spotlight on Katie Huffman

The Road Theatre on Magnolia is proud to present a female perspective on the controversial issue of gun ownership in America, in Stephanie Alison Walker's Friends with Guns playing Friday March 22 through Sunday May 11. Each week we will spotlight a member of the cast or creative team. This week the light shines on Kate Huffman.

What character do you play? How does she serve the play?

I play Shannon, a liberal real-estate agent and mother of two who suffers from the modern-day plague of desperately trying to balance everything and maintain sanity in that process. She's riddled with anxiety and has a fear of guns. The audience tracks the transformation she undergoes when she's presented with the other side of an issue. She thought she felt comfortable with the stand she had taken, but now faces doubt about her decision. We watch her conquer her fear and become more powerful and more comfortable in her own skin. Unfortunately, this causes rifts other places in her life. The audience tracks her husband's transformation, as well, and since the journey these two characters go on clashes... well, you know, dramatic tension is born!

What challenges have you faced as an actor in preparation to play this role?

Shannon's emotional life is fraught, which is both fun and challenging as an actor to explore. I have no idea what's it like to experience anxiety myself. KIDDING! But the specifics of her fears are different than my own, and the outcomes of facing her fears as the play goes on proved challenging to tackle. It's important not to let the heaviness of where the play winds up come home with me. That's always a challenge for actors.

Talk about your director and castmates.

Oh, those jerks? 😉  Talk about a dream team. Randee took such good care of us from moment one. She respects each of us so much and was so attuned to our needs at all times. She was constantly presenting us with more questions to explore. She utilized "intimacy training" in early rehearsals between the two married couples as well as with the two same-gendered friendships, and it truly set us up to trust and rely on each other through the whole process. I feel so safe onstage with any of my castmates. I know they'll be there, present in the moment as the character, and as a human as we encounter the specific challenges of LIVE THEATRE!

What for you is the theme or message of the play?

The message has less to do with guns and more to do with whether we, as individuals in a divided country, can have a dialogue about issues we disagree on. It's a huge challenge in society right now. This play doesn't solve the issue of guns or even offer solutions. It encourages us to ask questions about human relationships. The issue of control within relationships is also present in the piece. If we are so quick to cut out people from our lives when they stand on the opposite side of an issue, what happens when someone within our own household suddenly changes sides? 

What do you hope audiences will take away?

I hope they walk away with questions. I hope they are moved by the specific journeys of the characters but also that they look within themselves and ask whether they have any tendency to shut down or flare up when opposing viewpoints are presented. I don't imagine anyone will walk away with new feelings about guns, and that is great, because it's not the point. 

Friends with Guns plays Friday March 22 with an extension to Saturday May 11 at the NoHo Senior Arts Colony at 10747 W Magnolia Blvd in NoHo. Performances are Fridays and Saturdays at 8 pm and Sunday matinees at 2 pm. There is plenty of street parking but arrive early to guarantee a space.
Call 818.761.8838 for tickets and more information.

2019 Interview with Paul Rush

Paul Rush is the artistic director of Sixty-six Theater Co. located inside the Strasberg Institute in Hollywood. This past weekend April 26 - 28 he opened a play in the Marilyn Monroe Theater of the Institute entitled My Thing of Love. In our chat Rush talks about the play, the Sixty-six Theater Co. and why he started it three years ago.

Tell us about Sixty-six Theater Co. and its mission.

It was founded by myself and two of my friends (Maggie Cleary and Coleman Kelly) while we, new to LA, were in that typical Hollywood routine of asking people to look at us, and we got kind of tired of just humbly asking to be looked at. We thought we weren't giving to the community. We wanted to really create thought-provoking theatre with an intention of giving to our audience.

Do you look to do first-run or lesser known shows?

Not always, no. We have done material that has been produced before, but LA, in our short little experience here, has been notorious in that competition for popular productions, which has made it difficult.

I am a member of The Road Theatre in the valley and everything they do is first run.

They do great work up there.

You've been artistic director for three years in Hollywood, but where were you before? Tell us about your background in producing theatre.

I was in the military for six years on the east coast. While I was on the east coast I produced a few plays at my University. But professional productions really started when I transferred out here.

Whereabouts on the east coast?

Maine. The University of Maine.

I'm from Massachusetts. I took a workshop at Stage West in West Springfield. It's always fine to talk with a fellow New Englander.

Yeah, I read that in your bio. The theatre community in New England is really wonderful. I got immersed in it while I was growing up. There's a great book about Stage West and the kind of theatre they produced. Many Tony winning actors came out of there.

​

cast of My Thing of Love

Yes, Rae Allen was a Tony winner and she was artistic director there. Let's forge ahead to the play you're opening this week My Thing of Love by Alexandra Gersten-Vassilaros. It's gotten great reviews back east. Tell us about the play and why you find it so special.

There's a romantic triangle betweem a husband, wife and mistress. I find the play special because the female protagonist in the play, the wife, is unapologetic. She understands what'g going on in the world, while everybody else seems to really bring her into their tornado, their storm. And this woman just weathers it. There's a wonderful statement about how strong women are in American society...really what they represent and how they hold it together even when we don't want to be held together. It was originally done at the Steppenwolf Theatre in 1992. Laurie Metcalf did it on Broadway in 1995. When I read that, I thought, yes, of course, she did this play. She'd be an absolute powerhouse in it. This female protagonist is just a powerhouse. It's nice to see that kind of writing. The thing about female playwrights is they don't get produced very often. And they're really wonderful. They have a strong voice. I'm very happy they're able to do it.

Was the playwright nominated for a Pulitzer for it?

She was. She was a co-author with Theresa Rebeck, another great writer.

Expound a little more on the female character's strength.

The strength that the character shows is not only in the way that she handles all of the situations she's in, but it's also in her sensitivity. You very rarely see full-rounded characters like that, especially in comedies, like in this dark comedy.

What else can you say about the play without offering a spoiler alert?

(he laughs) I don't want to give anything away...(he laughs again)

You should get a good female audience.

It puts the female protagonist on the stage front and center. Alexandra does a great job of just throwing the world at her and having her deal with it.

What are your challenges as director of the piece?

The actors in LA are absolutely phenomenal. A lot of the good ones work. They book work all the time. They understand that theatre training and theatre acting are second to none. I'll Take That right into the dirt with me. It's hard work. Three, four, sometimes five rehearsals a week for five and a half weeks. It's a big commitment. The actors who I've worked with and who are able to dive in and stay there...they grow. The end result is there.

Are there standouts in your cast?

The female lead Liz Greig ... this is her west coast premiere. She's originally from Australia. She's just a powerhouse with the character Elly's sensitivity and strength. Her young antagonist Kelly, the mistress, is essentially the younger version of Elly. It's Elly when she was younger. Brittany Lewis who is playing Kelly...I give her a year before she breaks out on a TV show. She's quick. The other night at rehearsal, it was their final reheasrsal, so I wanted it to be a fun one in which they make each other laugh. I gave them a challenge to see if they couldn't break each other. She did something. I was in the lighting booth and I couldn't stop laughing for five minutes. It's just a matter of time for her. She does her work, but it's not really work, it's fun.

Do you have a favorite playwright?

​

scene from My Thing of Love

It fluctuates for sure, but Martin McDonagh is kind of my guy. His approach to comedy is just borderline to realism. I love how unapologetic he is. He does not apologize for his comedy. In my opnion he throws that mirror up to nature. Without the politics that sometimes interweaves itself into American theatre, he does not apologize for his writing.

Which of his plays do you appreciate most?

The Beauty Queen of Leenane, The Cripple of Inishmaan, The Pillowman are among his best, powerhouse stuff. I also like Sarah Ruhl. She's whimsical, but her writing is very theatrical. Eurydice, The Vibrator Play, In the Next Room are some of her best plays.

Do you prefer comedy to drama?

We have a tendency here at Sixty-six to do dark comedies. We don't like to do straight comedies. In a dark comedy, the focus is on realism. Jesus Hopped the 'A' Train by Stephen Adly Guirgis was very successful for us. We did the show last year and our lead actor...you know when you have one of those actors that bleed for you? ... this guy was a bleeder; he went up onstage and bled...it was really something...

In conclusion, what do you want our readers to experience at Sixty-six?

I would like to welcome people into the Marilyn Monroe Theatre. We haven't been there for too long; it's a beautiful, beautiful stage and we're getting the doors open, we're producing original content, and we're looking forward to becoming a staple here in West Hollywood. We want to grow with our community.We really do. We believe that acting asnd storytelling is for the audience, and we do it for them. We'd really like them to come in and visit our home.

For TICKETS: https://sixtysixtheater.com/tickets/

Spotlight on Randee Trabitz

The Road Theatre on Magnolia is proud to present a female perspective on the controversial issue of gun ownership in America, in Stephanie Alison Walker's Friends with Guns playing Friday March 22 through Sunday May 11. Each week we will spotlight a member of the cast or creative team. This week the light shines on director Randee Trabitz.

What is your overall feeling of this production?

The process of staging Friends with Guns has been a joyous one of true collaboration. I know one is supposed to talk of the “challenges” and difficulties but the truth is that we had all the right people in the room from the beginning.

Tell us in detail what makes this so joyous.

When the script is so poignant and well-crafted and the actors are so talented and committed and the producers are providing fantastic designers and plenty of time, the result is pretty damn satisfying. This is not to say that we didn’t work hard, make choices, try them out and then make better ones.

What do you feel is the key to the actors' success in the play?

Everyone, including our writer Stephanie Walker has been fluid in the process which makes hard work a delicious undertaking. I learned early on that the essential key for the actors in this show is to know what they come in with and then be utterly present to react to their partners onstage. ..

The delicate balance of Friends with Guns is that there is nowhere for an actor to hide. One faked or inauthentic moment upsets the world of this play. The story is like a balloon that they all four have to keep tapping to keep it aloft. If one of them looks away, it can hit the ground. I could not be more proud of my ensemble, who are all in and laying themselves bare for every performance.


Friends with Guns plays Friday March 22 with an extension to Saturday May 11 at the NoHo Senior Arts Colony at 10747 W Magnolia Blvd in NoHo. Performances are Fridays and Saturdays at 8 pm and Sunday matinees at 2 pm. There is plenty of street parking but arrive early to guarantee a space.
Call 818.761.8838 for tickets and more information.

Interview with Singer Tiffany Bailey

Singer Tiffany Bailey took time out of a busy rehearsal schedule to talk about her concert at Upstairs at Vitello's on April 17, the release party for her first cd Jazz with Pop.

How long have you been singing professionally?

For 4 years, but I've been singing my whole life...lots of pop music. I was really into Whitney Houston and Pat Benatar. Cyndi Lauper...actually, a lot of all kinds of music. ..Depeche Mode, The Cure was really kind of my bag.

Your dad is a fine jazz musician, correct?

Alan "Buddy" Bailey plays the jazz trumpet and flugelhorn. He started playing as a young child. His parents were cool about him being a musician. His mom, my grandmother, was very much into music. Growing up, my dad and I worked on so much music together, from the time I was 3 years old. We would sing and play, tell creative stories, we would do video skits. My dad was into horror movies. (laughs) "Twilight Zone" episodes, horror flicks and we would make our own skits. Music is where we definitely connected.

Tell us about your dad's background.

He played in the navy. In the mid 60s when Richard Glasser and Jerry Wilson and my dad did a tour of the orient, all the army and navy bases, they played their instruments and sang as The Soundmen. In the 70s and 80s they played as The Soundmen all over L.A. They used to play on the Princess Louise Ship that was docked. They played at all kinds of venues and clubs all over Los Angeles.

Alan Bailey (right)

Some of those times in the navy must have been rough.

It was not the best of times. We grew up in a Jewish family. There is such a high level of worry in the culture itself. Worry is like misuse of the imagination. We have gold medals in worrying; it's like a sport. That inhibits happiness. My dad is a worrier. Interestingly enough, he had a surgery induced stroke a couple of years ago form a heart valve surgery. It changes things in you. He had to basically rehabilitate himself. Now, he's so much more relaxed. Our music collaboration is so much more put together, a wonderful experience. He tends to get a little bit in his head but is still a fantastic musician. He is back to doing what he loves to do.

What assets do you possess that come directly from your dad's influence?

I used to find jazz intimidating, because of the scatting. I avoided it for a very long time. I did pop and some musical theatre. My dad introduced me to the Manhattan Transfer, Chet Baker, Dianne Schuur and the Carpenters. I loved Karen Carpenter so much I tried to mimic her.

What was your first introduction to musical theatre?

My grandma took me to my first musical, 42nd Street. OMG, it blew my mind. I was maybe 11 or 12. We also saw Cats. We would listen to the records of both shows, and I would sing "Memory" and the title song from 42nd Street. Later I saw Wicked twice. I love "Defying Gravity". I started to lean toward musical theatre, but I had such strong alternative influences.
In high school I was in a show choir. We wore sequin dresses and did jazz standards. My parents were so supportive. I gained self-confidence from wanting to fit in. I continued with pop music. I would do Whitney Houston and people would ask me if I was lip-syncing. What a shocking experience! You hear good things about your singing, but something inside yourself has to blossom. My father and I didn't talk a lot, but we did creative things. Now I'm mending my relationship with him. With this cd, he tells me that it's not about him, but about me. It opens up a whole giant avenue and offers me new choices. I get to know who I am and what I love. Getting to collaborate is just incredible.

How is the cd progressing?

We have one song left to record. Jazz with Pop is my love of jazz and pop music. And of course Pop is my trumpet dad. It started out originally as a tribute to Chet Baker. There are other avenues that I want to explore that make me happy. We're looking back historically at what I love. We do Earth Wind and Fire "Don't Worry About a Thing". Manhattan Transfer. "Hopelessly Devoted"..a real myriad of Brazilian, jazz standards, even vaudeville.

Why did you choose Upstairs at Vitello's?

I did my first one-woman show there 2 years ago. Two for the Road. I love the intimacy at Vitello's. It's like being in your living room...and the sound is great.

Who is your favorite composer?

Richard Carpenter. The way that he puts the songs together...I feel the simplicity, the kindness of the words, you remember what they're saying...and they are singable. It brings a level of joy. I also love Gershwin and Vince Guaraldi who wrote Peanut's theme for Charlie Brown.

A favorite song?

"A Song For You" by Leonard Cohen. The intensity of what it's saying is so prolific. If someone else wrote the words, I find my own heart in them. Also, Whitney Houston's "The Greatest Love of All". I can take words that I relate to, that I would say.

In conclusion. What do you want to be remembered for as a singer?

She had a good heart. She loved and cared about people. Integrity means more than anything to me.

Tiffany Bailey - Jazz with POP. Wednesday - April 17, 2019. Doors open 6:30 pm. Show starts 7:30 pm, Upstairs at Vitello's. https://www.eventbrite.com/e/tiffany-bailey-jazz-with-pop-cd-release-tickets-56953616801

Brushes Interview

Brushes by co-playwrights Cathy Hamilton and Carol Starr Schneider is set to open at the Whitefire Saturday March 30. These gals recently sat down and chatted about the play.

Co-playwright Cathy Hamilton (CH) is a former TV reporter, newspaper columnist, blogger, marketer, author of sixteen humor books (Andrews McMeel Publishing) and creator of “Boyfriend in-a-Box,” a tongue-in-cheek, imaginary boyfriend kit. She has appeared on the "Today" show as herself, "To Tell the Truth" as Cathy Hamilton #3, and in countless musical theatre productions, including Nunsense. She lives in Lawrence, Kansas with her husband Rex.

Co-playwright Carol Starr Schneider (CSS) is a television writer, humor blogger (Short Jewish Gal) and journalist. Her recent TV movie “When Sparks Fly,” starring Meghan Markle, Duchess of Sussex, continues to air on Hallmark Channel. She lives in Sherman Oaks with her husband Howard.

Cathy and Carol met in 1997 when Carol read about Boyfriend in-a-Box in the Los Angeles Times and wound up optioning the movie rights. The movie didn’t happen, but a wonderful friendship did. They bonded over a warped sense of humor and their life.

Tell our readers briefly about Brushes.

CH: Brushes: A Comedy of Hairs is a play about the complicated relationship between women and our hair since time began, loosely based on our personal experiences throughout our lives. To us, there is no greater, more maddeningly consistent source for comedy AND tragedy. It’s universal and it never ends! In the show, audiences will see themselves in various “brushes” with disaster, vanity, envy, self-doubt, sex, death….and the common denominator is always hair.

Is this your first collaboration on a play?

CSS: Yes.

It sounds funny. Is it in your face slapstick humor or is it character driven? Share some of the humor in the play, giving us a sneak peek.

CSS: It’s both! The humor ranges from the absurd (Lady Godiva gets ambushed for an extreme make-over right in the middle of her famous ride) to highly relatable cringe moments (bumping into your ex-stylist who immediately realizes you’ve cheated on her with a Groupon.) The show is really a character actor’s dream. Each cast member plays 10-11 different roles ranging from old ladies who discover a salon called “Blow Me Now” has replaced their neighborhood beauty parlor to an enthusiastic mortuary cosmetologist who works in dead earnest on a special corpse. There’s a lot of humor in how the actors transform themselves on the fly into these outrageous characters. Of course, our hilarious wigs and costumes add to the laughs.

Tell us about Boyfriend-In-A-Box. It sounds like a Hallmark movie. I understand you are making it into a play. Is it silly humor or for only mature adult audiences?

CH: That’s funny. Carol has actually written a Hallmark movie – “When Sparks Fly,” starring the now-Duchess of Sussex Megan Markle.

Boyfriend in-a-Box was a novelty product I invented in 1997. It was a DIY imaginary boyfriend kit that was sold in, yes, Hallmark stores, and LGBTQ book shops in Greenwich Village. Think of it as a funny PG-rated gift you’d give someone after a divorce or break-up. Carol read this article about it in the LA Times (https://www.latimes.com/archives/la-xpm-1997-01-28-ls-22857-story.html) and was one of five creative types to contact me, wanting to option the film rights. That’s how we met.

The Boyfriend-in-a-Box play, which is currently in the preliminary stages, takes the concept in a slightly different direction and drops it into a funny whodunit scenario. We would probably call it a comedy for mature audiences.

Vignettes sounds like many scenarios whose prime purpose is to entertain. Do any have depth; is there an underlying message or are they all short, sweet and full of fluff? Is there any music interwoven?

CSS: Our goal was to create a hilarious night of entertainment for the ladies or a group of hairstylists or couples on a fun date (because there’s plenty of relatable stuff for the men here, too). But, there are real moments of poignancy (see aforementioned mortuary cosmetologist) and depth. The show has an arc of empowerment that says who cares what anyone else says about your hair or anything else about the way you look. Everyone is fabulous in their own right. Each scene will be woven to the next with recognizable music, vintage hair commercials and sound effects but if we told you anymore, we’d have to kill you.

I can't help but think of Steel Magnolias as it takes place in a beauty salon. Did you get inspiration from Robert Harling's tale of female camaraderie? In this play it's all women. In your play the men are present. Do you favor the female perspective over that of the men or not?

CH: Brushes is a totally different animal than Steel Magnolias. But there’s definitely a feeling of camaraderie in the ensemble scenes. There’s one in which salon stylists bond over tequila and horror stories of ‘no shows’ at closing time. In another scene, we step inside a support group for women who can’t stop cutting their own bangs. It’s very funny yet endearing at the same time. Since we are females, that perspective is certainly our go-to, although we gave conscious effort to looking at things from a man’s perspective. There’s a scene, for instance, in which a man bemoans his hair loss in a bongo-driven performance art piece.

Talk about your cast and their chemistry together.

CSS: Three of our cast members – Heidi Appe, Ashley Taylor and Andrew Villarreal – appeared in our staged reading at Theatre West last summer so they were familiar with the material and we knew they could handle the challenge. Fortunately, we found two more gifted and versatile actors – Amy Smallman-Winston and Clara Rodriguez -who added their experience and range. Amy is a former member of The Groundlings and all of our cast are experienced improv performers which is imperative in this show. We’ve been incredibly lucky to have the amazing Kevin Bailey (https://www.broadwayworld.com/people/Kevin-Bailey/) as our director/executive producer. Kevin was our male cast member in the NoHo Arts Center reading and has championed Brushes ever since. We owe him a huge debt of gratitude if not a lifetime supply of hair products. It’s been wonderful to watch everyone play off each other, inspire new directions in the material, and become a fun, wacky family.

Is there anything you wish to add that I have not mentioned?

CH: We’re bristling with pride that Brushes will have its world premiere at The Whitefire. The show was conceived close to six years ago and, in that time, we have had readings in Kansas City, New York (Workshop Theatre) and two in Los Angeles (NoHo Arts Center and Theatre West). It’s been a hair-larious ride and we can’t wait until opening night. Our only fear is that the crazy L.A. weather will wreak havoc on our hairstyles. (Humidity is not our friend, Don!)

About Show Times and Tickets: March 30 – May 4. Saturdays at 8:00 pm. Running time: 90 minutes - no intermission. Appropriate for ages 15+. Tickets: $30. For tickets and information: brushes.brownpapertickets.com. The Whitefire Theatre is located at 13500 Ventura Boulevard, Sherman Oaks 91423. Theatre has AC/Heat and is wheelchair accessible.
www.brushesacomedyofhairs.com www.facebook.com/BrushesComedyofHairs

2019 Interview with Jules Aaron

Director Jules Aaron is one of the busiest and most renowned local directors working in the field. He has helmed too many plays to mention here, but be it known that he is constantly sought after. Currently prepping Agatha Christie's The Secret of Chimneys for a March 29 opening at Group Rep in NoHo, Aaron took time away from his schedule to talk about the play.

Tell me about the play. The Secret of Chimneys. How does it rate among Christie's masterpieces?

Lost for thirty years, The Secret of Chimneys is one of Agatha Christie's least known plays and one of the most intriguing. While it does not have the sleek veneer and brilliant solution of a Murder on the Orient Express, it is a delightful comedy of manners with a very prestigious dead body. There is no Poirot or Miss Marple, but there is fun repartee between the leading could be lovers, Anthony and Virginia, as well as a sly game of cat and mouse with Anthony and the deceivingly pedestrian Superintendent Battle ("no flies on him" Anthony tells Virginia.) .And also the mystery humorously comments on itself ("Suspicious stranger, eh? So obvious you can hardly believe in it. A mysterious stranger with a beard": or, "well, no handcuffs for one, Superintendent")

Why do you think audiences love mysteries so much?

I believe audiences like mysteries because they're like good roller coaster rides. You never know where the curves and drops will be. And hopefully at the end you're satisfied at a delightful ride. And if you come back again, you'll find there are no factual cheats -- just a few red herrings. Chimneys has three interweaving plots, in addition to a wild international cast of fourteen characters, there is even a missing black diamond necklace of Herzoslovakia, a secret sliding wall and the menacing Baltic servant Boris.

Tell us about your cast.

The cast, as we are lucky enough to honestly say, is really a dream one -- and a great ensemble. I've directed over half of the eleven (one actor plays several roles, and truthfully we've had a lot of fun (and naturally a bit of a work out) putting the many pieces together. My leads have great chemistry, and we hopefully have put ourselves in a British country home in 1947, where I have cast an actress playing a sharp British business woman (Me, Too) with Margaret Thatcher to come years later. With dialect coach Linda Brennan, we've worked hard on the play's several dialects, and I had a chance to choreograph some large stage pictures.

What is the funniest play you have ever directed? Why? Be specific!

I'm afraid the funniest play I ever directed is too obvious, the ever popular Noises Off. Frayn's craftsmanship, as we as the remarkable depth of the actors playing Actors, cannot be beaten. The flow of the three acts, moving on stage, back stage and on stage again (later in the run of the play within the play) is genius. I've directed the show twice, and my major request was having the second act set early in rehearsal (because comic timing is impossible without the levels, doors, steps and the backstage paraphernalia). We always want to know what goes on behind the scene in a play, and we get it in spades in Noises Off -- in all it’s a huge belly laugh splendor.

What do you believe is the audience take away?

As for what the audience should take away from Chimneys, there is the obvious joy of trying to figure out a complex mystery, hopefully laughs and the visual fun of a period piece. And as a bonus, considering today's politics, a bit of nasty political scheming may feel familiar.

What's up next for you?

And my plans: an evening of monologues about the homeless produced by Theatre 40, and a workshop of "I Will, I Can", a musical bio on Sammy Davis Jr. produced in N.Y. by Arlie Cone.

For tickets and more information, contact:

www.thegrouprep.com

Spotlight on Playwright Stephanie Walker

The Road Theatre on Magnolia is proud to present a female perspective on the controversial issue of gun ownership in America, in Stephanie Alison Walker's Friends with Guns playing Friday March 22 through Sunday May 5. Each week we will spotlight a member of the cast or creative team. This week the light shines on the playwright herself, Stephanie Walker.

What was the catalyst for you to write this play?


I began writing Friends With Guns at the end of January of 2017. It had been in my head ever since I discovered, to my shock, that our dear liberal parent friends were gun owners. The fact that I was so shocked made me realize how naive I had been about gun ownership and who owned guns. I knew then that there was a play somewhere in there and that in order to write it, I would have to confront a lifelong fear. I would have to examine my own biases and set them aside. I would have to actually hold a gun... And fire it.

Tell our readers what the play entails.

I went into writing this play with a commitment to set aside my own fears/biases against guns. I knew I would have to step into the shoes of gun owners, lace them up and truly see this issue from their perspective.This play is about guns, yes. But it’s also about human beings. It’s about women. It’s about control. It’s about power dynamics in marriage. It’s about listening. It’s about what most divides us and what we fear most. It’s about parenthood, motherhood, marriage, violence, kinship, loneliness and fear. It’s about all of that and more. My objective with Friends With Guns is to inspire audiences to listen newly about a terrifying and divisive issue- no matter which side of the issue they identify- because without listening, the conversation can never evolve. Without listening, there is no conversation.

Friends with Guns plays Friday March 22 through Sunday May 5 at the NoHo Senior Arts Colony at 10747 W Magnolia Blvd in NoHo. Performances are Fridays and Saturdays at 8 pm and Sunday matinees at 2 pm. There is plenty of street parking but arrive early to guarantee a space.

Call 818.761.8838 for tickets and more information.