Based on the cult classic film by Stephan Elliott, “Priscilla, Queen of the Desert” at No Square Theatre in Laguna Beach, CA, is an uplifting, toe-tapping adventure of three friends, drag queens Tick (Christopher Voumas) and Felicia (Sawyer Reece Maier) along with transwoman, Bernadette (Jason Pascual) are members of a glamorous Sydney-based drag show, looking for a change of scenery.

After a call from Tick's estranged wife and in desperate need of a change of scenery, the trio take their act across the Australian Outback aboard a battered old bus affectionately named "Priscilla." Along the way they encounter friendship, bigotry, acceptance and several surprises. The show is all set to an irresistible pop anthems including, “It’s Raining Men”, “I Will Survive”, “Hot Stuff”, “Go West”, “Girls Just Want to Have Fun” and “I Love the Nightlife.”

I hadn’t seen Elliott’s film, “The Adventures of Priscilla, Queen of the Desert” since it was in heavy rotation on HBO or Showtime in the mid-’90s. The only thing I remembered was the line, Where Bernadette is shocked by Felicia’s disco memorabilia stating in utter confusion, "What are you telling me? This is an ABBA turd?” Thankfully, that little “nugget” was flushed out.

Directed by Joe Lauderdale with choreography by Ellen Prince, they created no easy task for Pascaul, Maier and Vournas are filling the stilettos of Terence Stamp, Guy Pearce and Hugo Weaving. Fortunately, they don’t just wear them, they strut in them.

The three leads and the hardworking ensemble survive what feels like an Olympic decathlon of costume changes, dance numbers, lip-sync performances and live vocals without missing a beat. Brigitte Harper’s costumes are worth the price of admission alone, each somehow more outrageous than the last in the best possible way. Music director and pianist Joseph Mulroy leads a terrific six-piece band featuring Alan Kelly-Crawley on synthesizer, Mark Sproull on guitar, Nic Gonzalez on bass, Keith Ranson on trumpet and Daniel Mulroy on drums, keeping every disco anthem spinning under the shimmer of a preverbal disco ball.

The Divas, Jordyn Brady, Meg Rocha and Martina Y. Sanchez, deliver powerhouse vocals while at times perched on scaffolding, fearing at any moment, someone would be knocked out by a low hanging speaker if they moved their head millimeters in the wrong direction. Sanchez is hilarious as the unforgettable ping-pong girl while Brady steals laughs as a local barfly. Both dive headfirst into every character. Brady and Michael Marmont, who plays Bob, also deliver the evening’s most convincing Australian accents.

Among the ensemble, Michelle Eiffert stood out for her hyper-focused commitment. While a few performers subtly acknowledged familiar faces in the audience, Eiffert stayed locked into every dance number from start to finish. Duke Newcomb was infectious enthusiasm and looked especially at home in drag as Miss Understanding, even more comfortable than in masculine attire. If I were a woman, I’d be livid as to how good his calves looked in heels.

Finn Miles Reid continues to impress with every production. Kenneth Phuong and Michael Cervantes looked more confident than their previous performances at No Square, while Geo Herrera, Allyson Blackstone, Benna Spots and Patrick Castillo made every energetic moment of stage time count. Katie Hamilton’s Marion is far more understanding than any estranged wife should be, while Cohen Moss surprised us all with his melodic vocals.

Lighting designer Sophia Lombardo and Stage Manager and lighting operator Jordyn Tagle add visual flair that makes the intimate stage feel much bigger. Emily Hood’s wigs deserve their own curtain call.

Considering the cozy performance space, the sheer number of costume changes, dance numbers and musical performances makes this production even more impressive. It showcases the dedication, talent and controlled chaos that have become No Square Theatre’s signature.

My only criticism is that the opening gets the bus out of the depot a little too quickly. Tick’s introduction and the reason for the trio’s road trip happen so fast that anyone unfamiliar with the film or musical may spend the first few scenes playing catch-up. That rush leaves first timers wondering, “Which one is ‘Priscilla’?”

“Priscilla, Queen of the Desert” is joyful, energetic and just the right amount of over-the-top camp. No Square Theatre doesn’t put on a musical. It throws one hell-of-a-party and everyone is invited.

“Priscilla, Queen of the Desert” at No Square Theatre runs from now through August, 2, 2026.

To purchase tickets for “Priscilla, Queen of the Desert” at No Square Theatre visit: nosquare.org or call the box office at: +1-949-715-9438.

No Square Theatre is located at:
384 Legion St.
Laguna Beach, CA 92651

4.5 out of 5 ⭐️⭐️⭐️⭐️½

You might have noticed I’m not exactly the target demographic for, “Menopause The Musical.” Still, with the show celebrating its silver anniversary and playing through July 26, 2026, at the Laguna Playhouse in Laguna Beach, CA, curiosity had me settled in for a matinee.

While I have no firsthand experience of, “the change,” it was imminently clear that much of the audience did. Judging by the laughter this milestone production continues to strike a chord with generations of women who have survived second puberty with their sense of humor intact.

The sadist in me was mildly disappointed the playhouse did not adhere to my suggestion of shutting off the air conditioning every 15 minutes, turning it into an immersive experience. The capitalist in me was extremely baffled to discover they were selling, “Hot Flash Fans” for charity while refusing to “adjust” the thermostat to help boost sales…talk about a missed opportunity.

Set entirely in a big name department store beginning in the lingerie section, the musical follows four strangers brought together while hunting for accessors and unmentionables as they quickly discover they share far more than shopping frustrations in common. This quartet swap stories about hot flashes, mood swings, wrinkles, weight gain, medication and everything else menopause throws their way. Before long they’re bonded by shared experiences via song parodies.

The cast I saw for the first half of the run (July 14-19, 2026) features Anise Ritchie as the Professional Woman, Adrianne Hick as the fading Soap Star, Ingrid Cole as the free-spirited Earth Mother and Teri Adams as the lovable Iowa Housewife, doing double duty serving as Choreography Supervisor as well. Together they create an energetic ensemble that keeps the comedy moving while embracing the show’s affectionate celebration of womanhood with repeated trips to the restroom.

Much of the fun comes from the clever parodies of classic hits from the 1960s, 70s and early 80s. Familiar melodies are given witty new lyrics about hormone swings, memory lapses, being babied by their elderly mothers and everything in between, making it nearly impossible not to smile as recognizable tunes take on what appeared to be hilariously relatable new meanings.

The production value are far stronger than anticipated for a multi-use, single set. Under the direction of Seth Greenleaf, the show moves at a brisk pace, allowing every gag and musical number to land. The colorful, versatile Art Deco-inspired department store set transforms an everyday shopping trip into the ideal backdrop for the action. Music Supervisor Alan J. Plado keeps the show's infectious score humming while Audio Supervisor Caleb Spivey delivers crystal-clear sound, ensuring every lyric and punchline is heard. Lighting Supervisor Aaron Gibson bathes the stage in warm, vibrant looks that add energy and polish throughout the performance.

Behind the scenes, Stage Managers Heather M. Brose and Kimberly L. Simari keep everything running seamlessly while Production Manager Lauren Schwartz and Production Coordinator Kevin Patterson help maintain the slick, professional presentation that makes this anniversary production shine.

Created by Jeanie Linders, “Menopause The Musical,” has entertained more than 17 million people worldwide over the past 25 years as well as collecting well over a $1 million for charity. It’s easy to understand why. The show isn’t trying to reinvent musical theater. Instead it offers 90 minutes of unapologetic, infectious nostalgia and plenty of laughs for 50 percent of the population while celebrating an experience millions of women continue to share.

I may not be the intended audience but judging by the standing ovation, the women who are wouldn’t have wanted to spend their afternoon anywhere else, especially in a perfectly air conditioned building during a Southern California heatwave.

“Menopause The Musical,” runs at the Laguna Playhouse from now through July 26, 2026. The second leg of the run (July 21-26, 2026) will will feature Mary Louise Lee as the Professional Woman, Stacey Harris as the fading Soap Star, Roberta B. Wall as the free-spirited Earth Mother and Lumza Ortiz as the lovable Iowa Housewife.

To purchase tickets for “Menopause The Musical,” at the Laguna Playhouse visit: http://lagunaplayhouse.com/events/menopause-the-musical/ or call the box office at: +1-949-497-2787.

Laguna Playhouse is located at:
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

3.75 out of 5 ⭐⭐⭐¾

For a handful of years I have sat in darkened theatres thinking I’d seen just about every trick the stage had to offer. Then “Harry Potter and the Cursed Child,” arrived at the Segerstrom Center for the Arts and detonated that assumption, reminding everyone why they are about to celebrate their 40th anniversary as the premiere theatre in Orange County. This is a breathtaking feat of artistic vision and technical precision.

Written by Jack Thorne, from an original story by J.K. Rowling, Jack Thorne, and John Tiffany, “Harry Potter and the Cursed Child,” masterful in its theatrical storytelling. This production rivals anything put on the silver screen. The visual effect tied in with a live performance is astonishing.

Thate wonder begins with John Tiffany’s perfect direction. He balances intimate family drama with astonishing theatrical scale, guiding an immensely complex production with a remarkable vision.

The visual world created by Christine Jones is extraordinary, shifting effortlessly between locations. Steven Hoggett’s movement direction gives the production its soul, transforming transitions into storytelling. Katrina Lindsay’s costumes beautifully expand the Wizarding World while giving each main character a distinct identity. Neil Austin’s lighting does far more than illuminate the stage it shapes mood, reveals magic and is the backbone of this show.

The evening’s most outstanding achievement belongs to Illusions and Magic Specialist Jamie Harrison. The illusions are executed flawlessly, inspiring audible gasps throughout the audience. They never feel like tricks but rather genuine acts of magic.

Completing the production’s breathtaking visual language are Finn Ross and Ash J. Woodward, whose video design seamlessly integrates with the scenery, lighting, movement and illusions to create a world without limitations.

With a company of well over fifty performers, the ensemble is absolutely remarkable. Every performer contributes to a production that is impeccably disciplined and endlessly energetic.

The principal cast is exceptional throughout. The performers portraying Adam Grant Morrison as Albus Potter, Nick Dillenburg as Harry Potter, Abbi Hawk (which would be a great professional wrestler name) as Ginny Potter, Rachel Leslie as Hermione Granger-Weasley, Matt Harrington Ron Weasley and Ryan Hallahan as Draco Malfoy capture the beloved characters personas from the books while making each role distinctly their own. Along with Julia Nightingale as Delphi Diggory, birthing another new character to the franchise.

My standout performer of the evening was Mackenzie Lesser-Roy as Moaning Myrtle. She is an absolute scene-stealer, combining fearless physical comedy, impeccable timing and boundless energy into one unforgettable performance. Every entrance elevated the production.

Though his Scorpius Malfoy is often annoying shrill, Dave Fine’s performance shows the vulnerability, emotional growth and even comic charm, making you like a Malfoy, creating the production’s emotional anchors. While I occasionally found some of his shriller vocal choices distracting, there is no denying his exceptional talent or the heartfelt sincerity of his performance.

What makes “Harry Potter and the Cursed Child,” extraordinary is that every artistic discipline operates at the highest level. Direction, design, choreography, lighting, costumes, projections, illusions, performances, stage management and technical execution create a cohesive unit that has been unmatched on the stage, yet.

This is beyond great theatre. It is the finest demonstration of theatrical craftsmanship I have ever witnessed. There there are a couple of plot holes and the second act drags on a bit, the Segerstrom Center for the Arts has brought Orange County an exhilarated and genuinely awestruck production.

For a few unforgettable hours, the impossible became reality. Magic wasn’t an illusion, it was happening live, right in front of us.

“Harry Potter and the Cursed Child,” at the Segerstrom Center for the Arts runs from now through July 25, 2026.

To purchase tickets for “Harry Potter and the Cursed Child,” at the Segerstrom Center for the Arts visit: https://www.scfta.org/events/2026/harry-potter-and-the-cursed-child or call the box office at: +1-714-556-2787.

Segerstrom Center for the Arts is located at:
600 Town Center Dr.
Costa Mesa, CA 92626

4.75 out of 5 ⭐⭐⭐⭐¾

Brendan Wayne and I found common ground before the interview officially began. A shared appreciation for boxing, Star Wars and the Orange County coastline quickly broke the ice, setting the stage for a conversation that stretched far beyond the armor of one of television’s most recognizable heroes.

Wayne, the grandson of Hollywood icon John Wayne and the actor inside the beskar armor portraying Din Djarin in “The Mandalorian,” is entering a new phase of his career with the launch of, “Hats & Helmets with Brendan Wayne,” a podcast that reflects a lifelong passion for storytelling and the creative people behind it.

Having debuted July 8, 2026, the series shifts Wayne from in front of the camera to behind the microphone, where he explores the art and craft of storytelling with actors, writers, directors, producers and other creatives whose work shapes film, television, books and pop culture. The podcast is also a family affair, produced by his daughter, Celia, making it one of the most personal projects of his career.

For Wayne, storytelling has always been more than an occupation. It is part of a family legacy that began long before audiences knew him as the armored Mandalorian. While carrying one of Hollywood’s most recognizable last names comes with expectations, Wayne has steadily built a career that stands on its own, blending the classic traditions of Western filmmaking with modern action franchises.

That balance is perhaps most evident in “The Mandalorian,” where Wayne physically embodies the title character in many of the series’ action and performance sequences. Working alongside Pedro Pascal, who provides the character’s voice and dramatic performance, and stunt performer Lateef Crowder, the trio has created one of the most beloved heroes in the modern Star Wars universe. Their collaboration continues in Lucasfilm’s upcoming feature film, “The Mandalorian & Grogu,” bringing Din Djarin’s story from Disney+ to the big screen.

The podcast’s premiere episode reunites Wayne with Crowder, a two-time Emmy Award winner whose work has become synonymous with some of the franchise’s most memorable action sequences. Rather than focusing solely on finished productions, the conversation examines the collaboration, preparation and creative process that audiences rarely get to see.

Future episodes promise a similar approach, pulling back the curtain on how memorable stories are conceived, refined and ultimately brought to life. Wayne hopes to spotlight not only familiar faces but also the writers, filmmakers and craftspeople whose contributions often remain behind the scenes.

The podcast also represents a milestone for Wayne personally. Collaborating with his daughter has transformed the project into something that extends beyond entertainment, allowing two generations of the Wayne family to work together while continuing a storytelling tradition that spans decades.

Although, “Star Wars” has introduced Wayne to millions of fans around the world, his résumé reaches well beyond a galaxy far, far away. Throughout his career he has appeared in projects including, “Marvel’s Agents of S.H.I.E.L.D.”, “Sons of Anarchy” and “Cowboys & Aliens,” demonstrating a versatility that has allowed him to move comfortably between television, feature films, Westerns and action-driven storytelling.

As “Hats & Helmets” begins building its audience, Wayne finds himself in a unique position. He is preserving the legacy of one of Hollywood’s most famous families while establishing a voice that is distinctly his own, one that is centered around sharing stories of unsung heroes.

Follow Brendan Wayne on Instagram @therealbrendanwayne.

Listen to “Hats & Helmets with Brendan Wayne,” on YouTube and Audible.

There are when you go to the theatre to solely be entertained and then there are performances that quietly worm their way into your heart. “The Spitfire Grill,” at Cabrillo Playhouse in San Clemente, CA, is the latter. Directed by Ella Wyatt, this intimate production based on Lee David Zlotoff’s 1996 film of the same name, with music by James Valcq and lyrics by Fred Alley, and the duo responsible for writing the book together. Unlike the recent production mounted by American Coast Theater Company (‘The Spitfire Grill’ Simmers at ACTC - Review), this interpretation leans into the show’s more edgier themes.

The story follows Percy Talbott, a young woman recently released from prison, who arrives in the small town of Gilead, WI, seeking a fresh start after discovering the town’s name in an old travel book. She finds work at the struggling Spitfire Grill and, through unexpected friendships and acts of kindness, helps a community heal from old wounds while searching for redemption herself.

One of the evening’s greatest accomplishments is the minimalist, yet somehow immersive scenic design. Alberto Hernandez’s beautifully constructed set, along with Jeremy Plant’s lighting design, Andrew Cervero’s costuming enhanced by the thoughtful decorating of Michael Lopez and Wendy Harris, gave the illusion that we too were patrons sitting inside the Spitfire Grill itself. Rather than simply watching the story unfold, we became a tiny part of the restaurant’s daily life as these deeply human characters navigated grief, hope, identity, forgiveness and redemption.

I had not realized what an accomplished tenor Ramy Alhawari is, delivering a wonderful performance as Sheriff Joe Sutter. In previous musicals where I had seen Alhawari, his characters’ vocal stylings were primarily recitative [(sing-speaking) a new term I learned this morning]. Here he is finally given the opportunity to fully display the richness and power of his voice, making his musical moments especially memorable.

Sam Murie’s Caleb gives a deeply affecting performance. Murie pours every ounce of that pain into Caleb’s journey and imminent downfall. His portrayal of this tragically insecure man living in the shadows of a ghost who never was, reminded me of my last teaching position. A former colleague with the same character defects brought up memories of his poor conduct where I pondered, “How much prison time will I get for kicking this ginger midget through that window?” Instead, I made the wiser chose and resigned. Murie’s Caleb, at least early on, has you wanting to kick him through that preverbal window.

English actress, Mimi Franks is tremendous as Percy. She portrays her as hopeful yet distrusting, not someone exactly running from her past but someone searching for redemption while unsure whether she deserves it. Franks balances vulnerability with resolve, making Percy’s transformation believable.

Kathy Villanueva’s Effy is the kind of town gossip you actually kind of like. Rather than making her merely nosy, Villanueva finds the humor beneath the character’s over curiosity. She is entertaining and possesses a terrific voice. If this performance is any indication, one should expect to see her taking on larger roles in the future.

My own bias will show here, but seeing my friend Mary Grant as Hannah was one of the evening’s pleasant surprises. I knew Grant could act, but I had never seen just how accomplished she was onstage. Watching someone you know disappear into the role of a cranky, stubborn woman with such conviction was an absolute joy. She made Hannah far more than comic relief, revealing the loneliness and vulnerability hidden beneath her rough exterior.

Having previously seen Je LaRosa at Cabrillo Playhouse in “A Midsummer Night’s Dream,” (Cabrillo Playhouse’s Contemporary Rendition of a Shakespeare Classic is Joyous – Review), I appreciated the different approach taken with The Visitor. The role is often portrayed as a weathered drifter carrying the scars of war. LaRosa instead humanizes the character with a quiet compassion and just enough humor to make his presence feel comforting rather than mysterious. It is a refreshing interpretation that serves the story beautifully, making him this productions scene stealer.

Now comes our showstopper; MiKayla Thomas-Turner as Shelby. Entering her senior year at the University of California, Irvine (UC) to complete her Bachelor of Fine Arts, she delivered such an incredible performance they might as well hand her a Master of Fine Arts as well. Thomas-Turner is an extraordinary soprano whose vocal control is absolutely astonishing. Even while soaring through demanding high notes, she never sacrificed Shelby’s physicality or facial expressions. Too often performers unconsciously break character during technically difficult passages. Thomas-Turner never does. Even from behind the counter when Joe and Percy are having a bit of a spat, Thomas-Turner shares true facial expressions implying her intrusive thoughts of, “Huh, what was that all about?” There are a couple of other nuanced moments, in her performance, like removing a couple of accessories, representing the characters growth.

Every twitch, every facial expression, every instance of her body tensing, every quivering lip and every furrowed brow convinced me Thomas-Turner herself was living in a genuinely abusive relationship. After the performance I joked with her, “You made me want to beat up your real-life husband.” She laughed, thanked me and reminded me she isn’t married. That’s how convincing her performance Thomas-Turner delivers.

The three-piece band is another entity altogether. Music Director Marc Marger demonstrates an excellent understanding of both the theater’s intimate space and its acoustics. Conducted by Arthur Abadi, who also performs on keyboard, alongside Christopher Drake on guitar and mandolin and Hannah Glass on violin, the ensemble never overwhelms the actors. Instead, the music is its own character, underscoring emotions without ever competing with the dialogue. It is exactly the balance this score requires.

Equally deserving of recognition is Lisa Garcia’s masterful stage management. In a production where pacing and atmosphere are essential, Garcia ensures every transition is seamless. The audience never has an opportunity to step outside the world of Gilead because each scene flows effortlessly into the next.

Wyatt has assembled a company that understands the quiet power of “The Spitfire Grill.” This production succeeds through heartfelt performances, honest storytelling and an atmosphere that invites the audience into the lives of its characters.

“The Spitfire Grill,” reminds us that healing often begins with simple acts of compassion and that redemption is possible for those willing to accept it.

“The Spitfire Grill,” at Cabrillo Playhouse running now through August 2, 2026.

To purchase tickets for “The Spitfire Grill,” at Cabrillo Playhouse visit: https://cabrilloplayhouse.org/ or call the box office at: +1-949-492-0465.

Cabrillo Playhouse is located at:
202 Avenida Cabrillo
San Clemente, CA 92672

4.5 out of 5 ⭐️⭐️⭐️⭐️½

Tickets for this year’s Knott’s Scary Farm will go on sale at 10 a.m. Friday, July 10, 2026, ahead of the return of Southern California’s longest-running Halloween theme park event.

Knott’s Scary Farm will return Thursday, September 17, 2026, and run on select nights through Saturday, October 31, 2026, at Knott’s Berry Farm in Buena Park, CA.

Now in its more than 50-year history, the annual Halloween event transforms the theme park with haunted mazes, scare zones, live entertainment and more than 1,000 costumed monsters roaming throughout the park.

Organizers said additional details about this year’s event, including new haunted mazes, scare zones and entertainment, will be announced in August during the sold-out “Nightmares Revealed” preview event.

Tickets will be available beginning at 10 a.m. July 10, 2026, at knottsscaryfarm.com.

Knott’s Berry Farm is located at

8039 Beach Blvd.

Buena Park, CA 90620

Fans of “Hellraiser” will soon have the chance to step inside one of horror’s most disturbing worlds.

Halloween Horror Nights is bringing the iconic franchise to life with an all-new haunted house inspired by the first three Hellraiser films. The attraction debuts Friday, Aug. 28, at Universal Orlando Resort and Thursday, Sept. 3, at Universal Studios Hollywood, marking the franchise’s first appearance at the annual horror event.

Based on “Hellraiser” (1987), “Hellbound: Hellraiser II” (1988) and “Hellraiser III: Hell on Earth” (1992), the haunted house plunges guests into the twisted universe created by author and filmmaker Clive Barker, where pain, pleasure and the supernatural are inseparably linked.

Since its debut nearly four decades ago, “Hellraiser” has become one of horror’s most influential franchises. The films introduced audiences to the Lament Configuration, the mysterious puzzle box that opens a gateway to another dimension inhabited by the Cenobites, ritualistic beings led by the unforgettable Pinhead. Blending psychological horror, graphic imagery and themes of desire and suffering, the series earned cult-classic status and has continued to influence generations of horror filmmakers.

For the first time, Halloween Horror Nights guests on both coasts will come face-to-face with the Cenobites in a haunted house that recreates memorable moments from the franchise. Horror fans will also hear a familiar voice throughout the experience, as Doug Bradley, the actor best known for portraying Pinhead, reprises the role for both the Orlando and Hollywood attractions.

The experience begins when guests unknowingly solve the infamous Lament Configuration, opening a portal to a nightmarish realm where the Cenobites await. Along the way, they’ll travel through several iconic locations from the films, including the eerie attic inside Frank Cotton’s family home, where his horrific fate began, and the unsettling Channard Institute, where the puzzle box tempts victims with promises of forbidden pleasure.

The journey culminates inside the Labyrinth, where Pinhead and the Cenobites await to claim new souls for eternal torment.

New limited-release merchandise inspired by the “Hellraiser” haunted house, including a T-shirt and a Pinhead acrylic figure which can be added to the separately sold Infernal Carnival collectible display, are now available at Universal Orlando Resort and Universal Studios Hollywood and will launch tomorrow, Wednesday, July 1 at 9am PST on shopUniversal.com.

Halloween Horror Nights runs on select nights from Aug. 28 through Nov. 1, 2026, at Universal Orlando Resort and from Sept. 3 through Nov. 1, 2026, at Universal Studios Hollywood. For more information and to purchase tickets, visit www.HalloweenHorrorNights.com.

Some stories never lose their significance and “Steel Magnolias,” happens to be one of them. The beloved 1989 film is remembered for its incredible ensemble cast, but the stage adaptation at the Newport Theatre Arts Center (NTAC) reminds us that this story never needed twenty characters bustling through Chinquapin Parish. Stripping the play down to just the six female leads makes every laugh, every tear and hit with the force of a prime Mike Tyson body blow. There is nowhere to hide, which means every relationship carries more weight and every moment matters.

What makes “Steel Magnolias,” so refreshing even 37 years later is how rare its central premise still feels. Here is a female-driven story where women genuinely love, encourage and support one another. They tease each other relentlessly, but there is never any cruelty behind the words. There is no backbiting, no backhanded compliments and no competition to outdo one another. Instead, these women lift each other through life’s celebrations and tragedies, making authentic friendships that remain uncommon on stage and screen (see the “Family Guy,” Clip Below).

Sarah Bielicki steps into the role made famous by Julia Roberts as Shelby Eatenton-Latcherie with genuine sincerity. Her Shelby is independent despite living with Type-1 diabetes and her relationship with her mother, M’Lynn, becomes load bearing wall of the evening. Bielicki beautifully captures a young woman desperate to spread her wings while constantly running into the protective grip of a mother whose fear has transformed into control. Their arguments are not one-sided because both women are driven entirely by love, even when that love becomes suffocating.

Jeanetta Behr inherits Dolly Parton’s role of Truvy Jones and tosses out one-liners with an ease that would make Parton proud. She keeps the salon humming with effortless charm while serving as the glue that keeps this chosen family together.

Judy Jones embraces the prickly nature of Ouiser Boudreaux, originally played by Shirley MacLaine. She is the lovable old crow who masks her enormous heart beneath a gallon of piss and vinegar. Every sarcastic remark lands because Jones never lets the audience forget that compassion is always lurking just beneath the surface.

Alexandra Bank recreates Olympia Dukakis’ Clairee Belcher with tremendous confidence and it is a wonderful performance, though it feels more of a love letter to Dukakis, her cadence and mannerisms. While it is undeniably entertaining, I found myself wish Bank made Clairee distinctly hers…unless that’s her natural speech pattern, then she’s golden.

The evening’s biggest scene stealer is Michelle M. Pedersen as M’Lynn Eatenton, the role originated by Sally Field. Pedersen perfectly conveys the impossible balancing act of a mother whose desperate need to protect her daughter slowly becomes smothering rather than comforting. One unexpectedly charming moment comes when she casually slips her hand into her dress pocket. Every woman who has ever discovered pockets in a dress knows that burst of euphoria. It carries the same joy a child feels after finding forgotten candy in a coat pocket. Somehow that tiny gesture reveals more about M’Lynn’s humanity and compassion than any monologue. It becomes one of the evening’s most memorable moments because it briefly allows her to stop holding herself together.

Then there is Giana Garcia as Annelle Dupuy-Desoto, the role first played by Daryl Hannah. Garcia, who I had previously seen in, “These Shinging Lives,” (‘These Shining Lives’ Shimmers at Vanguard University – Review) delivers the production’s showstopping performance. Every nervous fidget, every facial expression and every startled reaction, whether responding to distant gunshots or overwhelming emotions, feels completely genuine. Her commitment extends far beyond her dialogue. Watching her work behind the salon chair, I became convinced she had attended cosmetology school. The smallest details sell the illusion, especially the instinctive way she shields Clairee’s eyes from the cloud of hairspray with her forearm. It is a blink-and-you’ll-miss-it moment that perfectly captures how deeply Garcia inhabits Annelle. Nothing she does is performed. She embodies Anelle, all the way down to washing her hands following a spill.

Director Kathy Paladino, alongside assistant directors Jackie Melbon and David Rodriguez, create an entire Louisiana community within the walls of a single beauty salon. Their work makes the outside world feel enormous without ever leaving the room. Madison Melendes’ stage management keeps everything flowing beautifully. Even the slightly longer transitions never stall the momentum. Instead, they feel like the changing of the seasons as life quietly moves forward.

Jim Huffman’s design and technical direction are marvelous while Michael Corcoran’s construction once again transforms the Newport Theatre Arts Center stage into a remarkably detailed environment. Nearly every production I have seen at NTAC seems to require a staircase and I found myself joking with lighting, sound and tech booth operations maverick, Joshua Serrano that the theater has built so many staircases over the last three years they could probably have constructed several single-family homes by now.

Speaking of Serrano, his technical work is untouchable here. Not a single cue faltered. Not one lighting or sound hiccup pulled the audience out of the story. Jenny Wentworth’s costumes and Cliff Senior’s wigs effortlessly transport 2026, Newport Beach into 1989, small-town Louisiana for nearly two hours of pure enjoyment.

Bob Fetes’ props are so convincing that by curtain call I was half tempted to ask Jeanetta Behr if she had time for a manicure before heading home.

The Newport Theatre Arts Center’s “Steel Magnolias,” is funny, heartbreaking and most importantly, human. By focusing entirely on these six extraordinary characters, the production reminds us that friendship, family and resilience have always been the true stars of this story. The film may have had a larger cast, but this intimate stage adaptation proves that sometimes fewer voices create the loudest emotional impact.

“Steel Magnolias,” at the Newport Theatre Arts Center runs from now through July 19, 2026.

To purchase tickets for “Steel Magnolias,” at the Newport Theatre Arts Center visit: https://www.ntactickets.com/ or call the box office at: +1(-949-631-0288.

The Newport Theatre Arts Center is located at:
2501 Cliff Dr.
Newport Beach, CA 92663

5 out of 5 ⭐⭐⭐⭐⭐

Trying to express how impactful Amicus Community Theater’s performance of, “The 25th Annual Putnam County Spelling Bee,” at the Chance Theater was right out of the gate, I can only express it by borrowing a term from professional wrestling in that they earned a, “Road Warrior Pop.”

For the uninitiated, the Road Warriors (later known to WWF/E fans as the Legion of Doom) were the greatest tag team in professional wrestling history. Inspired by the “Mad Max,” films (and later sharing their name from the “Super Friends” villains), they had an entrance that instantly electrified arenas. The moment Tony Iommi’s iconic opening guitar riff from Black Sabbath’s “Iron Man” blasted throughout the area, thousands of fans exploded (i.e. popped). Before Hawk and Animal even appeared through the curtain, the audience already knew they were about to witness something special.

That’s exactly the feeling Amicus Community Theater created on opening night of their inaugural production.

The instant the cast launched into, “The Spelling Rules,” there was a shift in the room. The audience wasn’t just watching anymore anymore, they were completely invested, and in my case, I was actually rooting for certain characters to win (just like professional wrestling), knowing there was a predetermined conclusion. Belly laughs came ease, my attention never wavered, and the energy inside the theater became infectious. It was that rare moment when you realize, within the first few minutes, that you’re in exceptionally capable hands and that the next two hours are going to be something memorable.

That’s a, “Road Warrior Pop.”

Featuring music and lyrics by William Finn, a book by Rachel Sheinkin, and conceived by Rebecca Feldman, “The 25th Annual Putnam County Spelling Bee,” walks the perfect line between laugh-out-loud comedy and childhood heartbreak. Under the leadership of co-directors and producers Aleece Hanson and Rheannon Rozewski, this production don’t just leans in, but falls into every quirky, touching and hilarious moment while allowing each performer to have their moment in the spotlight.

Leading the bee is Angela Ryan Tannas as former champion Rona Lisa Peretti. She delivers some of the best deadpan, improvised one-liners of the evening. Alec Waters is excellent as Vice Principal Douglas Panch, the last minute replacement, beaten down by life and his students.

The young competitors are wonderfully portrayed by a talented ensemble. Raquel Villaescusa somehow makes the overachieving, political activist with speech impediment, Logainne Schwartzandgrubenierre delightful, while Katerina Coronado’s Marcy Park forced perfectionism as a polyglot pianist unravels from the pressure placed on her by her parental units. Nat Bull has fun as Chip Tolentino, facing whatever pops up as an awkward youth. Jay Arroyo and Larry Tannas provide excellent support as Carl Dad and Dan Dad. Izzy Klein, April Viehmann, Kayla Chen and Ginee Hong round out the cast beautifully, contributing to the show’s lively ensemble spirit as school girls, parents, siblings and whatever else was needed of them to ensure every scene comes to life.

There are handful of performances rise to unforgettable heights. Haven Hanson is absolutely perfect as the wonderfully eccentric homeschooler, Leaf Coneybear, creating one of the evening’s most endearing characters with infectious innocence and comedic instincts. Ryan Hemmerling gives a standout performance as William Barfée (pronounced Barf-eh making it clear, there is an accent aigu), fully embracing the role’s unique physicality and mucus filled humor while revealing the character’s surprisingly tender heart.

“The 25th Annual Putnam County Spelling Bee,” scene stealer is Alisha Zuberi who delivers perhaps the show’s most emotionally resonant performance as Olive Ostrovsky, she redefined, “yes-and” going with whatever was thrown at her and will be one to watch for when she relocates to the East Coast..

The evening’s biggest showstopper belongs to Eliseo Payan as Mitch Mahoney. Though his stage time mostly fades into the ensemble, he killed it a powerhouse rendition of, “The Prayer of the Comfort Counselor.” His second tenor vocals takes the top spot as the production’s undeniable highlight.

Behind the scenes, the production team deserves equal recognition for bringing this ambitious musical to life. Co-directors and producers Aleece Hanson and Rheannon Rozewski have assembled an exceptionally creative team whose work is evident in the love of stage and song. Music Director Kim Le keeps William Finn’s score vibrant and emotionally rich, while choreographer Taylor Ozuna and assistant choreographer Allyson Blackstone create energetic, character-driven movement.

Stage Manager Cat Hanson keeps the production running seamlessly, allowing the cast to perform with confidence and precision. Haven Hanson’s triple role as Performer, Production and Costume Designer showcases remarkable creativity, with costumes and scenic elements that perfectly capture the whimsical spirit of the competition. Assistant Vocal Director Megan Waters helps ensure the ensemble’s strong vocal performances throughout the evening, while adding to their resume as lighting designers Ozuna and Rozewski create an atmosphere with the coldness of a school auditorium yet highlighting the warmth of those internal monologues. Rozewski’s audio design delivers clear, balanced sound that allows every lyric and joke to land effectively.

For their inaugural production, Amicus Community Theater has set an incredibly high standard. Their opening night of, “The 25th Annual Putnam County Spelling Bee,” was filled with side-splitting laughter, heart, memorable performances and the unmistakable joy that comes from artists creating theatre for the love of it. Their first spelling bee earns an easy A+.

If this production is any indication of what’s to come, audiences have every reason to be excited about Amicus Community Theater’s future.

To quote the late Road Warrior, Hawk, “Oh, What a Rush!”

Follow Amicus Community Theater on Instagram @amicuscommunitytheater to see what’s next for this theater company.

Amicus Community Theater’s, “The 25th Annual Putnam County Spelling Bee,” at the Chance Theater is completely sold out.

5 out of 5 ⭐⭐⭐⭐⭐

I spoke with Newport Theatre Arts Center (NTAC) Board President Michelle Bendetti about ‘Steel Magnolias’ and the theater’s upcoming 2026–27 season.

Directed by Kathy Paladino, ‘Steel Magnolias’ (Running from June 25 through July 19, 2026) is a heartfelt Southern drama by Robert Harling. Set in a small-town Louisiana beauty salon, it follows a close-knit group of women who share laughter, love and life’s challenges. Centered on the strong-willed Shelby, a young woman with diabetes, and her protective mother, M’Lynn, the play explores friendship, resilience and the strength of community. Through both joyful and heartbreaking moments, the women’s bonds prove they are as delicate as magnolias and as strong as steel.

Bendetti previously played Shelby in an earlier NTAC production. In the current production, Shelby is portrayed by Sarah Bielicki. The cast also features Giana Garcia as Annelle, Michelle Pedersen as M’Lynn, Jeanetta Behr as Truvy, Judy Jones as Ouiser and Alexandra Bank as Clairee.

Bendetti also discussed the 2026–27 season, which will include, ‘The Hunchback of Notre Dame’, ‘Almost, Maine’, ‘A Few Good Men’ and ‘Urinetown’. Two additional productions will be announced in July and September. The MTones will return during the holiday season with their annual Christmas performances.

Newport Theatre Arts Center is also accepting tax-deductible donations to support facility renovations that will improve accessibility for patrons who use wheelchairs and walkers as the theater prepares for its 50th anniversary.

Gifts of $5,000 plus will earn you Super Star status as a supporter, down to $100 as an Ensemble member. All donations will go to new seats, carpets, paint, floor light and improve the layout, along with other improvements for accessibility.

To make a tax deductible donation visit: ntactickets.com/donate.

‘Steel Magnolias’ runs from June 25 to July 19, 2026.

To purchase tickets for ‘Steel Magnolias’ visit: https://us.patronbase.com/_NewportTheatreArtsCenter/Productions/31/Performances or call the Box Office at: +1-949-631-0288.

Newport Theatre Arts Center is located at:
2501 Cliff Dr.
Newport Beach, CA 92663

Attorneys and co-founders Aleece Hanson and Rheannon Rozewski, along with choreographer Taylor Ozuna, discuss the launch of Amicus Community Theater (A.C.T. Productions) company and its inaugural production, ‘The 25th Annual Putnam County Spelling Bee’.

Amicus Community Theater (A.C.T. Productions) was founded by attorneys and performing arts advocates Rheannon Rozewski and Aleece Hanson to produce high-quality theatrical works while expanding performance opportunities in Southern California’s competitive arts community. The company’s name, “Amicus,” Latin for friend or ally and a term used in law to describe a supporter of the court, reflects its commitment to collaboration, advocacy and community.

A.C.T. Productions is dedicated to creating a safe, inclusive environment for artists and audiences alike. Through inclusive casting and a welcoming creative process, the company seeks to ensure that performers from diverse backgrounds have opportunities to participate and thrive.

The company’s inaugural production has already sold out its three-night, five-performance run at the Chance Theater in Anaheim, CA. The production is presented through Chance Theater’s Visiting Company Initiative, a program that provides emerging theater companies with access to professional performance space and production resources.

‘The 25th Annual Putnam County Spelling Bee’ follows an eclectic group of six middle school students, portrayed by adults, as they compete for a spelling championship. Along the way, they reveal humorous and heartfelt stories from their home lives while navigating increasingly challenging words. As each contestant faces elimination, only one speller can emerge victorious.

Directed by Aleece Hanson and Rheannon Rozewski, the production features musical direction by Kim Le, choreography by Taylor Ozuna and production design by Haven Hanson.

‘The 25th Annual Putnam County Spelling Bee’ features music and lyrics by William Finn, a book by Rachel Sheinkin, is conceived by Rebecca Feldman and includes additional material by Jay Reiss.

A.C.T. Productions of ‘The 25th Annual Putnam County Spelling Bee’ the Chance Theater in Anaheim, CA, runs June 26-28, 2026. Call the Box Office to check for cancelations of this sold out show at: 1 (888) 455-4212.

For more information about Amicus Community Theater visit: https://amicustheater.wixsite.com/.

The Chance Theater is located at:
5522 E. La Palma Ave.
Anaheim, CA 92807

The world premiere of ‘Ostrich in the Room’ by Seanan Palmero Waugh arrives as an ambitious avant-garde exploration of communication, relationships and the increasingly absurd ways people avoid truly hearing one another. Presented by The Larking House Theatre Company, the production combines high-energy performances, striking visual design and surrealist humor, though the script itself feels like a work in progress.

Set within a world that feels lifted from the early-1980s SoHo art scene, the play follows a lesbian couple identified simply as A and B. Jessica Schreiber portrays A, the intellectual and headstrong half of the relationship, while Rachel Bailey plays B, a woman guided more by emotion and instinct. After two and a half years together, the couple finds themselves at an emotional crossroads.

What begins as a simple disagreement over whether to attend A’s work party quickly spirals into a series of increasingly absurd confrontations. A wants to attend the party, while B has no interest in spending an evening playing Pictionary with strangers. To settle the matter, they engage in games of chess and checkers to determine the fate of their evening. Into this already bizarre dynamic enters an Ostrich, played by Coleman Blue Summers, who first attempts to recruit the pair into his political party before eventually evolving into something far more useless: their couples therapist.

As the conflict escalates, A ultimately decides she doesn’t want B accompanying her after all. Naturally, B becomes determined to attend the very event she previously wanted nothing to do with. Through these reversals and contradictions, Waugh explores a familiar relationship truth: everyone wants to be heard, but nobody seems interested in listening.

Schreiber, Bailey, and Summers are all tremendous performers who fully commit to the play’s unconventional world. Their dedication and energy help carry the production through some of its rougher narrative patches. Summers, in particular, embraces the absurdity of the title character while giving the role an unexpected sincerity.

There were, however, two recurring distractions throughout the performance. First, the volume level rarely varied, with conversations moving from loud to louder and only occasionally settling back to strictly loud. The emotional peaks consequently lose some of their impact when there is little room for escalation. Second, both Schreiber and Bailey constantly engaged with Summers directly in the face rather than focusing on the ostrich head perched above him, an inconsistency that distracted from the fowl character.

Director Jarid McCarthy keeps the show moving at a brisk pace, maintaining the consistently high level of energy throughout the evening. Grey Sol Tapia’s stage management, assisted by Ryan Joe Morgan and Vita Muccia, ensures the production one-hour run runtime guided along smoothly. Tony Sanchez once again delivers impressive scenic design work, while lighting designer Matthew M. Hayashi and assistant Zion Aguilar create an atmosphere that effectively supports the play’s surreal aesthetic.

Lizzy McCabe’s sound design evokes the neon-drenched, synth-heavy vibe of the 1981 film, ‘Liquid Sky’, perfectly complemented by Rowan Galleran’s unique costume design, which reinforces the show’s downtown art-scene sensibility. Feyara Bellefleur’s hair and makeup design provide the final touches that complete the production’s distinct visual identity.

From a production and performance standpoint, ‘Ostrich in the Room’ is worth checking out. The technical elements are strong, the performances are engaging and the creative team has crafted a memorable theatrical experience. The writing, however, remains the production’s weakest element. Many of the arguments fail to develop in a way that makes emotional or logical sense, leaving me disconnected from both A and B as they struggle to determine the future of their relationship.

Still, there are some good bones in there. With a few more rewrites and a sharper focus on character motivation, ‘Ostrich in the Room’ has the potential to evolve into something special.

‘Ostrich in the Room’ at The Larking House Theatre Company runs from now through June 28, 2026

To purchase tickets for ‘Ostrich in the Room’ at The Larking House Theatre Company visit: https://www.thelarkinghouse.com/event-details/ostrich-in-the-room-at-the-larking-house-2026-06-28-15-00.

The Larking House Theatre Company is located at:
Grand Central Art Center
125 N Broadway
Santa Ana, CA 92701

3 out of 5 ⭐⭐⭐

How the Rose Center Theater continues to be overlooked in Orange County theater circles is one of the region’s great mysteries.

Its latest production, ‘Jekyll & Hyde: The Musical’, running now through June 28, 2026, is not merely great theatre. It is the kind of ambitious, emotionally charged and technically sound production that deserves to be mentioned alongside the county’s most respected stages like South Coast Repertory and Chance Theater.

Based on Robert Louis Stevenson’s iconic 1886, 120-page novella and featuring music by Frank Wildhorn with book and lyrics by Leslie Bricusse, ‘Jekyll & Hyde’ follows Dr. Henry Jekyll, a brilliant scientist obsessed with separating good from evil within the human soul, especially after the loss of his father, who succumbed to mental illness. When he tests his experimental formula on himself due to lack of support from his medical board, he unleashes Edward Hyde, a violent and seductive alter ego devoid of conscience. As Hyde’s influence grows, Jekyll’s carefully ordered life spirals into chaos, pulling his fiance Emma Carew and Lucy Harris, the lady of the night, whom Hyde cannot resist, into an increasingly dangerous world.

At the center of it all is Matthew Bartosch, delivering a performance that is beyond extraordinary. Playing both Jekyll and Hyde requires an actor capable of portraying two distinct personalities while convincing the audience they are witnessing one fractured soul. His Jekyll is compassionate, driven and increasingly desperate, while his Hyde is predatory and explosive. The transitions are so seamless that audiences can practically see the psychological battle taking place in real time.

What is perhaps most astonishing is Bartosch’s vocal performance. Time and again, he hurls himself around the stage, physically exhausting himself during Hyde’s violent outbursts, only to immediately unleash soaring vocals that never waver. How that man can sustain those notes after thrashing around the stage is beyond comprehension.

Bartosch’s work is elevated by two equally compelling leading ladies. Melissa Cook brings tremendous vulnerability to Lucy Harris, who works under the wretched Spider, played by Jerred Yeash, at the Red Rat, who falls for the good doctor because she showed her the slightest bit of kindness. Kristin Caputo’s Emma Carew is the anthesis of Lucy, a woman of status and means, who loves Jekyll for his brilliant mind and potential upward mobility. Together, Cook and Caputo create two fully realized women whose lives become collateral damage in Jekyll & Hyde’s tragic quest.

Vincent Aniceto is equally impressive as John Utterson, as the pragmatic lawyer and friend via his sincerity and unwavering loyalty. His presence provides a stabilizing force amid the mounting chaos.

The supporting cast is filled with memorable performances. Hyde’s victims are portrayed with enough arrogance and moral decay to make their eventual fates feel almost justifiably satisfying. Trevin Stephenson’s Bishop of Basingstoke oozes hypocrisy as a lascivious louse hiding behind his cassock. Kevin Arnold’s Lord Savage embodies elitist self-importance while treating the poor as nothing more than a nuisance. Randall J. Goddard’s Sir Archibald Proops is a man long sustained by reputation rather than relevance. Erik Duane’s General Lord Glossop is appropriately repugnant, Meredith Woodson’s Lady Beaconsfield leaves a strong impression as the resident Karen and Benjermin Tietz’s Simon Stride serves as a worthy professional rival whose antagonism helps propel Jekyll toward disaster, especially as he not-so-secretly pines for Emma.

Special recognition belongs to Nate Andreas, whose powerful voice and impressive dance abilities repeatedly draw the audience’s attention. Ensemble members Katie Agrela, Alex Vaz and Ainsley McClure also stand out, finding opportunities to shine even within such a large company.

Director and musical director Tim Nelson masterfully balances the show’s gothic horror, romance and tragedy while choreographers Diane Makas and Jennifer Matthews create movement that remains engaging from beginning to end. The production never loses momentum.

The creative team deserves equal praise. Costume designer Carole Zelinger crafts period-appropriate costumes that enhance both character and atmosphere. Production and Props Manager Sherré Titus helps create a richly detailed world that feels lived in and authentic. Technical Director Chris Caputo oversees a production that consistently looks polished and professional. Together, they help transform the Rose Center stage into Victorian London with remarkable effectiveness.

The production is not entirely flawless. There were two noticeable technical issues during the night’s performance. One involved a missed musical cue. Another came from what appeared to be a projection error that disrupted the illusion. During a scene intended to take place in Dr. Jekyll’s living room, the projected image displayed the exterior of his home instead. Both moments were minor and quickly forgotten, but still noticeable and commented on by those around me.

Beyond those brief hiccups ther in lies a production that is genuinely spectacular.

By the final curtain, one thought lingers above all others: Why isn’t everyone talking about the Rose Center Theater? ‘Jekyll & Hyde’ is an indication, they should be.

Rose Center Theater’s production of ‘Jekyll & Hyde: The Musical’ is ambitious, thrilling and deeply impactful. It serves as a powerful reminder that some of Orange County’s finest theatrical experiences can still be found in the shadows.

To purchase tickets for ‘Jekyll & Hyde: The Musical’ at the Rose Center Theater visit: https://www.rosecentertheater.com/jekyll-and-hyde or call the box office at: 714-793-1150.

Rose Center Theater is located at:
14140 All American Way
Westminster, CA 92683

4.75 out of 5 ⭐⭐⭐⭐¾

American Coast Theater Company’s (ACTC) production of ‘The Spitfire Grill’ at the Lyceum Theater on the campus of Vanguard University proves that a gifted cast and creative team can elevate material beyond its writers’ shortcomings. Based on the Lee David Zlotoff 1996 film, under the direction of Sasha Miller, this intimate musical finds its heart in a company of performers who bring warmth, humor and emotional authenticity to every scene.

Sadie Black lays the foundation of the production as Percy, filled with determination and vulnerability. Susan K. Berkompas, who I will now and forever refer to as the, “Potty Mouth Professor,” brings wisdom and wit to Hannah, the matriarch and owner of the Spitfire Grill. Dyan Hobday-Smith make you love and pitty Effy, almost believing she’s a Karen in real life, while Chris Fine’s Caleb benefits from his rich vocal presence and a particularly impressive second tenor voice. Luc Clopton gives an awe-shucks yet compassionate authority to Sheriff Joe.

The evening’s scene stealer is Rachel Williams as Shelby. Williams evolution from Caleb’s emotional punching bag to steadfast woman shows the character’s growth from scene to scene instead of an instant transformation, making her development that much more significant.

Ryan Miller’s portrayal of The Visitor deserves special recognition, as his silence speaks more volumes than any belted out C note.

The musical ensemble deserves equal praise. Music Director David Diiorio leads from the piano, guitarist David Lopez, violinist Eric Romero and drummer Brian Sherick, create a beautifully textured accompaniment that supports the performers without overwhelming them.

Hannah Jean Simmons’ choreography effectively enhances the storytelling while making excellent use of the theater’s intimate dimensions. Scenic designer Kaitlyn Campbell, assisted by Jim Huffman, demonstrates remarkable ingenuity. Their design transforms a limited playing space into a prison cell, a sweeping mountain landscape and the titular Spitfire Grill itself.

Behind the scenes, Lily Jinojosa’s theater management keeps the production moving efficiently and on schedule. Ken Lennon’s lighting design and Shekinah Glory Rainwater’s sound mixing maintain the show’s rhythm and atmosphere, helping sustain the production’s emotional momentum.

‘The Spitfire Grill’s most significant weakness lies not with the company but with the book itself. Writers James Valcq and Fred Alley make the puzzling decision to place the intermission approximately ten minutes after two separate natural breaks. Either of those moments would have left the audience gasping with anticipation for what follows. By delaying the intermission, the writers unintentionally diminish some of the dramatic impact that should propel the second act.

Fortunately, the talented cast and crew overcome that flaw. Their commitment transforms ‘The Spitfire Grill’ into a satisfying theatrical experience.

American Coast Theater Company has delivered a heartfelt production that reminds audiences why community-centered storytelling continues to resonate. Despite the script’s structural misstep, this production burns brightly thanks to the exceptional work of everyone involved.

‘The Spitfire Grill’ runs from now through June, 28, 2026, at American Coast Theater Company’ at the Lyceum Theater on the campus of Vanguard University.

To purchase tickets for ‘The Spitfire Grill’ visit: www.eventbrite.com.

American Coast Theater Company is located at:
55 Fair Dr.
Costa Mesa, CA 92626

4 out of 5 ⭐️⭐️⭐️⭐️

Passion is splashed across every inch of John Logan’s Tony Award-winning ‘Red’, now playing at Laguna Playhouse. Directed by J. Scott Lapp, this engaging two-person drama examines the complicated relationship between legendary abstract expressionist Mark Rothko and his young assistant, Ken. The result is a production that is both intellectually and emotionally stimulating.

Rob Nagle brings Mark Rothko back to life as the celebrated artist finds himself wrestling with questions of legacy, relevance and the changing art world around him. Nagle captures the artist’s intelligence, but also his stubbornness, insecurity and cantankerous nature. Rothko can be inspiring one moment and infuriating the next; Nagle’s Rothko breathes every contradiction.

As Ken, James Hayden Rodriguez provides the perfect counterbalance. What begins as a straightforward mentor-apprentice relationship gradually evolves into something far more layered. Ken arrives eager to learn, willing to absorb every lesson Rothko offers, even if only as a paid employee, who’s opinion means little-to-nothing. Over the course of the play’s two-year timeline, he develops the confidence to challenge the very man he admires. Rodriguez charts that growth beautifully, giving Ken the ability to transition from quite admiration and curiosity to a quiet determination that eventually demands to be heard.

The chemistry between Nagle and Rodriguez is raw, passionate. Their scenes together hold the audience enamored as Rothko’s mood shift faster than the wind. Rothko lectures more than discusses art, culture, purpose and mortality, but beneath every diatribe is a growing understanding between two people from different generations trying to make sense of the world around them.

Lapp wisely allows Logan’s words and the actors’ performances to remain at the center of the production, but the technical team deserves enormous credit for creating the environment of the dimly lit, New York art studio.

Scenic designer Stephen Gifford transforms the stage into a working artist’s studio, complete with creative chaos that fuels the story. Props designer Kevin Williams fills that space with every artistic material, including a record player that make every moment authentic. The physical act of painting becomes an important dance within the story embracing every brush stroke. Laguna Playhouse estimates that at least 30 canvases will be painted over the course of the production’s run, a remarkable detail that underscores the immersive nature of the experience.

Jared Sayeg’s lighting design is magnificent. Beyond illuminating the action, the lighting creates dramatic shadows that linger around the characters like phantoms. The interplay of light and darkness becomes a visual extension of Rothko’s own artistic struggles, creating moments that are at once beautiful, haunting and deeply emotional. Combined with Ian Scot’s subtle sound design, the production achieves an atmosphere that fis hypnotic.

Costume designer Dianne Graebner grounds the characters firmly within their era while defining their personalities and social statuses. Every design element harmoniously works, like a military phalanx.

Special recognition belongs to stage manager Kyrsten Goodrich. This is possibly the seventh production I have seen with Goodrich serving as stage manager, and I have yet to see any other production run as smoothly as those under her stewardship. Every cue, transition and technical moment unfolds seamlessly, forcing audiences to remain fully immersed in the story. Her work often goes unnoticed because it appears effortless, but that precision is a testament to exceptional skill. If Goodrich ever decides to take on a protégé the way Ken apprentices under Rothko, whoever has that opportunity to learn from her will be the lucky one.

Laguna Playhouse’s production embraces all of those themes of intelligence, passion and remarkable craftsmanship. Anchored by outstanding performances from Nagle and Rodriguez, it is a deeply satisfying evening of theatre.

‘Red’ is a play about artistic passion, the burden of legacy and the difficult process of passing knowledge from one generation to the next.

‘Red’ runs from now through June 28, 2026, at the Laguna Playhouse.

To purchase tickets for ‘Red’ at Laguna Playhouse visit: lagunaplayhouse.com or call the box office at: +1-949-497-2787.

Laguna Playhouse is located at:
606 Laguna Canyon Rd.
Laguna Beach, CA 92651

5 out of 5 ⭐️⭐️⭐️⭐️⭐️

Enthusiast Report Magazine and title sponsor Drew Estate once again transformed the Hyatt Newport Beach in Newport Beach, CA, into a gathering place for cigar enthusiasts, spirits lovers and those simply curious about cigar culture. Among those in attendance was Martin Cove, who joined hundreds of guests for a night of sophisticated coastal living celebrating premium cigars, fine spirits, exceptional wines, luxury lifestyle exhibitors, live entertainment an immersive brand experiences and memorable conversations.

One of the most refreshing aspects of the Newport Beach Cigar, Wine & Spirits Tasting was its ability to welcome everyone, from seasoned cigar connoisseurs to newcomers looking to learn. Whether attendees could identify a cigar’s wrapper at a glance or were lighting their first premium cigar, the atmosphere placed everyone on equal footing. The event remained approachable, educational and undeniably classy, creating an environment where questions were encouraged and knowledge was freely shared.

Throughout the evening, guests received more than 15 premium cigars representing a wide range of flavor profiles, from mild and creamy blends to bold, full-bodied smokes. The variety allowed attendees to discover new favorites while gaining a deeper appreciation for the craftsmanship behind every cigar.

Cigar manufacturers in attendance included Drew Estate, La Aurora, La Sirena Cigars, Nat Cicco Cigars, Miami Cigar & Co., Hiram & Solomon Cigars, Natura Cigars, Espanola Cigars, Plasencia Cigars, J.C. Newman Cigar Co., Room101 Cigars, JTA Cigar Company, Macanudo, Van Horn Cigar Company, Ferio Tego, Rocky Patel Premium Cigars and La Casa Grande Cigars. Van Horn Cigar Company, despite being only four years old, continued to make waves in the industry and attracted significant attention from attendees, especially being the first company to run out of their samples. Ferio Tego’s Timeless Supreme torpedo stood out as one of the evening’s highlights, offering a rich, full-bodied smoking experience with Nicaraguan long-fillers, a Nicaraguan wrapper and binder and an exceptionally smooth draw. It almost hurt finishing this one.

VIP guests enjoyed several educational pairing experiences before the main event. La Sirena Cigars partnered with Diplomatico Rum to demonstrate how complementary flavors can elevate both a cigar and a spirit. Representatives from Comisario Tequila showcased their blanco and añejo expressions alongside Estaca Bacanora and Dos Hombres Mezcal, teaching guests what to look for in quality agave spirits and how to properly evaluate aroma, flavor and finish. Brother’s Bond Bourbon also hosted a tasting that introduced attendees to the brand’s award-winning whiskeys while being paired with a La Aurora.

The spirits selection offered something for virtually every palate. Guests sampled offerings from Comisario Blanco, Dos Hombres Mezcal, Estaca Bacanora, Mil Lumbreras Tequila, Kamiki Whisky, Club Kokomo Spirits, Golden State Bay Area Distillery, Copper Cane Wines, Dry Fly Distilling, Outlaw Distillery, Diplomatico Rum, Tears of Llorona Tequila, Templeton Rye Whiskey, Zaya Rum, Ketel One Botanical, NOLET’S Gin, Nobleza 33 Tequila, Liquid Gold Spirits, Barrell Craft Spirits, Cocijo Mezcal, Bnaaa Mezcal, Bingham’s Bourbon, Gold Bar Whiskey, Lorenzi Estate Wines, Gershon Bachus Vintners, GlenAllachie, Nc’nean, Isle of Raasay, Milk & Honey and Pokeno Whisky.

Among the many excellent pours available throughout the evening, Mission Cocktails’ Espresso Martini was my personal favorite. Smooth, balanced and full of flavor, it provided the perfect pick-me-up.

Lifestyle brands including Badass Recliners, Haus of Mean-Ager, Murga Boots, Mario Chelada and Rabbit Air rounded out the experience, showcasing products that complemented the event’s focus on craftsmanship, comfort and luxury living.

What truly separated the Enthusiast Report’s Newport Beach Cigar, Wine & Spirits Tasting from many other events was its sense of community. Thanks to the welcoming atmosphere cultivated by Lincoln Salazar the CEO/Publisher of Enthusiast Report, strangers quickly became friends. Throughout the evening, lighters were passed around without hesitation, cigar recommendations were exchanged freely and conversations sparked naturally between people who had only just met. Discussions ranged from favorite blends and pairings to the best ways to cut and light a cigar. Jokes were shared, stories were told and friendships were formed over a common appreciation for the cigar lifestyle.

For longtime attendees, the event served as a reunion with friends made over years of shared experiences. For first-time guests, it offered an invitation into a community built on camaraderie, respect and a genuine passion for the craft. That balance between sophistication and accessibility remains one of the event’s greatest strengths.

The success of the evening was also a reflection of the Enthusiast Report team, whose months of planning and coordination brought every detail together. Their commitment to creating an experience that is both educational and entertaining continues to make the Newport Beach Cigar, Wine & Spirits Tasting one of the premier cigar and lifestyle events in the country.

By the end of the night, attendees left with premium cigars, new knowledge, memorable tastings and, perhaps most importantly, a few new friends.

For those who could not attend the festivities in Newport Beach, CA, Enthusiast Report will host the Scottsdale Cigar, Wine and Spirits Tasting on Saturday, September 26, 2026 in Scottsdale, AZ.

To purchase tickets for Scottsdale Cigar, Wine and Spirits Tasting visit: https://www.eventbrite.com/e/scottsdale-cigar-wine-spirits-tasting-tickets-1982706923782.

Subscribe to Enthusiast Report at: https://enthusiastreport.com/.

All Elite Wrestling (AEW) today announced a partnership with The Last Match: A Pro-Wrestling Rock Experience, a new live entertainment event set to debut in London’s West End this fall. The collaboration marks the first time a major professional wrestling company has partnered with an original musical theatre production.

This fall, AEW Presents The Last Match: A Pro-Wrestling Rock Experience will take over a historic 52,000-square-foot venue near Tottenham Court Road, transforming the space into an immersive wrestling and rock-and-roll destination.

Part West End rock musical, part immersive theatrical event and part professional wrestling spectacle, The Last Match follows a legendary wrestler preparing for the final pay-per-view match of their career. Featuring an original 1980s-inspired rock score, the production combines storytelling, live music and professional wrestling to explore themes of legacy, family, love and retirement.

Audiences can expect memorable songs, emotional performances, comedy and wrestling action throughout the experience. Whether you’re a longtime wrestling fan or completely new to the industry, the story is designed to be accessible to everyone.

“On behalf of AEW, we are thrilled to collaborate with The Last Match: A Pro-Wrestling Rock Experience in London this fall,” said AEW CEO, GM and Head of Creative Tony Khan. “This partnership gives us an opportunity to connect All Elite Wrestling with an innovative theatrical production, showcase AEW stars during select performances and continue expanding our presence in London.”

For director, lead producer and co-creator Jeremiah James, the project represents a chance to introduce something new to both theatre and wrestling audiences.

“AEW Presents The Last Match: A Pro-Wrestling Rock Experience is a West End rock musical set in the world of professional wrestling,” James said. “I’m grateful to Tony Khan and everyone at AEW for believing in this project and helping bring something entirely new to the stage.”

Executive Producer Frank Licari believes the live wrestling element will help make each performance unique.

“No two performances will ever be exactly alike,” Licari said. “The story, music and characters stay the same, but live wrestling creates opportunities for surprises, special guests and moments that can only happen in front of that audience on that night.”

Unlike most West End productions, audiences will be encouraged to capture photos and videos and share their experience on social media in real time.

James, whose theatre credits include the 2008 West End revival of Carousel at London’s Savoy Theatre. Executive Producer Frank Licari brings experience across film, television, documentaries and live entertainment.

Also serving as Executive Producer and Wrestling Consultant is Chavo Guerrero, whose credits include, ‘Margo’s Got Money Troubles‘, ‘The Iron Claw‘ and ‘GLOW‘, along with numerous film and television productions where he has worked as a wrestling coordinator, performer, stunt professional and creative consultant.

The creative team also includes Jason Huza, who wrote the book and lyrics, alongside Sylvana Joyce and C. Robert Smith, who contributed book, music and additional lyrics. Tatevik Hunanyan serves as Associate Director, while Bull James serves as wrestling booker alongside associate wrestling booker Brandon Scott.

Each performance will begin with an interactive preshow experience featuring wrestling-themed exhibits and installations throughout the venue. Tickets range from £30 to £80, with premium VIP experiences available as optional add-ons.

By combining musical theatre, live music and professional wrestling, AEW Presents The Last Match: A Pro-Wrestling Rock Experience offers audiences a live entertainment experience unlike anything currently on the West End stage.

Additional casting announcements, partnership news, and ticketing information will be released in the coming weeks. For information about AEW appearances and ticket opportunities, fans can register to become an AEW insider by visiting allelitewrestling.com/aew-insider.

For more information visit

https://www.thelastmatch.com/

.

I have never been a fan of William Shakespeare. I often call him, “Willie Shakes” because his writing style makes me twitch like nails on a chalkboard.

Thankfully, Lauren Gunderson’s ‘The Book of Will’, under the direction of Amanda Hallman at the Curtis Theatre in Brea, CA, is less interested in the Bard himself than the people who loved him, making the effort to preserve his legacy.

Guderson’s storytelling in the compilation of Willie Shakes 38 plays runs parallel to the Council of Nicaea in AD 325, as 318 bishops sifted through forgeries and authentic manuscripts dating back to the first century in order to bring forth the New Testament of the Christian Canon.

That level of philadelphia is what makes this play so engaging. Rather than placing Shakespeare on a pedestal, Gunderson humanizes him posthumous through the stories of those left behind. Even the characterization of Ben Johnson, played with pure intensity by Matt Cobb, shared my views…until he didn’t. Johnson spends much of the play balancing drunkenness with irritation, refusing to recognizing Shakespeare’s mass appeal.

At its core, ‘The Book of Will’ is a story about kinship. Following Shakespeare’s death, John Heminges and Henry Condell set out to collect and publish his plays before they are lost forever, especially after the loss of their fellow Kingsmen, Richard Burbage and eidetic memory. Kelly Franett gives Heminges is unsure but determination, while RigelKent Paden is the beating heart of the playas Condell. Running jokes about the lack of appreciation for “Pericles” become more than comic relief. Through Paden’s performance, they reveal a man whose love of theatre is matched only by his devotion to his fellow Kingsmen.

The emotional center of the production belongs to the women surrounding these men. Rebecca Leeds is the scene stealer of the evening as Rebecca Heminges. Her scenes opposite Franett create a marriage built on affection, patience and mutual respect. Genevieve Kauper complements that energy beautifully as their daughter Alice, moving effortlessly between sincerity and comedy whenever the moment is needs.

Family wounds also linger beneath the surface. Tessa Grantham gives Susanna Shakespeare a cold bitterness that speaks volumes. Even as an adult, she carries the pain of a daughter who spent much of her life competing with her father’s legacy.

The play never forgets to have fun with its subject matter. One of the funniest sequences comes courtesy of Donnie Bland, who gleefully hams it up as the young actor performing Hamlet in a hilariously terrible pirated version of the play. His appearances as the Theatre Barker and Marcus the Printer bring the same energy.

Despite his limited stage time, Robert Edward’s Richard Burbage, he instantly makes the room seems smaller. Edward is tremendous. Standing 6’6”, he is imposing figure is dwarfed by the personality he gives to Burbage. The irony is not lost as Angel Dumaplas’ diminutive stature still makes the character Ed just as large as Edward.

Doing double duty, Elizabeth Hunter handles the challenge of portraying both Willie Shakes widow Anne Hathaway and his mistress, Emilia Bassano Lanier. Eric Schiffer makes William Jaggard exactly the sort of fat cat audiences enjoy hating, while Dane Hobrecht serves as a welcome voice of reason as his son, Isaac.

‘The Book of Will’ showstopper is Danny Chase as Ralph Crane. Chase captures every contradiction within the character. Deeply insecure in his personal interactions, Crane nevertheless possesses complete confidence in his ability to preserve Shakespeare’s words. That internal tension’s manifestation makes him endlessly compelling and the most memorable performance of the night.

This production also succeeds thanks to the back of the house. Every design element supports the storytelling. Colin Lawrence’s sets invite the audience into the backroom where these discussions were held, while Heather Harless’ lighting and Kris Kataoka’s sound help establish the reality in the significance of these peoples compilation. Lisa Kataoka’s stage management keeps the ambitious production moving flawlessly.

Particular praise belongs to Aja Bell’s costumes, which function as characters in their own right. They immediately place audiences in Elizabethan England while giving each character a distinct identity. Jonathan Infante’s projection design provides an effective bridge, bringing the 17th-century into the 21st century.

For someone who has spent most of his life unmoved by Shakespeare, ‘The Book of Will’ proved to be a pleasant surprise. Hallman and her cast understand that the story is not only about immortal literature. It is about friendship, loyalty and the people willing to devote themselves to preserving art long after the artist is gone.

The fraternity behind ‘The Book of Will’ is what makes this production worth seeing, whether you’re a Shakespeare devotee or…me.

‘The Book of Will’ runs from now through June 21, 2026, at the Curtis Theatre in Brea, CA.

To purchase tickets for ‘The Book of Will’ visit: https://app.arts-people.com/?show=288864 or call the box office at: +1-714-990-7722

The Curtis Theatre is located at:
1 Civic Center Cir.
Brea, CA 92821

4.25 out of 5 ⭐️⭐️⭐️⭐️¼

On the eve of St. Barnabas’ Feast Day, it was fitting to attend the production of ‘Anastasia’, and La Mirada Theatre for the Performing Arts & McCoby Rigby Entertainment. Few modern musicals capture the grandeur of a bygone era, especially one worthy of the beloved story’s enduring legacy. Inspired by the 1997 animated film featuring the voices of Meg Ryan, John Cusack, and Angela Lansbury, this stage adaptation, with a book by Terrence McNally, lyrics by Lynn Ahrens, and music by Stephen Flaherty, transports audiences from the fading twilight of Imperial Russia to the vibrant elegance of 1920s Paris. Under the direction and choreography of Parker Esse, La Mirada’s ‘Anastasia’ emerges as a visually stunning, emotionally resonant and musically elaborate event.

‘Anastasia’ centers around Anya played by Lena Ceja, the young woman suffering from amnesia who may or may not be the Grand Duchess Anastasia Nikolaevna Romanov. Ceja is both vulnerability and and strong-willed as our lead. She skillfully portraying the young woman haunted by fragments of memory while yearning to discover her true identity. Having previously been impressed by her work in, ‘Tick, Tick... Boom!’ at Chance Theater, Ceja once again demonstrates she was born for the stage.

Opposite her, Dillon Klena is the charismatic, Dmitry Sudayev, a young man longing for freedom from the under the heel of the Soviet Union. His fear beneath his confidence, creating a compelling romantic counterpart for Anya. A fun fact for theater goers is that Dillon’s older brother, Derek Klena, originated the role of Dmitry on Broadway, but Dillon makes the role his own.

While the central romance is realized between our two, young leads, the evening’s showstoppers are Peyton Crim and Sarah Wolter as Vladimir “Vlad” Popov and Countess Lily Malevsky-Malevitch. Their chemistry is electrifying to the point, they could have lit the theater. From their first moments together Crim and Wolter brilliantly navigate the comic relief, a genuine emotional connection, exchanging witty banter, rekindling a long-lost romance or reflecting on a vanished Russia, the pair consistently command the stage. Their performances capture both the joy and sorrow of individuals attempting to preserve memories of a world that no longer exists.

Richard Bermudez brings complexity to Deputy Commissioner Gleb Vaganov. Rather than portraying a straightforward antagonist, Bermudez, who I had previously interviewed and scene in, ‘Man of La Mancha’ at Musical Theatre West, presents a deeply conflicted man trapped between ideological duty and personal conscience. His Gleb wrestles with the expectations of the Soviet State while developing a protective affection for Anya, creating one of the musical’s most compelling internal struggles. He elevates the character from a one dimensional villain to a genuine tragedy.

One of the evening’s standout vocal performances comes from Suzanna Guzmán as the Dowager Empress Maria Feodorovna Romanov. Guzmán’s owns the stage with her rich vocal delivery provide some of the most moving moments. She truly is regal and without question, my favorite songstress of the night.

The supporting company is just as impressive. Young performers Annabelle Bergold and Elayne Cowden add innocence to a fallen world as Young Anastasia and Alexei. The ensemble, which features Sofia Aniceto, Tucker Knowlton Boyes, Wes Dameron, Lauren Decierdo, Michael Deni, Christopher Ho, Anton Harrison LaMon, Tayler Mettra, Shanon Mari Mills, Natalie Palmgren, Rasha Willes-Samaha and Toni Elizabeth White showcases their versatility, shifting between Russian aristocrats, revolutionaries, Parisians, refugees and dreamlike figures.

Among an exceptionally talented ensemble, Kyle Vaughn consistently stood out. His dynamic stage presence, athleticism and fluidity made him this production’s scene stealer. Vaughn repeatedly drew the audience’s eye with his exceptional dance work.

Esse deserves tremendous credit for creating a show that is simultaneously intimate and epic. Drawing upon his extensive Broadway experience, including performances in the Tony Award-winning ‘Fosse’, Esse built and entire continent on a single stage. His choreography beautifully merges classical Russian ballet influences with contemporary musical theater, creating an East-meets-West aesthetic.

Musical Director and Conductor Ryan O’Connell is equally deserving of great praise. Having worked on more than one hundred productions as a musical director, orchestrator and composer, O’Connell reminds everyone why he is one of Southern California theater’s most respected talents. His work here elevates the entire production. The full orchestra does far more than accompany the performers, it creates a cinematic soundscape that sweeps audiences through every emotional turn. Full confession, I would be happy to sit in silence, listening the score to this musical.

The technical team created true spectacle. Lighting Designer Jennifer Edwards, Sound Designer Josh Bessom, Projection Designer Aaron Rhyne, Costume Coordinator Adam Ramirez, Hair and Wig Designer Kaitlin Yagen, and Properties Supervisor Kevin Williams collectively transported the audience across Europe in the early 20th Century. The closest spoiler I will give, is the creation of the flashback scene transported us to Anya’s memories.

Part of what makes ‘Anastasia’ such an enduring story is the historical mystery that inspired it. Following the Bolshevik Revolution and the fall of the Romanov dynasty, rumors circulated that the Grand Duchess had somehow escaped the execution that claimed the lives of the Royal Family. For decades, the legend captivated the world and became a symbol of hope for White Russians mourning the loss of the Imperialist nation. The myth of Anastasia’s survival allowed many to believe that a fragment of the old world had endured despite the Revolution’s devastation.

The tragic reality, unfortunately, is that Anastasia was executed alongside her family by Bolshevik forces in July, 1918. While modern forensic evidence has conclusively established the fate of the entire Romanov family, the legend persisted for much of the 20th century and ultimately inspired tales, including ‘Anastasia’. The Grand Duchess and the Royal Family were canonized as passion bearers by the Russian Orthodox Church Outside Russia (ROCOR) in 1981. They were later glorified by His Holiness Patriarch Allexy II, Moscow Patriarchate of the Russian Orthodox Church during the Jubilee Bishops’ Council in Augus,t 2000. Understanding the historical contexts adds an element to the musical transforming it from a simple fairy tale into an exploration of memory, loss, identity and the enduring power o hope.

‘Anastasia’ at La Mirada Theatre for the Performing Arts succeeds because it understands that beneath the lavish costumes, grand historical backdrop, and beloved songs lies a deeply human story about identity, memory, family, and belonging. This production embraces both the spectacle and the soul of the musical, delivering an evening that is visually dazzling, musically extraordinary, and emotionally satisfying.

For longtime fans of the animated film and newcomers alike, ‘Anastasia’ offers a magical journey into the past while reminding us that home is not simply where we come from; it is where we discover who we are meant to be.

To purchase tickets for ‘Anastasia’ at La Mirada Theatre for the Performing Arts visit: https://lamiradatheatre.com/current_events/broadway_series/anastasia/ or call the Box Office at: (714) 994-6310 or (562) 944-9801.

La Mirada Theatre for the Performing Arts is located at:
14900 La Mirada Blvd.
La Mirada, CA 90638

5 out of 5 ⭐️⭐️⭐️⭐️⭐️

This is not going to be one of my usual formal, professional reviews. Rather, it is going to be the overly excitable, redundant San Francisco kid, losing his mind about The Electric Company Theatre’s ‘Tristan & Yseult’.

At this point you’re scratching your head reading the headline thinking, “What the Hell is he talking about it being Jack in the Box Tacos?” Have you had Jack in the Box Tacos? When described, they sound anything but appetizing:

It's some type of meat, shredded lettuce, a random non-Mexican salsa, a slice (literally a slice) of American cheese and deep fried. Yet, once you take a bite, you are in such disbelief as to how much you enjoyed one, two…seven of them.

The Electric Company Theatre’s ‘Tristan & Yseult’ (running now through June 24, 2026) is the exact same way.

Hear me out! On paper, this absolutely should not work:

A contemporary version of a 12th century Irish epic poem, incorporating live music, dance breaks, self-deprecating humor, while being outdoors as traffic wizzes by. A minimalist setting between palm trees, blending incandescent lighting (manned by lighting designer Matt Mankiewicz) as the dusk transitioned into nightfall matching the tonal shift from passion to tragedy as if God, Himself intentionally created the mood.

Again, that description makes it sound avant-garde. Which, if you quote Buddy (Morey Amsterdam) from, ‘The Dick Van Dyke Show’: “Avant-garde? That’s French for, ‘Off-Broadway garbage’.”

I’m hammering this point in, because The Electric Company Theatre’s ‘Tristan & Yseult’ turned avant-garde into perfection. Making the impossible, possible.

Written in 2003 by Emma Rice for the Kneehigh Theatre, ‘Tristan & Yseult’ is narrated by Whitehands (Callie Pendiville Johnson) along with a Greek chorus known as the Lovespotters (think the Minions, only human), donning coveralls and Coke-bottle glasses and representing the Club of the Unloved. We follow Cornish King Mark (Wesley Chavez) as he faces an invasion from the Irishman Morholt (TJ Rodriguez).

Following a chance encounter with the French drifter Tristan (Gabriel Liron), the battle ends with the death of Morholt and King Mark seeking to claim his prize: Morholt’s sister, Yseult (Emily Porr), as his unwilling bride. The Cornish monarch sends the man he claims as his kindred spirit to Ireland to retrieve her.

As Yseult yields to her captor, she decides that, in order to give herself to her future husband, the only way to fulfill this passionless marriage is with the aid of a love potion, summoning her maiden, Brangian (Bobby Gonzalez). The not-so-fair maiden notices the uncanny attraction between the Frenchman and the Irishwoman, intentionally switching the strong wine with the potion, causing the two to engage in a romantic tryst and leading to greater problems for the future queen.

To hide the fact that the lady has been untouched, Yseult coerces Brangian to take her place in the couple’s marital bed. This is where the play reaches its zenith. The implied deflowering of Brangian is handled with taste, class, and absolute magnificence. It is sensual, not sexual. There is nothing graphic, only mild suggestion, proving that implication is often more powerful than presentation.

This is where Gonzalez went from comic relief to showstopper. His monologue, as he comes to the conclusion of what will happen to Brangian on her wedding night, is heartbreaking. Would a queen give up her chastity for the maiden’s honor? You feel not only the character’s vulnerability, but also her violation; not just of her body, but of her soul.

Unfortunately, spoils do not always go to the victor. Frocin (Jose Orozco), the loyal advisor to the king, becomes jealous of Tristan for fear of losing his position within the kingdom. He exposes the two lovers, thinking he will retain favor with Mark. That plan, too, falters, where love, whether romantic or for power, has been shunned.

Before we get to the Lovespotters, I have to sing the praises of the live band. Mike Manzer leads the trio, featuring Rob Bethancourt and Justin Juknelis, as they not only guide the mood and tonal shift through instrumentals and song stylings, but also break the fourth wall, performing classic lonely-hearts songs as part of the pre-show and intermission.

The Lovespotters, beginning with Sophie Keaney, had me rolling with a single one-liner before belting out a classic ‘60s tune, all while serving as the show’s violinist. Jordan Lockhart could easily front a boy band with his tenor voice, while Jonah Camacho’s deadpan loneliness, waltzing with a palm tree because he had no partner was tremendous.

Along with Kyle Hayes, Nathan Camacho, Portia Hildeband, Dylan Magallanes, Eilane Moehno, Tamar Powell, and Camille Vargas, not a single person missed a beat, step, facial expression, or movement. These 11 Lovespotters were guided by choreographer Emily Taylor, who stole every scene, living up to the motto, “Dance like no one is watching.”

Haven Hansen’s costuming was subtle but told its own stories. From Tristan’s 1970s earth tones to King Mark’s admiral’s uniform, Whitehands’ 1950s housewife chic, and the Lovespotters’ coveralls, not a single thing was out of place.

Under the direction of Brian John and Michael Polak and the tight ship run by stage manager Jared Lindsay, I can say with complete certainty, The Electric Company Theatre’s ‘Tristan & Yseult’ is the play of the year.

Good luck to anyone else in the next six months trying to top it production. I do not envy you in the least.

The Electric Company Theatre’s ‘Tristan & Yseult’ runs from now through June 24, 2026.

To purchase tickets for The Electric Company Theatre’s ‘Tristan & Yseult’ visit: https://www.onthestage.tickets/the-electric-company-theatre.

The Electric Company Theatre is located at:
The Muckenthaler Cultural Center
1201 W. Malvern Ave.
Fullerton, CA 92833

5 out of 5 ⭐️⭐️⭐️⭐️⭐️