This weekend on the City Garage YouTube channel, we’re happy to present “The Ann Bronson Story Project,” a selection of stories written by company member Ann Bronston and performed by Troy Dunn, Lindsay Plake, and Martha Duncan. They are stories of love, loss, sex, and family that unravel the secret longings and conflicts that can both torment and transform us. I hope you will check them out. And on our web series “Animal Farm: Conversations on Theater and Politics with Steven Leigh Morris and Guests,” Steven talks with Gary Grossman, Artistic Director of the Skylight Theater about the continuing lobbying efforts to pass California Senate Bill 805 to help small nonprofits adapt to the requirements of AB5—especially LA’s alternative theaters.
Correction: In last week’s episode we incorrectly identified our guest Angela J. Davis as a prosecutor for the LA County Superior Court. Our apologies. She was formerly a Federal Prosecutor for the Central District of California, and is now serving as a Commissioner for the LA County Superior Court’s Family Division.
And here is a link to “The Ann Bronson Story Project.” It will be showing on our City Garage YouTube channel from 8:00pm this Friday, June 11th, through noon on Friday, June 18th.
We’re also excited to announce a new project we’ve created just for streaming! Four monologues from “10 x 10” by Neil LaBute. LaBute is one of our favorite playwrights, someone who is willing to take an unflinching look at the truth of things. Not afraid to shock or offend. He pulls no punches and is always after the hard truth of what people do and why they do it. Make sure you mark next Friday, June 18th for the debut of our first original streaming project! More information to come in next week’s newsletter.
There will be a reading of “Macbett” by Ionesco on Sunday, August 25 at 6:00pm.
Directed by Ann Bronston. Free.
“Eurydice” by Sarah Ruhl
Champagne Preview August 9
Opening Saturday August 10
Pulitzer-prize nominee Sarah Ruhl stands the Orpheus myth on its head and retells it from Eurydice’s point of view. Comic, tragic, silly and poetic in turns, this inventive play follows Eurydice as she does her best to adapt to life in the underworld.
Abandoned by her self-absorbed poet-lover, she rides elevators, has long conversations with stones, defends herself against suspicious men, and finds comfort in the companionship of the ghost of her dead father, though, to his sorrow, she cannot remember who he is. She struggles to recall what it was to be alive and who she was. At last, her easily distracted lover arrives to deliver her. Or will he?
“There’s a sort of beautiful simplicity to the production which makes it feel like a story of a couple who just happen to be dealing with the underworld. Rather than epic, it feels oddly, awkwardly human. It’s a Greek myth scaled down to human proportions. Instead of an all too perfect tragic love story between an untouchable young couple, it becomes the story of a woman who has a creepy guy hit on her on her wedding day. It’s simple, it’s quiet, it’s deeply personal. While this “Eurydice” sidesteps the grand gestures what it gains is simpler story of a woman who’s facing a hostile world with a husband who’s distracted, a man who keeps harassing her, and a world filled with rules to keep her life small. City Garage’s take…lets you hear the play and taps into a vein that feels honest and a bit raw.” — Anthony Byrnes, “Opening The Curtain” KCRW
“What Ruhl does, and this wonderful cast does under the direction of Frederique Michel, is focus not upon Orpheus but what this story means from Eurydice’s point of view….Words alone by a playwright rarely haunt or move. They are meant to be acted out, and this cast captures the eerie and quietly human voyage of these characters. City Garage can and often does perform outrageously stylized works. They do these so very well. But my favorites have always been when the simple life of the characters shine through, the decisions and consequences and experience of what is happening. Eurydice counts as one of my favorites from this company, because even a Stone, even a God, still seem somehow human. The humans meanwhile make me ache for them. Especially the title character, due in larger part to the actor who portrays her.” — David MacDowell Blue, Night Tinted Glasses
“Director Frederique Michel, designer Charles A. Duncombe, and videographer Anthony Sannazzaro—and of course the gifted cast—work considerable stage magic with Ruhl’s slight, whimsical, but (at times) charming play. I came away feeling glad I had seen it.” Will Manus, Total Theatre
“Eurydice is a whimsical, often thoughtful exploration of memory as life and loss of memory as death. There’s much more than a tragic love story here. Ruhl’s combination of Becket and Alice in Wonderland leaves a stream of thoughts trickling through your brain long after the flood of images has subsided.”
-Oakland Tribune
Fourth Weekend Q&A: Informal discussion with the cast, crew and director Sunday, September 1st, after the 3:00pm performance.
This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission, the California Arts Council, and by the City of Santa Monica and the Santa Monica Arts Commission.
New Play Reading
War in the Times of Love
by Jeton Neziraj
Sunday, May 19 @ 7:00pm
“Pay-what-you-can”
Directed by Ann Bronson
City Garage is excited to begin introducing its audience to the work of one of Europe’s most important new playwrights, Jeton Neziraj.
This play, set in an imaginary beauty parlor—within an insane asylum—is the scene of mesmerizing confessions, as four “odd” women evade the traumas of their past by escaping to a shared imaginary world in which they take refuge as in a dream. Neziraj creates a disturbing and cathartic play, blending the mundane and the fantastic, to wrestle with the break-up of the former Yugoslavia.
Neziraj, author of more than twenty-five plays that have been performed all over the world, was voted “European of the Year” in 2018” for his promotion of progressive ideas and values, and has been called “the Kafka of the Balkans.”
Join us for this special reading, the first in a series of readings of new plays this year, and an introduction to our production of Neziraj’s newest work “Department of Dreams” coming to City Garage this fall.
Please let us know you’re coming! Call 310-453-9939 or email citygargage@citygarage.org to RSVP (not required, but much appreciated).
Translated by Frederique Michel &
Charles Duncombe
Champagne Preview May 31
Opening Saturday June 1
A deluded king. A failing kingdom. Two squabbling queens vying for his attention. An obsequious doctor. A dim-witted but loyal guard and a mouthy servant.
In Eugene Ionesco’s darkly comic masterpiece we witness the final hours of megalomaniac King Berenger the First. His monstrous ego has kept him alive for four centuries, but now, Queen Marguerite calmly informs him, the time has come to die. Berenger fights tooth and nail. He rages, pleads, denies, bargains, supported by the lovely and loyal Queen Marie. But Queen Marguerite, coolly efficient, aided by her henchman, the doctor, draws the king relentlessly closer to his final moment on earth.
At once broadly comic and deeply unsettling, the play alternates between Monty Python-style slapstick and haunting echoes of Shakespearean tragedy. In this, the most Beckett-like of all Ionesco’s work, we follow an existential journey into the most terrifying landscape of all: our own mortality.
In a new translation by City Garage founders Frederique Michel and Charles Duncombe.
“Why this? A once powerful, now collapsing civilization in the grip of a deranged megalomaniac? Obviously, it’s a scenario so implausible today, so far beyond the imaginative capacity of contemporary American audiences that we must treat it as a historical curiosity rather than, say, an urgent and eerily relevant warning.” — Read Margaret Gray’s “essential” listing in the Los Angeles Times
“Such a wild emotional roller coaster works, even amid the absurd details … because the cast under the direction of Frederique Michel breathes vivid life into what might easily have come across as utter chaos. Every detail makes sense.” — Read Zahir Blue’s full review at Night Tinted Glasses
“City Garage impressively pulls off a metaphysical play without any special effects other than Michel’s staging. Her direction is simple yet stylized, with a sprinkling of heightened movement and gesture. And while Exit the King’s technical design is minimal throughout the show, its final image is arresting and haunting thanks to Duncombe’s lighting.” — Read Taylor Kass’s full review at Stage Raw
“The final scene between the resonant Dunn and cool, elegant, swan-necked Natasha St. Clair Johnson … is one of those theatrical moments that … leave[s] audiences holding their collective breath before a well-deserved exhale and wild applause.” — Read Ravi Narasimhan’s full review at Backscatter.
“Their new translation (and adaptation) is crisp and colloquial, easy on the ear. And they have mounted the play in equally vibrant fashion… As performed with heart-breaking power by Troy Dunn, The King is vain, confused, self-centered, yet all too human and likable…” —Will Manus’s full review atTotal Theater
World premiere by the author of the international bestseller “The Glass Books of the Dream Eaters.”
Irene awakes from a cryogenic chamber into a future where her terminal cancer has been cured but the world as she knew it no longer exists. She is welcomed by curious humans who command and are commanded by “Platform,” a vast computer network which appears to have replaced all known reality. Has the Singularity occurred? Is there still a recognizable planet where earth once was? In Wake Dahlquist examines society and sociability when lives are long, wants are met, and no need for cooperation beyond the response to solitude.
Accorrding to the dictionary, “wake” can mean different things: It can be the vigil held over a corpse on the eve of burial; it can describe the waves trailing a passing ship or left by an extinct civilization; or it can signify the state of being aroused or made aware. According to Wake, Gordon Dahlquist’s rousing sci-fi satire about the ultimate fate of humankind, currently getting a sleek world premiere at City Garage, it also can mordantly embrace all of the above.
The time-leaping tale begins with a venerable science fiction premise: Heroine Irene Suarez (Natasha St. Clair-Johnson), a New York immunologist racked with metastasized pancreatic cancer in 2017, is placed in a cryogenic capsule in Mamaroneck, New York, to be thawed and resuscitated in a hermetic and inconceivably remote future.
In production designer Charles Duncombe’s minimalist arrangement of tiers and ramps, that future is represented as a blandly featureless room without windows or doors. It’s where Irene is greeted by May (Alicia Rose Ivanhoe), a friendly and curious if somewhat linguistically maladroit denizen whose silvery Lycra bodysuit (courtesy of costumer Josephine Poinsot), together with the ever-present visage of an identically coiffed and clothed figure (Megan Kim) projected on the upstage wall, are the first hints that something Orwellian and technologically dystopian might have transpired during Irene’s eons of sleep.
Much of the fun comes from Irene’s attempt to reconstruct the lost years. While May proves maddeningly vague at filling in the whens, wheres and hows, the fragmented hints at the planet’s fate that begin to emerge only increase Irene’s disquiet over her dire predicament. It seems that the Holocene is part of a distant and dimly understood past, whose end came via some sort of climate change–triggered environmental cataclysm. In the desperate hope that one day the species could be reconstituted from its archived DNA, a survivor population designed a global computerized omniscience called the Platform. Embodied by City Garage regular Kim as an affable and accommodating “construct” of the same name, the Platform now regulates the “sentient environment” as well as the society by which Irene finds herself welcomed as a sort of living natural history museum exhibit.
By eliminating the human middleman, society is finally one with the spectacle.
If that all sounds vaguely Matrix-like, the similarity is strictly ironic. Wake trades in — and frustrates — a raft of familiar sci-fi clichés and genre expectations in a wry pastiche that sets the stage for what Polish sci-fi master Stanislaw Lem once called “the drama of cognizance.” By dropping Irene into the Platform, where she is stripped of the taken-for-granted assumptions that ground identity and differentiate the real from the merely represented, Dahlquist lampoons the collective solipsism of all institutionalized systems of belief while underscoring the philosophical problem of agreement on any kind of shared reality.
Irene does not connect with other remnants of humanity in order, say, to organize a revolt and take back the planet from authoritarian oppressors, a trope dating back to H.G. Wells’ The Sleeper Awakes (1910), the grandaddy of Matrix-like political fantasies. Instead Dahlquist closes off that possibility by eliminating not only the distinction between the real and the virtual but also the urgent need to distinguish it. The Platform proves the most hospitable and accommodating of hosts. Far from a prison, its environment is a constantly morphing place of endless choice and instantaneous gratification — a kind of otherworldly shopping mall from which everything unpleasant has been expelled except for loneliness. Its virtually generated inhabitants, like May and her daft friend Sen (Jeffrey Gardner), are left to contentedly while away their existence with trivial preoccupations around satisfying their every whim and appetite. By eliminating the human middleman, society is finally one with the spectacle.
The only exception proves to be Sarah (Sandy Mansson), another cryogenic survivor from Earth’s 21st-century past — or, more accurately, the Platform-generated memory of what 40 years ago had been Sarah. A middle-aged horse breeder from Pennsylvania, Sarah tells Irene about the 60 additional years she lived among the Platform before boredom finally drove her from its protected, Platonic environs and into the nonexistence of the outside world. What happened then, or what kind of creatures might live there, the Platform cannot say, although Duncombe’s evocative projections of pristine, primordial landscapes slyly suggest an Earth that has returned to the fecund grandeur of a pre-human natural state.
Director Frédérique Michel’s tightly composed staging cannily extends the script’s mechanistic absurdities, both through wittily synchronized movement between Kim and the constructs and with touches like returning “offstage” characters to visible seats in the wings, where they await their next scenes like powered-down cyborgs set to sleep mode. Ivanhoe and Gardner are delightfully deranged as bubbly, wide-eyed human simulacra, but Ivanhoe is especially funny massacring Dahlquist’s fractured, almost aphasic diction. For her part, St. Clair-Johnson nimbly anchors the comedy as an exasperated, disoriented and finally resigned “straight man,” while Mansson contributes poignant notes of human warmth.
Although the ensemble is clearly still fine-tuning its timing, and Wake is consequently guilty of what sometimes feel like overly austere intellectual stretches, the evening’s momentum rarely flags. More importantly, at a moment when headlines seem to trumpet the potential calamities of debasing public policy with alternative facts, the play comes as a timely reminder that the confrontation with the other is ultimately always a confrontation with the self.
City Garage at Bergamot Station Arts Center, 2525 Michigan Ave., Bldg. T1, Santa Monica. (310) 453-9939, citygarage.org.
Bill Raden is an award-winning reporter and theater critic who reviewed his first play for L.A. Weekly on a typewriter. He still keeps his manual Olivetti inked and oiled, just in case.
Audience expectations tend to be tricky things. To some degree this depends upon genre.
Wake by Gordon Dahlquist, if not science fiction, certainly begins and explores a pretty clear and well precedented science fiction trope. Someone wakes from cryogenic sleep far into the future and must adjust. Buck Rogers essentially.
Except, no.
Irene (Natasha St. Clair-Johnson) had advanced pancreatic cancer and used her resources on a wild chance, that someone frozen in liquid nitrogen just might be revived in later centuries. When she wakes in a strange room to the greetings of May (Alicia Rose Ivanhoe), a cheerful young woman with a strange vocabulary, the truth dawns on her pretty quickly. It worked. Behold the future!
Yay?
At this point many a science fiction tale would begin describing the future world, if in fact the story turns out to be some kind of social commentary on the trends of human society. Or it may become some kind of adventure in which the awakened person will prove crucial to history or some such (this was the story of the second JJ Abrams Star Trek movie). I never thought the latter very likely here, but wondered how the first part of that expectation might play out. That at first May seems reluctant to tell Irene much heightened that expectation. At first. But increasingly, as we get to know more about this future, the less terribly important that became. Details all proved important, but not what the story was about.
Irene began and remained the story’s focus, for every moment, and she remained the only character on stage the entire play. All seventy minutes with no intermission. Even as we meet the sentient computer (or something like that) called The Platform (Megan Kim) that both runs and enables, nurtures and learns from the lives of those like May and her would be boyfriend Sen (Jeffrey Gardner), the more we share Irene’s curiosity and frustration. When is this? How much time has passed? Hints given early prove disturbing. Her capsule? Found in sea water. People have very odd beliefs about her own time, not least the amount of violence. No one, not even The Platform, knows what she’s talking about when Irene mentions ancient Egypt or the Pyramids.
Her world is gone. Her context has vanished, evaporated over time. Hardly anyone else was ever found frozen and with enough left to be revived. That was Sarah (Sandy Mansson) who died decades ago.
With us, Irene endures this loss — the realization of being utterly alone, not physically nor literally, but robbed of every single detail that made life make sense. Not by anyone, just by chance. This then proves the exploration, the odyssey of this work — not a revelation of plot or world-building, but of human courage in the face of tremendous loss. All in all, Wake does an astounding almost Haiku-esque job of giving us the heart, the soul of the story and very nearly nothing else.
We see someone find courage to go on. To trust the supremely unfamiliar. To begin to let go of what after all can never come again — the past.
Wake runs Fridays and Saturdays at 8pm, Sundays at 3pm (pay-what-you-can at the door only) until Sunday, December 17, 2017 at the City Garage, Building T1, Bergamont Station, 2525 Michigan Avenue, Santa Monica CA 90404.
Cast: Andrew Loviska, Lindsay Plake, Anthony M. Sannazzaro
A pair of Christmas tree salesmen secretly wreak havoc in NYC. A pair of detectives are bent on catching a serial killer. A young woman finds herself drawn into a cat-and-mouse game and transformed in ways she could never have imagined. Well, maybe she could’ve. Meanwhile, wild animals have been sighted in the vacant lot across the street. Are they dogs? Raccoons? Or something more ferocious?
In Julia Jarcho’s Obie Award-winning poetic, often very funny drama, reality is fluid and facts are elusive. Perpetrators become victims, police detectives become suspects, and nature becomes an id-like witness to the treacherous life of the city. Don’t miss the West Coast premiere of one of America’s most imaginative and powerful new theatrical voices.
This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission and the Santa Monica Arts Commission.
Cast: David E. Frank, Jeffrey Gardner, Kat Johnston, Megan Kim, Johnny Langan, Andrew Loviska, Lindsay Plake, Kate Rappoport, Bo Roberts, Anthony Sannazzaro, Zack Sayenko, Trace Taylor, Mardaweh Tompo
A new play inspired by Rainer Werner Fassbinder’s Blood on the Cat’s Neck
In 1974 Rainer Werner Fassbinder imagined a beautiful space alien on a mission to create a first-hand report on mankind. She landed in Nuremburg. Things didn’t go well. Now, in 2016, the alien research team has decided to try again, this time with an artificial intelligence in the same shapely guise. Like the Phoebe of the 1970s, she can learn the words people say but not what they mean. Unfortunately, this time she lands in the United States. In an election year. This world premiere is a black-comic look at contemporary society and the wild irrationality of how we see ourselves. Ready for our interplanetary close-up? We report, you decide.
Nudity.
Fourth Weekend Q&A October 23:
After the 3:00pm performance on Sunday, October 23rd, please join us for an informal discussion with the cast and crew. Don’t miss it! This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission and the Santa Monica Arts Commission.
(Click on images to enlarge)
“Othello/Desdemona” by Charles A. Duncombe
April 15—May 29, 2016
Directed by Frédérique Michel
Produced by Charles A. Duncombe
Cast: R.J. Jones, Kenzie Kilroy, Andrew Loviska, Bo Roberts, Anthony M. Sannazzaro
Othello, in the midst of an identity crisis, examines and rejects his status as a servant of the Venetian State. Hungry for political power, he experiments with the idea of self-identifying as white. Desdemona, a Lolita trapped in a caged bed, is a spoiled brat with a mind of her own and a hunger for fame. She’s still deeply in lust for the lover she’s lost, while he struggles with racism and white privilege. Egged on by Iago, hovering like a punk-rock bird of prey, and a sassy, transgender Emilia, this is a love story that, just as in Shakespeare, is going to end badly.
Nudity.
LA TIMES REVIEW:
Playwright, producer and production designer Charles A. Duncombe doesn’t so much deconstruct the tragedy of a noble Moor undone by manipulated jealousy as turn its interior workings into an irreverent dissertation on the post-millennial landscape… With director Frédérique Michel and her valiant cast maintaining a jagged emotional pull beneath the High Performance austerity, “Othello/Desdemona” isn’t exactly shy about upending expectations… It’s a starkly elegant, international-festival-ready staging, with costumer Josephine Poinsot assisting Duncombe’s trademark red-black-and-white scheme. Throughout, typical City Garage audacity is detectable… “Othello/Desdemona” is undeniably unlike anything else in town.
“Somewhat reminiscent of Stoppard’s Rosencrantz and Guildenstern Are Dead… Director Frederique Michel’s artful staging cleverly takes the familiar characters and pushes them in unusual directions… The production is full of interesting images and psychological underpinnings… [and] possesses a playfulness that’s undeniably appealing… Michel’s trenchant sense of irony — and the intelligence of the underlying thoughts in the piece – keep us intrigued.”
This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission and the Santa Monica Arts Commission.
“Lee is one of the most vital, rewarding playwrights to arrive on the scene in the past decade.”—Time Out New York
“Lee uses King Lear and some beautifully unconventional additions to flesh out Shakespeare’s themes of loneliness, mortality, and filial responsibility in gratifying and moving depth.” —Variety
February 5—March 13, 2016
Directed by Frédérique Michel
Produced by Charles A. Duncombe
Cast: Kristina Drager, Kat Johnston, Andrew Loviska, Anthony Sannazaro, Nili Rain Segal
The West Coast premiere of this widely-acclaimed recent text. In Lear, experimental playwright Young Jean Lee’s self-described “inaccurate distortion” of the classic, she banishes the title monarch and most of the other male characters to the wings and focuses instead on the younger generation: Lear’s three daughters and Gloucester’s two sons. The absurdist, meta results are irreverent, grotesque, and morally harrowing.
Fifth Sunday Q&A March 6 [PLEASE NOTE DATE CHANGE]:
After the Sunday, March 6 (not Feb. 28, as previously announced) matinee, please join us for an informal discussion with the cast and creative staff of City Garage’s production of Young Jean Lee’s Lear.
LOS ANGELES TIMES REVIEW
In the Los Angeles Times David C. Nichols praised Young Jean Lee’s Lear at City Garage:
“Director Frédérique Michel treats the intermissionless proceedings as a hybrid of Renaissance masque, absurdist romp and college counseling session, and her fine-tuned cast follows suit. Posing and pouncing around producer Charles A. Duncombe’s elemental sets and lighting in Josephine Poinsot’s winking costumes, the group sustains itself through to the post-Pirandello climax, which breaks both tone and third wall. Devotees of its author and this cutting-edge company should flock.” Read the full LA Times review here! This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission and the Santa Monica Arts Commission.
Cast: Ann Bronston, David E. Frank, Jeffrey Gardner, Megan Kim, Andrew Loviska, Alex Pike, Trace Taylor
Two Hamlets wander a bizarre, absurd and devastated political landscape from the fall of Communism to the ascendancy of ISIS. Their journey starts as they board the locomotive of the Revolution with mad Uncle Karl at the wheel. Round and round and round they go, at each stop, the bloody disasters of the 20th century, like the stations of the cross for a long-suffering humanity. Thrown from the exploding train, they wander on to meet the ghost of their vengeful father, their Alzheimer’s afflicted mother Gertrude, and finally the fair Ophelia, who has become an Islamic Terrorist.
But that’s only the start of their 21st century adventure through the looking glass. They are hounded by religious fundamentalists, plunged into a digital nightmare of new media, diverted by Ophelia as a stripper, experiment with gender roles, conscripted into a Dolce and Gabbana fashion show, then finally launched headlong into the conflicts and tragedies of the Arab Spring, from which they emerge more dazed, confused, and maddened than ever. “Oh, what a noble mind is here o’erthrown,” intones a grief-stricken Horatio. This way madness lies, indeed. But as they stand in the final snowstorm, facing a bottomless sea, they confront the question with which they began: to be or not to be. What answer do they finally offer?
This is the world premiere of a new version of the seminal work by Heiner Müller that defined post-modern Shakespeare. This jagged, non-linear text breaks open the Hamlet iconography to re-examine the blood-soaked heritage of the 20th century in light of the new reality of Mideast turmoil, global terrorism, and the rise of ISIS.
Fourth Sunday Q&A:
After the Sunday, December 6 matinee, please join us for an informal discussion with the cast and creators of City Garage’s new Hamletmachine. The Winter of Our Discontent: Shakespeare in the Digital Age
—Fall 2015 to Spring 2016—
Part I:
Hamletmachine: The Arab Spring
An Adaptation of Heiner Müller’s Hamletmachine by Charles A. Duncombe
November 13, 2015—December 20, 2015
The seminal late-20th century masterpiece that defines the post-modern approach to Shakespeare.
Part II:
Lear
by Young Jean Lee (West Coast Premiere)
February 5, 2016—March 13, 2016 (6 week, regular run)
The West coast premiere of the widely-acclaimed new text. In Lear, experimental playwright Young Jean Lee’s self-described “inaccurate distortion” of the classic, she banishes the title monarch and most of the other male characters to the wings and focuses instead on the younger generation.
Part III:
Othello/Desdemona
by Charles A. Duncombe (World Premiere)
April 8, 2016—May 15, 2016
This new deconstruction of Shakespeare’s Othello examines questions of race and power of what we long to be post-racial America-an America of police beatings, racial profilings, riots, and Supreme Court rollbacks of minority rights.
Come and be a part of the exciting adventure at City Garage. Buy a pass now and get all three shows in this series for $60 (Students/Seniors $50). That’s a 20% savings over regular admission prices! Call our Box Office at 310-453-9939 to purchase today (online ticketing and pass purchase coming soon).
This project is supported, in part, by the Los Angeles County Supervisors through the Los Angeles County Arts Commission and the Santa Monica Arts Commission.
