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Human Hothouse: The Aftershow

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I have never watched The Walking Dead, nor have I caught its popular Aftershow. In fact, I’ve never seen any series’ Aftershow. So, I can state with confidence that ignorance of aftershows won’t curb your laughter during Human Hothouse: The Aftershow.

Jim Hanna and a few hand-picked zanies have returned to the Fringe with a show that is less a specific parody of aftershow discussions, than a satire of social media and the dissembling celebrities who appear on countless talk shows to discuss their “process.”

The show opens with the final moments of the shocking second season finale for Human Hothouse, a wildly popular dystopian, dehumanizing, Lost-ish rip-off of dozens of other shows. As an overly dramatic music score soars, three of the series stars face each other down in an epic struggle over which of the two men will impregnate Cadence (Katie Streeter). After great deliberation, she chooses series nice guy, Peter (Jim Hanna). But, when Peter lifts his glass and quaffs the contents in a victory toast, his subsequent eyerolling and foaming at the mouth indicate that he is far from impervious to poison.

Tia (Ashley Diane Currie), the Aftershow host, turns from the monitor and wonders how we, the viewing public, feel about the fact that Peter is dead. She announces that, in a first-of-its-kind coup, both Cadence and Peter will be joining the Aftershow, along with Human Hothouse creator, Maxim (Jayden Lund).

But first she has to banter with social media maven, Bindi (Emily Dorsett). Tia seems to have no idea why Bindi’s empty-headed chatter is tolerated by the producers, but, soon enough, Bindi is relegated to tending bar for the real stars of the program.

Peter, already drinking, enters with Cadence, and they dive into the show’s forced jollity like the pros they are. Egos are stroked, platitudes unleashed, and passive aggressive behavior is embraced. Once Maxim enters the scene, piously extolling his “craft,” the situation swiftly, and hilariously, escalates. Dark desires and sexual secrets tumble into the living rooms of millions of viewers.

Hanna, who also wrote and directed the piece, leads his sidesplitting cast in a swiftly-paced hour of over-the-top lunacy. You could look behind the laughs and find serious swipes at fame and the cult of celebrity. But I’m guessing Hanna would prefer you sit back and enjoy the show.

I believe that Human Hothouse: The Aftershow will be doing a few shows in the Fringe Extension in July. Check the Hollywood Fringe site for information.




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.