Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: west coast premiere play

“Welcome to the White Room” in Hollywood: Satisfying Intellectual Exercise

Chris Gardner, Sarah Lilly and Sierra Marcks star in the West Coast Premiere of “WELCOME TO THE WHITE ROOM”. [photo: Darrett Sanders]

As Trish Harnetiaux’s “Welcome to the White Room” began, in its west coast premiere production at Theatre of NOTE in Hollywood, my first reaction was to think of Jean Paul Sartre’s “No Exit”: three people are placed in a room without any real understanding of what they are to do there. But while Sartre’s puzzle is an existential view of hell as a place where characters who cannot stand each other are condemned to spend eternity together, “Welcome to the White Room” proves more about challenge and manipulation.

Indeed, who are these oddly formal, comparatively superficial beings whose actions often seem out of their own control?

It appears they are scientists of some sort. A lab coated Mr. Paine (Chris Gardner), Jennings (Sarah Lilly) and Ms White (Sierra Marcks) formally introduce themselves, and introduce their various odd and disruptive inventions. Yet, this seems only some segment of a larger challenge – one they are constantly worried about doing within an unknown time frame. One watches their interplay, what appear to be the lingering effects of experiments, the ways they work to figure out their purpose (guided by occasional instructions fed through a slot in the locked door), and the ways in which they analyze what happens to their compatriots. By the time they are joined by a fourth (Reuben Uy), light begins to dawn.

Director Megan A. McGuane keeps this short but intense play active and engaging from start to finish on Amanda Knehans’ small, beautiful, oddly intricately simple set. Gardner, Lilly and Marcks find ways to derive very specific aspects of humanity in their distinctly artificial characters, bringing humor and fascination to the storyline along the way. It’s an actor’s play, as everything which makes it works comes down to creating the atmosphere and structure of oddity and cohesion the script demands.

This very artificiality is underscored by the lack of it in Uy’s fourth member, whose appearance cracks the code of the thing. To say more is to be guilty of the same crime as those who read the end of a mystery before reading the puzzle, but suffice it to say it provides a distinct commentary on isolation and the power of suggestion on the human mind.

“Welcome to the White Room” is challenging and fascinating to watch. The performances are very strong, and the results prove compelling. In an era which often uses elaborate technology to enhance a theatrical experience, this underscores the entertainment value in a production focused on a single set, solid acting, and puzzle which will take a while even after the play to digest. This is theater of the intellect, and thus a particular kind of refreshing.

What: “Welcome to the White Room” When: through September 11, 8 p.m. Fridays and Saturdays, 7 p.m. Sundays Where: Theatre of NOTE, 1517 N. Cahuenga Blvd. (just north of Sunset) in Hollywood How Much: $25 general, $20 students and seniors Info: (323) 856-8611 or


The Immigrant Experience Lives in Boston Court’s “The Golden Dragon”


Central to the intricately layered storyline of Roland Schimmelpfennig’s “The Golden Dragon”, is the Aesop’s fable of the ant and a cricket. This is not surprising when the observer begins to realize that this entire play is in many ways the story of a human ant hill: a single building of several stories, anchored by the eponymous, miscellaneously Asian restaurant at its base. It is the story of busy workers, the fragility born of immigrant status, and the particular privilege those who do not spend their days looking over their shoulders bring with them into this almost closed society.

Still, in the production now at The Theatre at Boston Court in Pasadena, the first thing one becomes fascinated by amid the complexity of intertwining tales is the show’s staging. Five actors of disparate ages, genders and ethnicities play all the many people who populate the play, often doing so completely against type and sliding in and out of story and personhood with the efficiency and √©lan of a beautiful machine. The production proves remarkable to watch from that aspect alone, though director Michael Michetti has utilized this talented group to create one engrossing individual after another.

The most obviously interesting of the many, many portraits take the actors beyond gender. Justin H. Min creates the fragile “cricket” – a young woman held captive by a manipulative old man played by Ann Colby Stocking. Joseph Kamal and Theo Perkins are female flight attendants whose dinner at the restaurant comes up short when one of them makes an odd find in her soup. Susana Batras creates an immigrant Chinese kitchen boy whose rotting tooth becomes a problem for the entire kitchen staff of The Golden Dragon to deal with. In each case, and more, their portraits are intricately convincing – truly an homage to the power of live theater’s ability to let the imagination work.

The individual tales, of the cricket, the lascivious drunken shopkeeper, the adoring couple torn apart by an unexpected pregnancy, the old man dreaming of things he cannot have, the flight attendants’ meaningless relationships, and always that kitchen staff trying to figure out what to do with the howling young man, slide in and out of focus, shifting in waves back and forth. It is as if a classic play like “La Ronde,” in which individual characters link one separate scene to the next until there is a circle, had been set on its ear, with all the scenes sliding together and playing almost at once.

And again, what makes this work is the quality and timing of the cast and the impressive rhythm of Michetti’s direction. As the play, which is performed without intermission, flows over the audience more is absorbed than can be processed right away. That is also a tradition of Boston Court: plays which must be pondered afterward.

Also worth a nod is the Brechtian, non-representational set, made almost entirely of painter’s scaffolding, by Sara Ryung Clement. Stephanie Kerley Schwartz’s simple costuming lets actors shift from character to character with ease. Annie Yee’s choreography, particularly when coupled with the nearly choreographic synchrony of more base movements, enhances the storytelling, while John Nobori’s sound design gives an important cultural texture to the piece.

Go and see “The Golden Dragon”. There are levels of empathy which will stay with you long after you leave, though some of it proves disturbing the more one thinks about it. And there is an amazingly smooth, well articulated piece of performance to revel in. All this courtesy¬†of the particular theatrical magic only live theater can make you believe.

What: “The Golden Dragon” When: Through June 5, 8 p.m. Thursdays through Saturdays, 2 p.m. Sundays, with understudy performances 8 p.m. May 16 and 18, and $5 night 8 p.m. June 1 Where: The Theatre at Boston Court, 70 N. Mentor Ave. (at Boston Court) in Pasadena How Much: $35 general, $30 senior, $20 student Info: (626) 683-6883 or

%d bloggers like this: