Interview with Armina LaManna

Armina LaManna is writer, director and also co-founder and artistic director of Imagine Project, L.A.’s only Equity theatre company dedicated exclusively to young audiences. Its inaugural production opens on Nov. 7.

This inaugural production is the world premiere of The Tale of Turandot, a modern theatrical puppetry experience for elementary school–aged children. Inspired by the centuries-old story, Armina LaManna wrote and will direct this family friendly production, which is geared toward children between the ages of four and twelve years old.

In our conversation LaManna talks in detail about the theatre company and the inaugural production. As a fan of children's theatre, I was amazed that there has not been am Equity company exclusively devoted to it. I grew up loving puppets and as a language teacher have used them in theatrical skits to tell my stories to students and teachers alike.

As the only Equity theatre company dedicated exclusively to young audiences, Imagine Project is surely getting off to an exciting start with the world premiere of The Tale of Turandot, a modern theatrical puppetry experience.  Tell us about it...the storyline and its background.

AL: When I read the Gozzi play in my teens, I remember really enjoying the combination of commedia dell'arte with an ancient legend. I also recall, however, being saddened that a smart female character was portrayed to be cold and heartless. It was back then that I decided to tell Turandot's story differently one day. Never in a million years did I think that I would be retelling it to young audiences. Yet, over three years ago, when we first decided to commit to telling stories that spotlighted female heroes, I knew that the time was right for Turandot's story from her perspective. Shattering this idea that smart women had to be cold women, was imperative.

This is why, The Tale of Turandot is told from Turandot's point of view - from the perspective of a young woman seeking passionately the opportunity to control her own destiny with plot twists specifically adapted for young audiences. In this play, Turandot uses the riddles to delay being betrothed; she stands her ground, and uses her wit and erudition to get a voice and choice in how her life unfolds; she is a self-reliant heroine - one that I hope would serve as a strong role-model for all kids, but young women especially.

Will there be live actor performances in the future or are you planning puppetry exclusively? 

AL: Puppetry was chosen to help tell this particular story, and while Imagine Project is not a puppet theatre, I do not doubt that we will be seeing more of this majestic craft in the years to come.

Puppetry is a European tradition which when transplanted to American culture has been enchanting children for years. What do you think is the magic of it? Why do kids find it irresistible?

AL: Kids and adults I would add. The magic in large part comes from the audience witnessing puppets transform something common into something extraordinary. What is a simple task for human actors - holding hands for example - suddenly becomes epic when two puppets do it. This allows the audience to develop a new appreciation for holding hands, because it suddenly sees this every-day occurrence in a new and whimsical light. I was born in the former USSR and spent my childhood there, specifically in Yerevan. It was a gift to grow up in a city that had professional children's theatre and of course the Toumanian Puppet Theatre, which was a rite-of-passage for kids there. And really, that's what we want Imagine Project to be for kids in Los Angeles. Did you know that there are hundreds of children's theatres in Belgium, which has a population of only 11.5 million? But Los Angeles, the entertainment capital of the world, which is home to over 10 million people, 2.3 million of whom are kids, had only a handful, and until now, did not have a flagship Equity children's theatre?

No, I did not. We really need you. As artistic director of Imagine Project, what is your mission in detail?

AL: There was a great study done by University of Arkansas a few years ago; it found that seeing high-quality live theatre enhances kids' literary knowledge, tolerance, and empathy (which we have known to be on the decline for the past few decades). Growing this capacity for empathy at an age when technology is interfering with genuine human connection, and also igniting compassion for our differences, all through live storytelling, is the driving force behind our commitment to our community.

We also chose to tell stories that spotlight female heroes derived directly from the folk tales of Los Angeles' rich cultural fabric. The objective is to create an opportunity for our audience to see characters who look like them, while at the same time, inspiring girls to aspire and to teach boys to value parity in society.

From the very beginning, we also made a commitment to produce at the highest levels of professionalism; this is why we chose to be an Equity company.

Is there anything else you care to add like wisely scheduling performances on or close to weekends to avoid conflicts with school...or other future projects?

AL: Oh goodness, this has been one heck of a learning curve. Between testing months, school holidays, required lunch/recess times, bus acquisition issues, scheduling a field trip is nothing short of a miracle. There are schools/districts that made things comparatively easy, and then there are those that we have struggled to connect with. We also find ourselves having to often clarify that we are a company dedicated to producing work for children, and not by them.

Performances of The Tale of Turandot are Thursday, November 7 – Sunday, November 17.  Nine performances:
• Thursday 11/7 - 7:00 pm
• Friday 11/8 - 7:00 pm
• Saturday 11/9 - 11:00 am & 2:00 pm
• Sunday 11/10 - 4:00 pm
• Friday 11/15 - 7:00 pm
• Saturday 11/16- 11:00 am & 2:00 pm
• Sunday 11/17 - 4:00 pm

Performances will be held at The Colony Theatre 555 N. Third St., Burbank, CA 91582; 818-558-7000
For tickets and more informaqtion go to: http://imagineprojectca.com/the-tale-of-turandot

(photo credit: courtesy of Imagine Project)

Spotlight on RJ Seikaly

The Road Theatre on Magnolia is proud to present The Spanish Prayer Book by Angela J. Davis and directed by Lee Sankowich. The fascinating historical play about the power of art to forge human connections had its official opening on Friday September 20 and plays until November 10. Each week we will spotlight a cast member. This week the light shines on RJ Seikaly.


What character do you play in Spanish Prayer Book?

Julien Nazir.

How does he contribute to the play?
I bring protection and loving support to Michaela. I do everything I can to honor Jacob's legacy. I do my best to guide and advise Michaela to do what’s right in the eyes of history, while respecting her and her mother's wishes while honoring Jacob's legacy in heart and mind.

Any challenges to overcome as an actor?
Understanding the true weight of the historical content and putting the puzzle together.

What to you is the message of the play?Always let integrity, intelligence, and love guide us through decision making. As long as the truth is upheld, a balanced compromise can be made.

Tell us about your director and fellow cast mates.Lee (Sankowich) was great to work with. Everyone was collaborative and lovely.

What do you hope will be the audience takeaway?To have a deep understanding and respect for maintaining the true side of history. Important that we as human beings do not repeat history, evolve and learn from our past to inform a better future.

The Road on Magnolia is located in the NoHo Senior Arts Colony at 10747 Magnolia Blvd. There is plenty of street parking but allow yourself plenty of time. Tickets may be purchased at 818- 761-8838.

Interview with Joseph Bwarie

Joseph Leo Bwarie is one of the Artistic Directors of the nonprofit Garry Marshall Theatre in Burbank, California. He is a Sherman Oaks native and a recording artist popular on Siriusly Sinatra on SiriusXM Radio. JLB is widely known for his record-breaking turn as Frankie Valli in the Tony Award-winning musical Jersey Boys (over 2,000 performances - Las Vegas, 1st National Tour and Broadway). Bwarie’s career began at age nine, appearing in the television series Highway to Heaven and Mama’s Family. He is a longtime member of Troubadour Theater Company (recent: co-director and ‘Ziggy’ in Little Drummer Bowie and ‘Octavius’ in Julius Weezer). A directorial highlight was serving as associate director alongside Garry Marshall for the world premiere of Billy & Ray and its New York premiere at the Vineyard Theatre. GMT directorial: A Funny Thing Happened … Forum starring Paul C. Vogt and Joey McIntyre, and The Root Beer Bandits: A Rootin’ Tootin’ Wild West Musicale - an original family musical he co-created with Lori Marshall and Rachael Lawrence.

Bwarie is getting ready to open a live radio play at Actors Co-op Friday November 1. In our conversation, he talks in depth about this new production of Miracle on 34th Street.

Nice to see you are doing a live radio play. Miracle on 34th Street is a classic. Why do you think it still holds up after all these years?

JLB: I think Holidays defy age or trends. They become part of people’s traditions and become eternally relevant. So, whatever the holiday tradition – they are special. And Miracle On 34th Street is such a valuable story. It is a classic film that gets its annual viewing alongside White Christmas and The Grinch and It’s A  Wonderful Life and all the stop motion tv specials that are ubiquitous with Christmas. They will always be indelibly part of the season.

Tell our readers, especially those who have not seen one, what is shown in a live radio play...all the behind the scenes activity.

JLB: The exciting part about being in the room while a live radio play is in action is seeing the way the microphones are used with the voice actors, the musicians and the foley artists. In this production, it all happens right in front of your eyes. And if you close your eyes, there are moments that the foley design can transport you to Central Park, Doris Walker’s dinner table in her Manhattan apartment or even an elevator trip to the Toy Department at Macy’s in 1947. And that’s just a few that don’t give away the surprises.

Even in serious moments there is fun. What do you think are the most comedic elements in the play itself?

JLB: It’s a show that is operating on many levels. So, the layers of fun and comedy are coming from all different sources and styles. It really is a show for all ages. And it’s a feel-good show. There is humor and heart in the music, there is charm and whimsy in the foley, and at the core of it all, the adaptation of the original film script brings its own specific wit and comedic appeal. It’s a true ensemble cast and they create the entire world – the music, the foley, the movement, and of course… the laughs.

What to you symbolizes the use of the word "miracle"?

JLB: It’s a special word, right? And it’s a word that is probably used too casually. Getting from Pasadena to Santa Monica in 45 minutes is not the true definition of a miracle. For me, a miracle describes anything that is full of wonder… something that makes a person feel jubilant or alive. That is what a miracle does. When you can’t believe it could be happening and then, in fact, it IS happening – that is a miracle. It think it’s hope. I think it’s possibility.

This is a perfect family show. Tell us why.

JLB: When I was a child in Los Angeles, this is the “seasonal event” that my grandmother would take me to see with my parents and brother and sister. And my grandfather would come along, when he really wanted to stay home to listen to the game on his radio (he preferred sports on the radio to the television). After the show, my grandfather (a man of few words) was so glad he joined and we would all get in our blue minivan together and talk about the show, and we would drive around to see Christmas lights in the neighborhood. What is so great about this production of Miracle On 34th Street is that performances start this week on November 1st making it the perfect family show from a calendaring standpoint.

Talk a bit about the music in the radio play. Are you choosing the carols to be performed?

JLB: The music is clever and catchy and also beautiful. It’s an original score and emulates the sounds of the 1940s with dynamite harmonies and beautiful melodies. And everything is performed live. But there are glimpses of traditional carols that we all know. Although, they are not performed exactly how you might expect. And there are some hidden holiday gems woven into the beautiful underscore as well. I think audiences will be leaving the theatre singing the tunes and wll be filled with the holiday spirit.

How has your background with the Troubies helped you to direct this kind of show? Talk about the unexpected.

JLB: More than anything, working with Garry Marshall for so many years was what informed the detail of how I approached this show. At times in rehearsal, I would find myself saying things that Garry would say, in a Garry-like cadence. And the cast would say, “Garry’s in the building.” He would love that. That has been an interesting extension of Garry’s legacy – actors that never met him, get a “Joe version” of his unique way of communicating a detail of comedy or how to deal with the unexpected. And of course, working with Troubadour for so many years always is part of how I look at stage comedy. Matt Walker was always generous to me when I was in a Troubie show, letting me have the opportunity to invent more ideas or quirks or character business to inhabit the playground. And he would be the first to say that a clown in trouble can possibly be the best laugh of the night.

Do you wish to add anything that I did not mention?

JLB: This is a live musical adaptation of the LUX radio play from 1947. This production is the LA-premiere. And it weaves song and dance and some extra magic into the radio play transcript that was presented over the airwaves seventy-two years ago. This is a fully realized play with a huge original score that is fully designed by a team of LA’s best, and brought to life with 1940s flair by a terrific ensemble cast who do it all.

The radio play of Miracle on 34th Street plays the David Schall Theatre at Actors Co-op, 1760 N. Gower Street, Hollywood, CA, 90028 on the campus of the First Presbyterian Church of Hollywood  November 1- December 15, 201  Free Preview Wednesday, October 30, 2019, 8:00pm (Reservation required)  Performance Schedule: Friday, Saturday at 8:00pm, Sunday at 2:30pm, Additional Saturday Matinees: November 9 and November 16 at 2:30pm

Get tix: Online -- www.actorsco-op.org By phone at 323-462-8460 ex. 300

Singer Terron Brooks and The Soul of Broadway - Impossible Dreams

Actor/singer/songwriter Terron Brooks is best known for his portrayal of Eddie Kendricks in the1998 NBC Emmy winning miniseries The Temptations. On Broadway he played Simba in The Lion King and Seaweed in Hairspray. Brooks is about to release a solo album entitled The Soul of Broadway - Impossible Dreams. I have heard some of the mastered tracks and his range and delivery are nothing short of amazing. The voice is pure velvet. On Sunday November 3, he will perform in concert at the Montalban in Hollywood, where the new CD will be available. In our conversation he talks passionately about the CD and the concert.

Tell our readers in detail about your new album The Soul of Broadway - Impossible Dreams, and why it is so important for you to make these songs fresh for today's audience.

TB:I wanted to share these classic songs with everyone. Not just the Broadway community and Broadway lovers. Taking the songs out of the theater character story and reimagining them with a soul sensibility breathes new life into them and lets the listener hear them in ways that hopefully relates to their own story. I approached them as if I wrote them and infused my story into the narrative. We tried not to limit ourselves to genre and just make good music that connects universally.

Will you do songs from the album exclusively in the concert or will there be others? Give us an example or two.

TB: We will be performing most of the album, except for maybe one or two. The show however is not exclusive to the recorded material, although it is also a record release concert.  It is the launch of a new creative concept... songs from Hamilton, Dear Evan Hansen, and Les Miserables, which are not on the album, for example, but will be performed during our show. We're keeping a little mystery for our audience but a few songs on the record include "The Music of the Night" (The Phantom of the Opera), "Something's Coming" (West Side Story) and "The Impossible Dream" (Man of La Mancha).

Is the orchestra for the concert the same as on the CD? Tell our readers why it is so wonderful to work with the same musicians who assuredly elevate and inspire you.

TB: The musicians are so important. They inform the emotions that the songs grow to become. The band—led by Mark Vogel, the Music Director and Executive Producer of The Soul of Broadway record—is roughly half studio musicians on the record plus new members who most certainly bring enthusiasm and soul to the live experience. Add to that three phenomenal vocalists, who we call The Soul Singers, who just happen to be friends of mine. It was essential to have Mark on board because as one of the co-creators of the music, he knows the music inside and out. During the recording process there were many magical moments that just organically happened because we share the same sensibility. The music led us many times and we followed without ego or attachments. 

What do you hope audiences will take away from the evening of song? Talk particularly about how you hope to shape their hopes and dreams.

TB: Well, the show is called Impossible Dreams. So of course, the theme is reaching for the impossible. I'm using the backdrop of my own journey to hopefully shine a light where others may find themselves in their own life. I'm hoping my vulnerability will help to inspire others to define their own success and find their voice while bringing people of all walks together. Music is a great connector and if one person leaves with more hope, determination and empathy, then we've done our jobs. I'll be living my dream in real time November 3rd!

Tell us about your association with your wonderful producer/director Brian Purcell. How long have you known each other? Why is he the perfect collaborator for this project?

TB: Brian Purcell was one of my employers and band mates in America's favorite mashup group, The Company Men, which I'm still a proud member of now. We've known each other for many years but over the course of the last four years we've formed a great friendship first and a new partnership with his company 4 Times Entertainment, along with his wife Leah. Brian is the perfect collaborator because he sees me. He understands emotionally what my intentions are with music and has the talent and creative energy to bring it all to life without ever losing authenticity and soul. Everyone needs someone in their corner who ignites their dreams and humbly pushes you to think outside the box and dream bigger. Brian is a visionary and I cannot wait for audiences to witness this experience, which will be like no other.

What I'm most excited about is creating a show where I can be me. No pretense. I think we've created something unique and familair at the same time. Audiences have the chance to be there at the very beginning of an impossible dream coming to life. And my record, which has stretched me the most, will be available that evening before its release later in the week to the rest of the world.

(photo credit: Lionel Garcia)

For more information and to purchase tix, go to:

https://www.themontalban.com/sob

Spotlight on Allison Blaize

The Road Theatre on Magnolia is proud to present The Spanish Prayer Book by Angela J. Davis and directed by Lee Sankowich. The fascinating historical play about the power of art to forge human connections had its official opening on Friday September 20 and plays until November 10. Each week we will spotlight a cast member. This week the light shines on Allison Blaize.

What character do you play in Spanish Prayer Book? How does she contribute to the play? 

Michaela Adler. The play follows her journey into her family's secrets, and the life-altering decision she has to make because of them.

Any challenges to overcome as an actor? 

It's always interesting working on a new play!  Discovering how to build the character without a precedent.  It is truly exciting!

What to you is the message of the play?

I believe the message of this piece is that God (whatever or whoever that may be to you) is LOVE. 

Tell us about your director and fellow cast mates.

It was a pleasure to work with Lee and all my fellow cast mates.  Everyone was fully invested in the work and process. I have truly enjoyed working with each and every one of them.

What do you hope will be audience takeaway?

People aren't so different from one another, and everyone has something that matters to them.  

The Road on Magnolia is located in the NoHo Senior Arts Colony at 10747 Magnolia Blvd. There is plenty of street parking but allow yourself plenty of time. Tickets may be purchased at 818- 761-8838.

Spotlight on Laura Gardner

The Road Theatre on Magnolia is proud to present The Spanish Prayer Book by Angela J. Davis and directed by Lee Sankowich. The fascinating historical play about the power of art to forge human connections had its official opening on Friday September 20 and plays until November 10. Each week we will spotlight a cast member. This week the light shines on Laura Gardner.

What character do you play in Spanish Prayer Book? How does she contribute to the play?
I play Joan Adler, wife of Jacob, whose father ‘saved’ the books from the Nazis. I am trying to get my husband to sell some of the books to help support our daughter and granddaughter. After Jacob’s death, I try to persuade my daughter to sell the books for the same reason! Yes, they belong to the Jews and yes, my family needs help too.
Joan brings humor, passion, reason and honesty to the people around her. I love her British straight forwardness and yes, there is a bit of my mother and me in Joan.

What to you is the message of the play?

I come from a Jewish background and although I wasn’t Bat Mitzvahed,  I feel such a deep connection to my roots and to the struggles of the Jews through time. Always running, hiding. This play brings so many things into consideration: who owns cultural treasures, where do we draw the line, and the importance of the truth in a family. 

Tell us about your director and fellow cast mates.

I have known Lee Sankowich for many years and have worked with him and his daughter, Sarah, on Moses Supposes at The Zephyr Theatre so it is fun to work with him again. And I have been with this play since the Summer Playwrights Festival three years ago so am delighted to be working with Angela (J. Davis) for all this time! The cast is terrific with Roadies I have wanted to play with for many years!

What for you is the audience takeaway?
I hope the audience takes away the importance of family, cultural treasures and the connection of our ancestors. There is a moment when I have been at Passover Seder, that I have been overtaken with a deep sorrow and connection to ‘My People’. This play does this to me. 

The Road on Magnolia is located in the NoHo Senior Arts Colony at 10747 Magnolia Blvd. There is plenty of street parking but allow yourself plenty of time. Tickets may be purchased at 818- 761-8838.

Saudade Theatre

Filipe Valle Costa is the founder and co-artistic director of the Saudade Theatre, the first and only Portuguese theatre in Los Angeles to translate Portuguese playwrights into English. The company will soon open My Favorite Suicide on October 18. Based on my knowledge of theatre in Los Angeles, this is a milestone for our community. We desperately need to include theatre artists from all over the globe whose ideas will expand our intellectual horizons and build the best theatre possible.

Filipe, tell our readers about Saudade Theatre. Most importantly, as the first and only Portuguese theatre in the US, how has it made a difference for the Portuguese and our American culture?

FVC: Well, that is the key right there. Saudade Theatre is the first and only Portuguese theatre company in the US, and as such, it's our mission to develop original and thought-provoking work grounded in the Portuguese experience. I never wanted Saudade to be a "museum" theatre company. In other words, it is not our goal to grow a company that merely presents an American audience with a Portuguese story, or our history straight from the history books. As Portuguese immigrants having grown roots in the US, we are specifically interested in having a dialogue: we want to understand where the contemporary Portuguese consciousness meets the American equivalent. We are now based in Los Angeles, but started the work of Saudade Theatre in New York City five years ago - after having the simple realization that theatre bookstores did not carry any Portuguese playwrights translated to English. I felt a longing for my artistic and cultural roots, and craved the ability to share them. Saudade Theatre has been ground-breaking in presenting certain Portuguese plays in the US for the first time. Exploring Portuguese theatre has allowed us to open our minds to other possibilities and other forms of creating theatre. It's been an amazing ride to rediscover what theatre can be, and do. 

Are all productions translated into English or in some is there a mix of Portuguese and English? Have you ever presented any show in Portuguese and translated into English on a screen above for audience view?

FVC: We are not limiting ourselves to any one way of producing works. For now, the majority of our work is grounded on the translation of Portuguese plays and playwrights, in direct response to the lack of such published works. This is the foundation. This is how we create the bridge between Portuguese and American theatre cultures. 

However, we see many other possibilities in the future. We've considered bringing essential American works to Portugal; we've considered performing plays fully in Portuguese with subtitles; we have and will continue to reconsider our storytelling methods according to the specificity of each project and each step the company takes. 

Tell us about the world premiere of My Favorite Suicide. What does it tell the story of and what is its message?

FVC: It's deeply exciting. Through our work creating relationships with Portuguese playwrights, we now have a new work written specifically for our company, penned by one of the most notable Portuguese playwrights today. We are ecstatic to produce this world premiere here in LA. 

My Favorite Suicide is an apocalyptical story about four friends, in a cabin, in the middle of a mountainous forest, grappling with the strangest of all human acts. What deaths do we give ourselves and what countless tales do we tell about them?

This work is also incredibly personal. Suicide has touched my family. One of our goals with Saudade Theatre is to always take the pulse of the current moment - so My Favorite Suicide came about as a response to the general mental health conversation in the US right now. It was important to us to be able to have four actors get on stage and debate the meaning of life and death and choices and survival, nonstop, for over an hour. There is not one defined message per se. This play is not a cautionary tale, nor looking to impose a certain point of view. Our goal is to speak openly about suicide and exchange ideas, which audiences may or may not agree with, but it's an open dialogue about a subject that so often is swallowed by silence.

Talk about the collaborators and the writer/director's first directorial production in the US.

FVC: I feel personally fulfilled to be working with everyone on this project. Starting with Mickaël De Oliveira - his writing repertoire includes more than 20 plays, which have been produced internationally and translated into English, French, Spanish and Slovak. He's been working at the national theatre and on Portugal's largest stages for years.  Having him and his translator/dramaturg Maria Inês Marques in the US working with our theatre company is a unique opportunity for ourselves (as artistic directors), for actors, and also our production designers, to work with artists of great experience and perspective. And, with our goal to further Portuguese playwrights, Saudade Theatre set up a conference with UCLA's Department of Spanish and Portuguese Studies, where Mickaël will have the opportunity to present on his Ph.D. thesis regarding contemporary European theatre for students and department staff. 

We're also incredibly grateful to be working with Drum & Lace once again this year. Drum & Lace is a composer & performer that writes & creates music for film, fashion & media. She composed original music for our West Coast Premiere of The Constitution, also written by Mickaël, last year. There's no limit to the wonderful things I can say about her. Her scoring of HBO's documentary “At The Heart of Gold” was absolutely gorgeous.

We have found a true diamond in the rough with our stage manager, Garrett Crouch. He's that for us and so much more. I cannot imagine producing anything without him. It’s been a huge gift to share the stage with our actresses Liliana de Castro (Psi, HBO), Joy Brunson (This Is Us, NBC; Snowfall, FX), and of course, my co-artistic director, Diogo Martins (Saramago’s Skylight.) 

Last but not least, sharing an artistic life with my wife, our Executive Director, Vanessa Varela, has been one of the most rewarding experiences I could have asked for. Vanessa has been our rock. 

Tell us about incorporating American actors into casts and how that generates a fine sense of community.

FVC: Saudade Theatre is first and foremost a conversation between American and Portuguese artists, between our cultures & societies. A dialogue about what we might or might not have in common. Our work is always in relationship to where it exists, because the theatre depends on that. I guess we can say that we are not a Portuguese theatre company. We are a Portuguese American theatre company. We never wanted to be solely made up of Portuguese artists because for us, that would mean isolating ourselves rather than opening ourselves up to valuable collaborations. The bridge we are slowly building strongly depends on that.

My Favorite Suicide will play at Anthony Meindl’s Actor Workshop 905 Cole Avenue Los Angeles, CA 90038  It plays at the following times:  Friday, October 18 - 8:00 pm, Saturday, October 19 - 8:00 pm, Sunday, October 20 - 7:30 pm. NO SHOW on Fri. 10/25. Saturday, October 26 - 3:00 pm, Saturday, October 26 - 8:00 pm, Sunday, October 27 - 7:30 pm,  Friday, November 1 - 8:00 pm, Saturday, November 2 - 8:00 pm, and Sunday, November 3 - 7:30 pm  $20, Ages 16+

https://www.saudadetheatre.org/my-favorite-suicide