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The False Servant

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To celebrate the 20th anniversary of the Evidence Room, the company has chosen to produce Marivaux’s The False Servant in a contemporary translation by Martin Crimp. Like all of Marivaux’s plays, the stylized, commedia influenced plot is an excuse to plumb the psychological undercurrents of society, particularly the emotions, or lack thereof, surrounding love.

The Chevalier (Chastity Dotson) is a rich Parisian woman who disguises herself as a man in order to discern the true nature of Lelio (Christian Leffler), a potential husband. She quickly discovers that Leilo is a heartless seducer who is already betrothed to the Countess (Dorie Barton). When Leilo realizes that there are richer fish in the sea, he encourages the Chevalier to seduce the Countess so that he can free himself from the betrothal contract with minimal financial damage. Their machinations are further complicated by a trio of greedy servants, Trivelin (Barry Del Sherman), Frontin (Cody Chappel) and Arlequin (Mathew Bazulka).

The False Servant has little of the melancholy humanity that permeates Marivaux’s most famous play, The Game of Love and Chance. And Crimp’s blunt, earthy translation does nothing to soften the characters. Their schemes and lies may provoke laughter, but they also leave a bitter taste in your mouth.

The show begins with Chappel growling out Cole Porter’s “What is this Thing Called Love?” And, with it, director Bart DeLorenzo clearly announces his corrosive take on the material.  DeLorenzo’s spare aesthetic is exemplified by a stage bare of anything but Frederica Nacimento’s subtly twisted staircase. The company will spend the performance climbing up and down those stairs, jockeying for position. The stairs will also form the background for DeLorenzo’s most lucidly potent image—a silent denouement where the shell-shocked characters attempt to understand what they’ve lived through and, perhaps, find a way to go on.

The cast contains many Evidence Room veterans who look terrific in Leah Pehl’s witty, post-modern take on period costumes. Dotson’s Chevalier nimbly navigates her gender duality and manages to keep a step ahead of Leffler’s appropriately disreputable Lelio. Barton’s Countess proves a master of timing as well navigating her male-dominated society. Del Sherman makes an affably calculating and loquacious Trivelin, while Bazulka’s high-energy avarice is a comic highlight. Chappel’s dim Frontin makes an early exit, but he returns to serenade us at odd intervals.

Odyssey Theatre    July 11 – September 6, 2015




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.