ATLAS PIT CAST AND CREATIVE TEAM ANNOUNCED

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We are excited to announce the Cast and Creative Team for our newest play

The World Premiere of

ATLAS PIT or THE GARBAGE MAN’S SON

Performances run September 30th-October 23rd

Limited Engagement

for Tickets Please Visit our Online Box Office at

Brown Paper Tickets

CAST
(In order of appearance)

Josey Montana McCoyJosey Montana McCoy (Felinus Oswald Black) Josey is an Ovation Award-nominated actor originally from Kentucky and is currently vice-president of The Los Angeles New Court Theatre. He’s stoked to be sharing this story with the world. LANCT credits include: Jason & (Medea), The Feast, I Love You, You’re Perfect…, and Fools. Other LA theatre credits include: Floyd Collins (Ovation and LADCC Nominee – Best Featured Actor), The Pokemusical, Empire Burlesque, Bronies, and Justin Love. You can hear Josey voice a few different characters in Ever After High and Monster High films; see him teach science on Youtube’s Hot Wheels Labs; and during the week he hangs out with Sven in Frozen Live at the Hyperion at Disney’s California Adventure! Thanks to his amazingly supportive Appalachian family and his lovely lady Josie.

Deverau Chumrau**Devereau Chumrau (Gray Harlow) Devereau Chumrau is honored and thrilled to be making her LA New Court Theatre debut! A Los Angeles native, Devereau studied West African Theatre and Dance in Ghana before completing her BA in Theatre at CSUN. She earned her MFA in acting at the FSU/Asolo Conservatory, and has worked on stage and screen nationally and internationally. Her favorite past television/film credits include Dexter, Key & Peele, Twilight Saga Stories: We’ve Met Before, Raising Whitley, and the recent award-winning Clone Counseling; her favorite stage credits include Miravel (Sacred Fools) Beauty Shop (Wilshire Ebell), The Mystery Plays (Visceral Company) (for which she won the StageScene LA ‘Scenie’ Best Dramatic Actress). She immensely thanks the entire team of Atlas Pit, the LA New Court Theatre, and her beautiful family and friends: I love you all!

Nancy Stone* **Nancy Stone (Linda Black) Atlas Pit is Nancy’s second show with Los Angeles New Court Theatre; she also appeared in Speech & Debate in 2013. Other Los Angeles shows include Washer/Dryer with East West Players and Love’s Labor’s Lost, Tartuffe, Embedded, Ass, and Alagazam! at The Actors’ Gang. Her on-camera work includes: (TV) Bones, How I Met Your Mother, Big Love, and E.R. (Film) Dara Ju, Saint Janet, American Pie 2, and By Hook or By Crook (Sundance 2002). Nancy started her performing career as an improviser and loves to laugh. @nancykstone

Daniel BraunsteinDaniel Aaron Braunstein (Mark Geissman) Daniel is originally from the Northern Virginia area and went to Virginia Commonwealth University where he earned his BFA in Theatre Performance. This is his first production with the Los Angeles New Court Theatre Company and he couldn’t be more thrilled! Daniel was previously seen in the Actor’s Project production of The Hare Who Cried Ant. Most recently he assistant directed Porno Dido by Sean Graney at the Hollywood Fringe Festival. Daniel would like to thank Alex, Beth, and the whole production team for this wonderful opportunity. As always much love to Mom, The Mustache Man, Ben, and Jahn. Love you guys and thank you for always supporting me.

Herman Johansen* **Herman Johansen (Norman Black) Herman is an actor, director and writer based in Los Angeles. Theatre credits include The Odd Couple (with George Wendt), The Front Page, Omnium Gatherum, Fiddler on the Roof, The Master Builder, Copenhagen, American Buffalo, Free Man of Color, The Boys Next Door and Brighton Beach Memoirs, Dial M for Murder, Noises Off, Of Mice and Men, Moon Over Buffalo, Arsenic and Old Lace, Harvey and Leading Ladies. He worked as a guest artist at UWF in Pensacola on 5 productions of A Christmas Carol. Directing credits include Man of La Mancha, Our Town, Caldwell’s Bomb and Agnes of God. His full length drama, Fading Light, was selected to be part of 2015 The New York International Fringe Festival. www.hermanjohansen.com

MichaelChandler**Michael Chandler (A Stranger) Michael’s thrilled to be part of this original play and to be working with a wonderful ensemble. His film and TV resume includes Real Rob, Anger Management, Criminal Minds, Monk, Love Bites, and The Young and the Restless, along with voicing characters in Disney’s animated series Penn Zero and playing Barbie’s dad in the animated feature Barbie: Starlight Adventure. Michael wrote, produced, and acted in the short film Unconditionally, which was nominated in several festivals and won Best Soundtrack at the Action On Film Festival.

*Member of Actors Equity Association, the professional union of actors and stage managers.
** Member of SAG


CREATIVE TEAM

Beth Lopes (Director) Beth is delighted to be working with LA New Court Theatre again after directing last year’s award-winning Jason & (Medea).  She received a BFA in Drama from New York University and an MFA in Directing from UC Irvine. Some of her recent projects include Hamlet with New Swan Shakespeare Festival, The Winter’s Tale with San Antonio Shakespeare in the Park, and the development of the new rock musical, The Merry Lives of Windsor High, with Los Angeles company mediaV.  Visit www.bethlopes.com for more information.

Alex Burkart (Playwright) Alex a theatre artist and the founder of the Los Angeles New Court Theatre. He has an MFA in Performance Pedagogy from Virginia Commonwealth University and a BFA in Musical Theatre from Webster University. Atlas Pit is his first full-length play. www.alexburkart.com

Josh Gannon (Assistant Director) Josh is excited to be assistant directing for ATLAS PIT! He received his BA in Film from San Francisco State and is ready to jump into theater production. Thank you to Emily, Alex and Beth for the opportunity!

Becka York (Stage Manager) Becka is honored to join the premiere production of Atlas Pit. Previous stage management credits include The Hamlet Project and Los Angeles New Court Theatre’s production of Jason & (Medea). She has also assisted productions for the Hollywood Fringe Festival and Center Theatre Group.

Morgan Lindsey Price (Set Designer) Morgan is a scenic designer and mixed media artist based in Los Angeles. She received her MFA in Scenic Design for Theater from the University of California, Irvine.  Favorite design collaborations include Hamlet with director Beth Lopes at The New Swan Shakespeare Festival and The Electra Project at UC Irvine with director Mihai Maniutiu, Artistic and Executive Director of the National Theatre in Cluj, Romania. Morgan was the recipient of the VectorWorks International Design Scholarship Award in 2015.

Toranj Noroozi (Lighting Designer) Toranj Noroozi works predominantly as a lighting designer. She is an enthusiastic artist, photographer and film maker. Toranj completed an MFA degree in Technical Theatre at California State University Long Beach in 2015. Her undergraduate background is in Architecture, and she has been working with The Ruzika Company as an architectural lighting designer since 2014. Toranj has collaborated with directors, choreographers, visual artists and companies, including California Repertory Company, Inked Dance Company and Long Beach Playhouse, Theater Planners. She has exhibited her photography in Manifest Gallery, 9th Annual Mater Pieces exhibition. Toranj is the recipient of an award for USITT’s Ideal Theatre Student Competition in 2012.She collaborated with her group of pears to participate in The Space Lab Street Performances for Prague Quadrennial of Performance Design and Space in 2015.

Emily Fisher (Costume Designer) Emily is the secretary of the Los Angeles New Court Theatre. She is also a performer and is currently going to be presenting her original one-woman-show I Was Robbed! This coming November. www.emilyafisher.com.

Isaiah Howell (Sound Designer) Isaiah Is in his third year at Virginia Commonwealth University, pursuing a degree in Lighting Design with a concentration in Sound Design. Previous TheatreVCU positions include Urinetown (Assoc. Sound Designer), and It’s a Wonderful Life: A Live Radio Play (Sound Designer, Foley Designer) He recently finished a contract at Kent State’s Porthouse Theatre working as an A2/Mic technician for their summer season. He is very excited to be working with Alex again, and is ecstatic to be working with LANCT.

Kyle Acheson (Composer) Kyle is a composer, music director, and actor in Brooklyn. Recent projects include The Waterman: a Forgotten Cascadian Myth (Ars Nova); This Ain’t No Disco! (Atlantic Theatre); What’s Your Wish? (Access Theatre, NYC Fringe); eversion (Ars Nova, Dixon Place). Kyle is a founding member of the musical theatre ensemble Thicket & Thistle. Proud graduate of the Webster Conservatory of Theatre Arts. kyleacheson.com

Ken Werther (Press Agent) Ken Werther Publicity has been a staple in the Los Angeles performing arts community since 1982. Public relations, producing, directing. As producer: All Your Hard Work, The Good Boy, The Importance of Being Earnest and The Taming of the Shrew (Queer Classics). Assistant director: Stop the World, I Want To Get Off (Musical Theatre Guild), The Women of Brewster Place (Celebration Theatre), The Woodsman (Courage Theatre Company). For a complete listing of PR activities, visit www.kenwerther.com.

“50 Shades of Shakespeare” Cast and Creative Team Exposed

LANCT Logo

is proud to announce the cast and creative team

for our Hollywood Fringe production of

50Shades

For Times and Tickets Please Visit Hollywood Fringe


jess-shoemaker-headshot-blueJess Shoemaker- Director

Jess Shoemaker is a freelance director, text coach and playwright. Recently she has served the Great River Shakespeare Festival as a director and educator during their educational residency, as well as season text coach and assistant director on Troilus and Cressida, Much Ado About Nothing and King John. She works regularly with Grandstreet Theatre, where she last directed A Midsummer Night’s Dream. Her play Jason & (Medea) has been produced in Chicago, Indianapolis and Los Angeles – where it won the Stage Scene LA award for Best Drama. After she leaves Los Angeles and The New Court, she’ll be returning to the Great River Shakespeare Festival to text coach/assistant direct As You Like It.

Josie AdamsJosie Adams- Associate Director

Josie Adams was recently seen in LA New Court Theatre’s The Feast, Jason & (Medea) and Bekah Brunstetter’s Little Man, the World Premiere. National Tours: A Christmas CarolMagic Tree House. Regional: Paul Gordon’s Emma (Rep. Theatre St. Louis), 25th Annual….Spelling Bee (Grandstreet Theatre). Film & TV: Big Eden and 90210. She is so proud to be involved with the LA New Court Theatre!

White_Brian_HS-2Brian White- Text Coach

Brian is excited to be working on this project with these wonderful people as a text coach. He is a company member at the Great River Shakespeare Festival, fairly recent transplant to L.A. from NYC, and a proud BFA graduate of Webster. Directing: Julius Caesar and Twelfth Night: or What You Will with the Shakespeare in the Schools program. Actor: (Off-off Broadway) The Twelfth Labor, Flanagan’s Wake, Henry V, The Taming of the Shrew; (Regional) Claudio, Much Ado About Nothing; Benvolio, Romeo and Juliet; Horatio, Hamlet; Brian, Complete Works of William Shakespeare (Abridged); Great River Shakespeare Festival; Rudge, The History Boys; Repertory Theatre of St. Louis. Thanks to the LANCT and Jess for the opportunity to work with this wonderful creative team.


CAST

Noah JamesNoah James

Noah James is an LA based actor from Tempe, Arizona. He Graduated from New York University’s Tisch School of the Arts, as a member of the Meisner Studio, The Experimental Theatre Wing, Stonestreet Studios, and abroad at the Royal Academy of Dramatic Art. His LA theater credits include: The Odyssey Theatre’s Broadway Bound directed by Jason Alexander, The New American Theatre’s 63 Trillion, Boys’ Life, A Midsummer Night’s Dream, and The Blank Theatre’s Knockout Mouse. TV/FILM credits include: La La Land, Gilmore Girls: Seasons, 90210, Soul Song, My Best Friend Ben, and Dog it Down. Represented by Media Artists Group and Bensky Entertainment.

Jordan MannJordan Mann

Jordan Mann, LANCT member and graduate of NYU Tisch, is beyond excited to be in this production of 50 Shades of Shakespeare! This show has improved her flexibility, aroused her artistry, and opened her right up. No stranger to role play, she has so enjoyed getting deep inside every character. She hopes this will be as good for you as it was for her, and that you will come over and over and over again

Kelly NienaltowskiKelly Nienaltowski

Kelly is a Michigan native who graduated with a BFA in Acting from Webster University’s Conservatory of Theatre Arts. With nearly 20 years of performing experience, she continues to work in Los Angeles both on stage and in film. Recent credits include the world premiere of Drempels at the Santa Monica Playhouse, Parallel Worlds: A New Rock Music Experience which blends film, live theatre and music, and a supporting role in the feature film Inheritance. This summer she will costar in another feature film, and record season 2 of the comedic scripted sci-fi podcast The Theatre of Tomorrow. She’s a proud member of The Los Angeles New Court Theatre, appearing in their past productions of Neil Simon’s Fools and Shakespeare’s Twelfth Night. Kelly is thrilled to be reunited with the Bard while making her Hollywood Fringe Festival debut in LANCT’s production of 50 Shades of Shakespeare.

EVCommWebEddie Vona

Eddie Vona is super excited to be playing all his dream roles in this play! He is a proud LANCT company member and was recently featured in the 2016 Cricket Feet Showcase. LA credits: Madhuri Shekar’s In Love and Warcraft (Artists At Play, West Coast Premiere), Bekah Brunstetter’s Little Man (LANCT, World Premiere), Stephen Karam’s Speech and Debate (LANCT). NY credits: Lend Me A Tenor and This Is Our Youth (Hangar Theater). He would like to thank Jess for the challenge and his cast mates for their generosity. Eddie attended The Stella Adler Studio at NYU: Tisch. EddieVona.com.

Play Reading of ATLAS PIT at Samuel French Bookshop

This January, the Los Angeles New Court Theatre presented a reading of Alex Burkart’s new play Atlas Pit or The Garbage Man’s Son at Samuel French Bookshop.

Reading-2
Pictures from “Atlas Pit” reading at Samuel French Bookshop

 

ATLAS PIT centers around 18-year-old Felinus Oswald Black (Ozzy). A year prior to the play’s main action, Ozzy’s girlfriend (Gray) drowned in an old gravel quarry turned pond located in Milton, WI. The sudden death sentences Ozzy to an erupting depression, resulting in him running away from home and shutting himself up within a seedy apartment flat. In a continued effort to find escape, Ozzy stumbles upon a brand of heroin that brings the user so close to death “that they see those waiting for them on the other side.” Atlas Pit is inspired by the myth of Orpheus and Eurydice and explores the ideas of addiction, love, life, and death.

The play also features original music by Kyle Acheson with additional lyrics and assistance by Corley Pillsbury.

If you are interested in reading Atlas Pit please feel free to e-mail to Alex at alexburkart@gmail.com.

AtlasPit-Poster

Casting Notice for Celine Song’s “The Feast”

The Los Angeles New Court Theatre is casting the opener of their 4th Season, The LA Premiere of Celine Song’s “The Feast”

Auditions are by appointment only, 10-2 pm on September 8th and 9th at CAZT. Email Headshot/Resume to josielanct@gmail.com for an appointment.

Rehearsals begin September 20th, the show plays November 7-21st.

Shows will be at Astroetic Studios. Astroetic Studios is located at: 224 E 11th St. Los Angeles, CA 90015

 

SEEKING:

WENDY – Female. Married to Francis, a doctor. Late 20’s to early 30’s. The perfect host and perfect wife. Wendy would like you to believe she has it all together, but underneath her outward appearance, there is an uneasy sense that she is unraveling. We should feel that she may unhinge at any moment. She has a very large, beautiful smile, with an unsettling display of teeth.

SAM – Female. Friend of Francis, married to Rhett. Mid to Late 30’s. Sam doesn’t suffer fools. She’s a touch vain, but there is a vulnerability to her vanity. She is very open about her selfishness. Her marriage to Rhett is a bit ala Martha and George. Sam is not afraid to tell it like it is.

RHETT – Male. Married to Sam. Mid to Late 30’s. A bit uncouth and gruff. Rhett is always a few drinks ahead of everyone else. He may have been good-looking in his youth, but has let himself go lately. There is a deep sadness underneath his outward hardness.

XANDER – Male. Mid 20’s. A neurologist who works in a lab. Friend of Wendy and Francis. Xander is slightly odd looking, skinny and wears glasses.

FRANCIS – Male. Wendy’s husband. Early 30’s. A neurosurgeon. Francis should be very handsome and fit.

Jess Shoemaker Spills Her Guts Over Her New Play “Jason & (Medea)”

Playwright Jess Shoemaker Spills Her Guts Over Her New Play

Jason & (Medea)

Amy Hayes and Wisdom Tooth (www.wisdomtooththeatreproject.org) sit down with Jason & (Medea) playwright Jess Shoemaker to discuss her new play.

Jason & (Medea) will be making its west coast premiere this June apart of the Hollywood Fringe Festival.

Tickets can be purchased at the Hollywood Fringe website by clicking here


How is this play both “classic” and new?

Jess Shoemaker: Willa Cather has a beautiful quote about there being only two to three human stories that go on repeating themselves as fiercely as if they had never been told. I think every story, if told from a true and human perspective, is both new and ancient.

What I would say helps the play to feel new is that the plot and themes of the myth speak directly to a culture that is grappling with the concept of both outsiders and female equity. That made “updating” the play very easy.

How did the idea for a Medea update come to you?

JS: Ah! The original idea belongs to my brilliant colleague, Janet Howe. She wanted to tell the part of Medea’s story that rarely gets told, the love story, but she wasn’t a writer. I was and I said yes. Having a team of people around you that challenges and supports you in collaboration is invaluable.

With what do you hope audiences will leave this play?

JS: Probably all playwrights hope people leave their plays having seen themselves in some moment of the play, having recognized something in an ancient story… that feels true to them today.

Specific to this piece? There are a couple of moments in the play that were written to spark debate about what really happened in the space between two people. Human relationships are so nuanced and difficult to interpret and digest. I think that’s true in life and I certainly hope it’s true in this play! If audiences leave with a recognition that what happened between Jason and Medea was not one person’s fault, that their world was exploded by two different people, I accomplished what I wanted to accomplish.

You’ve woven story elements from mythology and from your own imagination into these characters and their story. How did you balance and marry the two? For instance, Medea is quite funny in your play; how do you justify that quality with what she ends up doing?

JS: Hmmm. Well the seed of each character is based in where they end up. I looked at where each character started, and where they ended up and how the character got themselves to that point. In terms of the contradictions, I suppose I wanted to interrupt our expectations, keep us honest about these being real people. We perceive Medea as a grandiose tragic figure and the humor makes her real. We think of Atalanta as a statuesque, virginal goddess and I tried to make her the opposite of that. Their stories are both the same – but they look different than we originally pictured them. And we like it that way. I just… I hate very few things more than I hate type-casting.

What’s your favorite moment in the play?

JS: The Princess scene! It was written near the end of my process. I’d been reading and scribbling and typing and tearing my hair out for a full year. And I woke up at 3:00am, grabbed my computer and the scene was… just there. It was like transcribing something from someone else’s brain and it tickles me as though I did not write it.

JasonandMedea

Meet the Cast and Creative Team for “Orphans”

Meet the Cast and Creative Team for the Los Angeles New Court Theatre’s Season Finale:

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ORPHANS

Buy Your Tickets for this production by clicking here


CREATIVE TEAM


Samson Kohanski (Director)

Samson Kohanski is a young director out of New York City. He graduated from Brandeis University with degrees in Theatre Arts and Music Composition. His passion for the theatre extends to his work as director, designer, writer and actor. He was the resident designer for The Freeplay Theatre Cooperative and an assistant to the Sound Designer at the Brandeis Theatre Company and the American Repertory Theatre where has also performed in a number of plays including The Lily’s Revenge (written by Taylor Mac). His work has been in festivals in New York and he has traveled to the Shanghai International Experimental Theatre Festival to perform with the Wandering Fools in Caucasian Chalk Circle. He is thrilled to be working with the LA New Court Theatre on this production of Orphans.

Grace Earley (Stage Manager)

Grace Earley is excited to have had the opportunity to join the Orphans cast & crew as stage manager.  Grace is a recent transplant to LA after recently graduating with a BFA in theatre performance from Virginia Commonwealth University, where she stage managed and assistant directed productions such as Mike Bartlett’s Bull and Contractions.  Some performance credits include, Regan in Bachelorette, Mona in Monroe, and a featured comedian in A Night of Stand Up Comedy, all at small Virginia theaters that you’ve probably never heard of.  She is greatly looking forward to all that’s to come from LA and LA New Court Theatre.

Sean A. Cote (Set Designer)

Sean A. Cote is originally from the New England area and he has worked in theater and film for much of the past decade as a designer, performer, playwright, puppeteer and technical director. Past designs include “Children of Eden” and “Thoroughly Modern Millie” (AMDA); “Election Day” and “The Country Club” (Happy Medium Theatre); “Mistakes Madeline Made” (Holland Productions); “After the Quake” and “The Overwhelming” (CompanyOne). He was nominated for an Independent Reviewers’ of New England ‘Best Solo Performance’ for his role in “Junkie” by John Shea (Argos Productions). He has an MFA in Scenic Design and Technology from UMASS-Amherst. Sean is delighted to be collaborating with Los Angeles New Court Theatre and with Samson on “Orphans.”

Brian Barraza (Lighting Designer)

Brian is born and raised in Los Angeles California and studied technical theatre at California State University Northridge. He’s had the opportunity to design all aspects of design, but lighting has really sparked his interest. Brian is currently working on Untethered at the Mountain View Mausoleum which opens in May. It is a goal of Brian’s to help bring theatre to inner cities and expose today’s youth to an art form that has been so influential in is own life.

Jillian Clark (Costume Designer)

Jillian Clark is a Boston native who escaped the snow to to sunny California, to work as a designer for television, film and theater. Other theater credits include ‘Romeo and Juliet’ Happy Medium Theatre Company, ‘The American Plan’ Happy Medium Theatre Company, ‘Chicago’ MetroStage Company, ‘The Blue Room’ Speakeasy Stage. She has also worked on films such as The Heat, The Judge, Welcome to Me, Soaked in Bleach and Broken Vows.

Matt Franta (Fight Choreographer)

Matt Franta has been designing and choreographing violence for over a decade. Companies he has worked with include The Long Beach Playhouse, Good People Theatre Company, Phantom Projects, Make Believe Stage Productions, and The Visceral Company. Matt holds a BA in Drama/Speech from Clarke University, and is a graduate of the International Stunt School in Seattle. He is a member of the Society of American Fight Directors, the International Order of the Sword & Pen, and he currently teaches stage combat at Swordplay LA in Burbank. www.MattFranta.com


CAST


Matthew Grondin (Phillip) 

Matthew Grondin HS

Matthew is excited to be working with LA New Court for the first time – thanks for having me on board! Past theatre credits include: Good People (Ensemble Theatre Company), Everything You Touch (Theatre @ Boston Court), A Moon for the Misbegotten (Rubicon Theatre), Ah Wilderness! (Antaeus ClassicsFest), the NY Premiere of Friends Like These (Cherry Pit Theatre), Rabbit Hole and Spinning Into Butter (Actor’s Co-op), This Is Our Youth (TAC Theatre), Proof (Noisy Nest), and Granite – a play he wrote and directed. Currently, he is working on his second play (with a writing partner this time) – and they hope to put that up this coming fall. He is a member of Antaeus Theatre Company’s A2 Ensemble. Big thanks to Samson, Ashley and this terrific cast and crew. And thank you, the audience, for supporting live theatre.

Nathan Lee Burkart (Treat)

10416648_10100939424872488_5706716263372856714_nNathan is a native from Janesville, WI and has been involved with theatre in some way his entire life.  He has worked professionally on-screen and on-stage including projects with the Repertory Theatre of St. Louis, The Beloit New Court Theatre, Jack and Jill (produced by and starring Adam Sandler), Women Behind Bars (WE Entertainment), and has worked with the great Edward Albee personally with a reading of Me, Myself, and I at Playwrights Horizons (NYC). Other stage credits include: Warren in This is Our Youth (LANCT), Sebastian in Twelfth Night (LANCT), Antipholis in The Comedy of Errors, Ellard in The Foreigner, Stanley Jerome in Broadway Bound, Arnold Epstein in Biloxi Blues, Snoopy in You’re A Good Man Charlie Brown, and Tom Trainor in No, No, Nanette.  Commercially he has had multiple national spots for McDonald’s, along with ads for Chase and Hyundai. Directing credits include: Speech & Debate (LANCT), The Prettiest Girl in Lafayette County, and an original sketch piece titled The Final Cut. He received his BFA from Webster Conservatory of Theatre Arts in St. Louis, MO.

 Warren Davis (Harold)

Warren Davis headshotWarren Davis began his acting career in Chicago, where he appeared at The Goodman Theatre (The Visit), Drury Lane Oakbrook (The Nerd), Drury Lane South (Love, Sex and the IRS), National Jewish Theatre (Rocket to the Moon and The Wizards of Quiz), and Lifeline Theatre (The Little Sister) among others. LA credits include Bulrusher (Skylight Theatre / LDTE), The Diary of Anne Frank (NoHo Arts Center), A Christmas Twist (SeaGlass Theatre), Dean Donofrio’s Everything is Different But Nothing Has Changed (Theater Asylum), The Crucible (Lillian Theatre), The Car Plays at Segerstrom Center for the Arts, The Chinese Massacre (Circle X), Slaughterhouse Five (Action! Theatre) and The Book of Liz (Blank Theatre).   TV credits include “The Middle”, “Criminal Minds”, “House”, “ER”, “LAX”, and “Strong Medicine”.   He can also be seen in the sci-fi cult feature, “Yesterday Was A Lie”, and online in the web series, “You Don’t Know Dick”. (www.youtube.com/ydkdseries)

Meet the Cast and Creative Team for “I Love You, You’re Perfect, Now Change!”

Meet the Cast and Creative Team for the Los Angeles New Court Theatre’s first ever Musical Production:

I Love You, You’re Perfect, Now Change!

Buy Your Tickets for this hilarious production by clicking here

CREATIVE TEAM

EMILY A. FISHER (DIRECTOR)

Emily is thrilled to be back with the LANCT, this time as a director! You may have seen her in several New Court shows, including Fools, A Piece of My Heart, and Speech & Debate. Her previous directing/choreographing credits include: The Moonlight Room (St. Louis), The World Goes ‘Round (Insight Theatre Company), Pique Dame (Union Avenue Opera), The Long Red Road (Webster University) and Only Remembered, an original piece commenting on how war affects the lives of all.  Other credits include: The Music Man, Thoroughly Modern Millie, 100 Saints You Should Know, Carousel, Equus, Damn Yankees, The Sound of Music, Lucky Stiff, Loves Labours Lost, and Moon Over Buffalo. She is currently performing in Dames at Sea in Ashland, Oregon. www.emilyafisher.com


NATHAN LEE BURKART (CO- DIRECTOR)

Nathan is a native from Janesville, WI and has been involved with theatre in some way his entire life.  He has worked professionally on-screen and on-stage including projects with the Repertory Theatre of St. Louis, The Beloit New Court Theatre, Jack and Jill (produced by and starring Adam Sandler), Women Behind Bars (WE Entertainment), and has worked with the great Edward Albee personally with a reading of Me, Myself, and I at Playwrights Horizons (NYC). Other stage credits include: Warren in This is Our Youth (LANCT), Sebastian in Twelfth Night (LANCT), Antipholis in The Comedy of Errors, Ellard in The Foreigner, Stanley Jerome in Broadway Bound, Arnold Epstein in Biloxi Blues, Snoopy in You’re A Good Man Charlie Brown, and Tom Trainor in No, No, Nanette.  Commercially he has had multiple national spots for McDonald’s, along with ads for Chase and Hyundai. Directing credits include: Speech & Debate (LANCT), The Prettiest Girl in Lafayette County, and an original sketch piece titled The Final Cut. He received his BFA from Webster Conservatory of Theatre Arts in St. Louis, MO.


JENNIFER LIN (MUSICAL DIRECTOR)

Jennifer Lin holds a degree in Music Composition from UCLA and works as a music director and accompanist throughout Southern California. Credits include Things to Ruin, Fellowship! The Musical Parody of The Fellowship of the Ring, Bronies! the Musical, Sweet Charity, See What I Wanna See, The Wild Party, as well as The Pokémusical, which won Best Musical in the 2013 Hollywood Fringe Festival. In addition to working in theatre, Jennifer teaches at Experience Music Academy and the Lee Strasberg Theatre and Film Institute. Many thanks to LA New Court Theatre for letting her be a part of this show!


JOSH GANNON (STAGE MANAGER)

Josh is excited to be stage managing ILYYPNC! He joined the company earlier this season by stage managing the first show, Little Man. He is enjoying learning more and more about putting a theatre production together, and loving that he can finally speak about himself in the third person. Theatre is the best. He would like to thank Nathan and Emily for the opportunity to work with them.


CAST

THE WOMEN

Jennifer Losi
Jennifer Losi

JENNIFER LOSI

Jennifer is overjoyed to be back on the New Court stage in another dream role, after playing Olivia in Twelfth Night. Other favorite credits include City of Light (Laura), Pirates of Penzance (Mabel), Once in a Lifetime (Susan Walker), Accelerando (She), and the world premiere of American Storm (Bonnie). Jen holds a degree in theatre from Washington University in St. Louis, and promises she’d never try to change you.

Sara Gonzales
Sara Gonzales

SARA GONZALES 

This is Sara’s first show with LANCT and she couldn’t be more excited about it! Sara recently graduated from Webster Conservatory with her BFA in Musical Theatre. Since then, she has been keeping busy performing in cabarets and Children’s musicals, such as Rapunzel at Glendale Centre Theatre. She’s also had the honor and pleasure to perform and workshop multiple new musicals. She recently was a part of NMI’s popular 15 minute musicals at the Lonny Chapman. She was also seen in the workshop performance of City of Light at the Beverly Hills Playhouse. She’s looking forward to returning to the City of Light world, when she performs at the 2015 ASCAP/Dreamworks workshop with Stephen Shwartz, Sara also dabbles in the world of Jazz music, winning several national awards and performing internationally. Much love to M,D,G and D. ENJOY THE SHOW!

Rachel Pallante
Rachel Pallante

RACHEL PALLANTE

Rachel is elated to be making her LANCT debut while escaping the harsh winters of Chicago, where she resides. This marks her 10th musical production since graduating; including, cabarets, new works, and two American Premieres. Outside of playing pretend, Rachel enjoys biking, hula hooping, and singing female vocals in Chicago’s Grateful Dead tribute band, Paradise Waits. Thanks to Mum, Dad, and all my fearless friends. MAKE ART! rachelpallante.com


 

THE MEN

Ainsley Emrys
Ainsley Emrys

AINSLEY EMRYS

Ainsley is excited for his Los Angeles stage debut with I Love You, You’re Perfect, Now Change! Other stage shows include Jerry in The full Monty (where he received the nomination by Broadwayworld.com for Best Lead Actor in a Musical), Curly in Oklahoma!, as well as many others. If you’d like to see more check out some of his sketch comedy: Ainsley Emrys on YouTube.

 

Josey Montana McCoy
Josey Montana McCoy

JOSEY MONTANA McCOY

Josey is a proud LA New Court company member and is super happy to be a part of its first musical! Hailing from the Bluegrass state, Josey graduated from the University of Kentucky (BA, Journalism). He loves his UK Wildcats and is a Green Bay Packers Shareholder. LA credits: Floyd Collins (Ovation Award Nominee – Best Featured Actor), Bronies! The Musical, The Pokémusical, Justin Love, Fools, & Sweet Charity. Other favorite credits: Ragtime (National tour), Big River, Into the Woods, All Shook Up, & Hairspray. Josey sends thanks to his awesome family, amazing LA friends and his love Josie, whom should definitely not change!

Tyler Beveridge
Tyler Beveridge

TYLER BEVERIDGE

Tyler recently moved to Los Angeles from Houston, Texas. He is excited to do his second show with the LANCT, after appearing in last season’s opener, Twelfth Night. He graduated from Webster University with a BFA in Acting. He has performed in such shows as The Winter’s Tale, Putnam County Spelling Bee, On the Razzle, and Our Town. In his spare time he enjoys laughing, hanging out with his friends, and looking for the next great opportunity.

 

 

ILYYPNC Poster

Chatting with: Bekah Brunstetter


The Los Angeles New Court Theatre chats with
:

BEKAH BRUNSTETTER

Little Man
Little Man

Director and Los Angeles New Court Board Member, Kyle Hester, chats with Little Man playwright Bekah Brunstetter about her upcoming play, her own class reunion, and writing for television.  Little Man will be having its world premiere October 17-26th at the McCadden Theatre Center in Hollywood, CA.  It is produced by Eddie Vona and is presented by the Los Angeles New Court Theatre.

To buy tickets click here.


Director Kyle Hester: Can you talk a little bit about how the idea of the play came to you?

Playwright Bekah Brunstetter: When I got the invitation to my high school reunion, I immediately decided I was going to write a play about it. I really like giving myself assignments and living my life while ALSO calling it research. It felt like a good way to turn a potentially hilarious and awkward experience into a MASTERPIECE! Or at least a play. I started working on it before the actual reunion, then finished it after. I was fascinated by my own strong desire to definitely fly back home and definitely miss work and definitely attend this reunion. I realized that I felt like I was a much better version of myself now than I was in high school (I was quite overweight and wore 97% old men’s clothes from Goodwill and was pretty self-conscious and not confident, but I guess, weren’t we all?) and so I wanted to go to the reunion and show that. Prove that. So I was thinking a lot about that when writing the play. Mostly I was thinking about people who peak in high school vs. people who don’t, and how the things that happen to us in those four years leave incredibly deep scars that we spend our adult lives trying to surgically remove.

KH: Exactly, and a lot of your plays deal with characters who find themselves on the borderline between adulthood and youth, and concern their decisions to either hang back or move forward. Is this a theme that you’ve been consciously exploring?

BB: Absolutely. As you get older, you keep waiting for that moment when you feel like a grown up — but it never comes. Sure, you start to notice that maybe like, you’re buying yourself nicer sheets, are taking adult gummy vitamins, are caring less about what people think of you, but I mean you never quite feel the intelligence or emotional maturity that you associate with your perception of adulthood. And honestly — I don’t know if we ever will. I have such clarity now on what was going on in my head in middle and high school, so I find myself writing and thinking a lot about those times. Maybe when I’m 50 I will understand myself now. I hope!

KH: One of my favorite parts of the show is Ken Strong’s portrait, which is in the background of pretty much every scene. I love the two weird levels it operates on: both as an awkward centerpiece to the play, making an already kind of cheap event tackier somehow, but also profoundly deepening the reunion with a kind of memento mori, as though he had somehow peaked so hard in high school he literally couldn’t live in the real world. Where did he come from?

BB: I love that character/set piece, too. And can I just say: the portrait you made is beyond perfect and my new favorite prop and also thing in the whole world. Ken is an odd blend of fiction and reality: at my high school, there was a really lovely guy, Kent: very popular, very smart, and from what I recall, also very kind. He was liked by everyone and was kind and fair to everyone. He had tons of promise, but he was tragically killed in a car accident shortly after college graduation. At my reunion his absence was looming. His absence was felt, and sort of — ripped us all to a place where we were questioning our own lives. He was dead, we were alive. What were we doing with our lives? We deserved our lives? As I started crafting Little Man, I thought it would be interesting/terrible if this same guy was the guy who made Howie’s life miserable. That felt complicated to me in the best way.

KH: I was struck by the role that money and career success plays in these characters’ lives and their perceptions of how happy they are. Jed, Wendy and Andy are barely scraping by, Melissa’s parents just stopped paying her rent, and Howie lives in a weirdly uncomfortable luxury born out of his entrepreneurism. The Millennial generation has in some ways been defined by its relationship to wealth and class, its struggle to find employment in the wake of the Great Recession and its choice to reject or embrace the more traditional lifestyle of the generation that came before. Can you talk about that a bit in relationship to your work?

BB: I think the money thing relates to the thing I was rambling about regarding how we never feel like grown ups, not ever. Money provides security, but what I’ve found (after being broke for so long, and then finally starting to make some dough from TV work) is that mo’ money, mo’ problems, if you will. With money comes greater anxieties, and also a fear that your priorities and values are going to shift. A fear of becoming more material or shallow. I think about that a lot. I don’t want to ever become complacent. Howie’s got more money than he knows what to do with — but he still feels empty. As for the rest of the characters, there’s something so frustrating and sickening about growing older, like years are passing, but you don’t have the money to buy the things that match the age you are supposed to feel, or provide for the family that you made.

KH: You’ve been writing for television for several years now. How has your background in the theatre informed your writing on TV, and vice versa, anything you’ve learned on TV that has influenced your writing for the stage?

BB: I’ve found TV writing to be incredibly challenging, because as a playwright, I’m not very structure-oriented, I’m much more focused on language, characters, stage images and explosive moments. I’ve definitely had to re-train my brain to think story, how to twist one in a surprising way. I’d that say theater has taught me first and foremost how to communicate with actors and directors, and in terms of the actual writing, how to avoid cliche/really think about the specifics of moments and the people inside of them that make magic. With TV, time is certainly money — you write, but then you’re trimming and trimming and trimming to get the script down to a certain page count. Every scene must be moving the story forward. That’s been something that’s been hard to shake as I work on plays, but honestly, I think it’s been a good lesson for me to learn — now when I’m working on a play, I’m a bit more economical, and I think my storytelling instincts have gotten better, which is to say, I actually have them now.

KH: You’ve talked before about your preference for ambiguity and theatricality, for worlds with weird rules or undefined settings, as long as they’re grounded in some kind of reality. What about that appeals to you?

BB: For me, a play should be grounded in the real world, because that’s how I can access it emotionally, and so that it can be accessible by a broader audience — it’s very important to me for my plays to be relatable, for people to be able to see themselves in the plays happenings and characters. But also, plays should NEED to be plays. They should not be quick TV scenes, cinematic. They should hopefully explode in a surprising way and go deeper emotionally. There should be awkwardness and time travel and in the genius stage directions of Sarah Ruhl, characters suddenly turning into almonds. Just because. Because Plays.

KH: One last question! Everyone watching at home is dying to know: who did you wear to your reunion?

BB: Right after grad school I went straight into temping, all sorts of weird and oddly rewarding jobs — one week, I was assigned to organize clothes for an Eileen Fisher sample sale (for those who aren’t familiar with the brand, it’s a collection of very expensive and very sort of large and floppy and wonderfully soft clothes for middle-aged women) and at the end of the week, we were allowed to TAKE WHATEVER WE WANTED. I scored this black shirt dress thing that maybe is supposed to be a top for a middle-aged woman, but I wear like a straight up child’s dress. And this, my friends, is what I wore to my reunion. Also I should note that the day before my reunion, I hurt my back just by WALKING UPHILL in my parent’s neighborhood, so beneath said dress, I wore a back brace and spent the first few hours leaning against a wall. As the chardonnay went in, away went the pain.


 

For more information about Bekah Brunstetter check out her website by clicking here.  We hope to see you all at Little Man this coming October!

ABOUT BEKAH BRUNSTETTER’S “LITTLE MAN”

TICKETS CAN NOW BE PURCHASED USING OUR ONLINE BOX OFFICE


LITTLE MAN

ABOUT THE PLAYWRIGHT: BEKAH BRUNSTETTER

Bekah hails from Winston-Salem, North Carolina, and currently lives in Los Angeles.

Plays include Going to a Place Where You Already Are (South Coast Rep Commission), Cutie and Bear (Upcoming, the Roundabout) A Long and Happy life (Naked Angels Commission), Be A Good Little Widow (Ars Nova, Collaboraction, The Old Globe), Oohrah! (The Atlantic Theater, Steppenwolf Garage, the Finborough Theater / London), Nothing is the end of the World (except for the end of the world) (Waterwell productions), House of Home (Williamstown Theater festival) and Miss Lilly Gets Boned (Ice Factory Festival.)

She is an alumni of the CTG Writers Group, Primary Stages writes group, Ars Nova Play Group, The Playwright’s Realm, and the Women’s Project Lab.

She has previously written for MTV (Underemployed; I Just want my Pants Back) and is currently a Story editor on ABC Family’s Switched at Birth.

BA UNC Chapel Hill; MFA in Dramatic Writing from the New School for Drama. (biography from www.bekahbrunstetter.com)


Kyle Hester
Kyle Hester

ABOUT THE DIRECTOR: KYLE HESTER

 Kyle is a graduate of NYU Tisch, where he studied at the Stella Adler Studio of Acting and the Royal Academy of Dramatic Art in London. Previous directing credits include Assassins and The Play About the Baby. Thank you to his family for their love and support, Eddie for his tireless work as both producer and sensible sounding board to the director, Bekah for both writing and allowing us to produce her extraordinary play, and LANCT for the opportunity to bring it to the stage.


 

CAST: 

Eddie Vona
Eddie Vona

Eddie Vona (Howie) is originally from Hollywood…Florida! He is more than excited to work with LANCT again as both actor and producer this time around. He attended The Stella Adler Studio at NYU Tisch and is a founding member of Street Shakespeare (streetshakespeare.org). Past credits include: Speech & Debate (LANCT), Lend Me a Tenor and This Is Our Youth (The Hangar Theatre), Dinner at Eight (dir. Robert Moss). Special thanks to Bekah, Nathan and my darling. www.eddievona.com


 

Brandon Bales
Brandon Bales

Brandon Bales* (Andy) is an actor and writer who has appeared in the world premiere of Terrence McNally’s Some Men at the Philadelphia Theater Company, OffBroadway in 13P’s production of Have You Seen Steve Steven? (also at the Sundance Lab), as well as the world premiere of Leegrid Stevens’s The Dudleys! LA theatre credits include Sarah Doyle’s Feeling Feeling (Fringe) and Joseph Fisher’s In the Canopy of the Forest (Open Fist). TV: Review, The Black Donnellys, and Law and Order (both regular and SVU flavors). Brandon’s cocreated short series American Friends was recently featured at Funny or Die.


 

Jordan Mann
Jordan Mann

Jordan Mann (Wendy) is a Nashville native with a background in improv and dance. She graduated NYU Tisch, and continues to study at the Art of Acting Studio and the Upright Citizens Brigade Theater. Her previous roles include That Girl Right There, Who Just Crossed Behind Leighton Meester! and I Should’ve Taken The Drugs: A Live Action Birth Story (starring role circa 1989). She asked to leave you with this proverb, When it comes to bacon, yes.

 


 

David Silavin
David Silavin

David Silavin (Jed) is originally from Sunnyvale, California. After graduating from Saint Mary’s College with a BFA in Acting, he moved to LA in 2012 for the Art of Acting Studio’s Two Year Professional Conservatory. His recent theatre credits include Tracers, Reasons to be Pretty, and Big Love. David is thrilled to join LANCT for their production of Little Man!

 


 

Marianna Caldwell
Marianna Caldwell

Marianna Caldwell** (Stefanie) is a native Iowan, who recently moved to LA from New York City, where she graduated with her MFA in Acting from Columbia University. She is beyond thrilled to be part of the premiere of this wonderful play with LANCT. Previous credits: The Tempest (Classic Stage Company), The Government Inspector (3Legged Dog), Measure for Measure, The 39 Steps (Hudson Valley Shakespeare Festival). Love to my CUGA family, esp. Greg. www.mariannacaldwell.com


 

Josie Adams
Josie Adams

Josie Adams* (Melissa) returns to the LA New Court Theatre, having performed in Fools, the company’s first production. National tour credits: A Christmas Carol, Magic Tree House. TV & Film: 90210 and Big Eden. Theatre (selected): Emma (St. Louis Rep), 25th Annual…Spelling Bee (Grandstreet Theatre), Campaign (The Met Theatre) and The Producers (MacLeod Playhouse). She is a proud Montana native with a BFA in Musical Theatre from Webster Conservatory. Much love to her family and Josey!

 

* Denotes member of SAG-AFTRA

** Denotes member of AEA, the professional union of actors and stage managers.


Little Man Poster

Beveridge, Fink, McLaughlin, and Stroud Raising Funds for Millennial

Company members Tyler Beveridge, Greg Fink, Callen McLaughlin, and Andrew Stroud are raising funds for the pilot episode of their comedy “Millennial.”

Contribute to their Kickstarter campaign and watch their video by clicking here.

These are some crazily talented actors, with an incredible sense of timing and artistry.  The LANCT is proud to have them a part of our company.  Tyler, Greg, and Callen all appeared in last season’s production of “Shakespeare’s Twelfth Night,” and Andrew Stroud starred as Dennis in “This Is Our Youth” during our very first season.

Andrew Stroud in "This is Our Youth"
Andrew Stroud in “This is Our Youth”

 

From Kickstarter:

“Millennial is a comedy about a group of friends chasing their childhood dreams despite their incompetence, bad luck and selfishness.”
“Ethan Fink is involved in a workplace accident that threatens not only his career but the careers of his roommates as well. Will his friends come to his aid in this time of crisis or cast him aside to protect themselves? Meanwhile Keefer, a roommate, is dealing with some troubling personal problems that threaten the financial stability of the house.”

“Our immediate objective is to successfully reach our funding goal which will give us the necessary budget to shoot the pilot episode for Millennial. The episode will be broadcast online in the standard TV runtime of 22 minutes.”

“Our crew has been developing this script for over seven months, and we’re confident we have created an entertaining, funny, and buzz worthy pilot. In fact we believe in this project so much that we are funding 50% of it with our own money. But we need your help to see it through to completion.”

“Once fully funded we will keep you updated and informed on the process throughout filming. After shooting two test scenes we have come up with an accurate and reliable timeline for the completion. We will need three weekends (9 days total shooting) in August and September to deliver a finished product in October. While there’s always a chance of delays due to cast availability, unforeseen problems, or a zombie apocalypse we are fully confident we can deliver the finished pilot in that time. More importantly, we are confident that we have developed a product that you would be proud to be a part of.”