Louise Davis and Joanna Miles in “Women in Shorts.”

Women in Shorts is six short plays performed by two remarkable actors: Joanna Miles and Louise Davis. The attractive park set is by designer Thomas Meleck.

“Park Strangers,” written by Brian Connors and directed by T.J. Castronovo, sparkles with snappy dialogue between veteran actress Miles and fledgling actress Davis, who first meet as participants in a commercial. Davis, who describes herself as “crude, rude and lewd,” talks a different language than Miles, who tolerates her.

“The Great Outdoors,” written by Tom Baum and directed by Asaad Kelada, portrays a woman alone on a park bench lost in her thoughts when her worried daughter comes looking for her and relationship problems surface.

“Sisters” is sharply written by Gloria Goldsmith and directed by Judy Chaikin. Grace is in the position of having to bail out her financially irresponsible sister again, which includes a poignant reading of the poem from Winnie the Pooh.

“Magic Rabbit,” written by John Fazakerley and directed by Robert Burgos, is about Mary, a homeless woman (effective costume design by Betty Madden) claiming to have a magic rabbit, and Evie, a society woman who’s surprised when she realizes who Mary really is.

“Divorces R Us,” written by Jim McGinn and directed by Bennett Cohon, features Miles as Dr. Happiness — there to help an unhappily married lady — and has a twist ending.

“The Ladies of the State,” written by Miles Brandman and directed by Matthew Reilly, shows an emotional Davis as she pleads for her son to avoid being inducted into the Army.

Women in Shorts is at the Working Stage Theater, located at 1516 N. Gardner St. in Los Angeles. Performances are on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. through March 20. Tickets are $20. For reservations, call 1-800-838-3006. There is street parking available.

The cast of “Urned Happiness.”

Ernest Kearney, writer and director of Urned Happiness, is tasteful in many ways, except in his humor, which is very broad. The show’s set is artfully appointed, intermission music is appropriately funereal-like, and the costumes and props are well-chosen. On the wall is a highlighted photograph of a scowling woman who has just died. Two sisters are in the living room of Kim’s house.

Kim (Julie Mann) cared for her the past year, which subsequently drove her husband Lloyd (Joe Corgan) to leave one night, only to return nine months later for the funeral. The daughters describe their mother as being full of hate and vitriol, with strong opinions against everything and everyone, never showing love or affection. But in one of the funniest moments, her sister Maggie (Kal Bennett) adds in a deadpan manner, her mother never spoke ill of the Chinese; there was something to admire about the country’s large population.

The urn causes the participants to fight in well-choreographed mayhem over who’s going to keep the ashes no one wants. Lloyd’s silliness is offensive. His wife Kim, small and feisty, shows a strong dislike to his behavior. Maggie displays credibility and her responses, which range from shock to outrage, seem natural. Maggie’s husband Randy (Gary Rubenstein) is a milktoast, drinking on the sly, afraid of his wife’s wrath. Mr. Bilbo (T.J. Marchbank) is an outrageously dressed clown hired by Lloyd. Maggie goes berserk and zaps him. He recovers to ruefully observe the feverish antics.

Urned Happiness is showing at the T.U. Studios, 10943 Camarillo St. in North Hollywood. (At the intersection of Vineland and Lankershim.) Performances are on Fridays, Saturdays and Sundays through February 6. There won’t be any performances during Christmas weekend. Tickets are $20; $12.50 for seniors, students and PWA; and group rates are available. For reservations, call (800) 838-3006 or visit http://BrownPaperTickets.com.

The first singer was Tina Coleman, possessing a big voice and good mike technique, singing “Great is Thy Faithfulness.” Next was Brother James with a softer, more lyrical voice as he sang “I Really Love the Lord.” Brother James used a professional tape with a choir on it. Lonny Gibson followed, singing “Jesus Loves You,” and a second lovely song with taped choir “Another Blessing.”

Daphne Harris, wearing tall black boots and a tight fitting short dress, performed well, reaching out to the audience to communicate the words to “Jesus, Jesus, How I Love to Call Your Name.” DeeDee Parker sang a serious song “I Came to Tell the Truth and Tell It Like It Is.”

The DeForce Dancers provided a refreshing change, two young women and one man wearing black tops and white pants, did choreographed interpretative dancing with the male performing outstanding gymnastic movements to “I Know My Redeemer Lives.”

Then Yvette was introduced as being a co-producer filling in for an act, and she was the crowd pleaser playing the keyboard in classic boogy woogy and singing two original songs with great emotional impact. The audience stood and clapped to her rhythm. Debra Harris sang “Jesus is the Best Thing That Ever Happened to Me,” and with the Debra Harris Band of two guitars, keyboard and drums, her talented daughter danced.

The Thanksgiving Holiday Gospel Extravaganza is at the CAP Theatre, at 13752 Ventura Blvd. in Studio City. Their next show will be their Christmas Holiday Gospel Extravaganza on December 19 at the CAP Theatre at 6:00 p.m. Tickets are $15.00. For further information, call (323) 441-5755.

Andrew David James (left) as Sir Andrew Aguecheek

The California Shakespeare Company, originally directed by William H. Fisher and re-directed for the space by Brandon Shirley, has produced a most delightful and entertaining Twelfth Night, suitable for anyone from three to 93. Made easy to follow by actors who speak Shakespeare in a clear and natural cadence and who relish their characters, the show, with music by Cole Porter and fast-paced direction, causes the action to zip by.

The show’s title bears no relation to any event within the story by instead centers on love in its various forms. The play takes place in summer in the mythical city of Illyria, and was written for amusement.

The action involves Viola (Allison Williams) effectively playing Cesario, in a male disguise of a suit, tie, short hair and glasses, acting as a messenger for Duke Orsino (Daniel Tobin). He is hopelessly in love with Olivia (Vivien Latham) except Olivia recently bereaved is attracted to Cesario. Three essential characters are the clowns: Sir Toby (Palmer Scott), who plays a fun-loving uncle with his little Oliver Hardy mustache. He normally plays tricks on Sir Andrew (Andrew David James), the bumbling simpleton knight. Then there’s Maria, Olivia’s maid (Marilyn Zaslow). Malvolio, Olivia’s steward (Terry Fishman) is especially understandable and adds some gravitas to the frolic.

Feste the Fool (Mark Tortorici) opens the play, singing “Night and Day” in a pleasing baritone voice. He narrates and performs with gusto. Among many Cole Porter songs featured are “You Do Something to Me” and “From This Moment On.”

Twelfth Night is at the NoHo London Music Hall, 10620 Magnolia Blvd. in North Hollywood. Performances run Friday, November 26, and Saturday, November 27 at 8 p.m. The last show is on Sunday at 3 p.m. Tickets are $15 for adults and $12 for students, seniors and military personnel. Tickets are available at the box office or at www.shakespeareca.com.

Jeffrey Nordling and Jeanne Syquia in “The Autumn Garden.”

The Autumn Garden by Lillian Hellman is a reflective piece from the foremost playwright of our time, having authored The Children’s Hour, The Little Foxes and Toys in the Attic, among many others. Hellman, however, considers The Autumn Garden to be her best work and the one she enjoyed writing the most. Reminiscent of Chevkov, this three-hour play leisurely evolves to reveal seven old friends in the autumn of their lives, trying to sort out the truth of their existence through finely nuanced performances, and takes place in the guesthouse of a former mansion outside of New Orleans.

The exquisite set design by Tom Buderwitz fills the entire stage and features a patio with metal latticed walls, sliding doors, and a liquor cart, and in the main room, lovely Victorian furniture and a frequently used staircase. Director Larry Biederman moves his actors about in a most natural and deft manner.

Every cast member has his or her moment in the spotlight, but the most memorable performances are by Kurtwood Smith as General Griggs, who is resolutely resolved to end his marriage to flighty Rose, (Rhonda Aldrich) trying in vain to regain her youth, the grandmother Mrs. Mary Ellis, (Dawn Didawick) who gives a feisty no-nonsense performance, and the flashy Nick, a failed artist, (Jeffrey Nordling) and his caustic wife Nina (Kitty Swink). (As a drunk, Nordling has no equal.)

Also notable is Josh Clark as Edward Crossman, the loner of the group, who is mistakenly in love with lovelorn Constance (Shannon Holt).

The Autumn Garden is showing at the Deaf West Theatre, 5112 Lankershim Blvd. in North Hollywood. Performances are Thursdays and Fridays at 8 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m. and 7:30 p.m., ending December 19. Tickets for Thursdays and Fridays are $30 and are $34 for Saturdays and Sundays. For reservations, call (818) 506-1983, or visit www.Antaeus.org.

Frank Simons, left, and David Allen Jones in Bobby and Matt now at

Bobby and Matt, written and directed by Kevin Cochran, features two accomplished actors: Frank Simons as Bobby and David Allen Jones as Matt. The simple set is made up of two chairs with built-in lecterns. The format is similar to “Love Letters” in which the two actors read letters and notes to each other.

They don’t look at each other and indeed during the first act they lowered their eyes too much while reading. You could close your eyes and not miss a thing, but you will still be aurally captivated by the vocal nuances and emotional expressions as the two men fully inhabit their characters.

Their letters begin at age eight as classmates in 1959. Bobby and Matt vocally express juvenile subjects. Years pass and now they are in high school and the topic turns to sex. However, Matt, the good Catholic, is slow to partake. The difference between the two friends is helped by the casual dress of Bobby and the more formally garbed Matt. Matt is a military brat. At 18 he joins the Army and is sent to Vietnam. Bobby meanwhile has become a renowned gay writer, unbeknownst to Matt, who is quite homophobic.

Matt’s experience in Vietnam is poignantly written. He’s wounded and receives the Purple Heart and Medal of Honor. The play, which overuses the word “ironic,” has Bobby wounded at Kent State during anti-war riots. Matt rises to the rank of Brigadier General. In the second act, their ongoing relationship changes dramatically and is perfectly resolved.

Bobby and Matt is at the Grove Theater Center, 1111-B West Olive Ave. in Burbank. Performances are on Fridays and Saturdays at 8 p.m., ending October 30. Free parking is available and the venue is wheel chair accessible. Admission is $20 and $15 for student, senior and Burbank residents.

For tickets, call (818) 526-6622 or go online at www.gtc.org.

Carlos Ciurliza performs the “Succeeds” monologue.

Obamanologues written and directed by Rickie Peete, is made up of 11 committed actors covering the gamut of all opinions expressed and felt during the Obama candidacy. Each actor is skillfully highlighted as they enter by lighting and sound operator Paul Respass.

Gaining notice with the speech made in front of the Democratic convention in 2008, Helen Siff representing Hope, a life-long Republican, is impressed with Obama. Other notable moments include Nina Nayebi wearing an Iranian headdress in a classroom discussing the word “civility” and positive and negative passion. Also, Rickie Peete, with great enthusiasm and a powerful stage presence, declares “there is no change, real change happened with the Boston Tea Party. This is just a ceremonial change.” Kim Stinger, wearing an Obama shirt with Hope written across it, provided unmatched, megawatt excitement as she screamed and jumped for joy as she sees on television that Obama won the electoral vote and the historic presidency.

Showing the other side of what people really think, Kyle Johnson says he won mainly because he ran a more successful campaign.

“But I’m glad he’s smarter than me,” he says.

Segun Oduolowa voted for Hillary, and although he didn’t think Obama was the best candidate he’s happy to see an African American in the White House.

Carlos Cirulizza, in graduation garb, is speaking to his classmates. Exhibiting emotional honesty, he describes his impoverished background, but he always had the American Dream as he repeats “Yes, we can!, Yes, we can! Succeed.”

Obananologues is at the Actors Workout Studio, 4735 Lankershim Boulevard in North Hollywood. Performances run through November 21 on Sundays at 2 p.m. and 6 pm. Regular tickets are $20 at door. Discount rates are available.

For reservations, call (323) 960-7822.

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.