Theatre Reviews: Bakotopia

PREVIEW: "Godmakers" at The Empty Space

Godmakers at The Empty Space
The Actionfolksinger opens up about his new play, opening July 18.

By Helen Acosta, Bakotopia.com contributor

Written and directed by local playwright Enrique Acosta who might be best known for his other Empty Space shows ("Spider Baby - the Musical" and the "True Tales" series,) as well as his work as El Cable for the Brighthouse commercials, "Godmakers" is next to be added his list of inventive works.

I had a rare opportunity to sit down with the reclusive auteur at his palatial 1,000 square foot estate in downtown Bakersfield.

“Godmakers” - I googled it and found an anti-Mormon documentary? Is this a play based on that film?

No. Godmakers is a play that follows 40-years in the history of a fictional comic book company. But it’s not just a show for fans of comic book history. It follows the 40-year friendship of the publisher, Bert Stephans (played by Jarrod Cantrell) and the company’s top selling writer, Izzy Davis (played by fRed); A friendship tested by war, government persecution, and low sales. If you’ve ever been torn between doing what you love and doing what will pay the rent you’ll see yourself in these characters.

So, why write a play about a west coast comic book company?

The west coast thing was a plot contrivance to keep them away from the big names in the industry. Back then there was a lot of cross over of talent and I didn’t want to write an actual history. Setting it in California was just a way to allow me to tell a story without having to have my characters deal with a bunch of real people and maybe get me sued by their families.

As to the subject itself: I wanted to write about a comic book company because I’d read several biographies. I discovered a whole new level of geekdom in the history of the industry. (chuckles) I realized that not only would it make a great setting for a workplace drama but also that it really hadn’t been done before. There have been lots of plays about publishing: newspapers, novels, even travel books, but I hadn’t heard of anyone focusing on the unique problems faced by a comic book company.

Such as?

Well like a newspaper: You have a deadline though [in comic books] it’s once a week not once a day. Like publishing novels you have to create a new story but novels can take years. In comic books you only have ten days maximum. Also the first act takes place in the 40’s: The infancy of the genre. There were no real set rules so folks were making them up as they went along. It was a really exciting time.

The leads in this show are a transplant from London and a lesbian working in the comic book industry in the 1940s—did you lose a bet?

The publisher is based in part on my Grandfather who was an immigrant from England. Like most of the people in my family he held a whole series of jobs, which is what his character does in the play. A lot of his [my grandfather’s] humor and some of his stories made their way into the show.

As to the lesbian, well that was kind of an accident. It was one of those weird things that happens when you’re writing. I’ve got this female character and suddenly out of nowhere another woman comes into the scene. I keep typing and suddenly they’re girlfriends.

Writers talk about their characters taking on a life of their own and I guess in a sense there is some truth to that. In my first draft the publisher and writer were meant to be more antagonistic and hostile towards each other but somehow as I was writing them they became friends and their friendship became one of the central themes of the show.

There is a lot of talk these days about “The Greatest Generation”. Was there a “Greatest Generation” in the comic book industry?

Well I suppose it would depend on who you ask. Certainly in the 30’s and 40’s there were the people who started the whole thing. There are the folks who first cut out newspaper funnies and collected them into magazines. There are the folks who first thought to write original material and publish that instead. There were the folks who first thought to do stories about people with amazing powers and the folks who realized that they could change their drawing style to fit the magazine format better. Back then you might not have had the best stories or art the industry ever produced but you had the start of it all. Most of the people who worked in the industry had no idea what they were starting they just wanted to collect a paycheck. But I guess that’s what’s so interesting to me about the character of Izzy Davis. She sees the potential of comics.

You tackle several controversies and taboos in this show. Was that your intent from the beginning?

I’m not really sure that there is anything all that controversial in the piece. This might be the LEAST controversial show I’ve ever written. I mean we touch on the way gay people were treated in the middle of last century. We talk a little about censorship. We talk a little about how getting too wrapped up in your work can kill your personal life. But most of those things are subplots. Comic books weren’t just an escape for the kids who read them. Yes there were deadlines and work pressures but from what I read I got the impression that the work was kind of an escape for the people who produced them, too. A way to escape the horrors of wars they couldn’t understand, society’s prejudices, even horrors as mundane as rent. Sure there is an escapist aspect to the work but there’s also something transcendent about the act of creation; something beautiful. It can be a little addictive.

-Godmakers opens July 18th at The Empty Space Theatre, 706 Oak St. (next to Pizzaville.)

-Show dates: July 18, 19, 24, 25 & 26 at 8pm and 1 matinee: July 20 at 2pm.

-Runtime: 2 hours including a 15 minute intermission. Suggested donation: $10 adults, $5 students.

Also printed in Bakotopia magazine, issue 32, 7-10-08

New musical at Empty Space loaded!

New musical at Empty Space loaded
‘Reefer Madness’ leaves them red-eyed with laughs - FINAL SHOWS - Friday, June 27 & 28, 2008!

By Greg Goodsell, Bakotopia.com Contributor
Photos: Peter Beckman

<<CHECK OUT ALL THE EXCLUSIVE PHOTOS FROM THE SHOW!

The roadshow picture of the 1930s would lure thrill-hungry Depression audiences into theaters with promises of nudity, violence and depravity on the provision that a stern moral lecture would be given by fadeout time.

Low budget features on prostitution, venereal disease, birth defects and drug addiction would play to packed houses on Main Street theaters.

Booklets on birth control distributed by nurses in uniform would be offered to patrons for a very reasonable fee.

“Reefer Madness: The Musical,” at the Empty Space Theatre is based upon the 1936 roadshow classic of the same name. The setting is small town America, circa 1936 as a Lecturer (Brian Brown) tells the sordid tale of Jimmy Harper (Paul Sosa), an overly enthusiastic teenager in love with the peaches and cream Mary Lane (Samantha Gonzales). Jimmy runs afoul of Jack Stone (Jeremiah Heitman), who introduces him to the pleasures of marijuana.

Stone’s helpmates Mae (Kamala Kruszka), Sally (Veronica Surber) and Ralph (Austin Jallo) lead Jimmy down the path of perdition as he turns into a rampant dope fiend. With unflinching realism, Jimmy’s downward spiral vividly depicts cruelty to stuffed animals, minor incest, theft and vehicular manslaughter. In case there are some members of the audience who still don’t get it, a helpful Placard Girl (Caroline Clark) interrupts the action with signs that read “Reefer makes you giggle for no good reason!”

Things go from bad to worse, and there are acts of murder, mayhem, even cannibalism in between show stopping musical numbers. There is even an appearance by then-president Franklin Delano Roosevelt (Jared Cantrell).

The local cast is more than up to giving the over-the-top performances their parts require. The big surprise the production offers is Kamala Kruszka’s heartfelt portrayal of Mae, an over-the-hill chippie who wins audience sympathy with her song of a life misspent, “The Stuff.” Kruszka is also a founding member of the Omnipresent Puppet Company.

More importantly, “Reefer Madness: The Musical” is entertaining to those who are prepared not to enjoy it. If you, like this writer, have seen countless lives lost and ruined from drug abuse, and reefer was a constant companion and fixture at many of these scenes, it would be next to impossible to see a play that extols marijuana as harmless without some deeply uncomfortable feelings. This is definitely not the case: In a concluding musical number, “The Truth,” the cast makes clear that marijuana, as depicted in the play merely serves as a metaphor about a society in search of a scapegoat.

There’s no reason whatsoever not to go see “Reefer Madness: The Musical” its closing weekend. There are toe-tapping songs, hot dance moves, acres of bared flesh and even grandpa will get a good chuckle out of a highly unsympathetic portrayal of FDR.

-“Reefer Madness: The Musical” plays at 8 p.m.
-FINAL SHOWS! Friday, June 27, and Saturday, June 28 at the Empty Space Theatre, 706 Oak Street, next to Pizzaville.
-Admission is free, but a $10 donation for adults and $5 donation for children and students is suggested.

Story also printed in Bakotopia magazine, issue 31, 6-26-08

'Reefer Madness: The Musical'

REEFER MADNESS: THE MUSICAL

(Directed by Jeremiah Heitman)

The award-winning Reefer Madness musical was inspired by the notorious -- and deliciously awful -- 1936 anti-marijuana film originally titled Tell Your Children. A smarmy lecturer arrives in a typical small town of the late '30s to warn the populace of the dangers of the "evil weed," bringing along a lurid propaganda production to dramatize his message.

In broad, unsubtle, and hilarious strokes, the play-within-a-play shows how even a squeaky-clean pair of highschoolers named Mary Lane and Jimmy Harper can become hopeless dope addicts by succumbing to the lure of marijuana. Reefer Madness: The Musical is not only a savage skewering of the original black-and-white movie (some of the musical's campiest lines are taken directly from the earlier script!), but also a devastating attack on what playwrights Kevin Murphy and Dan Studney consider to be the real reason that the 1936 movie was made: to frighten the public out of their wits in order to keep them under the thumb of an oppressive government.

Some memorable songs include "Romeo and Juliet,” “The Stuff,” “Down at the Ol' Five and Dime,” “Listen to Jesus Jimmy,” “Mary Jane/Mary Lane,” “The Brownie Song,” “Tell 'Em the Truth,” and the title number.

The cast includes: Alyssa Bonanno, Brian Brown, Jared Cantrell, Caroline Clark, Alex Cullen, Jessica Delcid, Diego Flores, Samantha Gonzales, Jeremiah Heitman, Jay-Ar Ignacio, Austin Jallo, Kamala Kruszka, Taylor Lozano, Paul Sosa, and Veronica Surber.

Performances are June 6, 7, 13, 14, 20, 21, 27, and 28 at 8PM, with 2PM Sunday matinees on June 15 and 22. Call 327-PLAY to make reservations!

The Empty Space, 706 Oak St. Bakersfield, CA 93304

Printed in Bakotopia magazine, issue 29, 5-29-08

Elevating EVITA!

Elevating EVITA!
CSUB Theatre brings Broadway musical to Doré stage, offering audiences entertaining history lesson on Argentina’s controversial first lady. Runs May 16, 17, 23, 24, 25 2008!

By Teresa Adamo, Bakotopia.com contributor / MÁS staff

It’s a pivotal scene: Evita, standing before her descamisados (shirtless ones), speaking from the balcony of the presidential palace to her adoring supporters. The crowd roars with excitement.

Yes, she was loved.

And yes, she was also despised.

Eva “Evita” Duarte Perón — the second wife of Argentinian president and dictator, Juan Perón — lived that dual existence throughout her tumultuous, though brief, life.

Evita, the Spanish diminutive for “Little Eva,” died of cancer at the age of 33. Her story, however, lives on, thanks to the Broadway musical, “Evita” — based on the controversial and historical female icon — which will be presented at Cal State Bakersfield’s Doré Theatre May 16, 17, 23, 24 and 25.

Mandy Rees, CSUB theatre professor and department chair, chose “Evita” for its musical score and fascinating story. The stage version of “Evita” debuted on Broadway in 1979 and starred Patti Lupone in the title role and Mandy Patinkin as Che Guevara.

Directed by Harold Prince with music by Andrew Lloyd Webber, and lyrics by Tim Rice, “Evita” ran for a total of 1,567 Broadway performances.

The story is told entirely through song and dance — 23 scenes, including a live orchestra, Rees said. She added that the local show also hopes to reveal the deeper parts of the relationship between Evita and her husband, who took a big risk in those days by marrying his mistress.

Mandy Rees, CSUB theatre professor and department chair as well as "Evita" director, chose the play for its intriguing storyline and the musical selections.

“At that time, you did not do that sort of thing,” said Rees, also the director of “Evita,” of Perón’s adulterous affair turned marriage. “It says a lot that he (Juan Perón) married Evita ... We’re trying to bring out the vulnerability, the tenderness in that relationship.”

In fact, because the play is based, in part, on the real life story of the first lady of Argentina whose meager beginnings and steadfastness resonated with the masses.

Evita was born out of wedlock May 7, 1919 in rural Argentina and struggled, along with her family, very early on. She would eventually make her way to Buenos Aires, the nation’s capital, where she pursued a brief career as an actress in radio, theater and film. She met Perón in 1944 — the two were married the following year.

In 1946, Gen. Perón was elected as president of Argentina and his wife took on a very active, very powerful role within his administration. Evita championed labor rights within Pro-Peronist trade unions. She also ran the Ministries of Labor and Health and founded the first, large-scale female political party, the Female Peronist Party.

“Her rise to fame was meteoric and controversial,” Rees said. “She was beloved by the poor for her tireless charity work and because her success gave them hope that they could overcome their own circumstances.”

Of course, the flip side to Evita’s admiration by the poor — those with wealth and power of their own didn’t always approve of Evita.

“She was resented by the rich and the military because she manipulated people and had an extravagant lifestyle, using some of her charity money for her own purposes,” Rees said.

By the time Evita accepted the Peronist nomination for vice president, in 1951, she was dying of cancer. Her failing health, along with the resistance from the elite and the military, forced Evita to back down from what could have been another historical move in politics for her.

Near the time of her death, the Argentine Congress named Evita the “Spiritual Leader of The Nation.”

Despite the controversy that surrounded Evita, she left a profound mark on her country and its people. The CSUB production of “Evita” is yet another opportunity to learn about this famous mujer.

“It (will) probably be the most fun history lesson they will ever experience,” said Michael Mejia, 21, an English major who plays the dictator Perón.

Mejia also said that he’s worked hard to find the right formula in playing the complex Perón.

“He is very serious and straight-laced and, at times, he can be very dark,” Mejia said. “... I wanted to play him as an honest man who generally wants to do good for his public, and in turn, justifies his questionable actions. Finding that balance between playing him as a devil and a saint has been a challenge.”

Managing the many different aspects needed in the play is also a challenge, according to Jessica Trevino, the 22-year-old CSUB music education major who plays the powerful Evita character.

“The multitasking — dancing and acting, while singing tricky pitches and tempos is pretty tough,” Trevino said. “I love this musical! It’s so interesting and exciting.”

After nearly two months of rehearsals at four days a week, the 20-member cast of

“Evita” has certainly bonded, according to Rees.

“Yes, it is like a family,” she said of the camaraderie among the actors, actresses, musicians and crew. “Most are students and this is definitely a commitment for them — they’ve given a lot of time, energy and concentration to their performances.”

Rees also credits the behind-the-scenes efforts that have made this local showing of “Evita” possible.

“The cast is only a part of the whole production; even the cast doesn’t understand the hours and hours of work being done behind the scenes. We have designers, choreographers, musicians, a conductor, and a scene shop working at full speed. It’s a tremendous undertaking.”

For Danvir Singh Grewal, who plays Che Guevara, just being in a musical — a first for him — is the best part about this 21-year-old theatre/business major’s involvement with “Evita.”

“Everything is new to me and it’s all been very exciting,” said Grewal, adding that the audiences for “Evita” are sure to enjoy themselves, too. “They can expect to have a wonderful time and hear some great singing and wonderful music. But above all, they can expect to leave with a smile on their face.”

"Evita"

• 8 p.m., May 16 &17 and May 23 & 24
• 2 p.m., Sunday, May 25
• CSUB’s Doré Theatre
• General admission is $12; $5 for students with ID; $10 for seniors, CSUB faculty and staff.

— Contributing MÁS writer Gabriel Ramirez contributed to this report.

Story originally printed in Mas Magazine, issue 5-16-08
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R.A.T.urday Night Fever!

R.A.T.urday Night Fever!
They’re back for another helping of dirty fun to offend yo’ mama! Opening at The Empty Space on May 23rd!

By Matt Christensen writing as Greg O. Davidson, Bakotopia.com contributor

Controversy has always been a part of the repertoire for Royal Association of Thespians (R.A.T.).

What else would be expected from a group whose aim is to offend you at every performance? This striving toward controversy reached an apex last June when Bakotopia ran its now famous (no longer infamous) cover of a topless Jen Raven and Clair Moles holding a R.A.T. show flyer between them.

The good ol' days...

It’s been almost one year since then, and despite them not gracing any covers to get Inga Barks’ blood boiling, R.A.T. is still pushing the boundaries of both comedy and what’s acceptable in general.

Dubbed “Raturday Night Live,” this year’s summer show marks a decided departure from the regular format of shows, beginning with a scene instead of an introduction and the inclusion of three musical scenes. This R.A.T. show will be a different experience for familiar fans. The biggest change will be that approximately one-third of the show will be on video.

It all started a week after last September’s show. For the first time, there was a commercial for the Christmas show - and then another. Within a week of the Christmas show, a DVD was produced for others to see later. From there, with the belief that they had the ability to do so, R.A.T. decided upon incorporating video into their next show.

A fitting tribute

But where is the controversy you ask? Less than a minute from the start, they show what they believe will be the result of the upcoming presidential election as only R.A.T. can. Then, two separate scenes (all video) will change the way you look at television and a little company called DirecTV. The only way to see those scenes, however, would be to attend the show.

Comedy is still a focus for R.A.T. With the intent to offend always comes the purpose of making you laugh. Parodies ranging from “Pulp Fiction” to “This is Your Life” fill what R.A.T. likes to call “the best hour you can get for six dollars.” And of course there is a special appearance from an old friend who makes his triumphant return after being mostly left out of a show that was named for him.

So make plans this Memorial Day weekend as the Royal Association of Thespians returns to the stage at The Empty Space to bring you “Raturday Night Live” (the video show).

-The show runs May 23, 24, 30, and 31, 2008 at 11 p.m.
-Tickets are $6 and, of course, every night is $1 beer night - all at The Empty Space Theatre, 706 Oak St.
-For more information, call 327-7529.

Story also printed in Bakotopia magazine, issue 28, 5-15-08

"Babies Having Babies" - coming soon!

"Babies Having Babies" - coming soon!
The Empty Space Theatre are preparing a new production for August 2008! Get a preview!

By that cool Kelly, Bakotopia.com contributor

The Empty Space Theatre is preparing a production of Kathryn Montgomery and Jeffrey Auerbach's award-winning "Babies Having Babies" to be put on this August 2008.

The play is about a group of teenage girls dealing with unwanted pregnancy. Directing the play is local artist and actress Fred.

"This is my first time directing. I am very excited and I am thrilled that this is the piece that I'll make my debut with," she said.

To get permission to put on the play, Fred went to the Empty Space Theatre on their annual pitch day to pitch the show to the board of directors. Some members of the board are Bob Kempf, Amy Hall, Kristina Saldana, and Jeremiah Heitman.

Fred had to come up with a projected budget, set ideas, advertising angles, and copies of the script to present to them. After waiting to hear back from the board for about three or more weeks, the play was approved. She then was assigned a board member and mentor, Guinevere P. H. Defelson.

Fred believes the words are what is important about the show and says that the costumes and set will be minimal. Even though the production will be very basic, Fred still has to find ways of making money.

"Right now I'm trying to drum up as much free advertising and money for the show as possible," she said. "I'm trying to sell ad space and get as many people interested as possible."

The play is set to open August 29, with more shows on August 30 and September 5 and 6.

If you would like any more information, feel free to contact fRed at babieshavingbabies@yahoo.com

Theater Preview: ‘The Bourgeois Gentleman’ at TES

Theater Preview:
‘The Bourgeois Gentleman’ at TES
Be prepared to laugh, laugh, and laugh even more, warns local actor - running through May 2, 2008!

By Julie Jordan Scott, Bakotopia.com contributor

Sometimes I wish I had just kept my big mouth shut.

I admit it, we “theatre people” are known for being wildly dramatic but if you had asked me a few months ago I would have said the same thing. I thought I was pretty darn good at not laughing on stage no matter what…

“I have never broken on stage - that is so ‘unprofessional,’” I say. (“Breaking” on stage referring to falling out of character and laughing in response to something that takes place in a scene.)

Then along came rehearsals for “The Bourgeois Gentleman.”

Nearly every rehearsal I was laughing, laughing and then laughing some more. I kept remembering my indignant “I never break on stage” proclamation and prayed that once I got used to both the script and the choices my fellow actors were making, my natural laughter would begin to slow down.

Molière’s “The Bourgeois Gentleman” is a seventeenth-century farce about a self-made man who tries to buy his way into society.

This light-hearted play tells the story of the wealthy Monsieur Jourdain, who spends extravagantly in an attempt to appear cultured and genteel. He can afford the finest clothing, the most precious jewels, and the most cleverly intelligent tutors Paris has to offer.

Unfortunately, he is preposterously out of touch with reality.

As Jourdain hires various instructors to train him in the arts (succeeding only in making himself appear foolish to everybody but himself), his long-suffering wife tries vainly to beat some sense into him - and protect her family from the greedy Count Dorante - while finding her daughter Lucile a good, middle-class husband.

The Bourgeois Gentleman was a social satire in its time, exploring the themes of class and wealth, but modern audiences can sit back, appreciate the satire, and take in the wacky hilarity of it all!

“The Bourgeois Gentleman”
-Directed by Ron Warren and Ryan Watts
-Performance dates: April 18, 25, 26 and May 2 and 3 at 8 p.m. with -Sunday matinees on April 20 and 27 at 2 p.m.
-Admission is FREE with a suggested donation of $10 for adults and $5 for students and seniors. The Empty Space is located at 706 Oak Street in the Pizzaville shopping center. Seating can only be guaranteed by making a reservation. To make a reservation or for more information, visit: www.esonline.org or call The Empty Space at 327-PLAY (327-7529).

Article also printed in Bakotopia Magazine, issue 26, 4/17/08

Putting on the POWER SUIT!

Putting on the POWER SUIT!
Spotlight Theatre to chronicle infamous Sleepy Lagoon murder trial & the cultural mood of the times in popular Latino play, “Zoot Suit”. RUNNING MARCH 9-22!

By Lauren Helper, Bakotopia / MÁS Magazine

The long, tailored jacket paired with high-waisted trousers and swinging gold chain, topped off by a flat-brimmed, feathered hat — the oversized zoot suit style of the 1930s and ’40s has become a familiar part of America’s cultural wardrobe.

And, thanks to Luis Valdez’s popular play, so has the plight of the men who wore it.

First-time director Kristina Saldana, along with a cast of about two dozen local actors, will try “Zoot Suit” on for size at the Spotlight Theater beginning tonight, March 7.

“It’s an important piece of history, and also a great piece of theater,” said Saldana, 22.

In “Zoot Suit,” set in the barrios of Los Angeles against the backdrop of World War II, Valdez weaves a story involving the real-life events of the Sleepy Lagoon murder trial — when a group of young Mexican-Americans were wrongfully charged with murder — and the Zoot Suit Riots, using them to examine prejudices, the role of the media in the judicial system, and Latino family culture.

In the play, Henry Reyna (inspired by real-life defendant Henry Leyvas) is a pachuco gangster about to give up his flashy clothes for a Navy uniform when he and his gang are thrown in jail for a murder they did not commit.

Real-life Sleepy Lagoon defendant Henry Leyvas

The mythical character El Pachuco cajoles Reyna to resist the social injustices of an unfair trial and fight for his community. He does so, but the play ends without resolving his future.

"El Pachuco"

In the 1970s, Valdez wrote “Zoot Suit” as a fictional work that mixed in some of the facts from the trial and the riots. In reality, the Sleepy Lagoon (1942-43) case was the largest mass trial in California’s history — with 17 young Mexican-American boys arrested for the murder of one man. Five others were charged with assault.

Yet it’s not a subject typically taught in history classes.

“I learned about it from my dad,” said Saldana, a Cal State student. “He’d say, ‘It happened like this ...’”

Opening in 1978, the original “Zoot Suit” sold out every time it played in Los Angeles, setting a new standard for Chicano theater and making Valdez a recognized leader in American drama.

'Zoot Suit' - the play and movie..

A film version, produced in 1981 starring Edward James Olmos and Daniel Valdez (the playwright’s brother, who had played Henry in the stage production as well), brought the vivid portrayal of social injustice to movie theaters.

“I didn’t watch the movie. I didn’t want it to cloud my vision,” said Saldana, first tapped to direct the local “Zoot Suit” production more than a year ago.

Spotlight artistic director Hal Friedman said the theater wanted to do a play that would appeal to the large local Hispanic community. After a meeting with the Kern County Hispanic Chamber of Commerce, “Zoot Suit” was chosen.

Since the Spotlight got the rights to go ahead with the play the first of the year, Saldana has been working to ensure that her “Zoot Suit” incarnation is a success, starting with auditions at the first of the year.

Saldana was originally concerned about finding enough talented local Hispanic actors to cast the roles — like main characters Henry Reyna and El Pachuco, Henry’s family, his 38th Street Gang and the rival Downey Gang.
She ended up being pleasantly surprised by the large talent pool — with one exception.

“No white people showed up,” said Saldana, chuckling. “I had to put out a second call and say, ‘There are parts for you, too!’”

Saldana ended up casting quite a few theater “newbies,” including five high school students.

Eric Bracamonte, 23, said he found a lot he could relate to in the character of 21-year-old Henry Reyna, described as “dark, Indian looking, older than his years.”

“He’s the leader of a street gang, but he’s always trying to better himself and his situation, which is evident when he decides to join the Navy,” said Bracamonte, who said he hopes his portrayal is “as real and honest as it can be.”

Bracamonte said he gets very attached to the characters he plays, and Reyna is no exception.

“I’ll be walking down the street thinking about the part and talking to myself. People probably think I’m crazy,” Bracamonte said with a laugh.

Bracamonte, who was familiar with the film version of “Zoot Suit” before he signed on for the part, said although the story is rooted in history, it still has relevance for today’s audience.

“A lot of the themes still apply. It’s timeless,” he said.

While Bracamonte’s role requires a natural intensity to stand out as a believable leader, the part of El Pachuco — the archetypal zoot-suiter who narrates the show and acts as the conscience of Reyna — is that of a one-man Greek chorus.

“I kind of think of him as that little devil on your shoulder,” said Phil Velasquez, 24, of his role as the voice of cynical reason.

The character of El Pachuco — a slang word that stands for the zoot suit style of dress, the attitude and the language — was a persona worn by rebellious young Chicanos whose zoot suits were worn with a swagger and defiance.

When the audience meets El Pachuco at the start of the play, after adjusting his clothing and painstakingly tending to his hair, “He is transformed into the very image of the pachuco myth, from his porkpie hat to the tip of his four-foot watch chain. Now he turns to the audience. His three-soled shoes with metal taps click-clack as he proudly, slovenly, defiantly makes his way down stage. He stops and assumes a pachuco stance,” reads the “Zoot Suit” script.

“The stance is the hardest part. It kills my calves,” said Velasquez, who’s been acting for 10 years.

Velasquez said he was happy to get the part because he’s always been fascinated by the Sleepy Lagoon trial and Zoot Suit Riots.

“My uncle likes to tell stories, so the subject was familiar to me,” said Velasquez, whose role requires him to to sing — “You better get hep tonight/and put on that zoot suit!” — and speak in Spanish.

“It’s quite a bit of Spanish. I’m really regretting that my parents didn’t teach me,” said Velasquez, who’s having a choir major help him with his singing voice.

The play’s language also includes smatterings of “Calo,” a dialect distinctive to the Pachuco culture. The program provides a translation for the audience of the most commonly used words, such as carnal/carnalito, which means brother or little brother; ese, which means “bro” or dude; and ruca, which means girlfriend.

Norma Gaspar, 46, who moved here from Mexico five years ago, plays Henry’s mother, Dolores Reyna.

Gaspar describes Dolores as a “typical mom,” worried about her kids going out and getting into trouble.

“‘Zoot Suit’ really communicates the importance of families staying together no matter what,” said Gaspar, who added that although Valdez’s play reaches back into history for a specific Mexican-American incident, it concerns the problems of all ethnic minorities in America.

“I’ve learned that unfortunately things haven’t changed too much. People are still judging other races based on skin color and the way they dress.”

• “Zoot Suit,” written by Luis Valdez & directed by Kristina Saldana, at the Spotlight Theatre, 1622 19th St.
• Shows: March 7, 8, 14, 15, 21 & 22 at 8 p.m.; and March 9 and 16 at 2 p.m.
• Tickets: $15 for general admission; $12 students, seniors and active military; $5, children under 11. Tickets are an additional $3 if purchased the day of the show.
• Details: 634-0692
• Alice McGrath, on whom the character in “Zoot Suit” Alice Broomfield is based, will speak on Sunday, March 9, at 12:30 p.m. For more than 65 years, Alice Greenfield McGrath has been a social justice activist and advocate. She worked for the Sleepy Lagoon Defense Committee in the 1940s, and continues to fight for fairness in the courts and the availability of affordable legal services.

Kern County connection: Luis Valdez
Luis Valdez, widely regarded as the father of Chicano theater in the United States, was born in Delano, Calif. to migrant farmworker parents.

Valdez graduated from James Lick High School in San Jose and went on to attend San Jose State University (SJSU) on a scholarship for math and physics.

He later switched his major and earned a degree in English in 1964, and began pursuing his interest in drama.

After graduation, Valdez spent the next few months with The San Francisco Mime Troupe, where he was introduced to agitprop theatre.

In 1965, Valdez came back to Delano in order to aid Cesar Chavez’s fight for farmworker rights. It was here that Valdez discovered the value of drama as propaganda. He convinced some of the workers to act in plays that would illustrate their plight, and began a theater company, El Teatro Campesino. The brief plays Valdez wrote for the troupe helped their civil rights struggles.

Valdez and the troupe became responsible for creating a specific form of drama — the acto — which became a genuinely Mexican-American form defined by its brief, flexible sketches relating to working-class Chicanos that carried with them a social or political message.

Valdez’s first work that brought him some attention to larger audiences was the play “Zoot Suit,” which weaves a story involving the real-life events of the Sleepy Lagoon murder trial, when a group of young Mexican-Americans were wrongfully charged with murder — and the Zoot Suit Riots. “Zoot Suit” ran in 1978 at the Mark Taper Forum in Los Angeles and played for 46 weeks to more than 40,000 people. With “Zoot Suit,” Valdez became the first Chicano director to have a play presented on Broadway in 1979. It was made into a film in 1981.

The film that brought Valdez his breakthrough into mainstream America as a writer and director was “La Bamba,” which debuted in 1987. The film, about Ritchie Valens, a popular Chicano 1950s rock and roller, was an overwhelming box office success.

Story printed in Bakotopia Magazine, Issue 23, 3-6-08 and Mas Magazine 3-7-08

Theatre Review: ‘Drop Dead’ at The Empty Space

DON’T MISS THIS ONE!! AT THE EMPTY SPACE!
FINAL TWO PERFORMANCES THIS WEEKEND!

“Drop Dead!” is a fantastically funny farce revolving around the hilarious happenings in a “crappy Very-Off Broadway theatre, NYC,“ and this show is, without a doubt, the most fun I’ve EVER had at The Empty Space. I was laughing so hard, my sides were sore the next day!

Brilliantly Directed by Bob Kempf, this “Comedy-Murder Mystery-Farce” is entertaining from start to finish; many of the cast members begin their performances before the show has even officially started; they mingle with the audience beforehand (sometimes without our realizing they are part of the show) … and they continue to hold character after the audience begins to leave. The ‘stage manager,‘ Phillip, played by Andrew Ansolabehere, was so believably in character before curtain that I thought he was the actual stage manager, not a member of the cast. And don’t be surprised if, during the show, a cast member yells at you, sits down beside you, or even shouts out his lines from directly behind you, before storming down onto the stage!

I was eager to see the show because I’d heard so many good things about the script, and because it’s directed by Bob Kempf (I’m a fan); but I squealed when I opened the program and saw that local talents Ron Warren (as the director, Victor LePewe) , Jason Monroe (as the producer, Sol Weisenheimer), and Lorenzo Salazar (the Method actor) were also involved. These guys have never failed to impress me onstage, and “Drop Dead!” was no exception. Newcomer Andrew Ansolabehere fit in beautifully with this cast … and this is supposed to be his community theatre debut?! Where has this kid been hiding? I thought the onstage chemistry between Andrew and Ron Warren was ingenious.

Another standout performer in this show would have to be Ryan Watts, who played would-be actor Dick Shalit. I think Ryan has grown tremendously as an actor in the last year or so, and seeing him in “Drop Dead!” only reinforced my opinion there. This goofy, awkward character was a complete departure from the more serious roles I’ve seen him in, in the past. His costume was hilarious, his comedic choices were hysterical, and his use of physical humor really rounded out this performance.

Add to this list the favorite local talents Amy Hall (as ex-porn star Candy Apples), Barbara Gagnon (in the role of Constance Crawford), Jarrod Ackerley (as Chaz Looney), Joe Mitchell (as playwright Alabama Miller), and Cheryl Smith Ellis ( who plays a terrific Mona Monet) and I'd say we have an all-star cast, on our hands.

I can’t review a show without mentioning the set, which in this case, was put together by Director Bob Kempf. The script calls for a “thirty-five dollar set” and it was very amusing, with chairs painted on the walls (you have to see the show just to see the actors manage ‘sitting‘ in those chairs!), and one wall made entirely of scraps from a cardboard box, painted blue to match the flats. I mentioned how much I’d liked that particular touch and Bob told me it was actually a happy accident; he hadn’t measured before he built the two separate parts of the set and when they didn’t meet up, he went out into the alley, “cursing myself; why didn’t I measure?” and there was the cardboard, in the alley … problem solved!

Many of the really funny elements of this show were happy accidents, according to Bob. “People would make mistakes or add something as a joke, and I’d say, that’s funny, keep it in!” Jarrod Ackerley‘s brown shoes, with his black butler outfit, were another example. A brown belt completed the mismatched effect. Bob remarked that one of the funniest moments in the show is when the lights go up on Jarrod, in a beret and mustache, ready to perform his part with a terrible French accent and a flourish of his brightly colored duster.

This show employs a breakaway … a bottle or glass that is meant to break when thrown or smashed … and if you’ve never seen one in action let this be the time you do … it’s so much fun! Someone sitting behind me in the audience didn’t know it wasn’t a real bottle (being smashed over someone’s head, onstage) and she actually screamed. I asked Bob how much those things cost and he gave me a wicked chuckle. “Wanna take a guess?” They’re eighteen dollars each! … but well worth it, to my mind.

Other terrific theatrical stunts include lighting instruments and sandbags falling, some fantastic physical humor on the part of Jason Monroe, and a hilarious ‘snowstorm’ of packing peanuts. This show really has it all. Theatre people will love it, especially, for the endless jabs and jokes made at the expense of us all, regardless of our position in the theatre hierarchy. Theatre-goers will enjoy it for the fast paced humor and colorful characters. And let’s not overlook the fact that this amazing, incredible show is FREE to attend … how can you say no?

If you only see one show this year … let this one be it! Treat yourself to “Drop Dead!” at The Empty Space, this weekend!

Drop Dead!

Written by Billy Van Zandt and Jane Milmore

Brilliantly Directed by Bob Kempf

LAST WEEKEND February 22 & 23 at 8 pm

doors open at 7:30 … get there early for good seats!

Admission is FREE with donations cheerfully accepted!

The Empty Space … Setting Theatre Free!

706 Oak Street (behind Pizzaville)

Call 327-PLAY for more information or to make reservations!

READ ANOTHER REVIEW OF 'DROP DEAD'
(CLICK PICTURE BELOW)

Theatre Review: ‘Drop Dead’ at The Empty Space

Theatre Review:
‘Drop Dead’ at The Empty Space
Actors do their best to save comedy from killing audience. Final shows 2/22-23, 2008!

By Greg Goodsell, Bakotopia.com Contributor

“Drop Dead,” the latest two-act Comedy-Murder Mystery-Farce at the Empty Space Theatre, takes place on both the final dress rehearsal and the opening night in a “crappy very-off Broadway theatre, NYC.”

The production is full of highly recognizable people. There’s the exceedingly fey director Victor Le Pewe (Ron Warren), whose mind is never far from the simpering affections of leather-clad stage manager Phillip (Andrew Ansolabehere); producer Sol Wisenheimer (Jason Monroe), forever barking orders in a Teutonic accent; Mona Monet (Cheryl Smith-Ellis), the faded TV star who expects the audience to rise and shower her with applause in spite of her dwindling fame; tarty Candy Apples (Amy Hall) whose association with the play is just a step above her shot-on-video projects with a Roman numeral after their titles; the self-important Brent Reynolds (Lorenzo Salazar); Chaz Looney (Jarrod Ackerley), a young, inept ham; elderly stage star Constance Crawford (Barbara Gagnon) who appears to be in the final stages of dementia; and Dick Shalit, critic Gene Shalit’s brother (Ryan Watts in an incredible simulation) are all recruited to the cast to ensure positive reviews.

To describe the production as troubled would be an understatement. Ostensibly a crowd-pleasing murder mystery, the play can barely contain its true origins as a Samuel Beckett-type “think piece.” Actor Brent Reynolds will occasionally stop the play’s action to give allusions to “the snow … the windswept snow.” There is the expected clash of personalities, tensions rise and the play’s onstage murders eventually lead to actual ones.

Written by Billy Van Zandt and Jane Milmore, “Drop Dead” is full of exceedingly familiar elements. The premise of a ragtag theatre production disintegrating before the audience’s eyes has been done many times before, “Noises Off” being the foremost example. Director Victor Le Pewe in particular has picked up a few fashion hints from Christopher Guest’s Corky St. Claire from Waiting for Guffman, yet another knockabout comedy about a failed theatrical production.

It’s a very delicate proposition to have very talented actors to “act badly,” and seasoned director Bob Kempf walks the tightrope very well. Sensing that cast must juggle between their poorly written stage parts and their underlying characters, the actors play up key bits of characterization. Amy Hall snaps her gum with unbridled vulgarity while trying to maintain an Eliza Doolittle accent. Jarrod Ackerley changes his British butler accent in midstream to a French one, winding up with a very bad impersonation of Maurice Chevalier. Ackerley also proves himself to be a very adept physical comedian as he bounds all over the tiny stage at the play's shock conclusion. Honors for “Drop Dead's” best good/bad acting has to go to Ryan Watts. Standing stock still, and speaking with a severe speech impediment, Watts is hysterically funny in a hazy approximation of the “Today Show” critic with his bushy moustache and nerd specs.

The production is best summed up in a quote from Sir Donald Wolfit listed in the program “Dying is easy; comedy is hard.”

“Drop Dead” is a crowd pleasing comedy suitable for all ages.

**Final performances for “Drop Dead” are Friday and Saturday night, Feb. 22 and 23, at 8 p.m.
-The Empty Space Theatre is located at 706 Oak St. next to
Pizzaville.
-Admission is free, although a donation of $10 for adults and $5 for
children and students is requested.

READ ANOTHER REVIEW BY BAKOTOPIA'S OWN JENRAVEN!
(CLICK PROGRAM BELOW)

Originally printed in Bakotopia magazine, issue 22, 2-21-08

March Madness begins Bako!

Drive south on Chester, past downtown, past 178, past Ming and, if you pay attention you might notice Bakersfield Community Theatre on your left just before you hit Wilson. We’ve been in the same location since 1961 but we've been described as "The best kept secret in Bakersfield". On March 1^st get in on the secret. Come join in the fun from 8pm until well after midnight.

At 8pm we’ve got Daddy’s Dyin’ Whose Got the Will directed by Michael Pulowski. Pulowski has set this trashy down-home comedy in Oildale. I’ve seen parts of a few rehearsals and this talented cast made me do a spit take (Yes, the soda came flying right out of my nose!). On March 1^st come dressed up for the show for a chance to win some truly trashy prizes in the intermission "White Trash" costume contest!

At 10pm we will have a Costume Party/ Reception for the Art Show that accompanies Daddy’s Dyin’ called “Garbage Blanc: A Celebration of All Things White Trash.” The party is free and we’ll have food, art, actors, artists and a cash bar to raise money for the theatre.

At Midnight don’t worry about going home tipsy—stay for the midnight movie with the Bakersfield Alternative Movie Society (BAMS). This month’s offering is a concert film with one of the greatest underground acts of our time: The Dresden Dolls Live at Paradise. The Dresden Dolls are Amanda Palmer at Piano and Brian Viglione on drums. Together they are the force of nature that originated the “punk cabaret” sound that is sweeping clubs across the nation.

Daddy’s Dyin’ - Whose Got the Will?
February 29, March 1, 7, 8, 9, 14, 15, & 16
Fri/Sat 8pm, Sun 2pm (the box office opens 1 hour before the show, seating begins 30 minutes before)
$12 general admission, $10 Students, Seniors and Active Military
March 1^st: Costume Contest at Intermission with truly trashy prizes!

Garbage Blanc: A Celebration of All Things White Trash
Open for viewing when the box office is open
Costume Party Reception, March 1^st, 10pm, immediately following the play!

BAMS: Dresden Dolls Live at Paradise
-Midnight, March 1^st
-FREE

Bakersfield Community Theatre
2400 S. Chester
(park in the lot behind the theatre—entrance on S. O off of Wilson)
(661) 831-8114

Theatre Review: La Cage aux Folles at Stars

Theatre Review: La Cage aux Folles at Stars
Hit 1978 French musical comes to downtown Bako for a month full of laughs through Feb. 23, 2008

By seafaire, Bakotopia.com contributor

Check out my sleeves and read the stripes - three lines, 10 years each stripe and that equals 30-plus years in the American marriage machine.

Feel free then to ask me what makes a marriage, a family, and even more importantly - what doesn’t?

Saying the words “I love you” by itself is for sissies. If you are not doing, you do not truly love - you are blowing smoke.

Love is an action word. Loving actions come from the heart, and “La Cage aux Folles,” playing at Stars Dinner Theater from Jan. 31 through Feb. 23, wears its heart on a sequin-dipped, feather-floating sleeve.

The story is about a common dilemma of a son who could be marrying the wrong girl from the wrong family - or is it the other way around?

Mischief is rampant in this terrific musical based on a small French indie film that became one of the highest grossing non-English films ever released in 1978. In 1986, the U.S. version of the film and musical - “The Birdcage” starring Robin Williams - continued the story.

“La Cage aux Folles” comically details some of the lengths a family will go to in order to please, support and care for each other. We know that loving families are more alike than different, but when the groom-to-be describes his family as “different,” you find out just what he means.

Bakersfield actors Jason McClain and Bruce Saathoff portray a long-suffering gay couple who own a club featuring female impersonators.

Albert (played by Jason McClain) is also the featured star in the club’s cross-dressing review. These two highly experienced performers create constant laughter, but are also believable as a couple who could love and tolerate each other in a long term relationship.

There is much hilarity as the couple attempt to accommodate the wishes of their son to mask their “real” life and appear dreadfully dull and bourgeois.

Each member of the supporting cast creates a jewel of a performance - together c'est magnifique!

Actor Maceo Davis, a man of many incredible costumes, is the scene-stealing houseboy. The lovely Les Cagelles as showgirls and boys decorate the stage in sequins, feathers and miles of gorgeous games.

You must keep your eyes on the stage every minute, as there are too many visual goodies to miss. If the story becomes too silly, order a tall cocktail and let your eyes to roam through oceans of leggy show folk, sky-scraping wigs, and more beads than a decade of Mardi Gras!

The effort put into every costume piece, every wig, the show-stopping production numbers, the incredible finale - this ain’t Vegas, baby, it’s better!

The dinner will dazzle you with a delectable meal from Chef Jack. Some of the choices include a chicken cordon bleu or an incredible stuffed shrimp that I swear had a brush with a very friendly Cajun before landing beautifully on my plate.

The performers love their over-the-top characters and pour heart and soul into every movement and note. Don’t miss it!

-Stars Dinner Theatre - 1931 Chester Ave., downtown
-PERFORMANCE DATES: Feb. 9, 10, 14, 15, 16, 21, 22, 23
-TIME: Doors at 6:30, show at 8 p.m.
-PRICES: $49 - $41 includes dinner / $25 Show only
-INFO: 661-325 - 6100

Originally printed in Bakotopia magazine, issue 21, 2-7-08

The Empty Space Theater Awards

The Empty Space Theater Awards
Not even the Hollywood writers strike can stop this party. Check out some of the winners…

By Cherylanne Farley, Bakotopia.com contributor / photos by Todd Powers

Any event where the evening’s attire could include a fully sequined pink dress or a witch’s hat covered with purple feathers - or both - deserves notice.

<CHECK OUT MORE PHOTOS FROM THE BIG-NIGHT!

The deserving of such sartorial thought is the presentation of the awards known as The Empties - to the brave, rebellious and hard working members of Bako’s live theater community recently held on Sunday, Jan. 6, at the Seven Oaks Country Club.

For the uninitiated, The Empty Space is the company dedicated to “setting theater free,” and judging by the many full houses their productions enjoy they are succeeding in style!

The rush of blood as the words “And the winner is...” filled the air during each award announcement. But don’t be confused, this was by no means a stuffy affair!

Finding a direct path to the bar, we all enjoyed many martinis, black Russians, silly Heinekens (the “cool” college beer) followed by coffee cups filled with Jameson’s (“Ireland's best whiskey”) and coffee to ward off the chill. There were hugs all around and honest eye contact that comes from the heart, reminding us of our love for the stage.

A great example of Empty Space talent was the superb “Macbeth.”

This was the 13th production of the play by director Porter Jamison that also happened to open on, of all days - Friday the 13th. During its run, “Macbeth” managed to pack the small 99-seat theater for almost every show, with turn-away crowds on two nights.

Like most Empty Space shows, an art exhibit complemented “Macbeth” in the lobby with a theme of murder and mayhem by curator Genevieve PH Dethlefson.

Deb Terrell earned the award for lighting design. Her lighting for “Murder and Mayhem” created pools of light making walls and spaces for a wicked, mysterious feast for the eyes - pure theater magic coupled with years of experience and solid technical/electrical skills.

“Hair - the American Tribal Musical,” directed by Bob Kempf, was another of the night’s big winners by earning: best ensemble, best show and best supporting actor (Lorenzo Salazar). Weaving a spell of music and optimism, this ambitious musical was like stepping into a time machine for those too young to be touched by the revolutionary fire of the ‘60s. Judging by the response from audiences, the message of “Hair” is as relevant today as it was for the flower children of yesteryear.

My secret favorite moment of the evening was R.A.T.

The stage set-up: a female weathercaster is faced with a lack of appropriate graphics and sound effects for her report. What’s a weather girl to do when it’s “raining down south” and there are no sound or graphics to back up the report? Well, of course our good Lord has provided us all with a magnificent collection rainmaking equipment located in the southern part of our bodies. But would you have the courage to use it on stage live in front of an audience? If you have seen a R.A.T. show before, make sure to catch their next production. Just make sure to tip the custodian on the way out the door.

So much talent! From main stage classics to the outlaw antics of late night, The Empty Space rocks! Congrats to all winners!

Originally printed in Bakotopia magazine, issue 20, 1-24-08

BCT's January show preview: "Up"

Bakersfield Community Theatre is proud to bring the hit of the 2006 Oregon Shakespeare Festival to the stage. Up by Bridget Carpenter tells the story of Walter Griffin, a man who literally flew in a device he built but whose life has been on a downward spiral ever since.

Director Enrique Acosta (Spider Baby the Musical, the True Tales series) says “It’s the hardest I’ve ever worked on a piece. The tragic lives of these characters and they’re problems in communicating with each other reminds me a little of Death of a Salesman. It’s definitely the most serious and difficult piece I’ve ever directed.”

Producer/actor fRed put in her two cents “I know the piece is a little challenging but we’re trying to show that we can not only produce serious plays in Bakersfield but that people will come out and see them.”

The cast includes David Jackson, Helen Acosta, Joy Wheat, Kenny Hugo, Andrew Hood, and kathryn (fRed) burnett.

UP runs from January 18^th – Feb. 2^nd
-Fridays and Saturdays at 8pm
-One matinee on January 20^th and 27^th at 2pm

Tickets are:
$12 General admission
$10 Students Seniors and Active Military

Bakersfield Community Theater
2400 S Chester Ave
Bakersfield, CA 93304
(661) 831-8114

The First Annual Bitchies

The First Annual Bitchies
Honesty is the best policy for this inaugural award ceremony recognizing the highlights and lowlights of local theatre in 2007

By Susan Ochoa aka Brutally Honest Arts Bitch of Bakersfield, Bakotopia.com contributor

Hey folks.

I just got me a brand new used computer so I’m back online just in time for the first BITCHIES: The awards ceremony that isn’t a cheap and transparent excuse to raise money - the awards ceremony that recognizes excellence and “suckitude” in all groups, not just one - the awards ceremony that you can enjoy in your underwear.

These awards go to shows that went up between January and December of 2007.

Let’s start with the fun categories:

Biggest Waste of Time - “History of Rock and Roll” part two. I often wondered what would happen if the most challenging and thought provoking director in town were to just phone it in. Thank you, Roger Mathey, now I know.

Biggest Waste of Talent - Justin Brooks directing “Footloose.” But then he’s made a career of giving bad plays good direction.

Biggest Whiners - The cast of “Hair.” Seriously you guys made the cast of “Rocky Horror” look mature.

“Oh, no. We had a show that was well attended and everyone enjoyed it but BHAB so we’ll whine and stamp our feet.”

Boo hoo, get some perspective.

Big Fish Award - This award goes to the performer who is talented enough to leave town and make a career but for some reason has decided to stay. The first annual Big Fish award goes to - Amy Hall. Seriously Amy. Leave town. You’re better than this.

Worst Comedy Group - Hellkat. Just like R.A.T., but less subtle, less original and less funny.

Play I’d Wish They’d Stop Doing - “The Vagina Monologues.” Congratulations Empty Space with your constant barrage of vagina related activity you’ve succeeded in making me hate my own vagina. You’ve over exposed the vagina. If I never hear another person say “vagina” again I will be very happy. And what is truly sad is that your constant vaginal discussion has led to two other productions in Kern County this year alone!!! Seriously, Bakersfield College did it and Tehachapi Community Theatre did it, too! I’m all vagged out!

Performer I Want To See More of in 2008 - Jen Raven. Come out from R.A.T.’s shadow.

Now for the less fun categories:

Best Set- “Music Man,” BMT

Best Tech - No one really cares they just give you tech folk awards so you'll keep doing what you do for free.

Best New Show - “Project Ghost,” Empty Space.

Best Score - “True Tales 3,” Empty Space.

Best Musical Performance - Veronica Suerber, “True Tales 3,” Empty Space.

Best Supporting Actress - Tracy Herda, Kern Shakespeare Festival.

Best Supporting Actor - Brian Brown, “Rocky Horror,” BCT.

Best Actress - Fred, “Sylvia,” BCT.

Best Actor - Brandon Turner, “Last Days of Judas Iscariot,” Empty Space.

Best Director - Bob Kempf, “Street Car Named Desire,” Spotlight Theatre.

Best Comedy Group - Blacklist.

Best Show No One Saw - “Sylvia,” BCT.

Best Show - “The Last Days of Judas Iscariot,” Empty Space.

Story originally printed in Bakotopia magazine, issue 19, 1-10-08