7782
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
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.
HERE for Metro LA/Noho LA