PALOMA, written by Anne Garcia-Romero will be staged at The Los Angeles Theatre Center (514 S Spring St, Los Angeles, CA 90013). The play follows NYU students Ibrahim and Paloma, who study an ancient Muslim treatise on the art and practice of love, and they debate the complexities of romantic relationships while falling into one. When tragedy strikes this interfaith romance, it tests the limits of love in a post-9/11 world and Ibrahim must seek the help of his friend Jared, a young Jewish attorney, to clear his name.
For more information on tickets and the production, click here.
Composer and co-lyricist Neil Berg traces his interest in musicals to an unlikely origin: seeing Annie on Broadway as a boy. “While everyone else loved ‘Tomorrow,’ ” he remembers, “I loved ‘Maybe,’ her ‘I Want’ song.” In an “I Want” song, the protagonist expresses her dreams (e.g. “Annie wants parents”). It’s telling that the budding composer was interested in the song that sets the entire play in motion. Prologue spoke with Neil during rehearsals for THE 12, the rock musical he created with book writer/co-lyricist Robert Schenkkan.
“From the time I could play the piano, around 9 or 10 [I was writing musicals]. I was the youngest of three and rock ‘n roll was what I grew up listening to. From my brother I got The Beatles and Led Zeppelin and classic rock. My sister was into folk — Dylan, Joni Mitchell, Peter, Paul and Mary. And my mother and father were into classical, jazz and opera. Being the youngest, it all trickled down. When I came into my own, I was into the classic rock movement. My favorite albums were all those rock operas — The Who’s ‘Quadrophenia’ and Genesis’ ‘The Lamb Lies Down on Broadway,’ but my very favorite was probably Pink Floyd’s ‘The Wall.'”- Neil Berg
To read the full interview by Douglas Langworthy and to see clips of the Denver production of THE 12, click here.
“This delicate, ingenious play is about identity. Are we who we say we are? Or who we’re told we are? Both, though the heartiest put stock in the former rather than the latter,” remarks reviewer David Patrick Steams of the Philadelphia Inquirer.
This two-man play, written by Thomas Gibbons, questions the powers of science and the human brain – just because we have the knowledge and power of science behind us, does that mean that we should use that power? Sally Mercer plays a scientist, at the forefront, yet older end of her field, and Frank X plays the research project, the robot with “adult intelligence but little knowledge, much awareness but no experience.”
“The well-investigated production directed by Seth Rozin walks as many fine lines as the script. At first, I wondered whether Sally Mercer was too unscarred to be a retirement-age researcher. But while maintaining ultra-professional restraint, Mercer somehow ages before our eyes as her sorrows multiply. Frank X delivers a masterful metamorphosis from cipher to worldly billionaire with hugely resourceful use of vocal color. But his hallmark is where words stop and implication begins. How many actors so eloquently think on stage?”
To read the full review, follow the link to the Philadelphia Inquirer’s article HERE.