StageSceneLA review of "The Reunion"

“Unique” is a word all too frequently bandied about, but in the case of The Reunion: Everything Changes, Everything Stays the Same, “unique” is almost an understatement. Writer/directors Darcy Halsey and Danny Parker have
written a 5 1/2 hour play about a 10-year high school reunion which unfolds in just an hour and a half. How, you may ask, do they do that?

By having four scenes unfolding simultaneously in various parts of the Howard Fine Theatre complex. In one room, characters discuss the mysterious death of a popular classmate; in the courtyard, two male classmates, formerly best friends, reunite in a most unexpected way; on the terrace, a glamorous Russian movie star discusses her latest project while elsewhere another
classmate has a nervous breakdown.

Audience members, who are treated to beer/wine/appetizers (included in the $20 admission), must decide which scene to observe and where to go next, making The Reunion a production which can be seen and seen again. (Ticket prices go down $5 each time you come back.) I love TheSpyAnts, and The Reunion gives several dozen of them a chance to show their acting and comedic chops. I dare not begin to name names as there are so many sparkling performances that to attempt to pick out standouts would mean leaving off far too many fine members of the troupe.

This limited return engagement of The Reunion will I hope become an annual event! July 13th - August 4th Fridays & Saturdays 8pm/Sundays 8pm July 22nd & July 29th; The Howard Fine Theatre ,1445 N. Las Palmas Avenue,
Hollywood, CA 90028; Tickets $20 includes beer, wine & hors d'oeuvres; Returning guests receive $5 discount per return; Reservations: 323.860.8786.

--Steven Stanley

Backstage review of "Infinite Black Suitcase"

by Neal Weaver

April 20, 2007

EM Lewis' title may be a whimsical metaphor for death, but it's not as grim as it sounds: Some of her best scenes lean toward comedy. Her play cuts back and forth among three main stories, garnished with peripherally related scenes. In the first story, a wife (Marina Mouhibian) and her two brothers-in-law (Linc Hand and Ken Arquelio) struggle to come to terms with the hideous, and to them inexplicable, suicide of her husband. The second story concerns Dan (Eric Bunton), who is dying of AIDS, and the efforts of his lover, Stephen (Jerry Pappas), to bear up as the end approaches. It's weary Dan who must try to give comfort and reassurance. The third story centers on Katie Barnes (Darcy Halsey), dying of cancer but determined to persuade her current husband, Tony (Kim Estes), who is black, and her ex-husband, Joe (Ryan Churchill), who is the father of her three daughters, to accept joint custody of the three girls, despite sharp animosity between the two men.

In a touchingly funny scene, bereaved Joe and recent widow Mary (Tammy Kaitz) strive to make a connection despite grief and differing expectations. A confrontation in the confessional between a wry, canny Catholic priest (Bill J. Stevens) and an inebriated non-Catholic (Hal Perry) also provides rich dramatic fodder. In an unrelated scene, Jake (Rich Williams) must decide whether he wants to be interred next to his deceased first wife or with his current spouse, Anne (Anita Khanzadian).

All the scenes are interesting and ably written, but constant crosscutting among competing plot lines tends to dissipate them and prevents their being fully explored or focused. Danny Parker-Lopes directs with a sure hand, and the large cast (including Addi Gaash and Dawn Merkel) does fine work, with special praise for Stevens, Churchill, Perry, Bunton, and Kaitz. David Fofi provides the excellent production design.

Presented by the SpyAnts Theatre Company at the Lillian Theatre, 1076 Lillian Way, Hollywood. Fri.-Sat. 8 p.m., Sun. 7 p.m. Apr. 6-May 6. (323) 860-8786. www.thespyants.com.

StageSceneLA review for "Infinite Black Suitcase"

From StageSceneLA

The Illustrious Spy Ants are presenting the world premiere production of
Infinite Black Suitcase, EM Lewis. Having seen their The Most Fabulous Story
Ever Told, and the recent Rudolph the Red-Hosed Reindeer, I knew them to
be a company of talented comic actors, but I was not prepared for the
depth of emotion they bring to Lewis' seriocomic "one day in the life" story of
a group of rural Oregonians facing death...and life after the death of a
loved one.

Director Danny Parker-Lopes has helmed a fine ensemble of young and not
so young actors, among whom there are a number of standouts. Longtime
Spy Ants Eric Bunton and Jerry Pappas have palpable rapport as a gay
couple, one dying, one facing the burden of his partner's illness and the fear
of life without him. Bunton and Pappas, laugh out loud hilarious in both
"Fabulous" and "Rudolph," prove themselves to be consummate dramatic
actors as well. Bring kleenex.

I also very much liked the intensity and depth of Ryan Churchill's Joe, whose
ex-wife and the mother of his three daughters, is dying (very good work by
Darcy Halsey as the hospitalized ex), the delightful comic relief of Dawn
Merkel's cemetery employee, and Bill J. Stevens warm and witty Father
Sebastian. Tammy Kaitz is reminiscent of a young Karen Black and Linc Hand
shows young leading man potential. Ken Arquelio, Kim Estes, Addi Gaash,
Anita Khanzadian, Marina Mouhibian, Hal Perry, and Rich Williams ably
complete the large and talented cast.

Infinite Black Suitcase may be about pain and sadness death and dying,
but it's also about the joy of living and loving, and is well worth spending a
very fast moving 90 minutes with. I, and at least one other audience
member I overheard, wouldn't have minded spending even more time with
these people.

APRIL 2007, LILIAN THEATRE, HOLLYWOOD.

--Steven Stanley

LA Splash review for "Infinite Black Suitcase"

LASPLASH.COM: Los Angeles Performances

Infinite Black Suitcase - Review

By Keisha7



It's been said that everyone deals with grief in their own way. TheSpyAnts' latest production at the Lillian Theatre delivers a healthy dose of that adage for a full uninterrupted 90 minutes. Stories of lost and languishing life unfold and overlaps onto themselves, entwining and pulling at the living in EM Lewis' Infinite Black Suitcase.



The play is an anthology of stories, all unique in their perspective of impending or sudden death. Young Kal Kalinski (Linc Hand) is the face of utter denial as he repeatedly tries to extract a reasonable explanation of a recent family death from Stan Kalinski (Ken Arquelio). Meanwhile Stan is trying to ward off Kal's barrage of questions long enough to fit a proper black dress onto his catatonic sister Janie (Marina Mouhibian). He has no time for sorrow; he has to get everyone to the funeral on time. He's the one that keeps going even when everyone else stalls.



Dan Hanlon's (Eric Bunton) withering figure makes his slow and agonizing trek to his hospital bed even as the audience continues to fill the theater, well before curtain. Having arrived at acceptance, Dan lies patiently in wait until death comes for him. Hooked up to an IV drip, he waits for death in the company of the witty, plant toting, affectionate and consoling Stephen (Jerry Pappas). Throughout the show, they play out a bittersweet goodbye that is taking too long for each of them.



Somewhere in the same hospital, Katie Barnes (Darcy Halsey) tries to bring her ex, Joe (Ryan Churchill) and new husband Tony (Kim Estes) to a truce regarding her children before she dies. There is the sense that the two men have always been at each other, and even Katie's approaching death is not enough to get the two to see beyond their petty bickering. Anything to avoid talking about the fact that she's dying.



Perhaps my favorite segment was between Father Sebastian (Bill J. Stevens) and the non-Catholic Frank (Hal Perry) who finds his way into a confessional that fateful afternoon. The priest's indulgence of the inebriated lost sheep is quite funny. When it is revealed that Frank feels guilt over the recent suicide of his father, the priest's kindness is heartwarming.

TheSpyAnts Company takes an introspective piece about death and dying and blends in a great balance of humanity and humor. The production, directed by Danny Parker-Lopes, shuffles the 17-member ensemble through space and storylines with ease. The screenplay keeps the points of view rotating, a key element that allows the play to avoid being overly sentimental or dark. It explores the rip effect death can cause in one's personal well of guilt, that often exists long before any loss is experienced. Moreover, it examines our innate need to fill that loss of life with something: sex, alcohol, a reason.

'Infinite Black Suitcase' runs now through May 06, 2007
Fridays & Saturdays @ 8pm, Sundays @ 7pm at:

Lillian Theatre
1076 Lillian Way
Hollywood, CA 90038

For more information visit: http://www.plays411.com/newsite/show/play_info.asp

Photos by Jeff Ellington

Official website: http://www.thespyants.com/

Stephanie Turner on "Dirt"

Stephanie Turner, who most recently appeared with us in Rudolph the Red Hosed Reindeer, and as an understudy in The Reunion last year, will be in two episodes of Dirt starting tomorrow night at 10pm on FX, and then again one week from tomorrow at the same time.

So check it out!

Backstage review of "Rudolph the Red Hosed Reindeer"

Rudolph the Red-Hosed Reindeer

by Neal Weaver

Dec 20, 2006

There’s no need for a Grinch in this screwy musical by David Cerda and Scott Lamberty: Christmas Town is a police state and Santa Claus (Danny Lopes) a tyrant who has driven Mrs. Claus (Marina Mouhibian) to drink. When one of the reindeer wives (Etienne Eckert) has the temerity to criticize Santa, she’s whisked away to be reprogrammed as a Stepford Doe.

And intolerance is rampant. Santa’s reindeer are decidedly homophobic, so when Mr. and Mrs. Donner (Jerry Pappas and Lori Evans Taylor) produce a fawn named Rudolph (Eric Bunton) with a taste for wearing women’s clothes, it’s a scandal to be kept under wraps—till he turns up in ruffled panties and red fishnets. At the other end of the spectrum, Santa’s Elves (Brett Hren, Florian Klein, Mark Schaefer, and Brett Nelson) are hedonistic gay gym bunnies, with no sympathy for the square in their midst, Herbie (Jeffrey Christopher Todd), who doesn’t do drugs, doesn’t go in for casual sex, and—gasp!—doesn’t go to the gym.

Inevitably the two outcasts, Rudolph and Herbie, join forces for a series of adventures that introduce them to doughty lesbian prospector Yukon Cornelia (Madelynn Fattibene) and a towering transvestite known as the Abominable Drag Beast (Mark Landres). They also make a flying visit to the Island of Misfit Toys, where they discover Trailer-Trash Barbie (Shelby Kyle), the Half-Naked Cowboy (Hren), and Charlie-in-the-Box (Nelson). And, oh, yes, there’s a reindeer named Clarice (Stephanie Turner) who falls for Rudolph. (Rudolph quickly reminds us that most cross-dressers are straight.)

It’s all pretty silly, the plot doesn’t make much sense, and the musical numbers are more spirited than memorable, but director Richard Israel and a talented cast keep it lively, fast-paced, and amusing, with noteworthy performances by Todd, Nelson, Fattibene, Turner, and Hren, on Chris Bell’s picture-book set.

Presented by TheSpyAnts Theatre Company at the Elephant Theatre, 6322 Santa Monica Blvd., Hollywood. Thu.-Sat. 8 p.m., Sun. 7 p.m. Nov. 24-Jan. 13. (323) 860-8766.

"The Reunion" featured on "YourLA"

The Reunion was recently featured on KNBC Channel 4's YourLA, and in case you didn't catch it, here it is:

Backstage review for "The Reunion"

Backstage West - Michael Holder

THE REUNION: Everything Changes. Everything Stays The Same
at the Howard Fine Theater. CRITIC'S PICK

With confessed deference to Tamara, in which the audience followed actors from room to room and hoped to unearth as many story points on their individual journeys as possible, The Spy Ants has brazenly taken the concept and moved it from an Italian villa in the 1920's onto the grounds of the fictional Woodrow Wilson HIgh School circa 1994. The audience once more becomes part of the action, asked to attend the 10th reunion of the Wilson Warriors Class of '84, and spy on the students who had the cajones to once again face their incredibly messed-up classmates, folks with enough residual damage to keep a psychiatrist in teeoff fees for years.

Even the "class clown" who became a shrink (Ryan Churchill) isn't immune to the wreckage; indeed he's creating more. As he confesses his date (Lana Underwood) is also his 19 year old patient, he finds time to surrepitiously distribute a new, unapproved drug guaranteed to make girls get jiggy and spread rumors from an unbalanced classmate (Dawn Merkel) about who was doing what to whom the night of the graduation party while one poor kid turned crispy in a boathouse fire. Director-writers Darcy Halsey and Danny Parker do an impressive job keeping the audience hopping as they tag behind the certifiable students and suitably war faculty members, winding the characters' stories together masterfully and adding a few surprises, such as having Johnny Cochrane (Kim Estes) present as the secret lover of one lusty attendee (Jenny Vilim), the former girlfriend of the football star (Linc Hand,) crippled in another grad night "accident."

The cast is golden, all members brilliant at making their characters real despite the need to keep them talking and moving at once. But like Tamara,the problem with becoming a fly on the wall of this facinatingly dysfunctional gathering is that there's not time to unravel the mysteries in one evening. After the understandable minor clunks of opening night smooth out a bit, this is one production worth a second, third, or even fourth look. And that big red star next to algebra on the back of your program/report card lets you do just that at a discount.

Tolucan Times review for "The Reunion"

Tolucan Times - Pat Taylor

The Reunion: Everything Changes. Everyone Stays the Same

HOLLYWOOD - If you're ready for a wildly different theatrical hoot, this is the one for you! Performed and penned in the style of Tamara, which ran in Hollywood for 10 years, it is an entertaining, involving journey that really tweaks your mind. Cleverly written and directed with great imagination, by Darcy Halsey and Danny Parker, with plenty of juicy input from their troupe (the SpyAnts) this talented cast of 20 actors is all terrific! In this inventive audience interactive piece, we are guests at a volatile and revealing 10-year class reunion party in 1994. We voyeuristically peer in on these characters' dirty little secrets, passions and progress (both past and present) in individual group scenes, following them through the school and quad, on foot. Like the proverbial fly on the wall, we quietly study a multitude of in your face, explosive and emotional skeletons, as old classmates bare their souls. We drink wine and enjoy munchies from the party table all evening, and the intimate stories we are privy to depend on which characters we chose to follow. Sounds a bit confusing, I know, but it soon all falls into place.

At intermission, openly chat with other audience members or separate from your own friends during the play and compare notes later to catch up on the scenes you missed. It is a brain teasing blast! Too many complex scenes to describe them, and besides, that would spoil your fun! The ticket price (including food and libation) is $20 the first time, $10 the second return, and $5 thereafter, as long as you bring a full paying, unsuspecting newcomer. Many come back again to follow different ones.

Kudos to the entire cast: They are Eric Bunton, Ryan Churchill, Natalie Compagno, Kim Estes, Addi Gaash, Gretchen Gaboury, Darcy Halsey, Linc Hand, Brett Hren, Tammy Kaitz, Shelby Kyle, Melissa Lee, Danny Parker, Dawn Merkel, Marina Mouhibian, Jerry Pappas, Stasia Patwell, Hal Perry, Lana Underwood, and Jenny Vilim This is a naughty, bawdy, fun filled, unique and worthy production! Turn up in the outdoor quad 7:30ish for a drink, a snack, and a chance to read over the program and "class rules." It really helps in your overall experience!

Running through Aug. 5 (possibly longer) at the Howard Fine Theatre, 1445 N. Las Palmas in Hollywood. Call (323) 860-8786.

Darcy Halsey in "What I Heard About Iraq"

Darcy Halsey (The Birds, Hellcab) is currently appearing in What I Heard About Iraq at the Fountain Theater, and here is a review from Variety.

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What I Heard About Iraq (A Cry for 5 Voices)

(Fountain Theater, Los Angeles; 99 seats; $25 top)

By JOEL HIRSCHHORN

A Fountain Theater presentation of a play in one act, adapted by Simon Levy from an article by Eliot Weinberger. Directed by Levy.

With: Marc Casabani, Darcy Halsey, Tony Pasqualini, Bernadette Speakes, Ryun Yu.

"What I Heard About Iraq," a Fountain Theater world premiere adapted for the stage and directed by Simon Levy, isn't really a play: It's a rant, a cry of outrage delivered by five actors, exposing the deceptive strategies and heartless acts of violence perpetrated by the Bush administration. Taking its inspiration from an article by Eliot Weinberger in the London Review of Books, Levy's drama, which he claims is "neither speculation or fiction," utilizes comments from politicians, military chiefs, Iraqi citizens and U.S. soldiers.

The material, planned for presentation in parts of the world ranging from Boston and Connecticut to Luxembourg and Berlin, won't be news to those who pore over politics. Sometimes details are sprung so rapidly that the content begins to blur in the spectator's mind.

What makes Levy's show more than traditional Rumsfeld- or Bush-bashing are startling quotes, less familiar than Dick Cheney's pronouncement: "There is no doubt that Saddam Hussein now has weapons of mass destruction."

It's spine-chilling to hear body bags euphemistically called "transfer tubes," or to hear Barbara Bush's appallingly out-of-touch remark, "Why should we care about body bags, or deaths? Why should I waste my beautiful mind on something like that?"

The multiethnic cast -- African-American Bernadette Speakes, Asian Ryun Yu, Caucasians Tony Pasqualini and Darcy Halsey, Middle Eastern Marc Casabani -- comprises extraordinary performers. Their fluidly directed interplay encompasses overlapping dialogue as they pitch lines to each other with the precision of baseball stars, slam down chairs in despair and dance frenziedly to the accompaniment of a satirical animated video ridiculing the president and his cohorts.

Levy follows a smooth progression from Colin Powell's statement that Hussein posed no weapons threat and that he was "unable to project conventional power against his neighbors," to a totally opposite point of view. After the U.S. attack, Rumsfeld declares optimistically, "I really do believe we will be greeted as liberators" and Bush comments to Pat Robertson, "We're not going to have any casualties."

The human element is hellishly highlighted when a Marine describes "dead-checking," a process by which soldiers examine the bodies of the wounded and press on each one's eye with a boot, so that anyone faking death can be dispatched with a bullet to his brain. This procedure, along with torture techniques that cover rape and sodomy, has been well documented, although it would be helpful to balance the Abu Ghraib atrocities with other details so U.S. soldiers aren't sweepingly summed up as savages.

Dave Marling's outstanding sound effects -- explosive noises of bombs, automatic weapons and helicopters -- build a jarring atmosphere, making the aud feel we're part of the war, and Daniel Seidner's multimedia contributions are invaluable. The speeches grow increasingly intense, aided by a clip of a routine Hollywood action film, a shot of soldiers joyously applauding Bush's promises and a painful picture of a bleeding child.

Rumsfeld, the chief villain of the piece, offers ideal fodder for Jon Stewart and other political comics with his remark, "Death has a tendency to encourage a depressing view of war." But there's nothing remotely funny about Weinberger's quotes from a commander in chief who, at different times, declares himself a war president and a peace president.

As support vanishes from 16 countries, Bush concludes, "Two years from now, only the Brits may be with us. At some point, we may be the only ones left. That's OK with me. We are America."

Sets, Scott Siedman; lighting, Kathi O'Donohue; sound, Dave Marling; production stage manager, Nina Soukasian; multimedia, Daniel Seidner; creative media consultant, Brad Schreiber. Opened, reviewed Sept. 11, 2005; runs through Oct. 9. Running time: 1 HOUR, 15 MIN.