TheSpyAnts Theatre Company

Thursday, October 4, 2012

Come Play Bingo With TheSpyAnts October 10 at Hamburger Mary's @ 7pm

TheSpyAnts Theatre Company
is hosting a FUN-draising event.
Inline image 1   Inline image 2
Come play Drag Bingo, have drinks, eat some nibbles,
possibly get spanked and WIN GREAT PRIZES!

October 10th at 7pm
Hamburger Mary’s 
8288 Santa Monica Blvd., West Hollywood - at Sweetzer
Reservations for parties of 6 or more- 323-654-3800

Join us for a night of fun and help to support our next production!
($20 donation at the door for 10 BINGO games,
food and drinks available for purchase)

Saturday, September 17, 2011

Come join TheSpyAnts at Hamburger Mary's Wednesday September 28 at 9pm

Come Join TheSpyAnts Theatre Company
at Hamburger Mary's Legendary Bingo
Wednesday, September 28th @ 9pm

Legendary Bingo has been named "Best Of" in 2010 by Los Angeles Magazine,
L.A. Weekly and The Huffington Post.

Awesome prizes, crazy drag queens, full menu and bar!!!  What more do you want?!

Wednesday, September 28th @ 9pm
a $20 donation lets you play for the night.
Proceeds benefit TheSpyAnts Theatre Company. 

SEE YOU THERE! Bring your friends!  Forward to everyone!

For a good time (and a good table), rsvp to  323.654.3800.

8288 Santa Monica Blvd @ Sweetzer
West Hollywood, 90069

Friday, December 31, 2010

"bobrauschenbergamerica" made LA Weekly's Steven Lee Morris's list of favorites for 2010

The LA Weekly's Steven Lee Morris compiled his list of favorite shows for 2010, and bobrauschenbergamerica received a mention.
Check out his review here, and the whole column below:

L.A. Theater in 2010
Thanks for the memories
By Steven Leigh Morris Thursday, Dec 30 2010

Top 10 list? No thanks. We already have the L.A. Weekly Theater Awards for that — details to be announced shortly.


City Garage got booted from their Santa Monica digs in November after their lease expired. At last report, they had stripped of the theater they'd occupied for 15 years and were homeless but working on a deal with Bergamot Station. The theater has been and remains a local treasure for its presentation of audacious texts, with Frenchwoman Frédérique Michel's arch and deliberately automatonic stagings of works including those by Heiner Muller, Caryl Churchill, Charles L. Mee, Ionesco and Molière — all packed onto a tiny stage and helped along with Paul Rubenstein's lush soundscapes and Charles M. Duncombe's production designs.

A Noise Within: Glendale's classical rep company is trying what most small theaters gave up on decades ago, and for good reason: moving "up" to midsize, where the economic challenges in our subsidy-free zone are tempestuous. Just ask the Colony Theatre or East West Players. ANW tried this a few years ago with a brief, frustrating and frustrated sojourn to Cal State L.A.'s Luckman Fine Arts Complex. But they are determined, and are in the midst of a successful (so far) capital campaign that includes construction of a new Equity-scale theater in Pasadena. We haven't seen construction from the ground up of any theaters that remain regularly used since Burbank's Falcon Theatre (1997), Pasadena's Boston Court (2003) and downtown's REDCAT (2003). The challenges of sustaining a midsize theater in Pasadena will be daunting. And as frustrated as I sometimes am with the company's aversion to inventiveness, the baseline of competence and skill in conjunction with a long tradition of presenting classical works from all genres to new audiences makes it imperative that the company's experiment in up-sizing succeeds, for all our sakes.

Gunfighter Nation is a new company marked by the return of long-standing L.A. personality-playwright John Steppling, who serves as the company's co–artistic director along with his son, Lex Steppling. And, like the working together of father and son, the company has drawn its acolytes from two generations: One, that of Steppling, includes the playwright-descendants of the Padua Hills Playwrights Workshop and Festival (founded in 1978 by Murray Mednick and Sam Shepard); and the next generation, which brings to the art the consciousness of social and community service. In the company aesthetic, one generation informs the work of the other, which is a rare gift and melding of purposes that's happening in the rehearsal halls and accompanying taverns. They've also put on some pretty good plays in their first year, including Steppling's latest work, Phantom Luck. Like many new endeavors, they exist on tenacity and prayer to the gods of a desperately fragile economy. They are perhaps the only new company with such a long history. I hope they make it.


• What's the difference between art, artsy, and artsy fartsy?

• Is multidisciplinary work, and the promotion of it, really such a threat to traditional presentations — or can we all just get along?

• Does the blending of music, video and online technologies on our stages really draw a new generation of theatergoers, or is that just the fantasy of faculty and students from Cal-Arts and the programmers over at REDCAT, that's disconnected from the real world?

• Does L.A. theater really suffer from a lack of inventive (concept) directors?

• If you answered "yes" to the above, please answer the following: (a) If so, why? (b) If so, is that such a bad thing? If you answered "no" to the above, please move on to the next question.

• Why is it that the United States' most famous concept directors find most of their employment in Europe, Canada and South America rather than in their homeland? (a) People outside the United States are stupid and pretentious; (b) People inside the United States are stupid and crass; (c) Concept directors have no respect and therefore don't deserve any. (Only one answer, please!)

• Does L.A. theater suffer from a lack of autobiographical one-person shows? If so, why?

• Does L.A. theater suffer from a lack of shows named [Fill in the Title]: The Musical! If so, why?

• Why is the Fountain Theatre always sold out when it just does plays about bitter musicians and graveyards?

• Should actors be paid for their work? If so, should they be paid even if their production loses money? Why?

• Should investment bankers be paid for their work? If so, should they be paid even if their company loses money? Why?

• Did you enjoy this quiz? If so, why? If not, please move on to the next question.

Please submit your answers to smorris @ Correct answers will be posted at blogs. laweekly. com/ stylecouncil/stage-news in early 2011. There will be prizes for the best correct answers. If you answered incorrectly, you will be condemned to anonymity.


Ann Randolph's Loveland at Santa Monica Playhouse; Psittacus Productions' A Tale Told by an Idiot at Son of Semele; everything I saw at REDCAT; Lynn Nottage's Ruined at the Geffen; Palomino at the Kirk Douglas; Stage Door and A Wolf Inside the Fence at Open Fist; Independent Shakespeare Company's Much Ado About Nothing in Griffith Park; all of the War Plays trilogy presented by Los Angeles Theatre Ensemble at the Powerhouse; the Calabasas International Theater Festival; the Hollywood Fringe Festival; Gertrude Stein's Brewsie and Willie, directed by Travis Preston for Poor Dog Group; Mary Lynn Spreads Her Legs at the Steve Allen Theater; Opus and The Train Driver at the Fountain; Anton's Uncles, Theatre Movement Bazaar at the 24th Street Theater; Tom Jacobson's The Twentieth Century Way at Theater @ Boston Court; Shaheed at the Peggy Feury Studio; Jon Tuttle's Holy Ghost at Theatre of NOTE; Shem Bitterman's Influence at the Skylight; Nan McNamara's lead performance in Wit at Actors' Co-op; the SpyAnts' (sic) production of Charles L. Mee's bobrauschenbergamerica at [Inside] the Ford; City Garage's production of Paradise Park; Baal at Sacred Fools; An Oak Tree at the Odyssey; Four Places and The Sunset Limited, presented by Rogue Machine at Theatre/Theater; and Zombie Joe's Underground, just for being ZJU.

Finally, this year's Talent and Tenacity Award goes to Antaeus Company for being so talented and tenacious. This is the first year they have presented a full season, which corresponds, by sheer coincidence, to the first year that the T&T prize has been bestowed. It comes with this humble recognition and whatever rewards derive from being talented and tenacious, but it does not come with money. After all, this is theater in Los Angeles.

Friday, December 10, 2010

John Charles Meyer in "Same-O"

Our member John Charles Meyer (Kidnapped by Craigslist: The Graveyard Shift, bobrauschenbergamerica, Terminus Americana) is appearing in Bootleg Theater's Same-O by Ken Roht, who was our choreographer for bobrauschenbergamerica. It's part of the popular 99¢ Store Shows, and it runs through December 19th, and resumes after the holidays from January 6-30 at The Bootleg Theater (formerly The Evidence Room) 2220 Beverly Blvd. in Los Angeles.

You can read one rave review from LA Weekly here, and other reviews, along with more show information, can be found here.

So if you have time, make plans to see part of our TheSpyAnts family at work.


Friday, November 19, 2010

Los Angeles Times review of "Kidnapped by Craigslist: The Graveyard Shift"

Theater review: 'Kidnapped by Craigslist' at the Elephant

November 18, 2010 | 8:00 pm

Those who are easily shocked or have weak stomachs should give “Kidnapped by Craigslist: The Graveyard Shift” a wide berth. However, those who like their humor deliciously low may find this production very much to their bad taste.

It’s appropriate that this show has been mounted in the Elephant’s Asylum space. Based on actual Craigslist postings, it ranges from the naughty to the downright lunatic.

That makes for a playfully scary evening, as reflected in Lori Evans Taylor’s staging, a combination of carnival sideshow and B horror movie. Actors in the alternating cast enter Adam Haas Hunter’s cobweb-strewn set through an upright coffin, as a white-faced barker (exotic John Charles Meyer) sets the stage for the various monologues.

This production by TheSpyAnts is a sequel to “Kidnapped by Craigslist,” which played locally in late 2007 to considerable acclaim. Written by Katie Goan and co-created by Goan and Nitra Gutierrez, this is one high concept with staying power. Considering the endless spew of source material from the fabled list, one can imagine a series of future productions, further permutations on the same twisted themes.

From a sociological standpoint, “Kidnapped” is fascinating, a series of snapshots showing the fetishes and peccadilloes of a society in which the notions of shame and restraint have been tossed to the swirling winds. Although we suspect some offerings were penned by hoaxers who are just punking us, it's also hilariously funny, with an able cast that merrily escorts us to the dark side. Be warned, however: After seeing this show, your face may be forever frozen between a guffaw –- and a pained wince.

-- F. Kathleen Foley

“Kidnapped by Craigslist: The Graveyard Shift,” the Asylum Lab at the Elephant Complex, 6322 Santa Monica Blvd., Hollywood. 8 p.m. Fridays and Saturdays. Dark Nov. 26 and 27. Ends Dec. 18. $20. (323) 860-8786. Running time: 1 hour, 30 minutes.

Photo: Eric Bunton. Credit: Baron Norris

Thursday, November 18, 2010

"Kidnapped by Craigslist: The Graveyard Shift" is EXTENDING through December 18th!

TheSpyAnts Theatre Company presents

"Kidnapped by Craigslist: The Graveyard Shift"
written by Katie Goan,
created by Katie Goan and Nitra Gutierrez
and directed by Lori Evans Taylor
at The Elephant Lab.

“…hilariously funny, with an able cast …this is one high concept with staying power.”
- LA Times

“… a crack ensemble in an unrelentingly frenetic fusillade… weird and wacky assortment of cranks, kinks and jaw-dropping confessions of perversity …”
LA Weekly

“…Kidnapped is fascinating…it ranges from the naughty to the downright lunatic.”
- LA Times

October 16 – December 18
Fridays and Saturdays, 8pm
(dark November 26 &27)

Print out your favorite Craigslist posting for $5 off!***

Have you ever wondered what it would be like to live in a world of anonymity? Say anything you want? Be anyone you can? Even if people think it is bizarre or disturbing? Kidnapped by Craigslist: The Graveyard Shift is an eerie and risqué new comedy that explores the carnivalesque, cult-like phenomenon that is Craigslist, bringing actual postings to life from the website with scripted material and music. This unique and creative one-hour play tells the true stories that are locked inside an online community that has shaped and inspired today's internet generation. There’s a place for you here. There’s a place here for everyone, straight, gay, lesbian, bi-sexual, transgender or questioning. We all have a dark side, you know.
Fri. and Sat., 8pm, and Sun., 7pm
One Thu. Show - Nov.11, 8pm
Late Night Shows - Sat., Oct. 23rd and Sat., Nov. 6th, 10pm
Pay What You Can (at the door) Sun., Oct. 24th and 31st, 7pm

The Elephant Lab Theatre
6322 Santa Monica Blvd, Hollywood, CA 90038 (just west of Vine)
Tickets $20

Make reservations here or at (323) 860-8786

(Alternating cast, click here for performance schedule.)

lighting design Adam Hunter
set design Adam Hunter
costume design Marina Mouhibian
choreography Scott Hislop
publicity Eric Bunton
photography Jeff E Photo
graphic design Churchie Graphic Design

New Postings! New Cast! New Show!

Thursday, November 11, 2010

See John Charles Meyer in "The Taqwacores"

John Charles Meyer - who is presently appearing with us in Kidnapped By Craigslist: The Graveyard Shift, and who has previously been in bobrauschenbergamerica, and Terminus Americana - is also in the feature film The Taqwacores, which opens tomorrow night in the Los Angeles area.

You can see it at either the Sunset 5 - 8000 Sunset Blvd. in West Hollywood, or the Edwards University Town Center in Irvine.

For Sunset 5 screenings, you can buy tickets here, and here for the Edwards University Town Center.

The Taqwacores is a feature film about the Muslim punk rock scene (yes, you read that correctly), but the core of the story deals with the complexities of being young and Muslim in modern-day America. With a humble budget, a cast of unknowns, and a first-time director, the film has gone on to win festival awards around the globe and find a distributor for limited theatrical release in the US and France. The only caveat I offer is this: I have a very small role; you’ll catch me on-screen for a mere couple of minutes. But it is a bold and beautifully-crafted movie with a timely and important message. I may be a bit biased of course, but the critics agree:

“One of the Ten Best Films from Sundance 2010”
-Time Out London

“Sure to appeal to fans of Trainspotting, Fight Club, anything by Gus Van Sant...”
-Los Angeles Times

“Busting out with strong vision.”
-The Huffington Post

Sunday, October 17, 2010

Photos from "Kidnapped by Craigslist: The Graveyard Shift"

Here are some press photos, as well as some taken during a rehearsal of Kidnapped by Craigslist: The Graveyard Shift:

Jennifer Etienne Eckert and Alison Zatta

CB Spencer and Christopher Mur

Christopher Mur and Marina Mouhibian

Director Lori Evans Taylor

Front Row: Brett Mack, Danny Parker Lopes, Alison Zatta
Second Row: Marina Mouhibian, David Goryl

Amy Motta

Patrick Hancock and Dawn Merkel

John Charles Meyer

Patrick Hancock

Kneeling: Brett Mack, Lori Evans Taylor, CB Spencer, Patrick Hancock
2nd Row: Jennifer Etienne Eckert, David Goryl, Marina Mouhibian, Eric Bunton, Alison Zatta, John Charles Meyer, Amy Motta
3rd Row: Christopher Mur, Danny Parker Lopes, Dawn Merkel

Photos by Jeff E Photo, and Baron Norris

Check out all of them here at our Facebook page.

Promo video for "Kidnapped by Craigslist: The Graveyard Shift"


Tuesday, October 12, 2010

Check out our 2008 promo video for "Kidnapped by Craigslist"

This is a promo video we shot for our first production of "Kidnapped by Craigslist" in 2008. So if you didn't catch it the first time, it'll give you a taste of what to expect. We're back with it with a preview on Friday, and our official opening on Saturday (which includes our ten year anniversary celebration) at the Elephant Lab Theatre in Hollywood. So check out the video, and then click here and make your reservations now. Note: the space we're performing in seats only 40, so the sooner you act, the better. :)

Thanks, and we'll see you there!