The Break of Noon

Bonjour City Garagistes,

This weekend City Garage is excited to show Neil LaBute’s “The Break of Noon” from 2015 as our City Garage Classic. It got great great reviews from the Weekly, Stage Raw, and the LA Times, and George Villas, as Joe, was nominated for Best Performance by Stage Raw. Here is some info from the original press release:

What if God told you to be a better person but the world wouldn’t allow it? Such is the dilemma facing Joe Smith, a run-of-the-mill white-collar businessman who survives an office shooting and is subsequently touched by what he believes to be a divine vision. His journey toward personal enlightenment—past greed and lust and the other deadly sins—is, by turns, tense, hilarious, profane, and heartbreaking. Break of Noon explores the narrow path to spiritual fulfillment and how strewn it is with the funny, frantic failings of humankind while, in the process, showcasing Neil LaBute at his discomfiting best.

It will be showing on our City Garage YouTube channel from 8:00pm on Friday through midnight on Wednesday. Please share the link with your friends.

It’s free to view but we ask people to make a donation if they can through our Chuffed page:

Merci, stay safe, and wear a mask!



“There is no playwright on the planet these days who is writing better than Neil LaBute.”
— John Lahr, The New Yorker

“The bad boy of American theater….Dangerous and devastatingly funny.”
— Jumana Farouky, Time

Nudity, adult situatiions.

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“[A] smart and striking staging, and from the talents of an astute and talented ensemble, with George Villas rendering a terrific performance in the lead role….The [performers] deliver many incisive moments, especially Kristina Drager as the liberated ex-spouse who wants nothing more to do with John and Kat Johnson as his mercenary attorney. Courtney Clonch is also spot on as the smirking TV host who ridicules John on air…In the end, the production turns on Villas’ performance. Wild-eyed and weirded out, his storytelling mesmerizes. You’re right there with him as he discovers the body of a young assistant by the copy machine, her throat slit, and later, on the edge of your seat as the killer ominously approaches, gun in hand, with John having nowhere to run.”
—Deborah Klugman, L.A. Weekly

“Neil LaBute is a playwright who likes to get under your skin. Love him or hate him, he’s going to push your buttons, challenge your assumptions. City Garage is tackling his 2011 play The Break of Noon and it’s no exception.” —Anthony Byrnes, KCRW

In the aftermath of a mass shooting, the sole survivor narrating Neil LaBute’s The Break of Noon at City Garage resolves to mend his selfish ways, attributing his escape to divine intervention…Naturally, there’s another shoe to drop — it’s a LaBute play — and Villas’ excellent performance systematically exposes the cracks in Smith’s professed redemption. Bad habits reemerge in his serial encounters with a sleazy lawyer (Kat Johnston), his skeptical ex-wife (Kristina Drager), his tacky mistress (Katrina Nelson), a cynical talk show host (Courtney Clonch), a shooting victim’s daughter (Nicole Gerth) and a suspicious cop (Alex Pike) whose interrogation gives new meaning to “getting in your face” thanks to inventive video projections by Anthony M. Sannazaro….The ensemble provides impressively detailed characterizations…Director Frédérique Michel and designer Charles A. Duncombe attempt a bit of redemption of their own with a stylish visual deconstruction that amplifies the script’s artifice: During the successive encounters, the “on-deck” character perches motionless off to the side.”
—Phillip Brandes, L.A. Times

right left with heels

Bonjour Citygaragistes,

We are excited to bring you this weekend the next in our “City Garage Classics” series, “right left with heels” by Sebastian Majewski from 2016. The production was a “Go” in the LA Weekly, a “Top Ten” pick in Stage Raw, was nominated for “Best Two Person Performance” by Stage Raw, and was covered in feature articles in the LA Times, The Hollywood Reporter, and The Jewish Journal. It was also the subject of some political controversy when the Polish Consulate withdrew its promise of financial support due to a new, right-wing government coming into power, one that did not like what the play had to say. Majewski, thanks to a generous private sponsorship, was able to be with us for the opening weekend in Los Angeles and did a dual-language question and answer question with the audience, conducted by Polish scholar and journalist Eva Sobolevsky.

Here is some information from the original press release:

right left with heels recounts the story of the holocaust and post-war Poland from the ironic perspective of a pair of high heel shoes that once belonged to Magda Goebbels wife of Nazi Germany’s minister of propaganda, Joseph Goebbels, with whom she committed suicide on May 1945, having first killed her six children. The shoes, having escaped being burnt along with their owner, but sentenced to exile by the Nuremberg Tribunal, tell their story: from their manufacture in Auschwitz to their final end on the feet of a transvestite murdered by young Polish “patriots” in the twenty-first century. They describe their successive owners: a female Red Army soldier whose spoils of war they become; the “Doctor’s Wife,” who denounced a Jewish woman; Teresa, a secret police interrogator; and Magda, a Solidarity activist who broke under questioning during martial law in Poland in the early 1980s.” The wandering of Magda Goebbels’s shoes—a micro-history of Poland’s impoverished, enslaved, and demoralized post-war—gives a poignant and provocative insight into individual guilt and wickedness and addresses individual, as opposed to collective, accountability in the face of history from the end of WW II to today’s frightening rise of the new right.

The production will be available on City Garage’s YouTube channel from Friday at 8:00pm through Wednesday at midnight. Please share the link!

It’s free to view but we ask to please make a donation to support the company if you can through our Chuffed page:

Merci to our donors for this last week:

Lisa and Bill Gray

Merci and stay safe (wear a mask!)


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The Trojan Women: LA/Darfur Dreamscape

Bonjour City Garagistes,

We are to share with you this weekend another of our City Garage classics from the old space in the alley, our 2009 Production of “The Trojan Women: LA/Darfur Dreamscape” by Charles Duncombe. It was a “Critic’s Choice” in the LA Times, and a “Go” in the LA Weekly. It was also nominated for Best Adaptation by The LA Weekly Theatre Awards. Here is a little bit about it.

“City Garage turns Euripides’s Greek tragedy inside out, creating a vivid collage that travels from LA to Darfur, tackling issues of violence, mass media, the obsession with youth and celebrity, and the hypnosis of pop culture. This iconoclastic new version, both serious, and comic, takes the familiar plot and characters of the fall of Troy and recasts them in a fluid, dreamlike landscape that combines past and present—a restless exploration of the destructive and the creative forces that drive a human history drenched in blood, yet animate a society obsessed with entertaining itself to death. Can men and women ever understand each other? Is it cruelty itself that moves humanity forward? Why are we bent on destroying our planet? Is Britney wearing any underwear? These, and other burning questions are what City Garage poses in this exploration of ancient themes and new dilemmas.”

Nudity; strong language.

It will be showing on our YouTube channel from 8:00pm Friday 7.31 through Wednesday, 8.5 at midnight. Here is the link:

As always, it’s free but please make a donation on our Chuffed page if you can to help us keep going in this difficult time. (You can also see a collection of great short performances from our company members)

Merci to our donors of this last week:

Michele and Curt Wittig
KC Wright

Thank you all for watching and for supporting us during this difficult time. It means so much to us.

Merci and stay safe (wear a mask!)


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Los Angeles Times

Critic’s Choice! ‘The Trojan Women’ at City Garage
A high level of invention suffuses “The Trojan Women” at City Garage. Deconstructing Euripides’ classic tragedy into a multi-farious current-day collage, adaptor-designer Charles Duncombe and director Frederíque Michel pull few punches in the wake of burning Illium.
The geopolitical realities in Duncombe’s freewheeling text range from harrowing statistics of recent genocides to sardonic swipes at our blog-infested society. Darfur, Rwanda, Sierra Leone, overpopulation, climate change and more punctuate the same gender positions that have driven this saga since its Peloponnesian War premiere.

Hecuba (June Carryl, magnificently composed) suggests a traditional African queen, clothed at the outset by title mourners whose burkas are but one of costumer Josephine Poinsot’s inspirations. Cassandra (Mariko Oka) devolves from culture vulture to a naked, feral creature of website contours. Andromache (the touching Amelia Rose) turns the society trophy wife into a figure of post-millennial pathos, rending against Troy Dunn’s quietly insidious Greek envoy.

And when an assured Alisha Nichols turns up as Helen of Troy, here a Britney Spears clone with nude dancing boys and hip attitude, her face-off with Michael Galvin’s intense, Billy Connolly-flavored Menelaus crystallizes the enterprise. Dave Mack’s empathetic diplomat, Crystal Sershen’s understated Hermione and Cynthia Mance’s enter- tainment reporter are among the other standouts in a marvelous ensemble effort.

Dividing focus between the keening women and the marauding men, Duncombe gets a slew of modern context in (Euripides is understandably absent from the credits). The approach risks overload, some things unnecessarily explained, and director Michel occasionally struggles to keep the tone consistent. Still, if the aim is to yank “Trojan Women” into our consciousness, this company benchmark, though overstuffed, is a triumph.
– David C. Nichols

L.A. Weekly, November 12, 2009
THE TROJAN WOMEN — In his adaptation of the ancient Greek tragedy (So freely swiped from the original that Euripides’ byline doesn’t appear on the program), Charles Duncombe takes a macroscopic, brutal and unrelenting look at the end of the world.

Genocide in Rwanda and Sierra Leone, unsustainable population growth and climate change carry the day, and the play, with excursions into a theme that’s punctuated Duncombe’s earlier adaptations of texts by Sophocles and Heiner Müller: the relationship between gender and power.
Scenes depicting physical mutilation and rape in war zones – choreographed by director Frederique Michel – contain an excruciating authenticity, even in the abstract. Michel undercuts this harrowing tone by incorporating elements of farce in other scenes. One is a gem of understatement and humor: The reunion of fluttery Helen of Troy (Alisha Nichols, attired like a dancer in a strip club, and employing all those powers of manipulation) with the Greek king Menelaus (stoic, furious Michael Galvin) from whom she fled and started this bloody mess (the Trojan War, that is).

This is where the adaptation and direction congeal and captivate. This is still very much a work-in-progress, conceived for all the right reasons. As is, the directorial tones wobble like a top, and the adaptation contains far too much explication. The evening also reveals why theater matters, and how this kind of work wouldn’t stand a chance in any other medium. It’s too smart and too passionate to dismiss.

Paradise Park

Bonjour City Garagistes,

For this weekend’s City Garage Classic, we’re very excited to share a production from 2010, our last show at the the old space in the alley, “Paradise Park,” by Charles Mee. The production is one of our favorites, and was a “Critic’s Choice” in the LA Times, and a “Pick of the Week” in the LA Weekly. It was also the year the Los Drama Critics Circle gave us their award for “Sustained Excellence in Theatre.”

We hope this production will make you smile and melt your heart. Welcome to Paradise Park. Pay your admission, get on the boat, and let your imagination take you into a unique, magic world of carnival. Or is it a Club Med for mad people? Is Ella really going to run away with an elephant? Does Benny have any chance of love with her? Why does Darling, a sixteen-year-old girl, have a crush on a man who wears a dress? And are Nancy and Morton, her parents, completely insane or just looking for the meaning of life? Why does Vikram dream of Edgar, the schizophrenic ventriloquist, and are his dummies, Mortimer and Charlie, real or not? Will anyone ever make it back to Londonland or Hamptonland, and is there a Civilization World anywhere close? Come take a ride with us and discover a secret you won’t forget. Beware of the crocodile!”

The production will be showing this weekend from 8:00pm Friday, July 24th, through Wednesday at midnight, July 29th on the City Garage YouTube channel.

It’s free to view—and please share the link with your friends—but do make a donation on our Chuffed page if you can to help the work continue at City Garage once we can welcome you back to the theatre.

Merci, stay safe, and wear a mask!



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Three by Mee

Bonjour Citygaragistes,

We are happy to be back, by popular demand, with the entire “Three By Mee” trilogy for this weekend’s “City Garage Classic.” Not all of you got a chance to see all three, so here they are, all available to stream one after the other—or to pick up one or two you might have missed. As you know, they are from a season we dedicated in 2006 to one of our favorite writers, Charles Mee, and they’re based on the Greek tragedies of the same name. They’ll be available from Friday at 8:00pm through next Wednesday at midnight on our YouTube channel:


“The Bacchae”:


Please share the link with your friends. As always, they’re available for free but we certainly welcome any donation you can send our way to help support the work at City Garage. You can give through our Chuffed page—where you also will find many fun and interesting and thought-provoking performances by our talented members. You can also watch an introduction to the “Three By Mee” trilogy by Troy Dunn.

Merci to our donor of this last week:

Nita June

We hope to see you all again at the theatre once this cauchemar is over! Stay safe and wear a mask.

Merci, and love


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Three by Mee:

Works by Charles L. Mee

City Garage is proud to present a series of productions from 2006 devoted to one of the most original dramatists currently writing in the United States, Obie-award-winning playwright Charles L. Mee. The original project staged three of his radical reworking of Greek tragedy, Agamemnon, The Bacchae, and Iphigenia. The unifying theme of the project was the waste of war and the agonizing price of male violence juxtaposed against the deep mysteries of female power—its capacity both to endure suffering and to exact its revenge.

All three will be available on the City Garage YouTube channel from Friday, July 17 through Wednesday, July 22nd:

City Garage YouTube channel:

Part 1: Agamemnon

In the first play of the series, Mee tears apart and reconstructs the classic tragedy by Aeschylus, transforming it into a haunting meditation on the struggles and strife of our own time. Agamemnon, returning victorious (or so he attempts to convince himself) from a ruinous and misguided war, finds only a barren world to greet him. Clytemnestra has waited patiently for his return, growing steadily more mad with her hunger to revenge the murder of their daughter, and his betrayal with Cassandra. Agamemnon the hero, red with blood, has returned to discover that the only thing he has accomplished is the destruction of his own society and ultimately, of himself.

(Left to right) Troy Dunn, and Marie-Francoise Theodore in Charles Mee’s “Agamemnon” at City Garage

Part 2: The Bacchae

Pentheus is drunk with power; his Armani-suited aides parrot his every thought; no one can resist the direction he is charting for his society—except the women. Rejecting his authority, they have disappeared into the hills, following a strange new God of sexuality, Dionysus. They have withdrawn into the dark, unknowable power of the ancient feminine, and Pentheus cannot bear it. He will return these crazed females to their proper place, contain them once again by male authority. But Dionysus, the ultimate seducer, persuades him that, ironically, the means to regain his power is to give it up—temporarily. If he wishes to gain access to the women’s secret orgies he must become a woman himself. It is a Faustian bargain Pentheus cannot resist.

City Garage is proud to announce a season of productions devoted to one of the most original dramatists currently writing in the United States, Obie-award-winning playwright Charles L. Mee. The project will present three of his radical reworking of Greek tragedy, Agamemnon, The Bacchae, and Iphigenia. The unifying theme of the project is the waste of war and the agonizing price of male violence juxtaposed against the deep mysteries of female power—its capacity both to endure suffering and to exact its revenge.

(Left to right) Justin Davanzo, Juni Buchner, Mariko Oka (photo Paul Rubenstein)

Part 3: Iphigenia

The disaster of the Trojan War defined its times. Its circle of destruction was ever expanding, and annihilated the victors as utterly as the vanquished. In this, the last play of the series, we see the tragic beginning of the story which began in Agamemnon—the first critical mistake of leadership which led, a decade later, to the fall of the house of Atreus. Agamemnon, eager for conquest, seizes on the excuse of Helen’s abduction to lead his nation to war. Using the familiar arguments of patriotism and sacrifice, he expects those he leads to die for him. This, they are willing to do. But first they demand a sacrifice of him: his own daughter’s life. If the price of war is the death of those who follow, let those who lead be the first to pay that price. Agamemnon now has his choice—a choice that unleashes the terrible consequences that will follow.

(Left to right) Troy Dunn, Marie-Francoise Theodore in “Iphigenia” at Photo: Paul Rubenstein

Three by Mee Part 3: Iphigenia

Bonjour Citygaragistes,

This week for the City Garage classic, we’re excited to bring you the conclusion of our “Three by Mee” trilogy, Part 3: “Iphigenia.” It will be showing on our YouTube channel from 8:00pm Friday through midnight Wednesday. Please watch and tell your friends. Here is the link:


Also, we still have a big library of videos from our members on the YouTube channel: some funny, some heartfelt, some scary, some just fun to watch. If you missed them on our Chuffed page, they’re all still available for you to check out. And, if you can, our fundraising campaign is still running on Chuffed. If you can support us in this difficult time, it means so much:

And, as always many thanks to you who have already given—and some of you have given several times! Merci this week to our friend

Peter Marx

Merci and stay safe at home.



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“Iphigenia” by Charles L. Mee originally ran at City Garage from December 1, 2006 to February 4, 2007. It was directed by Frédérique Michel with Production Design by Charles A. Duncombe. The cast was Ed Baccari, Crystal Clark, Troy Dunn, Alexandra Fulton, Sam L., Nita Mickley, Maximiliano Molina, Alisha Nichols, Bo Roberts, Kenneth Rudnicki, Marie-Françoise Theodore.

What the Critics Said in 2006:

“Iphigenia” is foremost an antiwar play, but it is more fascinatingly an incisive look at the tragic disconnect between the sexes. Surrounded by her vapid bridesmaids – a refreshingly cheeky element in Michel’s somber staging – Iphigenia fears suffocating in a domestic vacuum more than her own death. Hungry for the meaningful life that society denies her, she embraces her fate with the zeal of a suicide bomber. It’s a brilliantly revisionist denouement, and a fitting conclusion to City Garage’s ambitious, rewarding season.

Iphigenia is the most accessible of the “Three by Mee” series, both a production and as a play. Mee’s text is still assembled in a Dadaist, collage fashion, bringing together snippets of existing classic and contemporary writing; but in this piece, his curatorial hand feels more focused. In one scene, Mee has written an exchange between Clytemnestra and Agamemnon that has the feel of an old-fashioned drama–which throws the actors for a loop since for three plays straight they’ve been performing in completely post-modern style. Seeing them suddenly grapple with direct conflict and natural release of emotion is odd–it’s like watching soap opera actors whose teleprompters suddenly start scrolling Shakespeare.

LA Weekly:
Completing a trilogy of Greek-classic adaptations by Charles L. Mee, director Fréderéque Michel demonstrates how she’s settled into view of theater that contains both the authority of stylistic precision mingled with a tenderness that carries the ache of her characters’ stresses and regrets.

LA CityBeat:
The chorus of GIs and scatterbrained bridesmaids get some choice moments, as do Iphigenia (Crystal Clark) and her anguished mother (Marie-Françoise Theodore). Frédérique Michel’s direction is exquisitely nuanced.

Three by Mee Part 2: The Bacchae

Bonjour City Garagistes,

We are happy this weekend to bring you Part 2 of our “Three By Mee” project from 2006, “The Bacchae” by Charles L. Mee.

Like the first part (“Agamemnon”), “The Bacchae” is based on the Greek tragedy of the same name by Euripides. This production was lauded by critics from the LA Times, LA Weekly, KCRW, and Backstage West.

It will be on our YouTube channel from Friday evening through midnight on Wednesday. Please be aware, this production contains nudity.

Here is the link:

The Bacchae

We so much appreciate all the support so many of you have shown over these last few months. We can’t wait to get back to work and show you new plays but the virus won’t let us yet. So in the meantime, we hope you watch our City Garage classics from years past. Please share the link with your friends! And encourage them to be supporters too.

Merci for our donors from this last week:

Michael Intriere
Spec Script Marketplace

And we still have lots of interesting videos from our actors running on our City Garage YouTube channel from these last months. If you haven’t watched them all yet, please do check them out. We are also now adding mini-plays on our Chuffed page, so take a look!



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“The Bacchae” by Charles L. Mee originally ran at City Garage from September 8 to October 22, 2006. It was directed by Frédérique Michel with Production Design by Charles A. Duncombe. The cast was Ed Baccari, Juni Buchér, Irene Casarez, Joan Chodorow, Justin Davanzo, Katherine Dollison, Duff Dugan, Troy Dunn, David E. Frank, Joel Nuñez, Nita Mickley, Mariko Oka, Julie Weidmann, and Mark Woods.

What the Critics Said in 2006:
LA Weekly — GO!
Backstage West — CRITIC’S PICK!
KCRW – “Michel is a perfect match for the playwright’s work.”

Frederique Michel’s fleshy production is the type of show that would have been shut down by the authorities 40 years ago… Just as Mee is no slave to Euripides, Ms. Michel is no slave to Mee…. Michel is a perfect match for the playwright’s work, because rather than simply amplify Mee’s remix of the Bacchae, she remixes it again in her own way.

LA Times:
Thanks to FrederÌque Michel’s insightful staging, the play retains its requisite sense of mystery and menace… In Charles Duncombe’s superb production design, the action opens on a drifting vessel filled with drowsing women resting between their revels.

LA Weekly:
Director FrederÌque Michel displays a confident scenarist’s eye in her stage compositions, and her production shimmers with a languid beauty. She’s ably assisted by production designer Charles A. Duncombe, whose weathered shoreline set, complete with beached boat, gives a sense of shipwrecked ambition, and whose velvety lighting bathes the ensemble, many of whom appear nude or seminude. Josephine Poinsot’s witty costuming swings from modern to timelessly diaphanous.

Backstage West:
Michel’s direction is right on target for this piece, illuminating Mee’s evocative text with a beautiful stillness of imagery and performance. Dunn, in a strong portrayal, is alternately convincing and repulsive as the voice of civilization, arguing in a vacuum for a cause that already seems doomed. Davanzo is darkly seductive as Dionysus, luring us into the pleasures of the natural world, while toying with our frailties as mere mortals. The rest of the ensemble is solid, supporting the disturbing and provocative tone of the piece. The marvelous set by Charles Duncombe adds to the cosmic subtext.

Three by Mee Part 1: Agamemnon

Bonjour Citygaragistes,

Our City Classics series seems to be very popular and so we thought we would extend how long they’re available. Now we’ll run a new show each week from Friday night through Wednesday midnight. This week we are excited to present the first part of our trilogy of Charles Mee plays from 2006, our “Three by Mee” mini-season. The first one is “Agamemnon.” Next week is “The Bacchae,” and we’ll finish with “Iphigenia” the week following. If you didn’t see the original productions, they are contemporary re-workings of the Ancient Greek tragedies. These shows were a great joy to make and did well for the theatre, getting lots of great reviews and award nominations. “Agamemnon” was a “Pick of the Week” in the LA Weekly, “Recommended” in the LA Times, and won the LA Weekly Theater Award for Production Design. It will be available from 8:00pm Friday through midnight Wednesday. Like always, it’s free but please make a donation to support us if you can.

Here is the link:


Also keep checking out the City Garage Virtual Cabaret, where our talented members keep posting new and interesting performances all the time. We’ll be featuring them soon Thursdays:

Merci to our generous anonymous donor this week, and merci to all of you for supporting us, stay safe, and wear a mask!



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Bonjour City Garagistes,

We are very excited to show you our next City Garage classic, “Quartet” by Heiner Muller, from 2007, adapted by Frederique Michel. It has a wonderful cast: Troy Dunn, Sharon Gardner, Mariko Oka, and David E. Frank. It was a production that got many great reviews, including being Recommended in the LA Times, an LA Weekly “GO,” and a “Critic’s Choice” in Backstage. It was also nominated for several LA Weekly Theater Awards, and Troy won for best Actor in a One Act Play. It’s a very intense piece but very lovely too, based on Les Liaisons Dangereuses and with all the contemporary edge and unease you would expect from a text by Muller. There is nudity and some sexual content. It will be on our YouTube Channel from 8:00pm Friday through midnight Saturday. Here is the link:


We hope too that over the last two weeks you’ve had a chance to watch the many videos our actors posted over the last two week on the City Garage Virtual Cabaret in support of Black Lives Matter. They are still there and we encourage you to check them out. In each there is a link to Black Lives Matter if you are able to donate. The fight for justice goes on.

Merci to our donors from this last week:
Ernest Tam

Please stay safe, wear a mask, and take care of yourselves. Missing you all.



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Medeatext: Los Angeles/Despoiled Shore

Bonjour Citygaragistes,

Thank you to those who haven been watching our week of videos dedicated to Black Lives Matters and to anyone who has made a donation to the organization (we have no way of tracking but we hope you are). Our members are continuing to create these statements of support so we’ll keep going with the effort. Please visit our YouTube channel to watch.

City Garage YouTube Channel

This weekend we’ll be showing another City Garage classic from 8:0pm Friday through midnight on Sunday. This time it is Medeatext: Los Angeles/Despoiled Shore (2000). It is an adaptation from the Medeatexts by Heiner Muller, adapted for City Garage by Charles Duncombe and directed by Frederique Michel. It re-imagines the Medea mythology through the lens of a contemporary Los Angeles, wrestling with the politics of power, gender, race, and economic injustice. It was a Critic’s Choice in the LA Times, a Pick of the Week in the LA Weekly, and was nominated in many categories for the 2001 LA Weekly Theatre Awards. We hope you will check it out. Unfortunately, the footage is quite “vintage” now and rather dark. Also due to a number of restrictions, the music is very strange. But there are still a lot of interesting things going on. Here is the link:

Medeatext: Los Angeles/Despoiled Shore
And merci to our new donors this week:

Susan Dickinson, David E. Frank, and Danielle



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