"No Child..." is worth the drive

Theatre Review By Kevin Six

(from left) Marc Amial Caro, John Rogers, Robert Malave, Lynae DePriest, Dempsey Davis, Bianca Ostojich, and Rebekah Ensley in InnerMission and Mesa College Theatre's production of "No Child...". Photo: Paul Savage

When you produce a play about teaching artists trying to make sense of arts and education, set in a school, and performed at a community college – with student actors yet – you’re asking a lot of an audience.  This much was asked of me last night and, after my disclaimer that I am married to a member of the cast, I must say Mesa College and InnerMission Productions’ “No Child…” It’s worth the drive to Kearney Mesa.

The play itself is short – less than an hour – but every second of it brings something new, touching and uplifting.  The story is real and often acted solo by the author, by Nilaja Sun.  Some day, I’d like to see her do this because the rapid-fire exchange of dialogue is an amazing feat and this cast of 16 was working overtime as it was.

The play is narrated by Janitor Barron, in an extremely human and wizened portrayal by Rhys Green.  Barron paints the picture of a school and a class full of kids who have already been left behind when the national No Child Left Behind brings its show to Brooklyn.  Ms. Sun has been hired, through a department of education grant, to teach the worst of the worst kids a play.  Lynae DePriest pretty much lives the pain, and pathos of this poor artist with an impossible task, and manages to instill hope.  Another stand out in the cast is Justine Hince as the overwhelmed and finally consumed Ms. Tam.  Watching her go from hopeful to disenchanted, to giving up is worth the price of admission.

It is at this point that a reviewer would explain that this production was an educational collaboration with actual students playing the actual students and professionals playing the adults in a way to soften the blow that the kids were blown away by the pros.  But not so.  These kids are possessed of so much energy, talent and emotion (and so much control over them all) that it is hard to understand that they are just beginning their careers as actors.  The ensemble as a whole is even, competent and surefooted.

Standouts among the kids are Brandon Kelly as the angry young Jerome, Bianca Ostojich whose Shondrika can kill with a look, and Rebekah Ensley whose Cocoa puts hope into a much-too-common end to her high school studies.

The production team is also a combination of students and professionals and by-and-large they pull it off with nary a hitch.  Directors Carla Nell and Kym Pappas have managed to create a strong, powerful cast that is surprisingly even, even as the emotions trickle, flow and sometimes gush. The only thing wanting is more sound design.  There was too little musical accompaniment to follow up an excellent opening.

So what, you will think, wiping away tears, as the lights fade on an excellently-wrought “No Child…”  After all, as Janitor Barron says, “sometimes the most talented ones just slip through the cracks.”  All in all Mesa and InnerMission created an excellent production with an excellent use of student and professional actors, staff and technicians – and an excellent way to spend an evening.  Just give yourself time to find the college, the parking lot and the theatre – watch this video for information on where to park.

InnerMission Productions and Mesa College present “No Child” by Nilaja Sun at Mesa College’s A Thursdays through Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. through May 20.  Tickets range from $10-15 and are available at InnerMissionProductions.org or Mesa College’s Apolliad Theater, 7250 Mesa College Dr., San Diego, CA, 92111.  Building C-100 on this map.

How to get to the Apolliad Theatre at Mesa College to see No Child...

Have you ever wondered how to get to the Apolliad Theatre at Mesa College? There's a great play,No Child... there in May and I want to see it. So I went there. See directions and a map here, or follow me...

War vs. Miracle

There has been a war on drugs since Nancy Reagan asked kids to "just say no." in the 80s.  The drugs are winning.  The war on terrorism is difficult to win because it's also war on a concept more than an enemy.  No what people need to instigate, manage and finally win a war is a real enemy.

Like my friend who had a war against the cable company. He thought it was OK to take cable from a company too lazy to protect its flow.  When the cable company terminated the signal at the wires above his house, instead of right where he could tap in at the junction box, I asked him if the war was over.  His reply, "It's no longer war.  It's Jihad."

This was the 90s when Jihad simply meant living your life only to destroy your enemy.  We have come to learn that the enemy of the Jihadists is the Infidel (us) and that we started it with the Crusades.

The term Holy War is possibly the funniest thing in human history.  The idea that somehow the being charged with loving the world so much that He created it for us would stand for us killing people who don't believe in Him is ludicrous on so many levels...

War is not holy.  No, war is personal.  It began with tribes and it continues with tribes to this day.  Or have you never lived in a mixed-use condominium complex?  The idea about condos used to be to allow people who cannot afford to own a whole house or apartment building to own just one little bit.  It was a way for these people to live together and own part of the building and share ownership of the common area.  But now it's just a place for people to start and lose wars.

In my opinion, there is no winner in any war.

There are many reasons for Condos becoming war zones but my main pet peeve is people who used to believe in the condo model but who move out and rent to complete fucking morons.  People who are in the mindset of an apartment and not a shared experience, people who don't care as much as owners.

My complex had flipped.  Most of the units near me are owned by investors.  Some of them are good about the people they rent to and others are keeping oddball family members there.  Read my wife's blog on it.

The problem is that we have an enemy.  One who doesn't believe in the idea of community property, personal space, hygiene... But we're against war.

Part of me wants to go all Jihad but it takes too much time i.e. the rest of my life.  Like the Gerard Depardieu character in Green Card, part of me wants to tattoo the name of my upstairs neighbor on my forearm as a reminder that I need to kill that person and, once it's done, to have the tattoo artists draw a line through it...

The problem with that, besides how messy killing is, is that you have to live with it.  Right there on your arm and in your heart. All war, holy or otherwise, just never goes away.

How to get a person to believe or leave, then?  We've tried talking, note-leaving, appealing to the landlords and now we're appealing to the authorities and, possibly the legal system.  And just that's going to leave a mark. Imagine the mark a war will leave.

All I want is what's best for everyone involved.  For my wife and me to be able to sleep at night without hearing a whining, barking dog begging to be let out; for that dog to be owned by loving people who walk it and dote on it; for my upstairs neighbor to become a loving, intelligent member of society who is aware of the needs of other people.

I don't think war is going to solve this problem.

I guess I am ready for a miracle.

The Doushey Basket (#dousheybasket)

The hashtag #dousheybasket can be used to refer to anything you pay too much for, especially if you pay too much for it in order to look better to the people who shop at the Little Italy Farmer's Market.

Besides, no matter how hard you try my wife and I are the doushey-est people there.

It all started on a normal Saturday afternoon at the La Jolla Farmer's Market -- oddly the second doushy-est farmer's market in the county.  Jennie wanted one of the robo-baskets that a nice European-looking woman was selling.  We asked the price.  $40.

After her pitch (it was made in Germany with strong materials and Eurpoean design touches and better engineering), we thought it was worth the price.  Especially because it would complete our doushey traveling-to-farmer's-markets-ensemble: a Smart Car.

This became apparent when we went to the Little Italy Farmer's Market in the Smarty (only we can call it Smarty; because you don't own one, you have to call it The Smart Car).  We tooled past all the Range Rovers, Fiats and Priuses; we popped into an impossibly small parking spot and -- the piece de resistance?

We opened the back window (you can do that with the touch of a button in a Smarty) and pulled out the $40 basket. We knew it was cool because people didn't look at us until after we'd passed. It was such a pleasure paying extra for things and putting them in out too-small, over-heavy and exorbitantly  expensive Doushey Basket.  How do we know we paid too much for it?

The only thing we do that hipsters don't do, apparently, is shop at Safeway, where we saw the very same basket for $9.

It's still worth it, though.

The Blood Countess Actors

This play has been a dream to work on.  Mainly because of the cast.  Here are some photos of The Blood Countess cast and my thoughts on their work on the show:

Tony Beville is the Minister of Culture.  The play would not be without him.  This character sets all the wheels in motion and most of that work happens off stage, in the past and in the actor's mind. thankfully, Tony's mind words like an encyclopedia wrapped in a great actor.  His talent and skill make the Minister (and the secret he shares) one of the great character in The Blood Countess.

Elisa Gonzales was a true find.  there she was at the audition with "Dot" written all over her.  She was trained at Emerson College, where a friend went so I was familiar with the program.  Her skills are powerful and the timing was perfect: The Blood Countess is her first production since returning to San Diego from New York.  The part of Dod is a fun one.  This Goth Chick has a brain and knows how to use it.  She also has a thing for the Minister and they both use this odd attraction to their benefit.

Brigette Erpelding is excellent as Ilona.  She had the character figured out fairly early on when she came to the realization that she lies to get what she wants.  The character is so opposite the actor, who would never lie, is kind and considerate and would never use people.  Such a delight to work with an actress who had these qualities and can act like a bad person instead of the other way around.  I think you will like the conniver that Brigette has created in Ilona Black.

Justine Hince is Darcy.  This is always the tough part: the lead's friend.  She has to set up all the stuff that happens.  But two weeks ago, she told me she wanted to bring some darkness and depth to the role.  And then she did.  Justine went to a Goth club with the cast and found something there that was missing in Darcy.  Now, without changing a line, the character is smarter, darker and considerably deeper.  Justine is member of the production company and I dislike having my hands ties as a director.  But there she was at the audition and could have played any of the roles.  She graciously stepped into the most difficult one and here I am enjoying my tied hands.

Erik Cram was a great find.  This kid is going to do very well in theatre, film, TV and stand-up, which he already does so well.  He came to the audition and read and was good.  Then I gave him a few secrets about Janos and he flat became the character.  We have him in the same outfit he auditioned in. he was just that perfect in the role.  As Janos, the odd and not-so-bright castle handyman, he excels; but Erik also gets to play Janos the DJ, Janos the vampire and Janos playing a few other choice roles and he's just as perfect in those roles too.

Carla Navaro is also with the production company and also makes me happy with tied hands.  She came to the audition and read for The Blood Countess and just sat in the tub and owned it.  Please note that where wasn't a tub at the audition.  I honestly believe she manifested the tub we now have her in.  You will think we had it made for her.  It is not easy to enter the show last -- and late at that -- then sit in a tub for a long time while setting the record straight.  But Carla manages to to all that and more. 

She is as much The Blood Countess as Erik is Janos, Justine is Darcy, Elisa is Dot, Brigette is Ilona and Tony is The Minister. Come see The Blood Countess, and these great actors.  For more information, visit DangerHouse13.com.  See you there!

Blood Countess Videos

There are many technical things going on in my new play, not the least of which is video.  The characters in "The Blood Countess" communicate with one another on video.  There's a screen on stage and a camera in the house.  We will see if any of it works soon as we go into technical rehearsals and kick-start this mother.  Until then, please look at the videos we've made up to this time wo whet your appetite for "The Blood Countess".

Blooper: director caught over-acting on an off-screen voice over shoot.

  

Making a statue: part one, we encase Carla Navarro in plaster.

 

Fundraising video: PS you can give money to this production here.  Thanks!

 

Production Stills from "The Blood Countess

Josh Freeman took some production stills for The Blood Countess and whey were awesome!  See Josh's stuff at: http://www.obeymybrain.com/.  Take a look at the photos and, to see the play, visit http://dangerhouse13.com/.