When you walk into the Gil Cates Theater at the Geffen Playhouse, the sound of rain falling envelops your sense. In fact, rain continues to fall and keep customers away from the charged atmosphere of a 1950s South African tea shop during Athol Fugard’s “Master Harold” …and the Boys, an examination of why apartheid was alive and well at the time. Billed as a gripping, deeply personal drama that unflinchingly confronts the realities of race, power, and betrayal, it’s really more about living in your dreams of a better future rather than succumbing to the life others demand of you. And what it really means to be a man, even when others look down on you as nothing more than a dirty dog.
The play takes place on a rainy afternoon beginning with Willie (Nyasha Hatendi) on his knees cleaning the floor while showing his older co-worker Sam (John Kani) the steps he has learned in the pursuit of winning a local dance competition. In fact, those dancing scenes, choreographed by Koko Iwasaki Nyemchek and Kiki Nyemchek, are the most enjoyable in the show. But soon they are joined by the white shop owner’s 17-year-old son Hally (the terribly miscast 31-year-old Ben Beatty, son of Annette Bening and Warren Beatty) who at first passes the time with Sam and Willie, the two Black waiters who have helped raise him by filling the gaps of a broken home with warmth, wisdom, and laughter. But as the day unfolds, playful memories give way to painful truths, and a single moment of deep-seated prejudice, threatens to shatter the fragile bond between them forever.
But by casting an adult in the teenage role, dressing him in a school uniform that may have you first thinking he is a teacher writing the next day’s lesson plan rather than a student needing to do homework, destroys the entire genesis of the play. I am not sure why such an error was made by casting director Phyllis Schuringa, CSA and co-directors Emily Mann and Tarell Alvin McCraney since the other two actors are brilliantly cast and spectacular in their respective roles. But I found it difficult to accept or even enjoy the story line for most of the play, never believing Hally was the young impressionable teenager as envisioned by the playwright. So why not cast one of the exceptional young actors in Los Angeles who would have been a better choice for such a pivotal role? Wish I could have asked them.
As such, the 95-minute play drags on and on, moving from scene to scene at a snail’s pace with no particular place to go. That is until Hally gets a second phone call from his mother (with the appropriate thunder signaling something important is about to happen), letting him know his abusive and often-drunk and on crutches father has been released from the hospital and is back home. And of course, the 17-year-old still lives at home. And though the two waiters know how bad things are within that family, they are powerless to do anything about it, other than try to get Hally to realize what it takes to be a real man in such a divided home as well as country.
But if I reveal whether or not he is able to accept their help, especially from Sam, who is very wise and secure in his place as a man dreaming of a better future, would ruin the intense last 20 minutes of the play. For that is when the real action occurs when deep-seated anger drives Hally into showing his true colors as a young man raised with white privilege.
Kudos go out to Scenic Designer Beowulf Boritt for his impeccable set and management of the constantly flowing rain water falling upon it, the real highlight of the production that captured my attention more often than the play itself did. But see it yourself since everyone has their own opinion, and there were several audience members who offered the cast a standing ovation during curtain call.
Performances continue through May 10 in the Gil Cates Theater at Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles 90024. Dark Mondays and Tuesdays. Be aware there is theatrical haze, brief partial nudity, and profanity. Age recommendation is 12+ with children under 10 not admitted. Tickets currently priced at $36 – $139, available online at www.geffenplayhouse.org or by phone at (310) 208-2028.
La Mirada Theatre for the Performing Arts and McCoy Rigby Entertainment are presenting theSouthern California regional theatre premiere of the totally “fetch” queen bee of hilarious modern musicals, MEAN GIRLS, with book by Tina Fey, music by Jeff Richmond, lyrics by Nell Benjamin, based on the Paramount Pictures film Mean Girls, directed and choreographed by Dana Solimando with music direction by Anthony Zediker. It’s cautionary tale of friendship and betrayal, presented as an exceptionally fun, start-to-finish big ensemble number musical, highlighted by the incredible scenic design by Stephen Gifford, lighting design by Steven Young, and projections design by David Murakami that will astound you as scenes morph before your eyes.
The musical centers around Cady Heron (Katie Roche making her debut at La Mirada Theatre), who grew up being home schooled while living on an African savanna, with cast members portraying animals she had as her only friends. So, when her parents are transferred to a small town in suburban Illinois, nothing has prepared Cady for the wild and vicious ways of the teens at North Shore High School. On her first day, Cady is taken under the wing of independent and confident students Janis Sarkisian (McKenna Michael) and Damian Hubbard (Gavin Leahy) who ask her “Where Do You Belong?” as they introduce the various groups of teens circling them at lunchroom tables. These two actors, acting as story narrators between scenes, are perfectly cast and bring a real sense of authenticity to these two pivotal roles every time they take the stage, earning their thunderous applause during curtain call.
Cady’s great need to “fit in” leads her to the popular girls, a trio of lionized frenemies known as The Plastics led by the charming but ruthless Regina George (tall and perfect Adrianna Rose Lyons) and her two cohorts Sarah-Anne Martinez as Gretchen Wieners whose confusion is highlighted during her solo “What’s Wrong with Me?” which speaks directly to everyday teen insecurities, and Grace Fluharty as the proudly “stupid” Karen Smith whose whole purpose is being “Sexy” in very short skirts, taking Cady away from the two true friends she has made. Soon her looks change and Cady becomes a judgmental Plastic herself. Thankfully she sees the truth before it’s too late and encourages the others to be “Fearless” and allow yourself the freedom to be who you want to be.
Other featured players include Eric Myrick as Aaron Samuels (the popular boy Cady and Regina both want for themselves), Shailen Patel Braun as Kevin Gnapoor, Daryl C. Brown as Mr. Hubbard, Daniel Dawson as Coach Carr, and Gwen Hollander who does an amazing job portraying Mrs. Heron/Ms. Norbury/Mrs. George. The energetic ensemble of talented triple-threat performers includes (in alphabetical order) Sabrina Astengo, Alyssa Anne Austin, Eugene Boyd, Daniel Dawson, Augusto Guardado, Brandon Halvorsen, Emmy J. Lane, Jenna Luck, Keturah McIntyre, Caroline Moulios, Barbara Ann Reed, Eric Renna, and Clayton Michael Walker, with Swings Kevin Corte and Bailey Renee Miller. Original costume design by Gregg Barnes with hair/wig/makeup design by Kaitlin Yagen perfectly match every role they portray, even when the boys attend an only junior girls assembly!
The musical’s timely message about staying true to yourself and not changing to please others is always an important one for all of us at any age. And don’t think having more will make you feel better about yourself as true confidence and self-acceptance comes from within.
MEAN GIRLS runs through Sunday, May 3, 2026 at La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada (free onsite parking) with performances on Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 2 p.m. and 8 p.m.; and Sundays at 1:30 p.m. and 6:30 p.m. There is an open-captioned performance on Saturday, April 25 at 2 p.m. Talkback with the cast and creative team will take place on Thursday, April 30 at 7:30 p.m.
Tickets range from $23 – $115 and can be purchased on La Mirada Theatre’s website www.LaMiradaTheatre.com or by calling the La Mirada Theatre Box Office at (562) 944-9801 or (714) 994-6310. Group, student, and military discounts are available. Recommended for ages 12 & older for language and subject matter. Children under 3 will not be admitted into the theatre.