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Archive for Frederique Michel


Photo by Paul M. Rubenstein

Photo by Paul M. Rubenstein

Tracey Paleo – Gia On The Move

While Odysseus went off to war…
…abandoning his family and kingdom for 20 years, it is his wife Penelope who strategically saves Ithaca. But there is a cost. Penelope now sets the record straight by recounting the story we know, with other disturbing facts that have never been discussed. More…

Rob Stevens – Haines His Way

Out of the mists of Hades appears Penelope, Queen of Ithaca (Peggy Flood). She wants to tell us her side of the story; the story of her husband made famous by Greek poet Homer in The Odyssey. The Penelopiad, by Canadian writer Margaret Atwood who is most famous for The Handmaid’s Tale, is being given a solid production at City Garage in Santa Monica. You know it is sure to be a heavily feminist re-telling of the epic tale, with an all-female baker’s dozen cast members playing multiple roles, under the tight and often inspired direction of Frederique Michel. Read more…

Through December 18

BEACH PEOPLE at City Garage

City Garage, Beach People

Henry Thompson and Angela Beyer. Photo by Paul M. Rubenstein.

Rob Stevens – Haines His Way

During this long, seemingly endless Heat Wave that has been plaguing Los Angeles for nearly a month, if you did not have central air or a heavy-duty air conditioner, you might have considered a day at the beach. The sun would still be unbearable, but you could cool off in the ocean waves. If you did not mind the sand and sand flies getting into various orifices. Or you could have spent at least 90 minutes in the air-conditioned comfort of City Garage at its beautiful, comfy, intimate space at Bergamot Station in Santa Monica watching a quartet of actors in their swimsuits pretending to be enjoying the beach. Read more…


THE BIRTHDAY PARTY at City Garage Theatre

Isaac Stackonis and Peggy Flood. Photo by Paul M. Rubenstein

Isaac Stackonis and Peggy Flood. Photo by Paul M. Rubenstein

Deborah Klugman – Stage Raw

The Birthday Party, Harold Pinter’s first full length play, opened in London in May 1958. Reviews were grim. Most critics, accustomed to the kitchen sink realism of writers like Sillitoe, Braine and Osborne, were incensed and/or bewildered by the non-sequiturs, contradictions and pauses in Pinter’s language, along with the murkiness of the play’s narrative and the perceived illogic of its characters. Collectively, they savaged it. The Daily Telegraph reviewer, referring to Petey, a character employed as a deckchair attendant at the beach, wrote, “I can give him one word of cheer. He might have been a dramatic critic, condemned to sit through plays like this.” Read more…

Now through July 23

right left with heels at City Garage at Bergamot Station

Photo byy Paul Rubenstein

Photo by Paul Rubenstein

Deborah Klugman – LA Weekly

In the fantastical right left with heels, Polish playwright Sebastian Majewski reflects on grim historical events as observed by a pair of shoes once owned by the wife of Joseph Goebbels. Black high-heel pumps with “attitude” they reek of tart sexuality and a sense of privilege. Read more…

Now running through August 14


Photo by Paul M. Rubenstein

Photo by Paul M. Rubenstein

Myron Meisel – Stage Raw

City Garage’s creative duo of Frédérique Michel and Charles A. Duncombe are long-established dab hands with Molière, so abundantly so that despite their reliable pedigree, I feared that Tartuffe by Moliere: A Reality Show would perhaps be too much yet again of the same thing. Yes, but no.

 Read more…

Now running through November 1.

BULGAKOV/MOLIERE at City Garage, Bergamot Station

Photo by Paul M. Rubenstein

Myron Meisel – The Hollywood Reporter

In the real world, does integrity merely consist of managing to compromise just enough to get what you desire, while permitting yourself not to feel compromised? So the Devil rather persuasively argues in this often pointed, intricately conceived set of nested Matryoshka dolls depicting three different epochs, each worthy of political ridicule, each considering the role of the artist as provocateur, repressed both by forces from without and within.  

Read more…

Now running through June 1.