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Commentary: In ‘Alma’ and ‘Apartment Living,’ kitchen-sink realism returns to the theater L.A.-style

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Kitchen-sink drama, the style that introduced social realism to the stage in a clatter of soiled dishes, is extensively dismissed as a mid-Twentieth century relic.

What started as a revolution within the palms of such playwrights as Clifford Odets, John Osborne and Arnold Wesker to maneuver the theater out of posh drawing rooms and into working-class tenements devolved into the form of trite household drama that was too busy making an elaborate meal of leftover psychology to fret about politics or economics. Two latest world premieres, nonetheless, breathe life into the outdated custom by reconnecting drama to the social situations of its characters.

Boni B. Alvarez’s “Condominium Residing” at Skylight Theatre (by means of April 24) and Benjamin Benne’s “Alma” on the Kirk Douglas Theatre (by means of April 3) invite us into the cramped properties of peculiar Angelenos, some with first rate jobs, others struggling to get by. Black, Mexican American and Filipino American, they’re combating towards the percentages for a sliver of the American dream.

These characters have little in frequent with the imaginative and prescient of Southern California promulgated on so-called “actuality TV.” It’s a peculiar truth of contemporary life that the Kardashian mansions occupy a lot area within the well-liked creativeness versus the realities that many Angelenos reside, however the stage affords a chance to right the report.

“Condominium Residing,” a co-production between Playwrights’ Enviornment and Skylight Theatre Co., revolves round two units of neighbors in a small Los Feliz condominium complicated. The play begins simply because the COVID-19 pandemic is sweeping over the local people. These two households, acquainted strangers to at least one one other, exist in parallel universes that unexpectedly intersect.

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“Alma” takes place in a small one-bedroom in La Puente within the interval after Donald Trump received the 2016 presidential election however earlier than he was inaugurated. Alma, an undocumented mom from Mexico, and Angel, her 17-year-old American-born daughter, are the occupants of this condominium, which is each a strain cooker of home tensions and a sanctuary from an more and more rancorous political setting.

Privateness is a luxurious that the characters in these dramas can not afford. Maybe that is why secrets and techniques abound in each “Condominium Residing” and “Alma.” Life is simply too messy for whole transparency.

In “Condominium Residing,” Cassandra (Charrell Mack) and Alex (Gabriel Leyva) are making the ultimate preparations for his or her wedding ceremony when the pandemic hits. Alex, an actor, loses his restaurant gig simply as Cassandra, a enterprise supervisor, is compelled to do business from home.

The claustrophobia shall be acquainted to anybody who has shared a residing area that has immediately turn into a schoolroom and a house workplace. As resentments construct between Cassandra and Alex, the financial seams of their relationship start to indicate.

In a single scene, Alex is venting his fury on the automated telephone system standing in the way in which of his unemployment advantages simply as Cassandra is demanding that he decide on whether or not to postpone their wedding ceremony due to COVID-19. The 2 fall out of sync, financially and sexually, with the sofa serving as a second bed room.

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The pandemic doesn’t a lot trigger as exacerbate current issues between them. However the inconceivable price of housing in Los Angeles can affect the trail of a pair’s future each bit as a lot as love.

In the meantime, subsequent door, Easter (Gigette Reyes), a nurse, needs her son, Dixon (Andrew Russel), a grocery retailer clerk, to take extra significantly the virus that’s immediately flooding her hospital with sufferers. His angle is cavalier, till his mom results in the ICU.

Alvarez connects these two residences in a method that throws into reduction the murkiness of identification. Alex and Dixon prove to know one another. Whether or not you discover their connection stunning will rely on how prepared you’re to just accept that the individual closest to you will not be who you suppose he’s.

The chain of relationships in “Condominium Residing” suggests not solely that an intimate accomplice, a relative or shut buddy may very well be sporting a masks however {that a} stranger on the grocery retailer — on this case, a random white woman (performed by Rachel Sorsa) — or neighbor you barely communicate to may see you extra clearly and compassionately than a beloved one.

The manufacturing, directed by Jon Lawrence Rivera, employs an unnecessarily cumbersome scenic design. Alex Calle’s units are heaved into place by the actors, a Sisyphean activity that isn’t well worth the muscle for residences which are solely generically outlined. Why not hold the staging fleet and summary? That is realism with all of the ponderous weight however little of the visible payoff.

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The play’s construction is elegant, although it’s not clear how effectively Alvarez is aware of his characters. The actors are tasked with filling in incomplete sketches, and sometimes they seem misplaced.

But “Condominium Residing” offers a textured sense of what the final two years cooped up in our properties have been like. In Jean-Paul Sartre’s “No Exit,” hell is outlined as different individuals with whom we’re inescapably trapped. In “Condominium Residing,” heaven generally is a probability encounter with somebody we could by no means communicate to once more.

Cheryl Umaña (left) and Sabrina Fest on the earth premiere of Benjamin Benne’s “Alma” on the Kirk Douglas Theatre — on view by means of April 3.

(Craig Schwartz / Middle Theatre Group)

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Benne describes “Alma” as “a poetic realism play concerning the American dream,” however realism outweighs poetry right here. This can be a conventionally structured drama: two characters, a single set, the requisite quantity of household battle, just a few ferreted out secrets and techniques and a darkish shadow of menacing politics.

What distinguishes the writing is its cultural specificity. A world is constructed onstage that the actors, Cheryl Umaña and Sabrina Fest, inhabit as in the event that they’ve been residing there most of their lives. (Tanya Orellana’s scenic design will get each element proper.)

Alma, who works late into the night time, sleeps on the sofa uncomplainingly in order that her daughter can have the bed room. Angel, a typical excessive schooler, needs extra space for herself. She resents that her room has a curtain as an alternative of a door. And he or she doesn’t need to clarify why she retains forgetting the rice and beans her mom lovingly prepares for her faculty lunch or why she’s not at house when she’s alleged to be learning for the S.A.T.

The tropes are acquainted, however there’s a vividness to the theatrical expression. Exasperated along with her daughter’s defiance, Alma rushes to get the dreaded “chancla,” a flip-flop sandal used to spankingly remind her daughter who’s boss. The punishment, nonetheless, appears to harm Alma greater than Angel, who instantly turns into her mom’s comforter.

The intimacy between them — the way in which they snuggle beneath the blanket from totally different ends of the sofa, the peace that comes over them when their favourite wildlife present is on TV — is movingly rendered. Below the delicate course of Juliette Carrillo, Umaña’s Alma and Fest’s Angel unearth the lyricism within the routine squabbles of a mom and daughter, who’re navigating their method by means of a land of alternative that can be a land of systemic inequality.

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There’s a tentativeness to the way in which Benne, who’s nonetheless a playwriting pupil at what was previously referred to as the Yale College of Drama, lifts off from this floor of realism. A tv set with a thoughts of its personal turns into the mechanism by means of which the poisonous rhetoric of the dawning Donald Trump period permeates even the dreaming that takes place on this condominium.

Lifelike performs don’t want an excuse go to fly into different stylistic modes. The stage is inherently a poetic area. However “Alma” represents a brand new course for Middle Theatre Group, which beneath the affect of affiliate inventive director Luis Alfaro is dedicated to reflecting modern Los Angeles in all wonderful variety on the corporate’s three levels.

Alfaro articulated CTG’s imaginative and prescient in an interview final yr: “We don’t want to search out the Pulitzer Prize-winning playwright of this yr. We have to discover the one who’s 5 performs away from that Pulitzer.”

Champions of the neglected and chroniclers of how we reside now, Alvarez and Benne are robust bets for a wholesome playwriting future.

‘Condominium Residing’

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The place: Skylight Theatre, 1816 ½ North Vermont, L.A.

When: 8:30 p.m. Saturdays, 3 p.m. Sundays, 7:30 p.m. Mondays. (Test for exceptions.) Ends April 24

Tickets: $20 – $42

Contact: www.skylighttheatre.org

Working time: 1 hour, half-hour

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‘Alma’

The place: Kirk Douglas Theatre, 9820 Washington Blvd, Culver Metropolis, CA 90232

When: 8 p.m. Tuesdays-Fridays, 2 and eight p.m. Saturday and 1 and 6:30 p.m. Sundays. Ends April 3

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Tickets: $30-75 (topic to vary)

Contact: (213) 628-2772 or centertheatregroup.org

Working time: 1 hour, 16 minutes (no intermission)

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'Inside Out 2' calms box office anxiety with blockbuster opening

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'Inside Out 2' calms box office anxiety with blockbuster opening

Hollywood’s summer movie anxieties gave way to joy this weekend with the massive debut of Disney and Pixar’s “Inside Out 2.” The animated sequel earned $155 million in ticket sales from 4,440 theaters in the U.S. and Canada, according to studio estimates Sunday.

It’s the second-highest opening weekend in Pixar’s nearly 29 years of making films and the second-biggest animated opening ever (behind only the $182.7 million launch of “Incredibles 2” in 2018). It’s also the biggest of 2024, which had not had any films debut over $100 million. With an estimated $140 million from international showings, “Inside Out 2” had a staggering, and record-breaking, $295 million global debut.

The success is significant for Pixar, marking a much-needed return to form for a studio that has had a string of underwhelming launches including “Elemental,” which did eventually become a success, and “ Lightyear,” which didn’t. It’s also important for the greater Hollywood ecosystem and the health of theatrical exhibition, which had been running at a 26% deficit before this weekend. “Inside Out 2” marks the biggest opening since “Barbie” launched to $162 million last July.

“This is a monumental weekend for movie theaters,” said Paul Dergarabedian, the senior media analyst for Comscore.

Kelsey Mann directed “Inside Out 2,” which picks up with Riley as she turns 13. That means the arrival of new emotions like Anxiety (Maya Hawke), Ennui (Adèle Exarchopoulos), Envy ( Ayo Edebiri ) and Embarrassment (Paul Walter Hauser) to the mix. Amy Poehler once again lent her voice to Joy in a cast that includes Tony Hale, Lewis Black and Phyllis Smith as Fear, Anger and Sadness, respectively. It got glowing reviews from both critics (92% on Rotten Tomatoes) and audiences who gave it an A CinemaScore, suggesting that this won’t be a first-weekend wonder either. With kids out of school and an open market until “Despicable Me 4” enters the ring over the Fourth of July holiday weekend, “Inside Out 2” is just getting started.

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The film is estimated to have cost $200 million to produce, which does not account for the millions spent on marketing. Going into the weekend, it was tracking for a debut in the $90 million range, which would have been in line with “Inside Out’s” first weekend in June 2019. Even that would have been considered a terrific achievement, and enough to claim the biggest opening of the year — finally unseating March releases like “ Dune: Part Two ” and “ Godzilla x Kong.”

It got off to a huge start with $13 million from Thursday preview showings, which started at 3 p.m. As the only major release of the weekend, its theatrical footprint was equally impressive — playing on 400 IMAX screens, more than 900 “premium large format” screens and over 2,500 3D screens.

“The family audience still loves going to the movies,” Dergarabedian said. “As an outside of the home experience, it’s still a relative bargain.”

This re-commitment to theatrical comes after Disney sent several Pixar films straight to its streaming service, Disney+, during the pandemic including “Soul,” “Luca” and “Turning Red.” Last month, the New York Times reported that Pixar had decided to return its focus to feature films (and not producing shows for Disney+) and that it had laid off 14% of its workforce (about 175 employees).

“As important as this weekend is for the industry at large, for Pixar this is huge. They’ve been trying to get their groove back since the pandemic,” Dergarabedian said. “Pixar had for decades one of the most impressive box office track records ever. They’ve really come back big.”

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Second place went to Sony’s “Bad Boys: Ride or Die,” now in its second weekend with $33 million, down only 42% from its opening. In just 12 days, it’s already earned more than $112 million domestically and $214 million globally. As of Friday, the four-film franchise had crossed the $1 billion mark.

“Bad Boys’” success last weekend was the start of a higher-earning turnaround for the lagging summer movie season. For Hollywood, the summer season, which runs from the first weekend in May through Labor Day, usually represents about 40% of the yearly box office. The deficit is still significant, with ticket sales down 28% for the summer and 24% for the year (and this is still before “Barbenheimer”), but it’s progress in a more promising direction nonetheless.

“We’re not going to get there overnight,” Dergarabedian said. “But it’s good news for theaters. And we have some big movies on the way.”

Bahr writes for the Associated Press.

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Movie Review: Top 5 Movies to Watch This Father's Day June 16, 2024 –

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Movie Review: Top 5 Movies to Watch This Father's Day June 16, 2024 –

A staff report

June 16, 2024 – Happy Father’s Day! What better way to celebrate than by sitting down with your dad and enjoying some quality films together? Whether you’re looking for heartwarming classics or thought-provoking dramas, here are five movies that are sure to make this Father’s Day special:

1. To Kill a Mockingbird (1962)

Gregory Peck delivers an unforgettable performance as Atticus Finch, a principled lawyer in the American South who teaches his children valuable lessons about morality and justice. Based on Harper Lee’s novel, this timeless film is a poignant exploration of fatherhood and standing up for what is right.

Watch it: To Kill a Mockingbird on Prime Video

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2. Moneyball (2011)  

For the baseball-loving dads out there, “Moneyball” offers a fresh take on the sport with Brad Pitt portraying Billy Beane, the innovative general manager of the Oakland A’s. This David-vs.-Goliath story, based on a true story and Michael Lewis’ book, showcases how unconventional thinking can lead to unexpected victories.

Watch it: Moneyball on NetflixPrime Video

3. National Lampoon’s Vacation (1983)

Chevy Chase stars as the well-intentioned but hapless Clark Griswold, who embarks on a disastrous cross-country road trip with his family to the elusive Walley World. Full of humor and iconic moments, this comedy is a perfect choice for a lighthearted Father’s Day movie marathon.

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Watch it: National Lampoon’s Vacation on Prime Video

4. Minari (2020)

“Minari” tells the heartfelt story of a Korean American family striving for a better life in rural Arkansas. Steven Yeun’s portrayal of the father, Jacob, navigating the challenges of farming and family dynamics, is both tender and powerful. This critically acclaimed film offers a touching exploration of immigrant experiences and familial bonds.

Watch it: Minari on MaxPrime Video

5. Sr. (2022)

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In this moving documentary, Robert Downey Jr. pays tribute to his father, Robert Downey Sr., a pioneering filmmaker known for his avant-garde works. Through personal interviews and archival footage, the film celebrates their unique relationship and explores themes of legacy and artistic influence.

Watch it: Sr. on Netflix

This Father’s Day, honor your dad with a cinematic journey through these diverse and enriching stories that celebrate the complexities of fatherhood, family, and the human experience. Whether you prefer classic tales of courage, inspiring underdog stories, or intimate documentaries, these films are sure to create lasting memories and meaningful conversations with your dad.

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Beyoncé and Jay-Z: Malibu renaissance couple

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Beyoncé and Jay-Z: Malibu renaissance couple

Jay-Z was born in Brooklyn, N.Y., and Beyoncé in Houston. But Exhibit A of their global entertainment dominance sits squarely in Southern California on the Malibu coast, a gleaming 40,000-square-foot concrete-and-glass mansion that the couple bought last year for $200 million, a record sum for a single-family home in California. Their combined net worth, according to Forbes, is estimated at more than $3 billion.

Discover the changemakers who are shaping every cultural corner of Los Angeles. This week we bring you The Money, a collection of bankers, political bundlers, philanthropists and others whose deep pockets give them their juice. Come back each Sunday for another installment.

The power that hip-hop’s premier couple wields goes well beyond the symbolic. They have teamed up on some of the most storied collaborations of the last decade, traversing stadiums across North America, along with two shows in Paris, for the sometimes bumpy On the Run tour in 2014. Four years later, they ran it back with the more harmonious On the Run II, which grossed more than $250 million. In between, in 2016, they rented out the Louvre and outshone the “Mona Lisa” in the six-minute music video for “Apeshit,” in which Beyoncé shunned her signature vocal runs to instead rap bar-for-bar alongside her husband. (The family collaborations have extended to the couple’s children, with eldest child Blue Ivy Carter joining her mother on the 2023 Renaissance world tour.)

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They have teamed up on some of the most storied collaborations of the last decade.

The last few years, though, have belonged to Beyoncé, who outpaced Jay-Z — and most of the recording industry — while touring behind the 2022 blockbuster “Renaissance” album and then releasing “Cowboy Carter,” another record-breaking album that saw the artist plant her flag firmly in country music terrain. The Renaissance tour, which was her highest-grossing (and the eighth highest of all time) included four late-summer stops at SoFi Stadium and a concert movie, which former Times reporter Marissa Evans called “a grandiose dare to anyone who tried to ask us to be less of ourselves.” Meanwhile, the “Renaissance” album continued to shake dance floors across the globe, while also earning Beyoncé, 42, a 32nd Grammy, making her the most decorated artist in the history of the awards show.

Beyoncé in a silver body suit, hat and boots singing on a stage surrounded by backup dancers in similar attire

Beyoncé performs on stage during the Renaissance tour at SoFi Stadium in Inglewood on Sept. 4.

(Kevin Mazur / WireImage / Parkwood)

Even in an “off year,” Jay-Z, 54, still went where few others have gone. Last summer, the Brooklyn Public Library honored him with “The Book of HOV,” a multimedia exhibit showcasing unseen photos, archived artifacts and some of his original masters. Visitors didn’t even have to step inside the library to marvel at his greatness; some of his most timeless lyrics were stamped along the building’s towering exterior. It’s another reason why galaxy-brained entrepreneurs would line up to pay $500,000 for the chance to pick his mind over dinner — even if the man himself says it’d be a fool’s decision.

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