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Low Hanging Fruit

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Playwright Robin Bradford has dramatized a timely tale to tell what New York Times reporter, Cara Hoffman says of “Female veterans' stories,” which “clearly have the power to change and enrich our understanding of war...(Their) unsung epics might also have the power to change our art, our culture, our nation and our lives.” Under the directorial stewardship of Lee Sankowich, that is the noble aim of Low Hanging Fruit, now in production at Hollywood's Zephyr Theatre, through October 26.

Statistics – such as, "Women veterans are one of the largest growing segments of the homeless population in the country" – are cited in the show’s press materials; they are decidedly disturbing, but the scripting and enactment of Fruit is aggravatingly unappetizing. The dialogue rarely seems real and the acting is too often overwrought.


The setting is a makeshift shantytown, in the underbelly of Los Angeles, populated by four female veterans of the Middle Eastern wars who call their encampment the Taj Mahal (a visceral set design by Giulio Perrone). When one of the former GI’s, Cory (Terasa Sciortino in a screaming characterization)  brings a self-reputed 14 year-old (an amiable Christina Wren as Canyon),  whom she believes to be a runaway, to stay with the group, the others object but then capitulate after insisting that she follow a litany of “Taj Mahal” rules and regulations.

Meanwhile, there’s a menacing pimp, Tito (Ben Cain elevating the material), who prowls the locale and make offers and threats. He has already enlisted one of the ex-marines, Yolanda (a loud, wig-wearing Chanda Hartman), into activities of ill repute. To fill out the unsavory cast of characters there’s also Maya the poetry-reader/writer who’s haunted by nightmares from the time she spent in war --(Lola Anthony in an intense but problematic performance) and  Alice, the unofficial leader and wisdom maven of the group (Cheri Lynne VandenHeuvel, finding humor in  this unfunny scenario).

With a predictable twist, an obligatory dying scene, accompanied by loads of syrupy sentiment, Low Hanging Fruit is overripe in its portrayals and undercooked in its scripting. Undoubtedly the stories of female veterans of the latest U.S. ventures into Iraq and Afghanistan are worthy and unique. After all, women, up till now, haven’t generally had the up-close-and-personal experience of battle that today’s women warriors have experienced. Now we need a play that can live up to those experiences.

Low Hanging Fruit continues at the Zephyr Theatre through October 26. The Zephyr is located at 7456 Melrose Avenue, West Hollywood. Evening performances are Fridays and Saturdays at 8 p.m. Matinees are Sundays at 2 p.m. For reservations, call (323) 960-7788. For online ticketing, visit




Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”


Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.