Kim Estes being considered for an Emmy

Our longtime member Kim Estes (The Life and Times of Tulsa Lovechild, Infinite Black Suitcase, The Reunion) is being considered for an Emmy Award for his work on the series House, MD.

From Kim's Facebook Page:

"So that you all know, as of yesterday morning...in Category 63 on the Emmy nomination ballot...my name is listed for your consideration as "outstanding guest star actor in a drama series" for my performance in the series House, MD. Which means, that I have officially entered the Emmy Award race. So please pass the word ...to your friends who are Academy Television Arts and Sciences voters that I would welcome their support along my journey.

You many view the nominated scene from House, MD. by clicking here."

Congratulations Kim!

Eric Bunton's Youtube page

One of TheSpyAnts founding members Eric Bunton (bobrauschenbergamerica, Terminus Americana, Kidnapped by Craigslist, and many other shows) has launched a Youtube page where he has posted videos of his work.

Here is one of them, which also features Brett Hren.

So have a look, and thanks!

Hal Perry on "America's Most Wanted"

Hal Perry, who has appeared with us in Terminus Americana, What If? (Vol. II 2009), Infinite Black Suitcase, and The Birds, appears in the "Gilbert and De La Harren" segment of the "Miami Model Mystery" episode of America's Most Wanted. Here he plays crime victim Craig Martin, who was blinded in a struggle during an attempted robbery of his convenience store in South Carolina.

The entire episode can be seen here, and Hal's segment starts at about the 19:30 mark.

Who Killed Jason? ("The Reunion" web series)

Who Killed Jason? will be a web series based on our production of The Reunion: Everything Changes. Everyone Stays The Same which ran in the summers of 2006 and 2007. It was a unique project for us that was co-written by the original cast, and co-directed by Danny Parker-Lopes, and former member Darcy Halsey.

The story of 10 year reunion of Woodrow Wilson High School's Class of 1984 remains intact, but there is a new twist. Jason was the guy who mysteriously died at the senior party, and ten years later, no one still knows for sure how he died and who was responsible. This will follow the interactive format of the play on the web, and you can see how it all works by checking out the website, and watching the short trailer.

And just to refresh your memory, check out this segment on the play by YourLA.

Who Killed Jason? LLC is comprised of Danny Parker-Lopes, Darcy Halsey, and Addi Gaash.

You can follow Who Killed Jason on Facebook by clicking here

“bobrauschenbergamerica”: Now-Feb. 28 @ [Inside] the Ford

By Cesar Cruz

bobrauschenbergamerica is incredibly entertaining. Directed by Bart DeLorenzo, written by Charles L. Mee and choreographed by Ken Roht, the play brims with colorful characters, 43 different scenes (a range of musical numbers) and is backed by explosive energy.

It’s a tribute to the late artist Bob Rauschenberg and his work; actually, it’s not about Rauschenberg but about what he saw. Rauschenberg’s work is a reflection of America, which consequently involves love stories, picnics, business schemes, shootings and, of course, a person in a chicken costume strolling across center stage. Through collages, Rauschenberg realized a technique that came to be known as “Combines,” which are collages created from nontraditional materials (e.g. pictures, familiar prints, sculptures, tennis balls, stuffed goats) that attempt to blur the line between art and life.

Reviewing bobrauchenbergamerica is like describing another description. The collage of scenes that makes the play, as well as the themes and characters, work more or less as a mirror than a story. There’s nothing logical about the production, yet it makes sense; like 10 people giving their interpretation of one piece of art – at the same time! Each scene takes you hostage and relentlessly impresses sheer exhilaration for living in a country where people make up their lives as they go.

The play works quite well. I barely notice that an hour and 45 minutes, with no intermission, passes. This depiction of America, as seen through Rauschenberg’s eyes and under DeLorenzo’s direction, is fearless and optimistic, but best of all unedited.

If you get tired of a scene, rest assured it will soon end. However, much like life, you don’t always like what you see or what you get. Some scenes may be outlandish, but in a way that forces you to acknowledge the myriad forms reality can take.

bobrauchenbergamerica, while sensitive and philosophical, gives your eyes a workout, then sends you back into the world.

[Inside] the Ford is located at 2580 Cahuenga Blvd. E., Hollywood. For more information, visit fordtheaters.org.

Backstage review of "bobrauschenbergamerica"

bobrauschenbergamerica

TheSpyAnts at [Inside] the Ford

Reviewed by Jeff Favre
FEBRUARY 03, 2010

"Art was not a part of lives," says the character known as Bob's Mom in Charles L. Mee's 2001 one-act, nonlinear homage to the late American artist Bob Rauschenberg. And regardless of whether the character truly is based on Rauschenberg's real-life mother, Dora (the play's last line reportedly was spoken by her), the sentiment is false and telling because her stories show that art is all around for those who search for it—as Rauschenberg did by using found objects to create the iconic combines and collages for which he is best known. Few playwrights could be better suited than Mee to attempt to translate Rauschenberg's style for theater, because Mee shows more interest in juxtaposition of disparate images and emotions than in telling a coherent story. But those willing to mentally traverse this living museum for 90 minutes—led by a deft curatorial staff (aka TheSpyAnts' 10-person cast and director Bart DeLorenzo)—will discover a wealth of intriguing, visually captivating and funny vignettes among the more than 40 presented.

There are named characters, though it hardly matters, including Bob's Mom (Mari Marks), Phil the Trucker (Danny Parker-Lopes), Phil's Girl (Maria Tomas), and the nonspeaking Roller Girl (Breeze Braunschweig). There's also an entire barbershop chorus that delivers a mini concert. Mee's script delves into the building blocks of art and love, while the visuals involve a rolling bathtub, a man in a chicken suit, and a martini Slip 'n Slide.

DeLorenzo, who has directed a few Mee plays, successfully evokes whimsy when needed, as well as understated sadness, all while keeping a pace that's brisk enough to keep the less compelling moments from dragging down the performance. The cast works in harmony, flitting in and out of scenes as if each actor is part of a single entity. Ken Roht's choreography injects energy and humor to a couple of dance numbers. And Marina Mouhibian's set resembles a collection of Rauschenberg combines, which creates an ideal atmosphere. Not every scene of "bobrauschenbergamerica" is a winner, but as a whole it's entertaining and memorable.

Presented by TheSpyAnts at [Inside] the Ford, 2580 Cahuenga Blvd. East, Hollywood. Jan. 23–Feb. 28. Thu.–Sat., 8 p.m.; Sun., 3 and 7 p.m. (323) 461-3673. www.fordtheatres.org.

OUTSIDE THE BOX: BOBRAUSCHENBERGAMERICA AT [INSIDE] THE FORD (EyespyLA.com review)

OUTSIDE THE BOX: BOBRAUSCHENBERGAMERICA AT [INSIDE] THE FORD
By M.R. Hunter

What does a man in a chicken suit, a giant bowling pin, a rooster and a kitchen whisk all have in common? Everything and nothing in the LA premiere of Charles Mee’s zany collage-montage tribute to the late modern artist, Robert Rauschenberg at [Inside] the Ford.

One of the most forward-thinking artists of his time, Rauschenberg’s work combined ordinary materials and objects with spectacular splashes of color and familiar images to create pieces that were not entirely art and not entirely sculpture, but something in the space between. Predating the Pop Art movement, Rauschenberg’s “outside-the-box” method inspired the likes of Pollock, Joseph Cornell, and Oldenburg with his break from the traditional, fixed space of the canvas. Art then, literally became for Rauschenberg something outside of itself, a thing discoverable in the everyday and a hodgepodge of the seemingly contradictory connected in tandem and unity.

Inspired by Rauschenberg, Mee conceives a play not bound by conventional Aristotelian unities, but channels the absurdist and radical approach of the artist’s innovative spirit. Like a gallery of Rauschenberg collages brought to life, the action is both startling and disjointed, it confronts and challenges the very idea of art and performance itself, yet is cohesive enough to be visually entertaining. Bart DeLorenzo polishes what might otherwise comes across as amateur and raw into a provocative performance that if nothing else is definitely unlike anything else.


The only discernable thread keeping the wildly assorted vignettes from spinning completely out of control are the recollections of Rauschenberg’s early childhood, as told by his Mom (Mari Marks). Projected on a backdrop behind her are black and white photos of what is otherwise an ordinary, almost painfully average little boy whose humble beginnings hardly indicated the great influence in art he would one day become. As if these family photos were not convincing enough, Bob’s Mom ends each shared memory with the repeated refrain, “Art was not a part of our lives.” Whatever it was that taught Rauschenberg to see the world through his distorted kaleidoscope lenses is a wonder and will remain a mystery much like his vividly odd collages.

All the rest is simply off-the-wall non-sequiturs featuring some amusing anecdotes on relationships, acceptance, and love—if one is intent on ferreting out a theme here. It is better not to try to interpret or judge the merits of each scene, but rather to sit back and let the scenes roll on by like a passenger on a journey through a strange landscape or lucid dream. Eventually, nonsense becomes perfect sense in this wonderland filled with delightful, whimsical characters.

Where else can one find a Roller Girl (Breeze Braunschweig) gliding by on retro-styled skates, while a man dressed in a chicken suit crosses the stage? Then there is the shaken, not stirred body writhing martini bath or the random attack on a metal trashcan with a baseball bat. A pizza delivery boy (John Charles Meyer) recounts his homicidal past with casual indifference while Phil, the Trucker (Danny Parker-Lopes) delivers his own brand of torture with a series of chicken jokes—actually, the one about the egg is pretty funny. While these particular characters and scenes do not directly relate to Rauschenberg himself, they do capture the essence of his work.


Music numbers liven up the uneasy transitions with line dances and hoe downs choreographed by Ken Roht. Marina Mouhibian’s set design utilizes the open wings on of the proscenium, filling it with splattered canvases and bric-a-brac in keeping with Rauschenberg’s technique. A bicycle and a High Flyer cart hang from the catwalks and the otherwise minimalist space finds room for a ten-foot high stack of cardboard boxes.

Bob Rauschenberg would probably reject the idea of anyone trying to review this play. His vision defies interpretation, went against the grain of it, and like him this production by TheSpyAnts Theatre Company shouldn’t be read by proxy, but seen without any expectations. In the nonsensical yet cogent world of Rauschenberg, the best review for this show would be to tell a chicken joke and end with that.

Q: Why did the chicken cross the playground?
A: To get to the other slide.
Fin

bobrauschenbergamerica
Runs through Feb 28
Thurs, Fri, Sat at 8pm
Sundays at 3pm & 7pm
[Inside] the Ford
2580 Cahuenga Blvd. East
Hollywood, CA 90068
PH: 323-461-3673
www.FordTheatres.org

Actor's Reporter video on "bobrauschenbergamerica"

Here is a post from our own Kim Estes on Actor's Reporter.com, which features a short video about the show, including introductions by the cast, and director Bart DeLorenzo.

A clip from the first production of "bobrauschenbergamerica"

This is a clip from the first production of bobrauschenbergamerica by the SITI Ensemble in 2001.



Link

A Curtain Up review of "bobrauschenbergamerica"

A CurtainUp Los Angeles Review
bobrauschenbergamerica

By Evan Henerson

Look, everything overlaps, doesn't it? Is connected some kind of way. Once you put it all together, it's just obvious. I mean, tie a string to something, and see where it takes you.

When you think about it, this was really a match made in mashed-up paradise. Robert Rauschenberg, the American collageist as seen through the eyes of Charles L. Mee, a playwright who borrows everything from everywhere — mythology, current events, soap opera strands — and tosses it all up on stage in a big crazy quilt that somehow fashions itself into a play.

Director Bart DeLorenzo of the Evidence Room and the members of the SpyAnts Theatre Co. all clearly have the bug, and have brought the L.A. premiere of Mee's bobrauschenbergamerica to the Ford Amphitheatre's inside space. The play is Mee's take on how Rauschenberg, who died in 2008, might have seen the world had he been a playwright instead of a sculptor. The results are delightful if seriously quirky, — a series or largely unrelated musings on love, life, art, existence, the cosmos and cornball chicken jokes, not necessarily in that order of importance.

There is a script (it's up on Mee's (re)making project website, www.charlesmee.com), but DeLorenzo's cast makes you feel like the universe could tilt ever so slightly and some things would end up differently. Indeed, here's betting that the group of elderly barbershop singers who came in for a parade sequence might give way to different roadside entertainment at a subsequent performance.

Our players are a derelict (played by Brett Hren),. . .a stargazer (Eric Bunton) and his dancer lover (Mark Slater) . . . a trucker (Danny Parker-Lopes) and his bathing beauty girlfriend (Maria Tomas) . . . a fickle love-seeking woman dressed up in Jackie O regalia (Jennifer Etienne Eckert) and the man she dumped (Adam Dornbusch). . . a disturbing pizza delivery guy (John Charles Meyer) named Bob and Bob's Mom (Mari Marks). Bob's Mom is either supposed to be Rauschenberg's mother or the pizza delivery boy's. I'm not sure which. I'm not sure Mee intends us to know for certain.

Rasuchenberg is honored in the title, and there are various slideshow musings by Bob's Mom that frequently end with "art was not a part of our life." Otherwise, it's not difficult to see where Rauschenberg ends and Mee begins. Many of the playwright's signature oddities — spontaneous dance numbers, non sequiter emoting, extended musing on love — play giddily across DeLorenzo's staging. That said, the spirit of Rauschenberg is duly honored by DeLorenzo and company.

Props and set pieces, curios of all sorts dot Marina Mouhibian's set. The trucker's girl plays checkers from a rusty bathtub bearing a "No Parking" sign. A door frame, with a stuffed heron perched atop, evokes an empty and decidedly surreal landscape. Plaudits to prop master Hal Perry for finding a 12 foot bowling pin that never even gets used.

Mee's plays are not for the shy, and the cast members attack their roles with gleeful abandon. Particularly fetching is Eckert's Susan, defending her romantic choices while devouring the contents of a cake pan, and Tomas pouring out the ingredients for a martini on a plastic floor canvas and then proceeding to slosh through it. Parker-Lopes, sporting a trucker's beard, smoothly handles an assortment of wince-inducing chicken jokes, and everyone moves gracefully or with appropriate abandon to Ken Roht's choreography.

Praise also is due Breeze Braunschweig as the always skating, never speaking Roller Girl, a vision in 70s era beach shorts and tube socks who proves that you don't need lines to have an impact. What Braunschweig's Roller Girl is doing sitting at the same picnic table as Becker, Carl, Susan and the rest is anybody's guess. In the landscape of Mee's Rauschenberg, everything kind of melds even as it clashes. That's kind of the point.