presented in Association with COMBINED ARTFORM

JEFFREY JOHNSON / JOHNNY

Jeffrey S.S. Johnson has made a career as an actor since the late 90s. Originally from Massachusetts, he has called Los Angeles home now for over two decades. He started his performing career with lauded theatre groups such as Critical Mass, The Evidence Room, VS. Theatre, Sons Of Semele, Moving Arts, Bad Puppets, Bootleg Theater, the Odyssey, FAKE Radio Players, the Celebration, and more, also in the Pacific Northwest with the Portland Center Stage. Film roles include: Magazine Dreams (*Sundance FF), Helter Skelter, Letters To God, Terminator Genisys, Good Grief (*award winner), Haunting Of Cellblock 11 (*award winner), Worth, The 6th Degree, Stellina Blue, A Coat Of Snow, Down Dog (*award winner), Scorcher, Over The Shoulder (*award winner), and many more. Television appearances include Lovecraft Country, Bones, Criminal Minds, NCIS, Lie To Me, Burn Notice, CSI, Without A Trace, Barbershop, Boomtown, The Secret Life Of The American Teenager, Tremors, Unhitched, and more. Over the years, he’s become an accomplished voiceover artist in commercials, industrials, narration, video games, and the like. Most notably, Mr. Johnson has been the voice of TMobile since 2012. Captain Black, his debut as a feature film writer/director was featured in 11 film festivals world wide, earning awards for Best Actor, Best Film & Best Direction. He has also been dipping his toes into producing film & music.

CAROLINA RODRIGUEZ / MARY

Carolina can be seen in the upcoming feature film Woodbridge written and directed by Stephen Meier. Her other feature film credits include, most notably, The Misadventures of Vince & Hick directed by Trevor Stevens. Her short film credits include Recipe For Disaster, Cutthroat, Unfamiliarity, Crave and Undone, among many others. Theatre credits include online performances of Chekhov’s The Three Sisters, Shakespeare’s Twelfth Night and a new adaptation of Little Women. Training includes work with James Kemp, Tessa Auberjonois, Kristof Konrad, Cornell Womack and Ann Noble. IG: @carolinarodriguezfilm

JOESY dePALO / FRAN

Joesy De Palo, originally from Dallas, Texas, now resides full-time in Los Angeles. Her journey in the world of acting began at the age of six, and since then, she has been a part of numerous production’s both on stage and on screen. Since moving to LA, Joesy can be seen in films produced by institutions such as Chapman, NYFA, UCLA, and USC. Alongside film she has performed on stage in venues including the Broadwater Theatre, Silver Lake Lounge, El Portal Theatre, and the Barnsdall Gallery Theatre.

ANN NOBLE / DIRECTOR

Ann is an award-winning playwright/new media writer, actor, solo performer, director, arts educator, private acting coach and jail chaplain. Her work has been produced all over the country and the world, and she has performed/directed in Chicago, NYC, D.C., Edinburgh, Sydney, and extensively in SoCal; theatrical credits here include work with: South Coast Rep, ICT of Long Beach, EST of Santa Barbara, Malibu Playhouse, Sierra Madre Playhouse, Antaeus (company member), Moving Arts, LA’s LBGT Center, Echo (company member), The Victory, Inkwell, The Road, Rogue Machine (company member), Boston Court, Warriors For Peace, LifeChild Prods, Two Heads Are Better Prods, LA’s Holocaust Museum, Museum of Tolerance, YWCA and Homeboy Industries. IG: @sparksjacks and more info about her work with the incarcerated at prismjustice.org

MICHAEL PERLMUTTER / PLAYWRIGHT / PRODUCER / DEREK

Michael Perlmutter is an award-winning playwright, actor, director, screenwriter. His plays include Crimson, Severance Play, Three Witches, Polite Conversations and Wine, Random Lives, and, of course, the Theatre Ghosts Project (six plays—and counting—intended for ‘After-Hours Theatre’) www.TheatreGhosts.org
His plays have been performed in Los Angeles, New York, London, St. Louis, Israel, Soule, and numerous “where-is-that-again?-cities” throughout the US and UK.

Michael is a member of Dramatist Guild, ALAP (Alliance of Los Angeles Playwrights), Station House, VS. Theatre Companies, and NPX (National Play Exchange). Michael graduated from CalArts back before we had cellphones (so yeah, he’s old). Michael resides in Southern California, minutes from his three grown children and their spouses (in other words, they haven’t moved away—across country…so, he’s done something right…or just hasn’t fucked it up yet).

 

EMMA TOUREAU / Technical Director/Stage Manager

Unless you’ve come here to experience books on tape, please don’t underestimate the importance of what Emma brings to the project.

Emma is passionate about telling stories that bring people together in such an isolating time.  Co-owner of  The Tower Theatre Company; a collective of diverse artists who produce digital and live performances rooted in realistic and grounded story telling. Outside of acting, Emma writes poetry and perform as a Spoken Word artist, always searching for projects that incorporate the art form.

ABOUT THEATRE GHOSTS

THEATRE GHOSTS is a collection of plays intended for ‘After-Hours’ theatre.

With so much theatre being created for 90 minutes or less presentations, theatre houses often close their doors by ten at night. Leaving venues dark, yet presumably available to create additional revenue and/or bring in a new audience; one that doesn’t even consider night life starting till after 9:00 pm.

Each THEATRE GHOST piece is a stand-alone one act play, created to be performed on a stage already dressed for another production, regardless whether that production be Noises off, Music Man, As You Like It, or Raisin in the Sun. The Theatre Ghosts plays utilize each venue as a theatre space—generally the same theatre space itself that the audience is attending…any dialogue pertaining to location or venue may and should be adjusted to match the venue.

Each play adheres to the following restrictions:

• Utilizes the Theatre as its own venue (a theatre)

• Respects the current set as a Hot Set—not to be disturbed

• Running time of 45 – 75 minutes (max)

• Runs without intermission

• Props and set pieces are a minimum

• Should not require special lighting

• 1 to 4 actors (max)

Anton Chekhov said it best in his letter to fellow writer, Alexander Tikhonov,: “All I wanted was to say honestly to people: ‘Have a look at yourselves and see how bad and dreary your lives are!’ The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will not live to see it, but I know that it will be quite different, quite unlike our present life. And so long as this different life does not exist, I shall go on saying to people again and again: ’Please, understand that your life is bad and dreary!’”

While first we must be entertaining. That is our job. If we can be funny, even better. But where the rubber meets the road we are holding up the mirror to nature (you know the quote—we all know the quote). And in the telling, if we can help someone—through laughter, escape, intrigue, even spectacle, portraying true human relationships warts and all—rekindle their own desire to change their lives for the better—it was all worth it.

– Michael Perlmutter

 

 

Of course, we can’t do this alone. Never could, wouldn’t want to.

So, in no particular order: Thank you:

Thank you:

Detroit Street Films

VS. Theatre Company

The Broadwater Theatre

Lindsey Dunn, Dave and Claudia Perlmutter, Fred and Winnie Odom, Sam Adelman, Sasha and Andrew Hawkes, Kim Hlavac, Doug Sept, Gareth Williams, Bill Walthall, Jecca and Candice Schmidt, Michelle Horan, Eden Young, David and Leann Perlmutter, Jan Buttram, Jay Dunigan, Mark Dylan Brown, Sharon Reinhold, Matthew Sherwood, Amy Marcs, Cynthia Killion, Lisa Strom, Julie S (mysterious, right?), Nish Nishimura, Joshua and Amber Perlmutter, Leslie Upson & John Webber, Marla Covotsky, Nicolas diPiero, Kimmie Perlmutter & Derek Dotson, Michelle O’Shea, Susan Angelo, John & Wynne Dobyns, Brenda Lynn & Jim Bynum, Cindy D’Andrea, Gary L. Dyer, Captain Black (not that Captain Black), and the Floating Head (I know who you are).

And though the FRINGE is nearing its ending… Theatre is still going on. Check out these upcoming shows:

A BELLA INCARCERATION
Conceived, written & performed by Ann Noble

Performances on Tuesday’s July 25, August 1, 8, 15, 22
8:00 PM at The Echo

Bella Ventricle is a lady. She is also a clown. And while she has always had very strong opinions, she has never done anything about them. Until now. Until she felt she had no choice but to engage in an act of civil disobedience in order to stand up for those who could not stand up for themselves. But, being arrested is a bit more than she can handle; so, to comfort herself, and, perhaps, to understand a bit more about why she did what she did, she calls upon the beings of her favorite female radicals from history. Women who, Bella feels, would do, and indeed did, the most courageous things for love.

Ludus – Echo Theater Company

CAT SH!T CRAZY

Conceived, written & performed by Cindy D’Andrea

On the verge of wanting to end her life, Cindy’s best friend suggests she get a cat. ‘A cat? I hate cats!’ Four cats and fourteen years later, Cindy, now a blissful and obsessed cat owner and rescuer, experiences unconditional love for the first time. Then the unthinkable happens and all is lost.   At the Broadwater Black Box July 18-23

https://www.eventbrite.com/e/cat-sht-crazy-tickets-641708365997

 

IN THE WORKS

And watch for any of these plays–also by Michael Perlmutter–coming soon(er than later)

POLITE CONVERSATIONS AND WINE

Alice & Lisa are a young married couple, ready to take the plunge into motherhood.  And that deserves a celebration gathering their closest friends and … and their mothers (Donna and Beth) may feel uncomfortable so … Alice & Lisa decide to hold two parties.  This one will be just the four of them.  20th-century Mothers, 21st-century daughters, and Wine … what could possibly go wrong?

THREE WITCHES

A troupe of players have set stage and gathered a crowd to present their unique look at Shakespeare’s ‘Scottish play’, told this time from the viewpoint of the witches, yet without the use of supernatural forces.  Revealing new twists and turns, and using a contemporary storytelling style, Three Witches explores the eternal questions, “How far will we go for love?  How do we define it, seek it out, secure it and protect it; and finally, what we will sacrifice for it?”

OFF BOOK

Susan, a corporate Real Estate agent, walks Wallis, a potential buyer, through a theatre (the same location in which the play is being presented in) which the building’s owner has decided to put on the market. Doborah, the resident Artistic Director, crashes the meeting in order to barker their own deal. Wallis, may or may not have ties with criminal enterprise; Doborah takes the risk that their two businesses may be able to help each other out and keep her theatre alive; Susan needs the deal to go through in order to help out her pregnant daughter. Wallis has demands of her own. Exploring the questions of what we will do to protect our babies?

Some would say, “no.” But the evidence seems overwhelmingly, “yes”.

Ask Lily. Oh, she’s there. Flirting nightly with JJ (you know who you are). Moving things. Laughing. She means well.

I’m sure you have your own ghosts too; we all do.

We are NOT alone. So, while you’re here check out these famous haunts:

The Silent Movie Theatre (formerly home to Cinefamily, now Brain Dead Studios) is said to be haunted by the ghosts of its first two owners. John Hampton opened the theater in 1942 and dedicated his life to preserving silent films… using toxic chemicals that eventually gave him cancer. Lawrence Austin reopened the theater after Hampton’s death in the early nineties; in 1997, he was fatally shot in the lobby in a plot concocted by his lover/projectionist. Hampton is said to haunt the upstairs lounge while Austin covers the lobby.

The Pantages Theater has at least two ghosts: a singing woman who’s said to have died in the mezzanine in 1932 and the one and only Howard Hughes. Hughes’s RKO Pictures bought the Pantages in 1949 and he had offices on the second floor—employees over the years say they’ve seen his apparition there.

The Comedy Store’s building originally housed Ciro’s, a hot mob hangout in the ’40s and ’50s; now it’s said to be haunted by several hit men.

Peg Entwistle is probably the most famous failed actress in Los Angeles history. Depressed by her lack of success, she jumped from the Hollywood Sign’s “H” to her death in September 1932. People have reported seeing a woman near the sign matching Entwistle’s description and dressed in period clothes; some people say they’ve seen a female figure actually making the jump.

(I know, it’s not a theatre but… just go with me on this…)

Dodger Stadium, built over the Chavez Ravine, is haunted by more than just the eerie specter of displaced poor people—it’s also said to have one or two actual ghosts, as well as a spooky mist.

Filmmaker Thomas Ince founded what was then called Thomas H. Ince Studios in 1918. In 1924, he died aboard William Randolph Hearst’s yacht under some very mysterious circumstances (supposedly Hearst shot Ince thinking he was Charlie Chaplin, whom Hearst thought was having an affair with his mistress Marion Davies). Ince is now said to haunt his old studio.

TLC, formerly (and better) known as Grauman’s Chinese Theatre; opened in 1927. Lots of time for lots of ghosts: let’s start with, Annabelle, a child who loves playing around the red curtains on the stage. Then, of course, there’s a stagehand named Fritz, who allegedly hung himself above the stage. And actor Victor Kilian, who was found beaten to death in his apartment near the theater in 1979. Kilian’s ghost has been seen wandering around in front of Grauman’s, perhaps looking for his killer.

Avalon Theatre opened in 1927 as the Hollywood Playhouse (it also has been called El Capitan and The Palace). Most prominent amongst its denizens is an unseen jazz piano player who plays to an invisible audience upstairs.

Other Avalon ghosts include a gaggle of high-heeled women whose scented perfumes still linger in the air. Guests have heard voices talking in the balcony, a girl sobbing in the ladies’ lounge, and there’s a former electrician named Harry. who steals tools and messes with things. As for sightings, they have a dashing man wearing a tuxedo and another 1930’s couple sipping cocktails. The scariest phenomenon? A woman’s “blood-curdling” scream, which, as urban legend tells it, was once emitted by a chorus girl after her jilted boyfriend committed suicide by jumping from the catwalk above the stage and died right in front of her.

Ghost adjacent: the story goes, that in 1901 a fire at Hollywood’s Prospect Elementary School killed 25 children and their teacher, identified as “Miss Elizabeth.” The site was located right next door to the Vogue Theater during the “late 1800s,” but the Vogue wasn’t built until 1935. Old maps fail to reveal a school on the site, yet Miss Elizabeth and eight of her students now haunt the Vogue Theater. They came from somewhere.

We could add more but you’ve come to see a show so… buckle in.

A FINAL NOTE:

On the day I die a lot will happen.

A lot will change.

The world will be busy.

On the day I die, all the important appointments I made will be left unattended.

The many plans I had yet to complete will remain forever undone.

The calendar that ruled so many of my days will now be irrelevant to me.

All the material things I so chased and guarded and treasured will be left in the hands of others to care for or to discard.

The words of my critics which so burdened me will cease to sting or capture anymore. They will be unable to touch me.

The arguments I believed I’d won here will not serve me or bring me any satisfaction or solace.

All my noisy incoming notifications and texts and calls will go unanswered. Their great urgency will be quieted.

My many nagging regrets will all be resigned to the past, where they should have always been anyway.

Every superficial worry about my body that I ever labored over; about my waistline or hairline or frown lines, will fade away.

My carefully crafted image, the one I worked so hard to shape for others here, will be left to them to complete anyway.

The sterling reputation I once struggled so greatly to maintain will be of little concern for me anymore.

All the small and large anxieties that stole sleep from me each night will be rendered powerless.

The deep and towering mysteries about life and death that so consumed my mind will finally be clarified in a way that they could never be before while I lived.

These things will certainly all be true on the day that I die.

Yet for as much as will happen on that day, one more thing that will happen.

On the day I die, the few people who really know and truly love me will grieve deeply.

They will feel a void.

They will feel cheated.

They will not feel ready.

They will feel as though a part of them has died as well.

And on that day, more than anything in the world they will want more time with me.

I know this from those I love and grieve over.

And so knowing this, while I am still alive, I’ll try to remember that my time with them is finite and fleeting and so very precious—and I’ll do my best not to waste a second of it.

I’ll try not to squander a priceless moment worrying about all the other things that will happen on the day I die, because many of those things are either not my concern or beyond my control.

Friends, those other things have an insidious way of keeping you from living even as you live; vying for your attention, competing for your affections.

They rob you of the joy of this unrepeatable, uncontainable, ever-evaporating Now with those who love you and want only to share it with you.

Don’t miss the chance to dance with them while you can.
It’s easy to waste so much daylight in the days before you die.

Don’t let your life be stolen every day, by all that you’ve been led to believe matters, because on the day you die—the fact is that much of it simply won’t.

Yes, you and I will die one day.

But before that day comes: let us live.

— ON THE DAY I DIE

Jonathan Pavlovitz

 

“Our goal is not to leave this world the way we found it; but better for our being here.”