Interview with Social Worker Daniela Rojas Garnica

The following article explains the atrocity in Colombia in 2010, presents an original story beautifully written about the children and introduces social worker Daniela Rojas Garnica with whom I had a short inerview.

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Letter to U.S. officials regarding rape and murder by Colombian military

Description: Last Thursday, October 14, three siblings, Jenny, age 14, Jimmy, age 9, and Jeferson, age 6, were found tortured, strangled and beheaded in a ditch near their home in Caño Temblador, near Tame, Arauca. A delegation made up of their teachers, social leaders of Tame, a member of Arauca’s state legislature and representatives of the Permanent Committee for Human Rights visited the ditch and took testimony from witnesses in the area that links the Colombian military with what happened. Apparently, military men raped the girl and killed the boys who witnessed their sister’s rape. The Commander of the 18th Brigade complained to local radio programs that the accusations were false and made up by the "guerrillas." More than 6,000 people from the region showed up at their funeral on October 19 in a demonstration of solidarity with the family, condemning the crime and demanding a prompt and clear investigation, given the fact that the presumed responsibility falls on members of the Colombian Army. 

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                                                                                                       THE GAME THAT HID MY FRIENDS

This story is made in memory of the case of violence presented in the municipality of Tame, Arauca in 2010.

FEBRUARY 2020.

Ten years ago, on the "Flor Amarillo" sidewalk in the municipality of Tame (Arauca), I remember that it was more or less in the middle of October 2010 that all the children on the sidewalk were meeting, playing, since we like to play hide and seek in the forest because it is very big.

We agreed to get together to play after lunch, they chose me to count from ten to ten to a thousand, and then go out to look for my friends who had surely hidden among the trees, - well you know what it is about the game! well the case is that we were: Pedrito, Juanchito, Miguelito, Carlitos, Osquítar, Francy and me; first caught Miguelito unprepared ... - "1, 2.3 por Miguelito", then I surprised the Osquítar, hidden there on top of an orange tree. - "1, 2.3 for Osquítar", after neglecting my "base" I am surprised by Pedrito: - 1, 2.3 for me and "safe country" which implies saving the rest of the players, that is, Juanchito , Carlitos and Francy.

- Francy, Juanchito, Carlitos? , already "saved homeland" for you.

Ten minutes and nothing, fifteen, twenty, twenty-five and nothing.

- We are all going to look for them, could it be that they hid far away?

- Sure !, and maybe that's why Pedrito doesn't listen to us.

We decided to distribute ourselves to look for them and this is where the mystery begins, Pedrito went to the houses to see if they were close, Miguelito walked in the direction of some banana crops, where it was said that the spirit of evil lived. Osquítar and I instead walked around the area where we were playing in the hope of reaching the "base".

Around the houses nobody had seen them, the only thing they knew was that their father was working on the neighboring sidewalk and that they were not authorized to leave the sidewalk, therefore they would not be with him. Miguelito, on the other hand, moved to the banana crops with the fear of meeting the evil spirit, but what he was finding was nothing more than clothing from his friends, first he found a shoe by Francy, possibly the right, then he found the scarf he was wearing as part of his hairstyle, he also found a flip flop for his older brother, a shirt for his younger brother and something a little more strange, he found whole locks of long hair, some say that the spirit leaves remains of hair so that they know that it was he who took them and disappeared them.

For our part, Osquítar and I, we were waiting a lot around our game, going round and round, waiting and waiting but nothing. Then we hoped to see them at school the next day, they did not go, we also expected them to visit us at home to do the homework all together as always, on Wednesdays and Fridays, but neither. In short, we have never seen them return.

Ten years have passed, since the spirit disappeared, however we still meet his father on special dates to eat and play, he is very happy to see us. He says seeing us reminds him of the innocence and purity of children and of course we reflect his children. Although it is hard to accept that they are no longer physically with us, I know that they are still here, because I feel them close. Sometimes dreaming of them, they are always dressed in white and in reality they look very calm, I see them very happy playing "the wheel wheel" and then ... they reach out their hands and invite me to play with them and as I walk towards them , they tell me:

-You are not to blame, friend, that this is so ugly, however, peace must be achieved, we must fight for our dreams, do not worry about us, here we are very well, we are happy and we are calm.

-All right, Francy, Juancho and Carlitos, your words give me courage and strength to not stop dreaming and chasing my dreams, do not forget that we also continue from here and will continue to remember them every day and carry them with us in our thoughts and dreams. And especially remembering for you.

- I know, friend, I know ... Let's play until you wake up.

I invite you, and all the children, not to lose hope of finding paths that lead us to peace, to persist in the fight not to be forgotten.

What ending would you put to the story? (children may write snd draw in a space below)
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SUBJECT: Interview on the psychosocial area CORPORACIÓN CLARETIANA
NORMÁN PEREZ BELLO.
Wishing success in your daily work through this I will give an account of the
psychosocial support process that we provide at the CORPORATION
CLARETIANA NORMÁN PEREZ BELLO to victims of state crimes in the framework
of the Colombian armed conflict, in relation to the questions sent by mail

CORPORATE CONTEXT
With the paramilitary presence throughout the country, a massive forced displacement began without
precedents that led the Intercongregational Commission for Justice and Peace of the CRC to direct
its actions in defense of the rights of communities in various regions of the country. The
Claretians were part of the Intercongregational Justice and Peace and we carried out missions
especially in Medellín del Ariari, Meta; also in communities of Chocó and
Santanderes.

For the year 1996, at the initiative of students in the training stage and trainers,
we decided to form the Human Rights Committee "Norman Pérez Bello" in memory
of this young man who worked with the Claretian Missionaries and was assassinated by the forces of the State in Bogotá (1992). Since then, we have welcomed leaders and defenders and
human rights defenders, formalizing us as a Corporation in 2003 as
non-governmental organization defending human rights and accompaniment to
victims of state crimes in the framework of the Colombian armed conflict.


PSYCHOSOCIAL SUPPORT
The Corporation provides comprehensive and therapeutic psychosocial care, whose target population
It is made up of human rights defenders and victims of State crimes in the framework of the armed conflict that remain in Bogotá, who present psychosocial affectations as a result of the victimizing acts, and they well request Attention or are sent by social organizations with which we work in partnership. Psychosocial support and care is carried out from the systemic and
social constructionism, implementing the model of resilience and mutual aid in
individual, family, group and community intervention, from careful listening and
art therapy, which allows through music, painting, meditation, dance between
other techniques that allow identifying needs, potentialities and aspects to be transformed
for the reconstruction of life projects.

In the framework of psychosocial care, the following programs of Attention:

1. Welcoming the lives of those who defend human rights: a shelter for Human rights defenders who are in a situation of risk, providing support through the temporary shelter modality, being
initially the reception for one month, with an extension of up to three months, in that period of time humanitarian aid is provided, legal advice, psychosocial support, food, clothing, therapeutic care and training through the School - Workshop.

2. Workshop School: Mending our history, weaving hope: Training space in human rights for boys, girls, youth, women and men who have been victims of State crimes in the framework of the armed conflict, being a space for recognition and enforceability of rights.

3. MUTRAME: Focus group of women who have been victims of the loss of their brothers or sentimental partners in the framework of the armed conflict, working from art therapy
the elaboration of the duel and from the memory component the reconstruction of their life projects and emotional as well as spiritual healing.

4. Social Movement of Boys, Girls and Youth for PEACE: It was born from the perspective that children and young people manage to imagine new paths for the notion of the component political, social and cultural of the country from childhood, in order to promote knowledge and practices from their experiences that allow influencing as political subjects in all spaces in those that develop.
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INTERVIEW with social worker Daniela Rojas Garnica, coordinator of attention and psychosocial accompaniment, Norman Perez Bello, Claretian Corporation

How sad! How awful! These horrible crimes have never been solved and the
military arrested. Has something been done?

Faced with the case of Tame Arauca on the murder and rape of a 14-year-old girl and
murder of her two brothers, aged 9 and 6, in 2010, a situation that is reflected
through children's literature, it was not an unpunished case in Colombia, since the military
committed this act was convicted of the crimes of aggravated violent carnal access and
aggravated homicide. However, the father of the children at the present time presents
permanent persecution and threats for reporting the fact.

The little tale is so beautiful in its simplicity of searching for the children and not
finding them. But their spirits live and peace is requested. Who wrote this story?

The story is written by Karen Rubiano of the Republican University Corporation,
who accompanies from her internship at the NORMAN CLARETIAN CORPORATION
PEREZ BELLO to the SOCIAL MOVEMENT OF CHILDREN AND YOUTH FOR THE
PEACE, setting where the story is built: "The game that hid my friends."

What do you hope to achieve by getting people to read this? Do you think that the United States
will intervene and help defame the military responsible for these crimes?

From the construction of children's literature, it is sought with children and young people to make
a critical analysis of the reality of the country, being aware of the need for
social transformation in our territories and conceive ourselves as subjects of rights and
hope. I think organizations like USAID and the UN are betting on the fight to defend
human rights; however, it is necessary to have a complete analysis of the
problems to be able to intervene effectively.

I hope that justice is done/. What else
can we do to help?

We appreciate your solidarity and availability of help, we consider that a way
It is wonderful to support us is to give an account of our process and work at the international level.

I remain attentive,
DANIELA ROJAS GARNICA
SOCIAL WORKER
COORDINATOR OF ATTENTION AND PSYCHOSOCIAL ACCOMPANIMENT
NORMAN PEREZ BELLO CLARETIAN CORPORATION

2020 Intrview with Director Thomas James O'Leary

Director Thomas James O'Leary is delighted to be back at Actors Co-op after receiving the 2018 Ovation Award for Direction of a Play for 33 Variations.  

As an actor, Thomas is best known for his three-year run as the Phantom in The Phantom of the Opera on Broadway (over 1,000 performances) and Mason Marzac in Celebration Theatre’s Take Me Out. Thomas is a proud member of the Stage Directors and Choreographers Society (SDC). 

He is currently preparing to open Marvin's Room at Actors Co-op on March 20. In our conversation he talks about the play in depth.

Marvin's Room is a beautiful play because of playwright McPherson's (Scott) witty dialogue and outstanding characterizations. Bessie is nothing short of a minor miracle in the play. She brings such light and hope to everyone. How do you feel as the director about Bessie's fierce determination to keep everything on a positive note?

T O'L: Bessie is the heart of this piece. At times she can seem almost saintly, but I love that Scott McPherson has written her in a very human way. We are left to wonder how much she chose to be in the situation she has been in for 20 years as primary caregiver to her father and aunt. Scott is so good at portraying real people in challenging situations, while keeping a quirky comic tone dancing throughout. She does have an uncanny ability to see the glass as half full, but she also struggles with her burden and fears as anyone might. The primary story is about how we can keep on keeping on, with as much positivity as possible, through trying circumstances.

What challenges do you have in directing the piece? Is the disparity between Bessie and Lee the only conflict to deal with?

T O'L: We have focused a lot on honoring Scott’s unique comic voice, which is a bit counterintuitive at times to the subject matter, but I believe that the comic tone is what makes the play work. There are also a lot of moving parts in this production – and every designer brought her and his A game to make it all happen. And yes, Bessie and Lee, the two long-estranged sisters at the center of this piece, have the most conflict, but Lee has her own struggles with both of her sons, and Bessie is sometimes challenged by Aunt Ruth and Marvin, and even her doctor!

Love is at the center of the play and McPherson allows for such wonderful imaginative power within the audience. What do you see the message(s) of the play to be?

T O'L: Love is definitely at the center of the play, though as in real life, it doesn’t always come easy to these characters. The big concerns of living and dying and caring are deep themes throughout. While Bessie’s love is unable to stop her illness, it does impact everyone in the family, including her. Simple acts of caring transcend the darker fate that awaits her. It’s heartening to see how each character transforms.

My favorite character apart from Bessie is daffy Aunt Ruth. She is superb comic relief and so lovable. Talk about the comedy in the play that deals with such serious life and death matters.

T O'L: When I first saw the play at the Minetta Lane Theatre in NYC in 1992, I was so moved by it, in part because I was living what I saw on that stage, as I was the primary caregiver for my partner who was very ill at that time. I totally related to Bessie’s journey. And I laughed throughout the whole play. And I think Scott’s writing is brilliant – he’s so skilled at comedic but genuine dialogue – tickling our funny bone in one breath and then touching our heart in the next. I marveled at how he did it! Scott achieves something so unique here – there’s a little John Guare and a little Christopher Durang in his writing – but Scott keeps it all grounded in a nuanced reality with beautifully touching moments throughout. So we laugh through the pain. It’s not really a black comedy like Joe Orton. I call it a funny-sad play, but more funny than you’d expect. It’s such a tragedy that we lost Scott McPherson at the age of 33, just six months after he won the Drama Desk Award for Outstanding Play for Marvin’s Room. Just think of how many other gems he would have written by now!

Tell our readers about your cast.

T O'L: I am blessed with an extraordinary cast – and all are actors who were new to me. The Actor’s Co-op is rich with talent! Francesca Casale is simply sublime as Bessie. Tara Battani Bowles is pitch perfect as Lee, the vulgar white-trash sister and mother of the two boys. Kane Filbeck has a natural sensitivity beneath Hank’s hard-to-pierce armor. I went a little younger in casting Marek Meyers as Hank’s younger brother Charlie because he is so unaffected, and he and Kane are so convincing as brothers. Brian Habicht is hysterical as Dr. Wally in scenes that are written as sketch comedy, but he also keeps it grounded in enough reality to allow dramatic moments to hit us at unexpected times. And Crystal Yvonne Jackson is so real and funny as Aunt Ruth. Justin Bowles and Kimi Walker bring much needed versatility to dual roles. I couldn’t ask for a better cast!

How would you relate this play to others you have directed? With a small cast, the ambiance is intimate and relatable. Where else gives the piece its power?

T O'L: Well, I just love this play! It’s the most I’ve been in love with something I’ve directed since 33 Variations, and yet the two plays could not be more different. I think my love affair with this one is because of Scott’s comic writing and because of my connection to the play when I first saw it. We are definitely leaning more toward what I saw in the original production than the more serious direction of the movie. And from what I’ve read, we’re taking it back to its origins more than the Broadway revival of 2012, which was hindered by being spread out on a large stage. The 99-seat Schall Theatre is perfect for this intimate play, and I adore all of the design elements of our production – we’re going for a hyper-realism, with a lot of detail work in Bessie’s home (I just hope no one tries to plug their phone charger into one of the outlets). One of my central images is the bouncing light in Marvin’s room, and that has inspired the lighting and sound design, plus original music by Dylan Price.

This is another perfect play for Actors Co-op. Tell our readers if you agree and why.

T O'L: The Co-op’s acting company is brimming with great talent, so it’s a great fit for them. Plus the story does have a spiritual bent to it – though I see almost any play as spiritual. Scott even satirizes spiritual beliefs in one of Aunt Ruth’s monologues. But the real spirituality in the play is in the theme of discovering the joy of being able to love in an unconditional way, and in seeing everyone being transfigured by Bessie’s love. You can’t get more spiritual than that.

Add anything that you wish like other projects you have been involved in since directing The Christians.

T O'L: I directed concert version of one of my favorite musicals, Sunday in the Park with George, for Musical Theatre Guild last spring, simultaneously with The Christians. And this past fall, I directed Aida at AMDA College of the Performing Arts where I also teach. Ironically, though my Broadway credits were all musicals and I direct only musicals at AMDA, I’ve directed only non-musicals at Actors Co-op. I’m not complaining – I really do love both! I’d rather not get locked into one thing anyways.

MARVIN'S ROOM plays March 20 - May 3
Fridays/Saturdays 8 pm
Sunday Matinees 2:30 pm
Saturday Matinees 3/28 & 4/4 at 2:30 pm
*No Shows Easter Weekend April 10-12 
Dates TBD
at Actors Co-op David Schall Theatre
1760 N. Gower Street
Hollywood, CA 90028

Interview with Luke Monday

Actor/singer Luke Monday is performing as standby for Elder Price 

in The Book of Mormon at the Ahmanson. He is also preparing to 

perform his concert/cabaret at Rockwell Table and Stage on Monday

March 16 entitled Callback Queen. In our interview Monday talks 

about both shows and how he really likes performing in Los Angeles.

I understand you are standby for Elder Price in The Book of Mormon.  Have you gotten the chance to go on? What other role(s) do you cover? LM: I have! I went on for Price on last Tuesday March 3rd, and I’ll be on again March 17. I only cover Elder Price in the show. When it’s a role as demanding as this, often times companies will hire a standby just to cover that part. I’m  the only Price standby in this company. This is without a doubt the funniest musical comedy, especially for gay people. Are audiences still jumping out of their seats? LM: They really are! I wasn’t sure what to expect since the show has played  here a few times, but we’ve been selling really well and the crowds have been fantastic. I went on on a Tuesday night, and it honestly felt like a Friday night  crowd. Totally electric. I love it! What do you think is the message of the play, and why is that vitally  important in today's mixed up world? LM: My takeaway from the show is that it’s ok to follow your own path, even if it’s not what you expected. Particularly in Elder Price’s case, he’s had this  very specific idea of how everything in his life (and afterlife) will play out.  Obviously once he gets paired with Cunningham and sent to Uganda, that all  gets derailed. But by the end of the show he learns to manage the change, and in that finds a new strength. I think that’s something anyone watching can learn  from. Life always throws curve balls, but it’s all about how you handle the struggles and find a way to move forward! Is this the favorite role you have played? Why? If not, what is your choice  and why? LM: It’s definitely up there! Maybe top 3? I love the music in this show. I remember watching the Tonys that year, hearing “I Believe” for the very first time and thinking, “I can do that!” Almost 9 years and 3 auditions later and here I am! My other favorites would have to be Gabe in Next to Normal and George in She Loves Me. What part did you perform in Mamma Mia? Was that enjoyable for you? LM: Mamma Mia was a blast! One of the best experiences I’ve ever had.  It was my first time touring, and and those people became my family. I was in the ensemble and I covered Sky, the fiancée. I loved Mamma Mia because no matter what negativity was going on in the world at the time, we could take the audience away for 2 hours and escape all of that to just have fun. Your cabaret show Callback Queen premiered last summer in San Diego.  You tell anecdotes about your career thus far and sing Broadway show  tunes. Can you give us a little sneak peek without creating a spoiler alert? LM: That’s right! So, the show sort of opens with my very first rejection, not  getting the part I wanted in my 4th grade school play, and then we continue all the way to the present. I noticed a trend with concerts and cabarets that a lot of them are just greatest hits of roles people played or originated i.e. their success stories. And while that is perfectly great, I thought it would be interesting to flip that idea on its head and share stories of rejection. Every actor has them!  Without giving away too much, there are going to be appearances from my talented friends from The Book of Mormon, awesome medleys and mashups, a costume  reveal, glow sticks, and a choose-your-own finale. It should be a blast! Do you have a favorite musical? Composer? Performer? Why these choices? LM: I think it’s a tie between West Side Story and Ragtime for favorite musical.  Two of the most glorious scores ever written, and sadly still so relevant now.  I don’t think I’ve got a favorite composer. I appreciate so many of them for  different reasons! I have a few favorite performers. I’m a huge Gavin Creel  fan. His voice was and is one of the best in the business. I want to play  everything he’s ever played. I guess I’m on my way, seeing that he was an Elder Price! Another fav is Laura Osnes. She’s a true triple threat and just  has a positive presence that I think is so important in a cut throat industry  like this. Have you thought about auditioning for the King in Hamilton or did you?  It's a funny, funny role. LM: I mean obviously I’d love to play that part! I think it’s pretty spectacular  that a character can be onstage for such a short time and yet be so memorable.  That’s one I definitely will go in for at some point. Thankfully Hamilton will be around for MANY years, so there’s time! Tell our readers anything that I did not mention, like the comaraderie  with your Mormon cast or how LA audiences are different from those in other cities across the country. LM: I love my cast. This is the longest I’ve been with any company and I can  honestly say I love each of them. We lift each other up, and I know they’ll be there on the 16th cheering me on. I think the audiences in LA are used to  seeing great theater, so they are really smart! They pic up on the details and the nuances that often go unnoticed in other cities. Being here is a reminder  of how truly funny and well written this show is. It feels new again in a way.  I can’t wait to go on again on the 17th and experience that rush again! Catch Luke Monday on March 16 at Rockwell Table & Stage at 1714 N. Vertmont Ave. in Hollywood. Call 323-669-1550  for table  reservations. And remember you can see him perform Elder Price  in The Book of Mormon downtown at the Ahmanson Tuesday March 17. CANCELLED

2020 Interview with Robert Bannon

I have updated news of this appearance at the bottom of the article. Feinstein's is closed until further notice because of the Corona Virus.*

Actor/singer Robert Bannon has worked on Broadway and on TV's SNL. He was to present his cabaret show Unfinished Business at Feinstein's at Vitello's April 14. In our conversation he tells us about his background and how his love of the American Songbook came to be.

Tell our readers why you are recording an album in salute to the American Songbook. You graduated from Julliard Prep. What did you learn from the composers of these songs? Who are your favorites?

RB: Growing up in a good little Italian-Irish family in NJ, the music of Sinatra, Sammy, Dean, Johnny was reverent. The instrumentation, storytelling, and classic nature of these songs just spoke to me. I have always been a fan of the “story” and the build of a song. I love singing all music and listening to everything from hip hop to country (and sometimes that sneaks in the show) but all in all nothing beats the classics. They can be done and reimagined but the bones of them remain and will forever.

I did go to Julliard Prep, I was in the first music theatre class under Bertin Rowser and Diane Wilson. I am so grateful to them for seeing something in me, as a child, I didn’t see in myself. I learned that acting and musical theater are truly art forms. There is a difference between fame/celebrity and the art and the work it takes to serve it. That goes back to the classic element of the show. It is my story, but I serve the music and I hope that translates.

As far as composers, I learned it’s all in the melodies. Can you listen to a song and remember it? That is the magic of a good song. Also the saying that you don’t remember what you did or what you said but you will always remember how you FEEL! Does the music make you feel something? The universal themes of them all!

I have a bunch of favorites. I love Johnny Mercer. His vibe and style is just timeless. The poetry of his lyrics is second to none. Also I love Anthony Newley. He is often not thought of but I love the DRAMA of his music!! His arrangements and songs are full of it. It makes a moment in my shows and hopefully emotes something we all can relate to!

You title your concert show Unfinished Business. You are so young. Usually artists use this term at the end of their careers. What is your intent?

RB: Thanks for this question and saying I’m young!

There is a story to the title. When I was in high school and at Juilliard, I ended up getting sick for 4 years. I had undiagnosed Lyme disease which turned into meningitis before Justin Bieber made it a newsworthy thing. . I literally never had a chance to go to high school as a “normal” student. When I recovered I only knew one thing - singing. I started putting myself out there. I got called in to replace Roger in Rent on Broadway. I walked in, botched the audition and freaked out. I changed my major to Political Science and became a history teacher done with performing. After two Masters Degrees in Education, I felt something was missing. I would literally tear up at a curtain call or a concert.

So after 10 years of not performing, fate intervened. I met up with amazing performers and writers Matt Gould and Griffin Matthews. They just did their show Witness Uganda at the Wallis in Beverly Hills. They helped me literally dust off the rust and get back out there. They told me I had something to say. The first day I sang again I said I had some Unfinished Business to do and it stuck. I called my show that in NY at 54 Below. It is the journey and the lesson that we all have something unfinished to do. Take a step and the path with FOLLOW and do it!

Do you tell anecdotes in your show or just sing? As a principal in SNL, you must love comedy. Any comedic stories or skits we may look forward to?

RB: I think I talk as much as I sing! I have stories for days and have had such an interesting life thankfully! I love to talk about my journey, family, love, and some of the things that I’ve experienced. I love comedy! I grew up obsessed with SNL so being there is beyond anything I could ever imagine. I’m so grateful to just be in the halls of that American Institution!

I do have some fun stories. I talk about my childhood obsession with all things Manilow, being stuck on an elevator with singing legend Phoebe Snow, my personal life which is a show in of itself, etc! There are a lot of laughs. I am all Jersey all day so that totally comes across in the show.

Talk more in depth about SNL. What has this added to your career as a performer? Has improv strengthened your delivery and stamina onstage?

RB: I was first asked to be on SNL in a sketch about the TSA. In the sketch they let me through security with a sketchy bag and book bag while others were not allowed to come through as they had a travel ban. I had to shave my head for the part and I asked the Casting Director, if I shave my head, can I be on a live show? Please! It actually worked. Ask and you shall receive.

Since then I have had big roles, small roles and everything in between. Check out Electric Shoes with Keenan Thompson and see my bass playing wig debut. Seeing the way that show works and how talented they all are is inspiring. I’ve seen some of the best in the biz work up close to make that show fly. It’s always an honor. When I was first on, a friend from elementary school wrote me and said “You used to stay up and watch this show every Saturday and now you are on that stage!” It is a pretty surreal moment!

Improv is simply the best! It is scary which makes the pay off so much better. I am a graduate of Willian Esper for acting under the amazing Barbara Marchant. That program is Meisner acting technique which is mostly improv. That skill is something that makes you so present in your work as an actor and has certainly helped my stage show and listening to the audience moment to moment. It keeps you on your toes and ready for anything! Who knows what will come out of my mouth!?

What is your favorite Broadway show? It does not have to be one that you have done. Why this choice?

RB: That’s a tough question. I love Rent. I loved finally being able to be in Rent after my awful audition as a kid and being Roger. That show resonates with me so deeply about love and living each day to the fullest.

I would love more original musicals to be made on Broadway! Witness Uganda is BRILLIANT! That score is something that has stuck with me. It was genius at the Wallis in Beverly Hills. Matt Gould who co-wrote that show has a new show coming to La Jolla called Lempicka! Go SEE IT! I am hoping after California it takes over NYC!

Any particular role that you are yearning to play onstage? Why this choice?

RB: I would love to play Bobby in Company. I just relate so much to his character and the score is brilliant. I also love comedy and have been singing “My Girlfriend Who Lives In Canada” for years. So I would love to be fitted with a puppet to have some fun in Avenue Q! I am always down for some campy puppet moments.

Did you grow up with music in your family? What inspired you to be an actor and singer?

RB: My parents loved music. My dad loved placing big headphones on me and letting me rock out to Earth Wind and Fire. My mom loved Carly Simon. We would listen to her when she made us breakfast every weekend but don’t ask them to sing! Ha! They are not singers. My parents are kinda shy and I am literally shot out of a canon 24-7. I think I always wanted to make people smile and entertain. I would take the sheets from my bed, make curtains, and put on shows for my family since I could remember.

I tell a story about trying sports and being dreadful (soccer goalie is not on my special skills on my resume) and finally being like nope I quit! Take me to singing lessons instead. Sixth grade hit, I was the Prince in Cinderella at my school, I was hooked. I wanted to sing and act anywhere and everywhere.

My parents were hip and loved music. I was the old soul. I got a karaoke machine for Christmas with the Hits of Manilow and I was sold. Hook line and sinker. I would listen and study him nonstop.

What was it like performing with giants like Patti LaBelle and Whoopi Goldberg? What did you learn from being in their presence?

RB: Wow! I had the pleasure at 12 years old to perform with Ms. LaBelle at a tribute concert for Laura Nyro (songwriter) at the Beacon Theatre. I have loved her since. She was so kind, humble, and a FORCE on stage. She brings 110% everytime and is so authentically herself. Her kindness and authenticity are what makes people love her. I have had the pleasure to see her numerous times after and sing with her again, she is as amazing now as ever! OBSESSED!

Whoopi is such a wonderful performer, kind, and generous. She was such a wonderful person to be around. I think I learned that being kind matters. Being a good listener and remember that you matter and your art matters but you can’t do it without the people who support it.

Do you have a goal in LA? Are you looking toward more work in TV and roles in film? Will stage always remain a vital part of your performing life?

RB: It is so humbling to be booked at Feinstein’s in Studio City. No one is more surprised and honored than me. Three years ago, I had hung it all up and had not done a thing so I’m thrilled people are inspired and supportive. I am focusing on my new album which is on the way based on the one man show and journey. My first love will always be me, a stool, mic, and a piano player. It’s taken me decades to be comfortable sharing my story, and that will always be the one I want to tell first and foremost. I am just happy to meet some new friends in LA and spread my message and music! Therefore stage and the live show will always be the first love. We are always adding more dates so I’m so grateful for that. They are all on RobertBannon.com.

I love TV and film! I would love to do more straight up acting. That is such a fulfilling way to make a living to be the vessel for the text and project either comedy or drama-that is a blast. I would love to be open to whatever life has to surprise me. One thing I learned is it’s gonna surprise me so let’s see where it goes!

Add anything you wish here that we did not already mention.

RB: Thank you so much for your time and platform! Come see me at the show and say hi! I am so excited to share this show with LA! Joining me is Michael Orland as Music Director! Michael was the MD on American Idol for 15 seasons. He’s worked with everyone and is as talented as he is kind. You don’t want to miss what surprises we both have in store. Also, LA has some of the best singers in the world and I happen to know them so expect a bunch of surprises and a lot of fun!

Unfinished Business plays at Feinstein's at Vitello's at 4349 Tujunga Ave in Studio City on April 14 at 8 pm. Doors open for dinner at 6: 30 pm  Call 818-769-0905 for reservations.

* I asked Robert Bannon what he is doing creatively during this time. Are you working on the CD of the American Songbook? When your appearance is rescheduled, maybe it may be a CD release party?

RB: I am working on the album! It will be of the Great American Songbook. It is produced by Bob Magnuson and features arrangements by Tedd Firth and Rich DeRosa of songs you know with my own twist. Thanks to technology we will hopefully do it all digitally and get it ready to be out as soon as possible. I am trying to be as creative as possible with this time out. 

The new goal is once we have a new date for Feinstein’s in LA this summer it will be an album release with a whole new show! So I am definitely looking forward to what comes in the future. For now, just sending light and love to everyone to stay safe! 

Separate Interview with Lee Blessing

Lee Blessing Shows Multiple Perceptions of Reality
by Don Grigware

Actors Co-op presents Lee Blessing's A Body of Water that opened February 5 for previews with official opening night Friday February 7. The play runs through March 15. Multi award winning actress Nan McNamara serves as director. I sat down with Blessing and here's what he has to say about the play and mounting this production.



I am always fascinated by your plays. What character is telling the truth? Or is it all a dream...or nightmare? You keep us on the edge of our seats with your wonderful dialogue. How did A Body of Water come about? Did some event inspire you?

LB: I can't answer most of this question, but I will say that the idea for the play occurred to me as I as waking up one morning. I was relatively newly divorced (from a long marriage) and still feeling the very powerful (for me at least) post-trauma effects of that. In some ways I suppose this is a play about trauma in all its forms. It's about those moments in life when nothing that we think we know feels real any longer--nothing that we depended on, nothing that we knew in our hearts to be true. This happens to different people for different reasons of course, in different ways and at different points in their lives. But it happens to nearly everyone, I'd argue, whether we'll admit it or not.

You have been called our greatest American playwright because you deal with issues that are relevant. Sports are a typical love of the American culture and have played into many of your plays, like baseball in The Winning Streak and football in For the Loyal. Do sports play into this piece?

LB: Sports really don't have a role in this play, unless you count jogging. Actually I have the bad habit (for a playwright) of writing about a great many different phases and aspects of contemporary life as well as many different sorts of people encountering quite a range of challenges. America tends to favor playwrights who stick to a fairly narrow range of issues and styles and sort of do the same thing over and over again, often quite brilliantly. They develop sort of a "shingle" to hang out, so people will know what to expect before even seeing their next play. For whatever reason, I tend not to do that.

Tell our readers about the play in detail without creating a spoiler alert.

LB: This is such a difficult piece to talk about. It's highly conceptual, and one really doesn't want to ruin any surprises or sharp turns that it may contain. I will say the twpeople we meet at the start of play are in their fifties and in great physical health--just as I happened to be when I wrote it. I'll also say that while it's hard to talk about the play before seeing it, it's hard not to talk about the play after seeing it. So feel free to look me up then.

You always lace your plays with a delicious sense of humor. Is there humor here as well? Give us a sample if you will.

LB: There is a LOT of humor in this play. And, just like my life, it never fails to make me laugh.

What is the main theme of the play? What do you want audiences to take away after seeing it?

LB: I suppose if the A Body of Water has a theme, it has something to do with the nature of courage and our inability to live without faith. After all, something has to get us through the inevitable traumas.

Do you care to add anything?
LB: If there's such a thing as music in dialogue, I think this is one of the most musical plays I've written. Just don't expect to hum along.

to purchase tickets for A Body of Water, call 323-462-8460 or visit www.ACTORSCO-OP.ORG

2020 Spotlight On Chet Grissom

The Road Theatre Co is proud to present the premiere of Nowhere on the Border by Carlos Lacámara and directed by Stewart J. Zully. The play concerns itself with the question Why do people cross borders? Two working class men, an Anglo on border watch and a Mexican, face off in the desert. What is discovered is that border crossings are both physical and emotional. The play opened January 17 at the Road on Magnolia and will play through March 8. Each week we will spotlight a member of the cast or creative team. This week the light shines on Chet Grissom.

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

I play Gary Dobbs, a volunteer with an organization that supports The Border Patrol. He's the main antagonist (other than the desert) in the piece.

How does the play challenge you as an actor?

Getting inside the mindset of a character I personally don't agree with is always a challenge ~ so to overcome that you find similarities and legitimate motivations for how he thinks and feels.

On a practical level, the amount of props I have to deal with took a lot of rehearsal time to master.

What do you feel is the meaning of the play? Its theme or message?

That, at our core, we all want the same things in life.

What would you like audiences to take away?

That this is a complicated issue with valid points on both sides. It's a situation that needs compassionate thought in order to come up with a policy that doesn't criminalize people in desperate situations.

Talk briefly about your director and castmates

Our director Stewart Zully has had a strong vision for this play for a long time now, and what he's done with the cast and designers is really heartbreakingly beautiful. The idea of having live music was a brilliant one and sets the tone for the evening in the first few notes. All of the cast have exhibited a strong passion and dedication to the project, and I think that shows on the stage.

Nowhere on the Border plays on Fridays at 8 pm, Saturdays at 8 pm and Sunday matinees at 2 pm. The NoHo Senior Arts Colony is located at 10747 Magnolia Blvd. in NoHo. There is plenty of street parking but arrive early. For tickets call 818-761-8838.

2020 Spotlight on Jonathan Nichols

The Road Theatre Co is proud to present the premiere of Nowhere on the Border by Carlos Lacámara and directed by Stewart J. Zully. The play concerns itself with the question Why do people cross borders? Two working class men, an Anglo on border watch and a Mexican, face off in the desert. What is discovered is that border crossings are both physical and emotional. The play opened January 17 at the Road on Magnolia and will play through March 8. Each week we will spotlight a member of the cast or creative team. This week the light shines on Jonathan Nichols.

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

I play Roberto Castillo, and I am the Mexican father looking for his daughter in the Sonoran desert between Mexico and Arizona, the Cabeza Prieta region, which is between Mexicali and Nogales, Mexico, and West of Tucson.

Ho do I serve the play? Well, Roberto is the catalyst for the “journeys” both his and his daughter's. That is the play. He insults his daughter and so she just says “enough, I am going after my husband, that you hate” He is not supportive of the marriage and then he tries to find her when she doesn’t arrive. Roberto is also in the “present time” of the play, along with Gary. While his daughter’s journey has happened. Of course, the audience doesn’t know that at the beginning of the play.

How does the play challenge you as an actor?

It breaks my heart every night. I am an immigrant myself, from Cuba, and I am a fortunate immigrant who migrated at a different time and space. The journey that Latinos make is a deadly one, every day this happens and no one leaves their homes and the place of their birth, unless driven by desperate measures, as the characters of this play do.

What do you feel is the meaning of the play? Its theme or message?

It’s a journey of love. A heart journey that, ultimately, is more unifying than the skin journey. We see with our eyes and we categorize and judge based on color, ethnicity and that is understandable and….you fill in the blank. We all have our prejudices. But a journey for love, vows, promises, dreams, aspiration, wanting a better life, missing your loved ones, that is universal. You don’t need to cross borders, that happens every day in every city and state, here and everywhere in the world.

What would you like audiences to take away?

One, I want them to be moved by it, to understand that the story is universal. Two, to understand the terrible and dangerous plight of an immigrant crossing the border and what they experience every day. It’s there. Carlos has done the research and it’s in the play. I think I said in rehearsals, the sun is a character in the play, probably the most important one. I would love to make the theatre the temp of the desert, so it’s a tactile experience. Heat their seats, that’s it, how we do in cars. That part of the desert is one of the hottest and driest in the US, rivaled only by the Mohave Desert. Summer highs reach 120 with surface temperatures at 180. Can you imagine? But, also that it’s a love story as well. Filial love, daughter and father, father and son, husbands and wives, everyone just trying to protect who and what they love. The beauty is that you can change the colors of the skin and put in two different borders and the play would still work. All you have to do is adjust it to that terrain, cause the terrain is also a character. The terrain, the stars and brother sun and sister moon are also characters.

Talk briefly about your director and cast mates.

Listen, they have been steadfast and have all jumped in. The characters that have the journey have had to do research on what happens as your body gets beaten day after day in the desert, and they have had to vocally and physically research and portray that. Not an easy thing let me tell you. I have it much easier. And, because we are double cast, and we rehearsed thru the end of the year holiday, we jump in and out, playing with different actors from one day to the next. Not easy to do. Same words get said, but in different rhythm, and it takes a lot of listening. Which we should be doing anyway….but one becomes hyper vigilant ... which is still what we should be doing. Cause, in the theatre, it happens every night, “for the first time.” That’s the job.

Our director, Stewart (J. Zully) has done a beautiful job crafting it moment to moment. I appreciate all the elements he and his design team have added. It’s a visually stunning play and it’s taken detail work, you know, like for the audience to feel the characters in that heat, the precise consumption of water as the journey progresses, than as you perspire and you have no water, how that affects the body and voice. There is a lot of detail in this and Stewart has been on top of it all. He has also allowed us to find the characters in the process and playing…and has allowed us to disagree with him and tell him why I feel I would not step here or there and, really, has been open to the actor’s feedback. And, more importantly, because he is an actor himself, he respects and loves actors. So his notes come from the director who understands actors' perspectives. You get different notes from a director who has little or no actor speak. Trust me. I would work for him again in a heartbeat. Besides, he’s funny as hell and always had a great attitude. That’s also important.

Nowhere on the Border plays on Fridays at 8 pm, Saturdays at 8 pm and Sunday matinees at 2 pm. The NoHo Senior Arts Colony is located at 10747 Magnolia Blvd. in NoHo. There is plenty of street parking but arrive early. For tickets call 818-761-8838.