"ALIENS, IMMIGRANTS AND OTHER EVILDOERS" SATIRIZES THE VILIFICATION OF LATINO IMMIGRANTS IN AMERICA

Writer, director and performer Jose Torres-Tama stars in "Aliens, Immigrants and Other Evildoers" now playing at the Los Angeles Theatre Center in downtown Los Angeles through November 3, 2019.  Photos by Jonathan Traviesa.

For an evening of pointed examinations of the plight of brown Americans throughout history, come explore the sacred rituals surrounding that history, brought to shimmering life by performance artist Jose Torres-Tama in his one man show "Aliens, Immigrants and Other Evildoers" now playing for a limited run at the Los Angeles Theatre Center's Luis Avalos Theatre in downtown Los Angeles.

Using a unique blend of spoken word, mime, archival footage and original music and art, writer, director and performer Torres-Tama tells the stories of the forgotten brown people who have built and rebuilt our cities with little or no credit. This all plays out in a series of 10 ritualistic movements with no intermission.

Torres-Tama satirizes the status of Latino immigrants as "aliens" and explores the rise in hate crimes against Latinos across the United States. While the topic is tragic, Torres-Tama uses his considerable acting skills and comic sensibility to shape-shift into a series of Latino "extraterrestrials" in bilingual rituals that challenge the hypocrisy of a country build by immigrants that in turn criminalizes those people while exploiting their often unpaid labor. He portrays a young re-construction worker, a grieving Ecuadoran woman and even a 'Cracker' politician, all with expert emotional resonance. There are definite references to the current occupant of the White House whom he deems a "Corporate Klansman preaching hate and fear in the most dangerous live reality TV show ever in our history."

At the end of the almost 100 minute experience, one comes away with a profound disappointment in our behavior toward our fellow citizens, yet still inspired to believe change is possible for our nation, provided we act from our hearts rather than our political posturing.

Torres-Tama's program note states "As an artist, it is my social, intellectual and creative responsibility to remember and expose the lies that may be passing for truth." "Aliens, Immigrants and Other Evildoers" was first presented in 2014 at Encuentro, the largest Latinx Theatre Festival in the country.

Kudos to the behind the scenes team which includes Lighting Designer John Grimsley, Video Shorts by Bruce France, original Sci-Fi music by Billy Atwell, Classical Vocalist Claudia Copeland and Production Stage Manager Cobalt McAvinue.

The Los Angeles Theatre Center (LATC) is located at 514 S. Spring Street, Los Angeles 90013. Tickets for "Aliens, Immigrants and Other Evildoers" are available at the LATC box office by calling 213-489-0994 or by visiting www.thelatc,org.

-- Lisa Lyons

NEIL SIMON'S MUSICAL FOOLS AT ATWATER VILLAGE THEATER

The Ensemble in NEIL SIMON'S MUSICAL FOOLS
All photos by Darrett Sanders

There is an  old adage that "a fool and his money are soon parted", but if you want to have an evening of unparalleled silliness, then I urge you to part with your money and see NEIL SIMON'S MUSICAL FOOLS, performed by the Open Fist Theatre Company at the Atwater Village Theatre.

Based on one of Neil Simon's least popular plays, FOOLS tells the tale of the village of Kulyenchikov which has labored under an ancient curse that dooms all inhabitants to be seriously stupid. Now while they are deliberately dense, they are not without wiles, guiles and street smarts and they use all of those sharp tools to stumble through their lives.

The Ensemble of NEIL SIMON'S MUSICAL FOOLS

As the show opens, we meet Leon Tolchinsky (portrayed opening night by Demetris Hartman), an optimistic, bright-eyed and handsome young schoolteacher, journeying to the small village where he has been hired by Doctor Zubritsky to serve as tutor to his daughter. Once he arrives, he  discovers that the IQ level of everyone he meets is in single digits. Nonetheless, he is determined to bring education, knowledge, and wisdom to the residents and professes this to his new pupil, the dim but beautiful Sophia (a lyrical, lovely Clare Snodgrass).

Imagine Fiddler on the Roof with a cast of idiots and you'll get a feeling for the tone of FOOLS. A large and talented ensemble bring the residents of Kulyenchikov to life, often with hilarious results. The Doctor (played opening night by Bruce Green) and his daffy wife Lenya (slyly played by Robyn Roth); the village merchant Yenchna (a scene-stealing Cat Davis) and her erstwhile suitor Mailman Mishkin (a hapless Hank Jacobs); silly shepherd Snetsky (a droll Parvesh Cheena), butcher Slovitch (Brendan Mulally), town crier and magistrate (Beth Robbins) and various villagers including Nina Genatossio, Juliane Hagn, Bolor Saruul, Diane Renee and Jack Sharp, who mine the humor for all its worth.

Jason Paige as Count Gregor in
NEIL SIMON'S MUSICAL FOOLS

The show is very nearly hijacked by the presence of Jason Paige who plays Count Gregor, the descendant of the original curse bestower, who is dogged in his pursuit of Sophia's hand in marriage which she refuses to bestow, even though by doing so, she would end the curse. Paige's over-the-top-in-a-good-way musical numbers are built-in scene stealers and he makes the most of his time in the spotlight.

Overall, the talented cast do their best to make the buffoons of Kulyenchikov real and sympathetic characters. However the book, while clever, is very pat in its observations about love, life and wisdom; the music and lyrics were composed by Phil Swann and Ron West (who also directs the production) and sad to say there is not a memorable, hummable tune in the score. That's a shame because there are some wonderful voices on that stage, particularly sparkling lyric soprano Snodgrass. The music director Jan Roper, oversees the arrangements by Luke Harrington and leads the onstage band consisting of Adan Snow, Ross Wright and Matt Germaine.

Kudos must go to the scenic designer Jan Munroe who creates a charming pastel-themed set consisting of painted blocks that were inspired by the visual tradition of Ukrainian pysanky eggs; the program notes that at the end of the run, the pieces will be available for purchase with the proceeds going to benefit the Open Fist Theatre Company.

There is probably a reason that the original FOOLS was not a huge hit for Simon despite having a stellar cast; popular mythology says that he intended this play to fail as the profits earned would be part of his nasty divorce settlement with actress-wife Marsha Mason. But whether true or not, the show now has a another chance to entice audiences to visit Kulyenchikov for the evening. Perhaps reworking some of the musical numbers would be a not-so-crazy idea to send theatergoers home humming a tune or two.

NEIL SIMON'S MUSICAL FOOLS is playing through November 17 at the Atwater Village Theatre, located at 3269 Casitas Avenue, Los Angeles 90039. On-site parking is free (although on weekend nights, street parking is available but tough to find in this small theater-heavy neighborhood) and tickets range from $15 for students up to $35 on Saturday and Sunday nights at 8pm. For reservations and more information, call 323-882-6912 or visit www.openfist.org.

-- Lisa Lyons

EDUCATING RITA KICKS OFF GROVES CABIN THEATRE OF MORONGO VALLEY 2019/2020 SEASON

Bianca Stoker as Rita, and Kevin Hayles as Frank in EDUCATING RITA at Groves Cabin Theatre Morongo Valley.

“Educating Rita”, is a two character 1980 British comedy written by Willy Russell who was willing to poke his thumb into eyes of the English class system with its rigid society steeped in traditions where the twain of the middle class and the working-class would rarely ever meet – at a University.

The comedy has echoes of George Bernard Shaw’s “Pygmalion” that years later would be made into a musical blockbuster that would come to be known as “My Fair Lady”.

The intimate Groves Cabin Theatre of Morongo Valley is the perfect venue to stage this somewhat talky comedy. The recently renovated theatre – both inside and outside – places the audience a mere five feet away.  That’s enough distance to touch the performers on a good night.  It’s the smallest stage area of all the theatres in the hi-desert and the Coachella Valley. They only have twenty-two seats, but they also hold the record for winning more than 60 plus Awards for excellence in various categories from the prestigious Desert Theatre League.

“Educating Rita”, stars Bianca Stoker as Rita, and Kevin Hayles as Frank, under the direction of award-winning director/actor Abe Daniels.  Daniels will be directing three of the four productions that comprise the Groves Cabin Theatre 2019/2020 season.

The play deals with the concept of freedom, change, and England’s stultifying class system of institutional education over the centuries.  It also echoes and is reminiscent of George Bernard Shaw’s “Pygmalion”, which itself would become the blockbuster musical “My Fair Lady” in 1956.

Set in 1980 in Liverpool, England, the distinctive nasal “Liverpudlian” accent made famous by the Beatles, becomes a stern test for American audiences to absorb while “translating the dialogue” back into the more-friendly American-English accent.  Also, the speed and delivery of today’s 21st century actors require audiences of a certain age to be fully engaged in order follow the storyline.

Twenty Seven year-old hairdresser Rita (Bianca Stoker) decides to improve her life and her social situation through education, as a way of living a more satisfying and fulfilling life.  Enrolling in the local university, she finds herself as a student in the English Literature class tutored by adjunct English professor Frank (Kevin Hayles).

Rita is maddeningly undisciplined, but refreshing, in her eagerness to learn.  She announces to Frank, teach me everything about literature now.  So where do we begin?  Whoa!  Frank is unprepared for this high energy, inquisitive, whirling dervish of a female that is in a hurry to learn everything that literature has to offer in just one year.

Frank, on the other hand, is a middle age, laid-backed, low energy, married alcoholic, who is just happy to slide through life as long as he has his mother’s milk of Scotch to help him through the day.  Then one day he discovers that Rita has real talent, motivation, and the ability to learn.  He decides to tutor her in earnest in a proper platonic professor to student manner.

As the play unfolds, the audience can root for their favorite character, but one must wait to find out how it all turns out.  No spoiler alerts from me.

“Educating Rita”, is a worthwhile evening in the theatre. However, the chemistry between Rita and Frank that needs to be present is a bit MIA.  No sparks fly, nor should they.  But we need more stage energy and pace to carry the audience along to the play's resolution.

The production credits list Rex Alshire as Lights and Sound designer; Hair design by Liyan McWilliams, and James Dain Rich as stage manager.  The splendid-looking set is uncredited.

“Educating Rita” performs on Saturdays at 7 PM and on Sundays at 2:30 PM at the Groves Cabin Theatre of Morongo Valley, CA. It runs through October 20, 2019.  Reservations are a must. Call the box office at 760-365-4523.

-- Jack Lyons

WORLD PREMIERE MUSICAL COMEDY “ALMOST FAMOUS” SOARS AT SAN DIEGO’s OLD GLOBE THEATRE

Casey Likes as William Miller and the cast of ALMOST FAMOUS,
a world-premiere musical with book and lyrics by Cameron Crowe now
playing at San Diego's Old Globe Theatre through October 27, 2019.
All photos by Neal Preston.

There is very little anyone or anything can do to stop an idea whose time has come.  In the world of music, styles, beats, tempos, and sounds are always changing in search that illusive quest for personal expression, in the hope that others will hear the same drumbeat and march together. 

Young music fans always searching that ‘perfect wave’ metaphor, eschewed the music of the 1940’s and the ‘50’s, to climb aboard a new wave of music that produced the British invasion of the 60’s with “The Beatles”, the “Rolling Stones”, and “Led Zeppelin”, as well as American bands and performers. The envelope was pushed even further in the 70’s with the arrival of the Rock & Roll era, followed by the music and lyrics of ‘hard rock’ and ‘heavy metal’ groups.

Drew Gehling as Jeff Bebe and Colin Donnell
as Russell Hammond in ALMOST FAMOUS

The world premiere musical comedy now performing at The Old Globe’s Donald and Darlene Shiley stage is a production that is close to the hearts of San Diegans.  It’s a success story, by and about, Cameron Crowe, a native son and an Academy Award winning screenwriter/lyricist.  Crowe, is a multi-award winning journalist turned, playwright, producer and director of stage, screen and television projects.

For theatre-goers of a certain age, who may not be familiar with the evolution of pop music from the era of American Bandstand and host Dick Clark, who was often referred to as the oldest teenager in America back in the 1950’s; “Almost Famous”, the musical, is based on the Paramount Pictures and Columbia Pictures motion picture written by Cameron Crowe, in 2000 is currently being presented by special arrangement with Lia Vollack, Joey Parnes, Sue Wagner, and John Johnson.

The story in short, begins in San Diego in 1973 at the home of idealistic 15-year old William Miller (a terrific Casey Likes), as an aspiring music journalist wanna-be.  When Rolling Stone magazine hires him to go on the road with an up and coming band – the magazine editor hired him over the telephone from the New York City office – without meeting face to face or verifying his age.

Casey Likes as William Miller in ALMOST FAMOUS

William is thrust into the rock-and-roll circus, where his love of music, his longing for friendship, and his integrity as a young writer will eventually be tested; big time.  It’s the characters William meets and their stories that fuel the up and down moments so prevalent in show business biographical stories about performers.

The Old Globe Theatre is a state-of-the-art performing venue whose tool box is loaded with special effects capabilities.  When the ‘dream team’ swings into action the promise of a successful production becomes a reality that frankly just knocks the socks off the audience.

Katie Ladner as Sapphire, Solea Pfeiffer as Penny Lane,
Casey Likes as William Miller, Julia Cassandra as Estrella,
and Storm Lever as Polexia in ALMOST FAMOUS

The talented cast of twenty-one actors, singers, and dancers explode on stage, thanks to the brilliant choreography of Lorin Latarro and her sensational ensemble, who perform an obbligato of high octane dance numbers and movements that at times seem to defy gravity.  It’s also breathtaking stage magic when everyone is in their on-stage moments.  And listening to three-part harmony beautifully executed just makes this entire production soar.

There are twenty-eight music numbers and songs that grab the somewhat aging audience who are magically transported back to their youth. I caught some in the audience wiping theirs eyes when they thought no one was looking.  Nostalgia is a powerful agent in show business.  When it’s applied properly as it is in this production, kudos go to the entire company of performers and the technical team for eliciting those emotions.

Among the show’s many cleverly written lyrics and music are: the haunting “Morocco”, sung by Penny Lane (a beautiful, exotic, Solea Pfeiffer) and the delightful Casey Likes, as William, along with another big number “Everybody’s Coming Together”,  featuring Stillwater, Penny Lane, and the ensemble. Also, in Act II, the 11-O’clock spot number, “There’s a New Day Coming” by the full company, is a solid winner.

There’s really not a weak link in this outstanding company of performers but listing everyone is a space limiting issue.  However, there are always standouts and this excellent production is no exception. Colin Donnell as Russell Hammond displays his acting chops throughout, and especially in his scenes with Penny Lane, William and his groupie followers.

 Colin Donnell as Russell Hammond and
Casey Likes as William Miller in ALMOST FAMOUS

Anika Larsen delivers strong support as Elaine Miller, William’s down-to-earth school teacher Mom.  Rob Colletti as the real life legendary music critic Lester Bangs, turns in a little gem of a performance, complete with dialogue peppered with language that would make a stevedore blush.  Also, f-bombs are no strangers in the dressing rooms of Rock and Heavy Metal band members so leave grandma and the kiddies at home.

I saved the best for last.  Enough cannot be said in praise of the brilliantly executed staging by director Jeremy Herrin, who seamlessly transferred his personal vision to his inspired cast as he put them through their paces with no one missing a beat. “Almost Famous” is a visually stunning production to watch as this real life story unfolds with such flair, style and nuance.

The technical department creative team led by director Herrin includes: Scenic Designer Derek McLane who delivers an eye-popping set that is a feast for the eyes, along with Natasha Katz‘s lighting design that allows the audience just the right amount of light to see and appreciate the costumes of Designer David Zinn, The sound is designed by Peter Hylenski. Tom Kitt also performed the Orchestrations and Arrangements.  Bryan Perri is the Musical Director, and Daniel Green is the Associate Music Director.

The Big Three of the production: Cameron Crowe, Tom Kitt and Jeremy Herrin, have their eyes focused on their San Diego love child at the moment, but I suspect, according to the buzz I heard during intermission, this delightful puppy may have Broadway in its crosshairs sometime next year.

Broadway producers, however, constantly check box office receipts and their wristwatches.  Theatre going tourists to New York City are the mother’s milk of longevity and the method of recouping those   exorbitant production costs.  It’s been my experience that audiences are more comfortable with musicals that run no longer than two hours plus 10 minutes.  So my one caveat would be to trim this otherwise sensational production from the two hours plus 45 minutes when I attended to a more audience-friendly running time when it opens on Broadway.

Thanks to Scott and Ellie Van Every of Long Beach, CA  I had the opportunity to briefly chat with their friend Pennie Trumbull, the real-life Penny Lane of Cameron Crowe’s movie and now this musical.  I asked her how she felt watching her actress avatar Solea Pfeiffer, perform as her, and what memories did the show tonight bring back for her?  “I loved the show, she said. It’s wonderful to relive the experience again, adding “the young girl playing me is terrific.  What did you think of the show?” she said. Caught off guard, I smiled and meekly replied that my review comes out Wednesday, October 2nd.  Rules and traditions of the ‘critic trade’ can be a bit too restrictive at times. However, I give myself permission from time to time to meet and greet without having any guilt feeling.

“Almost Famous” performs at San Diego’s the Old Globe Theatre on the Shiley Stage and runs through October 27, 2019.  It’s a Must See Show!

-- Jack Lyons

"LAST SWALLOWS" EXPLORES FAMILY DYNAMIC OF INCLUSION/EXCLUSION AT THE ACTORS COMPANY

Families have always been a ripe ground for playwrights to mine - but in current times, the issues of same sex marriage and financial inequality have added fuel to the fire. Playwright Cailin Maureen Harrison dives headfirst into this topic in her latest dramedy "Last Swallows," directed by Kiff Scholl and now playing at the Other Space at The Actors Company on Formosa Avenue in West Hollywood.

How to describe the Whitestone family? They drink -  a lot; they argue - frequently; they talk over each other - constantly; but in the end they love each other - completely. Matriarch Elizabeth (a fine, measured performance by Shaw Purnell) worried over her husband Robert's declining health, is determined to bring her fractured family together for one last vacation in Martha's Vineyard. Not an easy task to orchestrate as Elizabeth discovers when trying to wrangle her three grown children and their families into committing to a firm date.

International financier Thomas (Ty Mayberry, a dead ringer for Eric McCormack) and his California-born homeopathic healer wife Moira (a sensitive and finely honed portrayal by Leilani Smith) are juggling the travel demands of his career and their recent decision to relocate to California.

Uptight eldest daughter Julia (Tina Van Berckelaer), the manager of a florist shop and her UPS delivery man husband Edward (Matthew Downs) are struggling to raise their family on a tight budget. Her simmering resentment of her siblings and their perceived lack of support of their elderly parents drives her fevered interactions with everyone, much to her detriment.

Youngest child Caroline (Abby Eiland) is a high-strung, successful doctor, married to Simone (Leah Zhang), a local politician in the midst of a re-election campaign. Any advice Caroline dares to offer to her mother regarding her father's health is pounced on and rejected by an angry Julia who constantly reminds her "But you're not Dad's doctor!"

Overall, things are tense in the Whitestone family. In self defense, father Robert (Bob Telford) retreats into his singular hobby of bird watching, commenting wryly on his situation from behind large binoculars, despite Elizabeth's efforts to engage him in their domestic life.

As you can imagine, the stage is set for epic conflicts and emotional meltdowns, and Harrison's play delivers all that, but don't think "August Osage County" here - these are New Englanders with all their WASP mores and attitudes embedded.

We eventually come to see that the real heart of this play is the loving relationship between Elizabeth and Moira, which is resented by the sisters and nearly sabotaged by Robert. Moira is the only one who truly listens to and understands Elizabeth. She soothes, tends to and attempts to lighten the load for her stressed out mother-in-law. No wonder Elizabeth is devastated by the news that Thomas and Moira are set to move 3000 miles away, especially when we realize why Elizabeth needs her support more than ever now. It is a beautifully realized performance by both actors.

That being said, it is not easy to follow the action in this often fractured play. The choice is made to stage the show in four separate areas of action, representing the homes of each family member which gets a little busy. The playwright, or perhaps the director,  has the actors overlap their lines or speak simultaneously, which can work in a Sondheim musical or TV sitcom, but not so well here; it's a device that becomes tiresome after a while. There is also the use of overpowering music during scene changes which is supposed to serve as commentary to the action but is often intrusive.

Despite those hiccups, the cast does a good job portraying the loving chaos of the Whitestone family. Thomas and Moira are definitely the most fleshed-out characters; too bad that Robert, Caroline and Julia are annoyingly self-consumed and unsympathetic characters. One pities their long-suffering yet supportive spouses!

In addition to veteran director Scholl, the behind the scenes team makes the most of the small space provided - a nod to scenic designer Brad Bentz, lighting designer Josh La Cour, and sound designer Jesse Mandapat.

There is a lovely coda to the play which features a poem that captures the wistful quality of family dynamics. When one leaves the theater, it is with a new appreciation for our loved ones, despite everything we endure in our lives with them.

"Last Swallows" runs through October 20 at The Other Space at The Actors Company, 916 A North Formosa Avenue in West Hollywood. Tickets are $30 and can be obtained by visiting www.Onstage411.com/swallows or by calling 323-960-5770.

-- Lisa Lyons

A KID LIKE JAKE SHOOTS AN ARROW INTO THE HEART OF GENDER-FLUIDITY WITH WRENCHING RESULTS

Tim Peper, Sharon Lawrence and Sarah Utterback star in "A Kid Like Jake" now playing at the Carrie Hamilton Theatre at the Pasadena Playhouse.
All photos by Dean Cechvala.

Six years ago, the terms "cis-gender" or "non-binary" were not part of the American vernacular. However, as more attention is being paid to making roles in society more inclusive, these terms are now part of the current highly charged atmosphere surrounding self-identity and LGBTQ politics.

"A Kid Like Jake," now playing at the Carrie Hamilton Theatre at the Pasadena Playhouse, is graced with firm direction by Jennifer Chambers, and Daniel Pearle's one act drama (originally staged in 2013 at LCT3/Lincoln Center Theater) has been given a face lift to bring the underlying issues into clearer focus.

Tim Peper and Sarah Utterback in "A Kid Like Jake"

Alex and Greg, a New York couple with a small son, are trying to guarantee his acceptance into a high-quality pre-school and are knee deep in paperwork and pre-admission test drills. Assisting them in their quest is Judy, a sympathetic school administrator and social worker, well acquainted with the qualifying hoops parents must jump through to gain admission for their kids into the elite institutions. It is the parent essay, which asks Alex and Greg to define their son's unique qualities, that propels the action over the course of the play.

The core question the playwright poses - and the actors portray beautifully - is when to accept and celebrate a child's unique persona and when to protect them from a society that is too quick to label a person's tendencies and therefore judge and define them in a non-inclusive way.

Sounds pedantic, but in playwright Pearle's hands, it is a deeply, emotionally-affecting experience. All parents go through the "did we do the right thing" when it comes to raising children; second guessing themselves, they try to avoid making mistakes that could be catastrophic in their child's future. But when does innocent child play and make believe cross the line into shaping a one's realization of self? And can a 4 year old actually understand something that,to them, is as natural as breathing?

Tim Peper and Sarah Utterback in "A Kid Like Jake"

Alex, a tightly-wound former corporate lawyer and now stay at home Tiger Mom, is played to taut perfection by Sarah Utterback. Her obvious intelligence vies with her emotional need to see her child live up to his full potential. As her confused therapist husband Greg, Tim Peper captures the frustration of a man unable connect with his son as he'd like, and seeing the woman he loves slip farther away from him in her obsession with getting Jake into a quality pre-school. Together, they are heartbreaking in their pain and devastatingly identifiable for their concern over whether to acknowledge or ignore their son's natural instincts for self-expression.

Sarah Utterback and Sharon Lawrence
in "A Kid Like Jake"

Sharon Lawrence, as Judy, a school administrator and friend/adviser to Alex and Greg, brings her usual warmth and sharply focused characterization to the role. Supportive yet cautionary, she struggles to reveal the real issue the family is dealing with. Her obvious affection for both Jake and Alex prevents her from getting tough with them -  that is until Alex attacks her credibility and Judy retreats to a self protective distance.

Olivia Liang, who plays Alex's OB-GYN nurse, has the challenge of creating a character who is seemingly tangential to the action until one key scene. That said, she brings a measured calm to all the fevered emotions on the stage and has a strong supportive presence.

Olivia Liang and Sarah Utterback
in "A Kid Like Jake"

Despite never seeing 'Jake', we have a strong sense of his presence, which is reflected in the detailed set and props by DeAnne Millais and Heath Harper, respectively. Fine work too by Lighting Designer Ginevra Lombardo, and Composer and Sound Designer Peter Bayne; the remainder of the technical team includes Costume Designer Melissa Trn, Technical Director Eduardo Fernandez-Baumann, and Scenic Painter Lacey Anzelc,

IAMA Theatre Company, established in 2007, is one of the strong creative entities in the Los Angeles theater scene that strives to present original and compelling stories for audiences; in this one, they have succeeded admirably.

"A Kid Like Jake" is playing through November 3 at the Carrie Hamilton Theatre, upstairs at the Pasadena Playhouse located at 39 S. El Molino Avenue in Pasadena. For tickets and more information, please call 323-380-8843 or visit iamatheatre.com.

-- Lisa Lyons