From l, Bruce Ladd, Catherine Gray, Tony Christopher, Tara Battani, and Danielle Soibelman in Actors Co-op’s production of “The Miracle Worker.”

Biographical drama and content, most well known on the A&E and History Channels, are truly my most favorite, as educational, enlightening forms of entertainment. Actors Co-op at the Crossley Theatre, Hollywood, comes through most effectively in this format with their current production, The Miracle Worker, starring Danielle Soibelman (Helen Keller); Catherine Gray (Kate Keller); Bruce Ladd (Captain Keller); Tara Battani (Annie Sullivan); and an amazing ensemble. The story reveals the incredible life of Helen Keller, and her most outstanding, saintlike teacher, Annie Sullivan.

Right from the start, the audience is in for a most dramatic, empathic performance, with sign language incorporated throughout the show, a subtle, tasteful touch. Helen is played by the precocious, highly talented young actress Danielle Soibelman, who plays quite the challenging role, taking on a “wordless” performance, with the same finesse as last year’s Oscar winning actors of The Artist. Battani gives a most compelling performance as Annie, the dedicated teacher who gives language and communication to the deaf, blind, and overprotected child, trying in any way to somehow break through. In referring to Helen, the dialogue goes: “She’s like a safe — locked, perhaps, there’s a treasure inside….”

A teacher par excellence, at the level of Jaime Escalante, Annie Sullivan has been a universal inspiration throughout generations, and The Miracle Worker succeeds in bringing this miraculous story to life onstage.

“To seek sympathy rather than remedy is a recipe for misery … First, last, and in between … is language.” This story supports these sentiments and reveals that it is indeed possible to work wonders and miracles. In the words of Theodore Herzl, “If you will it, it is no dream….” Helen Keller defied the odds, enhanced her senses to their fullest potential, and was able to lead a productive, healthy life, a true role model for all, both children and adults. The entire ensemble pulls together to carry this production, with engaging scenes, filled with serio-comedy.

The Miracle Worker runs through May 19 at the Actors Co-op Crossley Theatre located at 1760 N. Gower St. on Fridays and Saturdays at 8 p.m.; and Sundays at 2:30 p.m. For tickets visit ActorsCo-op.org or call (323) 462-8460 ext. 300.

“You see, they figured I’d do anything they told me, and they tried to run it over me like I was dirt.” From l, Thomas F. Evans, Gordon Carmadelle, and Georgan George in “All the King’s Men.”

One of the most widely read works, earning a Pulitzer Prize, All the King’s Men, written by Robert Penn Warren, graces the stage at the El Portal Theatre. It is a sure fire, must-see ticket for pure historical edification and theatrical illumination, as this period in Louisiana’s political history magically comes to life. Little known facts surrounding the history of both the personal and professional lives and the journey of Jack Burden (Gordon Carmadelle), the journalist and idealist in 1930s Louisiana, and rising political star Willie Stark (Thomas F. Evans) are presented by a most talented (and quite extensive!) ensemble. For those who have a deep passion and interest for this historic time period, the story unfolds as the audience and Burden himself becomes entrenched in Stark’s career — almost vicariously living it.

In these uncertain times, amidst economic collapse and lack of faith in our nation’s crumbling leadership, it is refreshing to see a portrayal of a solid, historical leader in Willie Stark. Director David Chrzanowski states, “Warren writes such beautifully poetic and fully fleshed out characters.” One truly eloquent line of dialogue: “You live with words your whole life … and then it’s over.” This line pretty much captures the essence of this exquisite production.

All the King’s Men plays at the El Portal Theatre thru Sept. 15 on

Thursdays, Fridays, and Saturdays at 8 p.m., and Sundays at 2 p.m.

For tickets, visit nolaprods.com or call (866) 811-4111.

From l, Fiona Rose Stout, Stacey Tilford, Brad Kahn, Todd An-drew Ball, and Ilona Kulinska in “Tobacco Road.”

Based on the 1932 novel by Erskine Caldwell, and magnificently adapted by Jack Kirkland for an amazing 8-year Broadway run in 1933, Tobacco Road graces the stage at the Raven Playhouse, directed by Biz Lyon and produced by BJ Wright. Introducing the show with his immense talent, guitarist/songwriter Kevin Buchmeier sets the play’s somber tone, with soulful bluegrass-style music and insightful lyrics of past and present times.

How history repeats itself throughout the ages … with financial depression, drought, family dysfunction. Art again imitates life, as the audience is drawn into the world of the Lesters, a family of poor white Southern farmers, outsideAugusta,Georgia, estranged by commercial industrialization.

The main protagonist is Jeeter Lester (Brad Kahn), an ignorant, sinful man, redeemed by his love of the land and the forever promise of fertile soil. Set in the Great Depression, as in The Grapes of Wrath, by Steinbeck, Tobacco Road is a true Southern gothic classic drama. The scenes, set, costumes, and characters depicted are reminiscent of playwright Carson McCullers’ dark family drama The Square Root of Wonderful, also recently presented at the Raven.

Ada, played by Stacey Tilford, is emotionally torn between her man and her hunger pangs of tobacco/snuff. Her only escape from this seemingly “No Exit” situation, this unsettling life of hers, and the tragic, unstable relationship between her and Lester — amidst severe poverty — is a longing for death, “to be buried in a most stylish dress.”

The two daughters, Ellie May (Ilona Kulinska) andPearl(Fiona Stout) are timid characters, with shades of figures right out of a Greek tragedy.Pearl, emotionally ravaged, and Ellie May, physically deformed, are played flawlessly by the two actresses. Young actor Bradley Roa, as Dude, is quite convincing as a wayward lost soul, manipulated and seduced by the alluring Sister Bessie (Suz Campbell). The theme of the play runs rampant throughout: all are attempting to escape their horrible reality and suffering, an eternal theme of great literature and theater.

Tobacco Road runs through Sept. 1 on Fridays and Saturdays at 8 p.m. The Raven Playhouse is located at5233 Lankershim Blvd. in NoHo. For tickets, call 800-838-3006 or visit brownpapertickets.com/event/262712. For more information, email your questions to thefrenchbroad@hotmail.com.

Pick up Twinkle’s CD on iTunes, Amazon.com, and BestBuy.com

Children’s musical theater and, most recently, CD’s are alive and indeed thriving. In fact, there’s a brand new CD, released July 31, on Amazon and iTunes, Made in the USA, by the multi-talented, bubbly performer/entertainer Alitza, aka “Twinkle” (Creator/Songwriter). Her original music, charisma, talent, and effervescence light up all who have the privilege of hearing her songs.

Twinkle explains her “back- story”: “We debuted our first webisode on You Tube — now Twinkle is larger than life, a magical gift to kids nationwide.” A former lead singer of Hollywood Records’ all girl band “Nobody’s Angel,” who opened up for Britney Spears and The Backstreet Boys, and who earned a gold record for two songs on the soundtrack of The Princess Diaries, Twinkle’s passion is to sing popular music, teaching lessons with values, that win the hearts of kids, parents, and teachers alike. One example is “Cleanin’ Machine.” Twinkle says, “Parents will love it … a song about how fun cleaning is!” Of Peruvian descent, Twinkle speaks fluent Spanish, and compares her show to the hugely popular Dora the Explorer, “but in live action rather than cartoon form!”

Her CD is a “must have” for every boy and girl, where little girls can emulate Twinkle and Friends, all the cheerful characters, by singing catchy tunes, dressing in tutus, and wearing hearts on their cheeks, all the while taking away a message of doing good and having confidence…. While it primarily is a girl driven show, the boy characters/role models are also fantastic and super funny, like Zeke Zebra and Lil Hoops. Twinkle looks toward the future, with high hopes: “My goal is to have a TV show — a platform to reach the masses…. For now, in this ‘do it yourself’ day and age, I’m self-producing.” Termed affectionately “the Lady Gaga for kids,” Twinkle is well on her way to living her dream … “I always give 110% when I’m performing.”

For more information on Twinkle, visit www.twinkleand friends.com. Twinkle Times’ CD is available on iTunes, Amazon.com, and BestBuy.com

From l, Allie Smith, Terrance Hooks, and Nikki Gurewitz in “Tell Me My Secrets.”

“When you listen generously to people, they can hear the truth in themselves, often for the first time.” This statement is so true in the art of improvisation, as explored by the talented cast and insightful audience input, presented by Marvel Advertising, Inc. in Tell Me My Secrets, now in its run at The Actor’s Workout Studio in NoHo. The art of improv depends on the essentials of listening, timing, and thinking on one’s feet. The four cast members (on the night I attended) were Jeremy Hanes; Direk Cartwright; Amanda Miller; and Allie Smith. Each one of these talented actors took a new spin on their craft, as they wove imaginative stories about love and intimacy, and all its potential “red flags,” such as the three A’s: Abuse, Adultery, and Addiction.

States director Peggy O’Neal, “I am inspired by how varied the performances of Secrets are each night, shifting as the audience and rotating cast changes.” As each show is presented with a new set of themes, stories, and most of all, secrets … no show is ever the same, promising a fresh, innovative collaboration each performance. O’Neal presented the ground rules to the audience at the start of the show: “Anything goes … nothing’s too personal. The audience comes up with the secrets — the darker, the better!” Drawing upon themes and scenarios, suggested and discussed interactively by the audience (at my show, it featured the themes of drug dependency, music industry, infidelity, and pregnancy), each cast member, drew upon their vast experience and training in long form dramatic improvisation, as was evident by unscripted, witty repartee and energetic physicality. The show, like the institution of marriage and commitment itself, by all involved, was truly “no piece of cake,” but rather an intense labor of love.

Tell Me My Secrets runs through Aug. 19 on Fridays at 8 p.m. and 10:30 at p.m.; Saturdays at 8 p.m.; and Sundays at 3 p.m.
The Actor’s Workout Studio is located at 4735 Lankershim Blvd. in North Hollywood. For tickets and more information, call (818) 506-3903, or visit www.actorsworkout.com or www.brownpapertickets.com. For more info on the full cast visit facebook.com/tellmemysecrets.

Henderson Wade as Tom in “My Romantic History.”

While the subtitle of the show, My Romantic History, is “a profane comedy,” the all-white set says otherwise, with a purist, minimalist look to it. I thought to myself, a sharp contrast to the bold, edgy material. A woman, dressed quite risqué, introduces Act I, almost in the fashion of a boxing match. What ensues are vignettes, battles of the sexes, the entire play contrived, almost like an actual boxing match.

The two sides (men vs. women) spar, making sidebar comments to the audience, revealing true emotions. Every relationship takes place in the workplace, with matchmaking and flirtations rampant, quite credible and realistic.

Tom, the lead actor (Henderson Wade), who also makes his producing debut in My Romantic History, shares an amazing, natural chemistry with Emily O’Meara (Amy). “Fun is a universal code,” he states sardonically, as every woman he encounters is drawn to him. It’s a cat and mouse charade, with the after hours of the workday most fun of all; Tom is “catnip” to all the girls in the office.

It’s done tastefully and not over the top, with subtlety in romance, drama, and humor. It’s an excellent analysis of desperately seeking love in all the wrong — or right? — places. Each character is striving for love, with all its angst, ups and downs, attempting to seek intimacy, whether emotional or sexual.

Chick Vennera, Renegade Theatre Founding Director, is a shining inspiration to this group of young, rising stars. A constant tug of war ensues between the contrasting elements of life and love. At the end of the day, this existential quandary is poignant and relevant to so many people in LA, searching for one’s soul mate.

My Romantic History runs through July 29 at The Renegade Theatre located at1514 N Gardner St. For tickets, visit www.therenegadetheatregroup.com.

Jania Foxworth as Shirley and LaMarr Deuce Lubin as Leon in “I Can’t Turn You Loose.”

I Can’t Turn You Loose, based on the classic songs produced by the legendaryMemphis music label, Stax Records, stirred and uplifted the crowd at Serra’s Dine and Dance, a supper club, while offering a beautiful memorial tribute to the writer/brainstormer Tony Brewer. The community sang and swayed along to this original show, set in an R&B night club scene circa ‘60s and ‘70s, which hosted the greatest soul music ever to grace the stage. The story centers on singer Leon Truedeau (LaMarr Deuce Lubin). A ladies’ man, he is smitten by one in particular, Shirley Wilson (Jania Foxworth).

A dynamic instrumental of “Can’t Turn You Loose” was performed, based on the vocal version by Otis Redding, played by the band: John Haynes, Bass; Greg Brown, Drums; John Depatie, Guitar; and John Steinreich, Keyboards. Following were renditions of the classic faves, “Shake,” “Mr. Big Stuff,” “B-A-B-Y,” and “In the Midnight Hour.” The most moving piece was “Sweet Soul Music,” based on the song by Stax artist Arthur Conley, adding original lyrics as well.

Performers Viva Vinson as Tammy; Chantel Deniese as Regina; and Jania Foxworth sang songs filled with poetry, emotion, grace, and style. Combined with the great lyrics and accompanied by the talented band, this trio sang popular songs. The “Be a Man” number was a particular standout, based on “What a Man,” by Stax artist Linda Lyndell, new lyrics and melody by the sensational, highly gifted vocalist Chantel Deniese. The entire ensemble in I Can’t Turn You Loose has big things in store for them, as they wow the crowds of today, just like their predecessors, The Kings of Soul!

For more info on I Can’t Turn You Loose visit www.jdsentertainment.net or call (818) 384-6326.

The cast of “The Middle Ages”: Back row, from l, Jose Lambert, Barbara Hughes, Dawn Davis, and Shannon Shea. Second row, from l, C. Kat, Joe Rubinstein, Beth Howard, Martie Miles, and Thomas Callahan. Front row, from l, Allen Merritt, Tina Baldridge, Mark Mutafian — the Clown slightly in front — Jonee Shady, and Norma Burgess.

The Middle Ages, written and directed by Pat Allee, will make its debut at the Toluca Lake Methodist Church, Taber Hall, rich with nostalgia for its troupe, The Toluca Lake Players. This 99 seat waiver theatre is able to use highly talented equity actors. Taber Hall started as “a little community theatre that could,” and then the room went unused for years. Resourceful and enterprising Dean Schulman went to the church and asked if they would be interested in reviving the space for theatre purposes … the rest is history. The first production is The Middle Ages.

It looks at today’s middle age, asking, “If 60 is the new 40, then at 50, am I 30?” The show is a series of vignettes on mid-life quandaries, declaring it to be not the end of life, but a beginning.

As Boomers face empty nests and aging parents, every vignette is sure to resonate. There is one serious piece in the show, where Meg dreams of retiring early; in the process, as fate would have it, she endures a divorce and loses her beloved dog. Another theme involves Sarah, daughter of an Alzheimer’s patient, while another features a slightly tipsy woman marrying off her son.

This theatre was dark for so many years. Art truly does imitate life, as blue skies and rainbow visions are once again brought to surface for TheTolucaLakePlayers at Taber Hall. Dean Schulman and Pat Allee hold steadfast to their creative ambitions and passions for local theatre in this community, and the survival and flourishing of this theatre space, giving it renewed life and hope.

The Middle Ages runs Fridays and Saturday nights at 8 p.m. and Sundays at 2 p.m. July 13—29. Taber Hall is located at 4301 Cahuenga (corner of Cahuenga and Whipple). For tickets, call (323) 653-3498.

From l, Ernie Silva, Alexis Nich-ols, and Alain Mora bowing to the public after a great perfor-mance in “An Evening with Dot-tie.”

Nora Ephron once wrote that when she was young, all she wanted to do “in this world was come toNew Yorkand be Dorothy Parker.”

So timely, the LunaBlue Theater Group presents An Evening with Dottie — Staged Works by Dorothy Parker at theNoHoArtsCenter. A feminist, poet, and prolific writer, so bold for her day, Dorothy Parker’s works of art and witticisms speak for themselves, and come to life on stage, for all to appreciate and absorb.

Her characteristic, metaphoric wit and satire on writing and love are reflected in her pithy, insightful monologues: “Here I am, chained to this desk … if I had money and didn’t work, I’d be a peach.” The play opens, with an incredibly talented tap dancer, a roaring ‘20s flapper, setting the tone, and visually enticing the audience into the world of Dorothy Parker. The first thing we notice is a typical writer’s boudoir, papers littered throughout the room.

Ernie Silva, as The Host, offers a poem/soliloquy introducing Dorothy (the divine Alexis Nichols) with her back to the stage, a very alluring touch. Almost as soon as she enters the scene, she feels impelled to write something at her desk, yet it seems that someone has stolen her beloved pencil. She bemoans the fact, in a convincingly trueNew Yorkparlor accent, that a writer without her pencil — the most mundane of horrors — is like a deer lost in the woods, a fish out of water. The theme of the entire play is revealing that a writer does not have as charmed a life that might appear; if you look at the lives of all the great writers, from F. Scott Fitzgerald to Hemingway, you find how they were prisoners to their surroundings.

Meanwhile, almost as a male alter-ego to Parker, a figure emerges from his bed (“He,” played by Alain Mora). “He” is haunted by nightmarish dreams and quotes, “Early to bed … you wish you were dead.” Out of his mouth come poetic pearls and delusional diatribes, as he goes on a rant about the illustrious poets and artists: Verlaine and Rimbaud. He quotes the English poet, Thomas Carlyle, a great inspiration on Dorothy Parker, with the mantra, “produce, produce, produce.”

The play is an existential description of the absurdity of life. It is indeed a wonderful tribute to the brilliant soul of Dorothy Parker, whose legacy lives on. At show’s end, The Host mentions her ode to “The Perfect Rose,” asking the proverbial question, “Why couldn’t it have been the perfect limousine?”

The NoHoArtsCenteris located at 11136 Magnolia Blvd.in North Hollywood. For tickets, call (818) 859-4604 or email lunabluetheatergroup@gmail.com.

From l, William Shakespeare (Randy Pound), Seven (Ben Trimm), and Virginia Woolf (Gwen Bueker) are summoned back to Edgar Allan Poe’s sub-conscious brain.

One of the hidden gems of the Hollywood Fringe Fest 2012, with offerings eclectic and innovative, quite like its predecessor, the renowned Edinburgh Fringe Festival, is Edgar Allan Poe Must Die! A Writer’s Journey. This one hour play was presented at late night time slots, and also closing weekend. Crude and raunchy, of edgy HBO quality, with uncensored, unfiltered material, this “not quite ready for prime time” comedy/spoof, on the inside world of literati, was quite a treat for the Hollywood community of writers, editors, actors, publishers, and producers. It’s a clever conceit that postures writing icons in history, like Poe, Virginia Woolf, and William Shakespeare, juxtaposing them in modern scenarios with modern technology that have almost taken over society. One scene features Shakespeare “texting,” a definite play on words. As the description in the Fringe playbill notes, “Edgar Allan Poe is alive and he’s a very bad guy. Not only does he steal the souls from young writers but he’s also destroying Hollywood at the same time.” One show-stopping scene has Edgar Allan Poe seeking sex from a passing beauty instead of writing a profound poem about her. We know, in reality, that he wrote many brilliant pieces, including his immortal “The Raven.” In fact, a symbolic raven serves as a gadfly of sorts, buzzing and pecking at people’s perceptions and misnomers. The twittering raven is constantly notifying the cohesive ensemble if they’re living in reality or fantasy. The whole premise of the show is Poe posited against the literary greats with the theory that he was indeed a flawed human being, like all of us — not a super epiphany. Steven Sullivan portrayed Edgar Allan Poe with credible mannerisms and speech. Randy Pound as Shakespeare was very authentic with a mix of present and past, throwing about quotes of ‘his’ great plays. Virginia Woolf, played by Gwen Bueker, had the aura of a demure, dour philosopher with great aplomb. 7, the bewildered writer, performed by Ben Trimm, was a trooper that triumphantly battled all the obstacles. The play opens with some clever music choices (heavy metal and classic Queen tunes) in contrast to a stark, severe set. The first thing one notices are gravestones, presumably one is Poe’s. You have a meeting of the literary minds throughout history, akin to the technique used by Woody Allen in his classic Midnight in Paris. Underlying is an insider’s look at the life of today’s struggling writer. One classic line and oh too true is “How can I be a writer when I’m not paid for my work?” It’s indeed a very tongue in cheek look at the world of writers, who “live or die” by buying and selling their works.

This show was performed at Theatre of Note.