• Increase font size
  • Default font size
  • Decrease font size

TAR Begins and Ends Tom Jacobson's Tryptich on Bimini Baths

E-mail Print

Tom Jacobson’s trilogy of productions concludes with Playwright Arena’s TAR, the most straightforward of his three plays. Situated in the middle of the trajectory of stories (1915, 1939 and 1948), if given the opportunity, this may be the first play you should see.

Much of the trilogy depends upon information shared in this installment, which may account for the high degree of exposition that we hear. Nevertheless, Jacobson uses his playwriting skills to keep suspense going almost to the very end. That we are seeing Zenobio (Adrian Gonzalez), who figures so prominently in the other two plays, take a bit of a back seat to the issues of race represented by Amen (Noel Arthur), makes this stand apart from the other two. I believe it will best serve to start one’s journey into this absorbing fact-based set of plays with TAR.

On the eve of Count Basie’s landmark engagement at the Palomar Ballroom, the police bring to Bimini Baths a white man, Donald (Tim Meinelschmidt), who was found unconscious and covered head to toe in tar at the La Brea tar pits. Zenobio, now a young man, teams with his fellow porter, Amen, to begin removing the tar.  As they work, they speculate how the cadaver got into the tar pit. But, surprisingly, the corpse comes to life and proves to be someone of German descent with definite views about the two non-whites who are helping him recover.

Playwrights Arena’s director Edgar Landa joins Son of Semele and Rogue Machine in crafting a balanced trio of actors to further Jacobson’s story. Gonzalez and Arthur play well together, but Meinelschmidt has trouble reaching the meanness of the more distasteful character, Donald. I don’t blame him. Who wants to commit to being an unspeakable bigot?

Scene Designer Justin Huen makes the best use of Playwrights Arena’s tiny Atwater Village space, utilizing every inch for the clean-up operation. Mylette Nora’s costumes (and especially, the make-up) beautifully set the scene, while Derek Jones’ lighting keeps our sense of distance from the action intact. All-important sound – the wonderful Basie and juke-box music – sets the tone. If you haven’t seen this yet, hurry!  The show closes on Monday, July 2!

TAR will continue Saturdays and Mondays at 8:00 PM and Sundays at 4:00 PM through July 2nd at Playwrights Arena, 3269 Casitas Ave., Atwater Village 90039. Reservations and tickets online: $25 at, or call (800) 838-3006 ($30 at the door).



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.