Mary-Beth Manning in “Mother”

Mother, directed by Diana Castle, is written and performed by Mary-Beth Manning, who voices her mother with an off-putting New York accent. The remarkable Mary-Beth performs her 90-minute one-woman show without the aid of props, exists, video screen, off stage, or even a glass of water. Adorable to look at with trim body, short blond hair and fetching eyes, she holds her audience with sheer confidence, energy and enthusiasm.

A skilled performer, she runs the emotional gamut, from age five when she’s convinced her mother is trying to kill her with trainted food in her lunch bag to her difficult adult year, while coping with her mother’s breast cancer. As a child Mary-Beth thinks of her mother as half nice and half nasty. The nasty side is exhibited in frequent outbursts caused by an unsatisfactory relationship with her Irish husband. Her mother is fixated on Italy and an Italian husband for Mary-Beth. She is convincing as her father, too. As a teenager, she and her mother enjoyed The Sound of Music with Julie Andrews, and come full circle years later with her mother in Los Angeles when they see Julie Andrews dining in the same restaurant.

Mary-Beth, who is close to her mother, needs to talk to her every day, and to tell her everything, gets quite emotional when she faces the truth that her mother is actually dying. A perceptive moment is when she wants the death to be over with, so she can get on with the mourning.

Mother is at the Studio at the Elephant Theatre, 1078 Lillian Way, Hollywood. Performances: Fridays and Saturdays at 8 p.m., ending June 12. No shows June 4-5. Tickets: $15. Seating is limited. For reservations and/or information call (323) 960-7714.

Kres Mersky in “The Life and Times of A. Einstein.”

Directed by Paul Gersten with effective stage business and featuring a mesmerizing presence of Kres Mersky (who intelligently wrote the one-woman show The Life and Times of A. Einstein) the play is both captivating and enlightening, and gives a fascinating look at the personal side of Albert Einstein. Mersky plays Ellen, his secretary for 35 years, complete with German accent. We never see Einstein who is at a seminar and due to arrive shortly for his birthday celebration. Ellen cleverly addresses the crowd of supposed press members from her well-appointed office in Einstein’s home in Princeton, New Jersey, moving about removing inappropriate decorations her dense new assistant Anna had put up such as a banner that reads “It’s a Boy.” She has a long conversation with Anna at the bakery where she has purchased a chocolate birthday cake. Ellen strongly suggests she change to vanilla, because Einstein is allergic to chocolate.
Charming throughout, Mersky tells humorous and educational anecdotes beginning when she applied for the job at 17. She was told the requirements were that she would drive, could type, and shoot a rifle. When she first met Einstein, he asked her qualifications. She replied she didn’t know much about science but could handle a gun. Einstein said: “You’re hired.” Einstein received so many death threats he needed protection.
She poignantly relates one of her last discussions with Einstein, who suffered from self-doubt and fears he is a fool. Mersky is clearly moved by the death of Einstein who she calls “the greatest Jew since Jesus.”

“The Life and Times of A. Einstein” is at Theatre West, 3333 Cahuenga Blvd. West, Los Angeles. Performances: Saturdays at 8 p.m. and Sundays at 7 p.m., ending May 16. Tickets: General Admission: $18; Seniors (65+) and Veterans (with I.D.) -$15; KCRW members – $14; Current Military (with I.D.) – $9, Students (25 and under with I.D.) – $5.00. There is free parking in a lot across the street. For reservations: (323) 851-7977.

Shoshannah performs in “That Hoochie.”

“That Hoochie,” written by and starring Shoshannah, is a one-act, one-woman play directed by Antaeus M. Gayles. Shoshannah as Shovanda Thomas is presumably in a therapist’s office, sitting in a chair, relating her life story. The only problem is that she is hard to understand half of the time, because she delivers her lines in a loud, high shrill voice with a Southside Chicago street dialect. That said, the partisan audience laughed frequently.
She’s much better in the many characters she assumes, from a high-class woman to a sexpot, the costume changes are done in blackouts, some long, some short.  The costumes are well-made and suit the character. She also turns into her two boyfriends, Rico and Terence, and as a boy she is unrecognizable. And more than that, she can be understood because she lowers her voice and enunciates her words. She brings to life her cousin Juanita who goes with her to nightclubs to meet men and to forget her troubles, which include three small children at home. The flashing lights of the nightclub, the blackouts, the crying baby in one scene and the “Good Times” theme song, are all done by an expert sound and lights designer. Shoshannah is easy to look at, with a striking figure she flaunts around the stage. As an actress she is effective deploying her state of being a single mother of four kids, who are fathered by three men, and acts out a convincing rape scene in the bathroom of a club.

“That Hoochie” is at the Write Act Repertory Theatre, 6128 Yucca Street, Hollywood.  Performances: Mondays, Tuesdays and Wednesdays at 8 p.m., ending March 31.  Tickets: $15, or $10 for groups of four or more, seniors and students.

Remember what your teacher say, “You’ll only ever get C’s & D’s - not an A.” (L-R): Cockroach (Jay Jimerson), Proper Boy (Darryll Scott), Baby Cockroach (Duane Avery), Monsta (Joseph Alvarez), and Beanstalk (Guy Williams).

“Jungle Kings” is an original play written and directed by Rain Wilson, and takes place in an inner-city prison. The set design by Mark Macaulay is effective with tall metal bars on either side of the stage evoking jail cells, and a rundown alley in the middle for scenes outside.
The subject matter questions whether prison is to rehabilitate or vegetate, and attempts to explain reasons for crime and captivity. The clichéd monologues do not shed much light, but the performances are mesmerizing, and all should be mentioned: Joseph Alvarez, Guy Williams, Darryll C. Scott, and Spencer M. Collins.
Most outstanding are Cockroach (Jay Jimerson), Baby Cockroach (Duane Avery), The Hypnotist (Gregory C. Netts), and the Professor (Robert DoQui). Each of these actors posses charisma, and none so powerful as the Professor, who desperately tries to build up Baby Cockroach, who is appearing before the parole board the next morning. He fervently pleads: drop the cockroach identity, you are Jason Watts. The Hypnotist, resembling the devil, laughs at that, and does his best to tear down and belittle, also becoming his vicious mother as she screams at him, “You’re no good.” Baby Cockroach shot a 14-year-old boy encouraged by the father figure Cockroach, who claims the more people you kill, the more people will be afraid of you. However, pulled down by the poverty of the ghetto, there is still hope at the end of this sad scenario. Sound effects by Michael Cole are appropriate police and ambulance sirens.

“Jungle Kings” is at The Raven Playhouse (5233 Lankershim Blvd., North Hollywood). Performances are February 26-27 at 8 p.m., and February 28 at 7 p.m. General admission is $15 with group discounts available. To order tickets, call (800) 838-3006, or call the reservation hotline at (818) 332-4196.

Billie Hall in “Confessions of a Vintage Black Queen!”

“Confessions of a Vintage Black Queen!” is a powerful one-man play written by and staring Billie Hall and skillfully directed by Paul Storiale. It is a painful look at his childhood filled with child abuse, rape, molestation, church abuse, homophobia and racism, and how he has survived, partly by escaping into his dream world populated by the glamour girls he adores.
When Billie puts on a fancy hat and uses a different voice, he is Miss Koko (his angry side) spouting course language, or Miss Champagne (his flamboyant side) with plenty of furs, or Miss Fannie (his spiritual side). In all these guises, Billie explodes with high energy and passion. As Miss Champagne, he plays the piano, in turn, bluesy and gospel, and sings with raw emotion.
Horrific scenes are with his mother and father, who cannot and will not accept his being gay, and they try to beat it out of him. With chilling effect, Billie becomes his violent father and his crazy mother. Similar abuse is depicted at the Santa Barbara church he attends. He and friend Eddie are the only gays in the choir and they experience rampant prejudice and name-calling.
More entertaining are Billie’s expert lip synching to Diana Ross, wearing a flouncy red dress and black wig, and his imitation of Moms Mabley, using some of her comic routine. His scene at the death bed of his friend Eddie tears at the emotions and Billie’s heart-rending performance of “My Life” is electrifying.

“Confessions of a Vintage Black Queen” plays at The Avery Schreiber Theatre (11050 Magnolia Blvd., North Hollywood, CA) every Friday and Saturday in February at 8pm. Tickets are $20. For reservations or more information, please call (818) 762-0057.

Messing with our brains? In Sean Abley’s “Dr. Frankincense and the Christmas Monster,” the mad (not E-V-I-L) scientist Dr. Frankincense (Brad Griffith) and his assistant Myrrh (Dylan Vox) hold the final key. Or do they?

“Yardsale,” written and directed by Lisa Martin Capozzi, precedes Dr. Frankincense and is, in turn, preceded by caroling and juvenile jokes by pianist Brian Nassau. The highlight was “12 Days of Christmas” sung with audience participation.
“Yardsale” has no center and is made up of various scenarios: a DJ interviewing Frank Sinatra, a blond actress applying makeup for the Oscars with, maybe, her daughter attempting to sing “Summertime” and a bearded mystery man who silently intrudes on the action.
“Dr. Frankincense and the Christmas Monster,” written and directed by Sean Abley, is hugely inventive with high-energy and colorful characters. Dr. Frankincense is a misunderstood mad scientist (not an evil scientist) who is on trial before the Christmas Supreme Court, charged with attempting to ruin Christmas. To placate the townspeople and judges, he creates a benevolent Christmas Monster from the leftovers of Christmases past.
Strong performances are by Dr. Frankincense (Brad Griffith), his assistant Myrrh (Dylan Vox), Christmas Monster (Walker Davis) and Mrs. Evergreen (cute as a button Libby West). Stellar performances are Dr. White (Sam Hill, with a comedic style reminiscent of Dom Deluise), Mrs. Noel (Alexandra Billings, stealing every scene she’s in with her forceful personality) and Ghost of Christmas Past (Tchia Casselle, who stays in character as a perfect lush constantly drinking from her flask).
One of the funniest lines among many is when a judge asks Mrs. Noel if Billy is her only son. She answers with humorous intent, “Yes, he is the first Noel.”

“Dr. Frankincense and the Christmas Monster” is at the Write Act Repertory Theatre (6128 Yucca Avenue, Hollywood, CA). Performances are Thursdays, Fridays and Saturdays at 8pm, ending December 19. Tickets are $15 with discounted rates of $10 for seniors, students and groups. For more information, call (323) 469-3113.

(L-R): Tim Coultas (Pride), Rocky Benoit (Lust), Lance Delgado (Sloth), Elena Fabri (Avery), Holly Clapham (Gluttony), Vito Viscuso (Envy) and Jason Fox (Wrath). Not pictured–Bradley Hasemeyer (Greed).

“Sin,” written by Wendy MacLeod and directed by Tony Savant, is riveting theater. Set in San Francisco on the eve of the earthquake of 1989, “Sin” features an astonishing performance by Elena Fabri (Avery) who is the beleaguered air traffic reporter for a local radio station. She appears in every scene, matched in intensity by her fellow actors: Pilot Fred (Vito Viscuso) who bitterly rages against the promotion of Jason (Jason Fox) to news director, which he wanted; her gluttonous roommate and envious friend Helen (Holly Clapham); separated husband Michael, an alcoholic doctor; she visits in a bar, first accosted by barfly Louis, a lustful poet (Rocky Benoit), has a disastrous blind date with Jonathan (Bradley Hasemeyer); and in one of the most realistic and harrowing encounters, she visits her brother dying from AIDS, Gerard (Tim Coultas).
Makeup is exceptional, showing sores on his neck, arms and face with red eyes. He conveys a troubled mind, calling himself a “deathbed bore,” and thinks he has “consumptive charisma.”
Pilot Fred, jealous of his new boss, gears his helicopter (good sound effects by Michael Miraula and Tadamori Yagi, as well as the simulated earthquake in the Gerard scene) from the Golden Gate Bridge to Jason’s house against the protests of Avery. She erupts in meeting with Jason and is unfairly fired from her job when she refuses to fire Fred.
The writing is above par, with biting dialogue vividly expressing the seven deadly sins: Pride; Wrath; Greed; Lust; Envy; Gluttony; and Sloth.

“Sin” is at the Playhouse West Repertory Theatre (Studio 2, 10634 Magnolia Blvd., North Hollywood). Performances are: Friday, December 4 at 8pm and Sunday, December 6 at 7pm, ending Sunday, December 11 (2pm matinee and at 7pm). Admission to all performances is FREE (donations accepted). For reservations or additional information, visit www.playhousewest.net.

David Ross Paterson and Katelyn Ann Clark.

“Mrs. Cage” is a psychological drama written by Nancy Barr and directed by Barbara Bain.   It features two outstanding actors, making a tedious play worth sitting through.  Mrs. Cage (Katelyn Ann Clark) is being investigated for murder by Lt. Angel (David Ross Paterson) in an interrogation room.
Mrs. Cage says she is there to tell the truth.  However, for most of the play she rambles on, goes off on conversational tangents and deflects Angel’s questions.  And it also becomes clear she is delusional over bus boy Billy at the supermarket.
Billy is killed by a thief who at gunpoint grabs a purse from Mrs. Cage’s nemesis, Phyllis Dean whom Billy is helping to load her grocery bags.  Mrs. Cage’s fingerprints are on the gun she picks up when the suspect drops it.
Mrs. Cage is fixated on Billy.  She notices everything about him, thinking he flirts with her and repeats the Rawhide song just for her. Clark, in a pleasing vocal, sings the Rawhide song.
She goes on about being the subservient housewife for 27 years, ironing the sleeves and cuffs of her husband’s shirts, only to be told that she should send the shirts out. It makes no difference to him.   Her fragile mental stage is affected by this dismissal.  And her daughter doesn’t respect or like her.
Katelyn Ann Clark, whose face expresses a myriad of subtle emotions, is mesmerizing.  Lt. Angel finally says “I think something bad caught up with you today.” And the truth finally comes out.

“Mrs. Cage” is at The NoHo Actors’ Studio at 5215 Lankershim Blvd., North Hollywood.?Performances:  Saturdays at 8 p.m., and Sundays at 2 p.m., ending December 20.
General Admission:?$13.  Seniors/Students with ID:  $11.
Reservations & Information:  (818) 761-2166 or www.thenohoactorsstudio.com.

(L-R): Ben Campbell and Bradford Rosenbloom.

“Love Will Tear Us Apart,” written and directed by Michael Hyman, is a bleak play about a young, gay man Nicky (Bradford Rosenbloom) who hears the voice of his former lover Sean (Ben Campbell) while extremely drunk. Rosenbloom is absolutely believable as the tormented Sean stumbling around his living room in present day New York. He portrays the drunken state to perfection—unsteady, breathing heavily and starts to snore when he lies down on the sofa—after grasping bottle after bottle of vodka and popping some pills.
We soon hear the well-modulated voice of Campbell off stage, invading Nicky’s dreams. He tells stories, asks questions, recites philosophy, recounts sexual adventures (including their first kiss lasting 228 seconds), as Nicky tries to cover his head with his blanket and cover his ears to drown out the sound. Sean admonishes Nicky for having sex with boys every night in bars but making no connection, and giving a strange phone number when asked. He asks him “Who will you love in your world of constant strangers?” He brings up Todd, a friend who apparently loved both Nicky and Sean. Todd died, and the retelling of his funeral becomes an extended elegy. In one of his few outbursts, Nicky, whose eyes remain vacant, says their kiss lasted 229 seconds not 228. Then the voice appears in the flesh, still not noticed by Nicky. Sean asks Nicky if he remembers the joke about Blackie the talking dog, providing the only moment of levity in the play.

“Love Will Tear Us Apart” is at the Hudson Guild Theatre (6539 Santa Monica Blvd. in Hollywood). Performances are Thursday, Friday and Saturday nights at 8pm, and Sunday nights at 7pm ending December 13. All tickets are $18. Tickets are available by calling (323) 960-5773 or online at www.plays411.com/theloveplay.

David Storrs and Elizabeth Schmidt in “The Play about the Menu at Simon’s Coffee Shop.”

Passions is a one-act series in the 15th year of the Moving Arts One-Act Festival. “The Play about the Menu at Simon’s Coffee Shop” is by D.T. Arcieri and directed by Josh Galitsky. Vicky (Jill Saunders) works for Ray (Nicholas Forbes) who obsesses over metaphysical questions and is after Vicky to have a sexual relationship, without any luck. At Simon’s Coffee Shop, Vicky’s lustful husband the chef (David Storrs) is carrying on an affair with waitress Anne (Elizabeth Schmidt) and who have heated discussions about the menu.
Most entertaining is He Said, She Said by Lee Wochner and tightly directed by Ross Kramer. In a crowded bar, Herb (Bostin Christopher) sees in the corner a petite woman in funky attire and big hair, open a notebook, take a microphone from her satchel and start reciting poems, each one more raunchy. Rebecca Davis as Amanda reads with gusto the perverse imagery of the words which lead to a night of sex with Herb, who will never see her again.
Another richly imaginative one-act is Move by Trey Nicholas and directed by Lee Wochner. With a realtor (Laura Buckles), a young couple has decided to buy an old house where, on the back wall, stands an immobilized ghost on a platform wearing a housecoat and with ghastly makeup (a totally unrecognizable Rebecca Davis). He (Brian P. Newkirk) has a habit of blogging and soon develops an unhealthy relationship with the ghost Molly B., much to the displeasure of his wife (Elizabeth Ann Harris).

“Passions” is at the Son of Semele Theater (3301 Beverly Blvd., Los Angeles, CA). Performances are Fridays, October 23 and October 30 at 8pm. Tickets are $18. To purchase tickets or for more information, visit www.movingarts.org or call (323) 666-3259.