Julio Martinez

Julio Martinez

Julio pens the weekly LA STAGE Insider column for @ This Stage Magazine, as well as the monthly LA STAGE History column. He is a recurring contributor to Written By (the monthly publication of the Writer’s Guild of America) and is the TeleVision columnist for Latin Heat Entertainment. On air, he hosts the weekly Arts in Review program for KPFK 90.7 FM. An active journalist for over 30 years, Julio’s articles and reviews have appeared in Los Angeles Times Magazine, Daily Variety, The Hollywood Reporter, L.A. Weekly, Stage Raw, Backstage West, Westways Magazine, and Drama-Logue Magazine, among others.

This Week in LA Theatre

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Written By Julio Martinez

  • Actors Co-op Theatre Company announces its 28th season of shows, performed at The Crossley and Davis Schall Theatres, on the Campus First Presbyterian Church of Hollywood. Kicking off the new season is Charles Ludlam’s two-actor multi-character comedic thriller The Mystery of Irma Vep – A Penny Dreadful (Oct 4-Nov 10); followed by the Los Angeles Premiere of a new adaptation of Miracle on 34th Street: A Live Musical Radio Play based on the 1947 “Lux Radio Hour” adapted by Lance Arthur Smith, with original song and lyrics by Jon Lorenz (Nov 1-Dec 15).  In 2020, the choice to be happy or sad is contemplated in Lee Blessing’s A Body of Water with a premiere new ending (Feb 7-Mar 15); followed by Scott McPherson’s winner of the 1991-1992 Drama Desk Award, the comedy, Marvin’s Room (Mar 20-May 3).  The 2019 – 2020 Season closes with A Man of No Importance, the winner of the 2003 Outer Critics Circle Award for Best Musical, from the team that brought you the Tony Award-Winning Ragtime (May 8-June 14).
  • Center Theatre Group, in partnership with Yale School of Drama and East Los Angeles College, will host Graduate School Training for Design/Tech/Stage Management: Through the Lens of Yale School of Drama, a free panel discussion followed by a reception and workshops on Oct 4 (1 to 4:30 p.m.) at East Los Angeles College Theatre Arts Department. The panel and reception are open to current undergraduates, early-career field professionals and college educators. Workshops are for prospective graduate students only. The panel discussion will feature Yale representatives describing the school’s conservatory training focusing on the design, technical design, production and stage management disciplines. The panel is followed by a reception where prospective students will have the opportunity to chat with faculty and alumni of the school to discuss pathways from local schools into Yale School of Drama, as well as participating in brief workshops focused on resume building, personal statements and references and portfolio creation. RSVPS are required. To RSVP, prospective students and educators may visit CTGLA.org/ELAC. For more information about the event, please email Camille Schenkkan at cschenkkan@ctlg.org.
  • The 6th Annual Lit Crawl L.A. takes place Oct 6 (11 am-4:30 pm). Visit Hubs at Chinatown, The Last Bookstore in Downtown L.A. and Central Library, which will host presenters showcasing the diversity of Los Angeles’ literary community, including Los Angeles Poet Society, Tia Chucha Press, East Pasadena Poets, Santa Monica Review, Synchronized Chaos Magazine, UCLA Wordcommandos, L.A. Writers Grotto, Kind Writers, Lambda Literary, Unbuckled Poets, Eclectic Voices, Womxn Write Inn, The New Short Fiction Series, JAM Creative, 4 and 20 For Better Or Worse, Sisters In Crime LA, Tertulia Literary Salon, Daughters of Whitman, UCLA Extension Alumni, Women Who Submit and more! Sign up for Lit Crawl L.A.’s digital schedule for full event program updates.

 

  • Two Roads Theater in Studio City is hosting the premiere of The Ones Who Leave, a comedy about letting go, written and directed by Ron Harper. Cast includes Joe DeBolt, Brittany Lewis, Chad Skiles, Monia Ayachi, Kire Horton, Stuart Martin and Maddy Bryan. Opens Oct 25.
  • Echo Theatre Company is extending the premiere run of Handjob, Erik Patterson’s dark comedy that explores the sensitivities in our culture…with unexpected consequences, directed by Chris Fields. Stars Steven Culp, Tamarra Graham, Stephen Guarino, Ryan Nealy and Michael Rishawn. Now running through Oct 28 in Atwater Village Theatre.

 

  • Ensemble Theatre Company presents the first show of its 2019-20 season, a contemporary look at William Shakespeare’s Measure For Measure, directed by ETC Artistic Director Jonathan Fox. Opens Oct 5 at The New Vic Theatre in Santa Barbara.
  • Laguna Playhouse is presenting a return engagement of I Never Saw Another Butterfly, a historical docudrama by Celeste Raspanti, telling the story of Terezin Concentration Camp, directed by Donna Inglima. Opens Oct 27.
  • Pacific Resident Theater in Venice is extending Andy Warhol’s Tomato, written by Vince Melocchi, directed by Dana Jackson. Set in the basement of a working class bar in 1946 Pittsburgh where 18-year-old Andy Warhol labors through an inspirational summer. Now running through Oct 27.
  • Geffen Playhouse has announced the full cast for its production of The Thanksgiving Play, a satire focusing on three thespians tasked with devising an elementary school pageant about the first Thanksgiving while avoiding any culturally appropriative missteps, written by Larissa FastHorse, directed by Michael John Garcés. The acting ensemble includes Noah Bean, Alexandra Henrikson, Tony Sandrew and Samantha Sloyan. Opens night Oct 31 in the Audrey Skirball Kenis Theater at Geffen Playhouse in Westwood.

 

  • Director Elina de Santos and cast members discuss Arthur Miller’s 1947 American tragedy, All My Sons, produced by Pacific Resident Theatre, running through Nov 15. Cast includes Amy-Helene Carlson, Terry Davis, Enzo De Angelis Rick Garrison Tania Getty, Jason Huber, Scott Jackson, Jennifer Pollono and Marc Valera.

Julio Martinez hosts Arts in Review, celebrating the best in theater and cabaret in the Greater Los Angeles area, airing Fridays (2-2:30pm), on KPFK 90.7FM.

Shakesqueer – A Queer, Feminist Reading

“We know from his plays that he struggled intimately with the social conditions that produce identity in the first place. A queer reading of Shakespeare dwells not on the orientation of the man but rather of the works. And Shakespeare’s works are queer AF.”

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