Entertainment
She got seizures at 10 months old. So her dad wrote a musical about epilepsy and empathy
In March 1998, Ben Decter drove from Los Angeles to Tijuana to get medicine for his 17-month-old daughter, Addie. She had “catastrophic childhood epilepsy,” the neurologist had told him, and a drug not yet available in the U.S. was their best bet to treat her nonstop seizures.
That terrifying moment is currently revisited five times per week as part of a new musical — one that’s deeply personal and more than 20 years in the making. Titled “It’s All Your Fault, Tyler Price!,” the family-friendly performance is entertaining, empathetic and educational about epilepsy, a condition that remains stigmatized despite its ubiquity. And its world-premiere production, running through Dec. 15 at the Hudson Backstage Theatre in Hollywood, is largely funded by a pharmaceutical company.
It’s an unconventional financing model for a piece of musical theater. But for a unique stage show with a singular origin story, it might just be the right prescription.
“The entertainment world has been changing, and that includes all of the ways that musicals, TV and movies typically get funding,” said the show’s director, Kristin Hanggi. “It’s really just the idea of partnering with people who are in alignment with the same mission as you are and want to serve the same community you do. And when you’re united on that level, it feels undeniable.”
Faith Graham, center, and the cast of “It’s All Your Fault, Tyler Price!”
(Jim Cox)
‘I couldn’t talk about it’
At first, Decter — an Emmy-winning composer who’s scored TV shows such as “Lucifer,” “Lethal Weapon” and “CSI: Cyber” — wouldn’t discuss his daughter’s seizures. Not even with his college sweetheart wife, Jackie Sloan, or his younger child, Leo Decter.
“I had a lot of anger, sadness and isolation, but I’d just internalize and go to the gym or go out running,” said Decter. “I couldn’t talk about it, but I found myself starting to write songs on the piano, and that felt really good.”
Decter played his compositions for Sloan, who’d then sing them with him. “It was his window to express how he felt, like he could say things in songs that he wouldn’t be okay saying out loud,” she recalled.
“Even though it was painful, I felt encouraged and hopeful for us that he was finding a way to stay present and figure out how he was feeling. [These diagnoses] are so hard on families, and most couples don’t make it through.”
In 2007, a neighbor overheard Decter singing these songs and introduced him to Hanggi, who had just debuted the stage shows “Bare: A Pop Opera” and “Rock of Ages.” She immediately took to the material, and continued to develop it with Decter.
“One of the things that struck me about the lyrics was that some of them were from the children’s point of view and expressing emotions I hadn’t heard before,” said Hanggi. “The topic was so heavy, but there was also so much humor and laughter and lightness. I was like, there’s something here, we just have to figure out how to dramatize this.”
Ben Recter and Kristin Hanggi created the new musical “It’s All Your Fault, Tyler Price!”
(Robert Gauthier/Los Angeles Times)
Mission accomplished. “It’s All Your Fault, Tyler Price!” introduces four characters who are thinly veiled versions of the Decters: an emotionally avoidant composer dad, a burned out corporate lawyer mom, a sweet older sister with epilepsy, and a charismatic younger brother tasked with taking care of her.
The inciting incident onstage — a school bully makes fun of the young girl’s condition, and her brother vengefully punches him in the face — is inspired by an actual anecdote. “A friend of mine was at our house and made an insensitive joke about epilepsy, and pretended to have a seizure,” Leo explained. “I was really offended by it, so I kicked him out.” (No fists were swung in real life, though.)
The show musicalizes some seizure statistics, like the fact that 1 in 26 people will get epilepsy in their lifetime, and that seizures can vary in appearance, with manifestations as muted as a sudden head drop. One musical number even outlines seizure first aid tips, and leads the audience in repeating back the safety steps via a call-and-response gospel song.
“This [show] really bloomed into advocating for this destigmatization of what epilepsy is,” said Addie, who inspired the show. “I hope that anyone who sees this, whether they do still have seizures, are seizure-free or know somebody who has seizures, feels seen and knows that they’re not alone.”
Charlie Stover, Jenna Pastuszek, CJ Eldred and Faith Graham play a version of the Decter family in “It’s All Your Fault, Tyler Price!”
(Jim Cox)
“Tyler Price!” also portrays how a child’s diagnosis can affect everyone in a family unit: the parents argue about their daughter’s request for a bat mitzvah amid their struggles to pay her medical bills, and her brother craves the same parental attention his sister always seems to receive. Most movingly, it affirms that open communication and safe self-expression are a vital part of everyone’s treatment.
“It’s so powerful in the show when the dad just tells his son that, yes, he does get afraid,” said Hanggi. “We as parents think we’re not supposed to share our fears with our kids, but actually, it’s more helpful to talk about hard things and be intimate about your feelings as a family, instead of covering things up or trying to pretend they’re not there. That challenge is universal, whether or not you have firsthand experience with epilepsy.”
After over a decade of workshops produced by Dodgers Theatricals, Pasadena Playhouse, IAMA Theatre Company and Lythgoe Family Productions, Decter and Hanggi self-produced a reading of “Tyler Price!” last year at the Garry Marshall Theatre in Burbank.
“A piece will tell you when it’s ready to be on stage because that’s when people start giving you money,” said Hanggi of that reading’s very warm reception. “People start writing checks and saying, ‘What can we do to help?’ All this support erupted, and we could feel that energy of, it’s time.”
Addie Decter and her brother, Leo, at the Children’s Ranch. The two siblings inspired the musical “It’s All Your Fault, Tyler Price!”
(Robert Gauthier/Los Angeles Times)
News of the stage show reached UCB, a Belgium-based pharmaceutical company that produces various medications that treat epilepsy. UCB had recently contributed funding to “Under the Lights,” Miles Levin’s award-winning short film that’s since been developed into a feature with Lake Bell, Randall Park and Nick Offerman.
“We’re always looking for new ways to help address and support the community of those living with and caring for folks with a debilitating and complex form of epilepsy, and there’s often no greater medium than storytelling,” said Brad Chapman, head of U.S. epilepsy and rare syndromes at UCB, which provided the majority of the capital for the debut “Tyler Price!” production.
“For us, it’s a natural opportunity to reach more people potentially than ever before, in what might be described through these platforms as one of the greatest awareness campaigns for epilepsy.”
CJ Eldred and Charlie Stover play father and son in “It’s All Your Fault, Tyler Price!”
(Jim Cox)
‘Everything is still all right’
The entire run of “It’s All Your Fault, Tyler Price!” is visually designed to be “seizure safe,” since intense light sequences and patterns can sometimes trigger reactions. Already, the production has welcomed attendees of all ages for their first-ever live show experience. (A fully relaxed performance is scheduled for the Dec. 14 matinee.)
Ben Decter watched this week’s preview performances from various seats throughout the theater and chatted with families afterward; he is admittedly “a lot better” at expressing himself and communicating his feelings to others. His son Leo, now 25, plays guitar in the show’s band.
“Watching a kid play a younger version of you is an absolute trip, but I love getting to help my dad in this meaningful way on this project,” said Leo. Performing his dad’s songs five times a week, “I now have so much more empathy for my parents because I felt how hard it must have been for them.”
Meanwhile, Jackie Sloan pivoted from corporate reorganization and bankruptcy law to founding and running the Children’s Ranch, an Atwater Village organization that offers therapeutic animal caretaking programs for youth of all abilities and circumstances. She was inspired to do so upon seeing how well their daughter, Addie, who was diagnosed at 4 with Lennox–Gastaut syndrome, responded to caring for animals as a child.
Now 28 years old, Addie is an instructor at the ranch, helping to lead lessons for approximately 100 families a month on caring for rabbits, chickens, horses and guinea pigs. “She is a force, and I learn from her every day,” said Jackie of working alongside her daughter, who hasn’t had a seizure in years. “Addie has this way of seeing things through the eyes of the student and helping us understand how we can better help them.
Sloan described the Children’s Ranch not as a place trying to change anyone, but more so where kids and teens can get to know themselves better and show up more confidently as who they are. So in a way, the ranch is actually a lot like the musical itself.
“The show isn’t saying that everything is gonna turn out perfectly,” she said. “It’s really saying, even if things are hard, everything is still alright, and we’re going to make a great life together.”
Clockwise, from top left: Ben Decter, Jackie Sloan, Leo Decter, Kristin Hanggi and Addie Decter.
(Robert Gauthier/Los Angeles Times)
‘It’s All Your Fault, Tyler Price!’
Where: Hudson Backstage Theatre, 6539 Santa Monica Blvd., Hollywood
When: 7:30 p.m. Thursday and Friday, 2:30 and 7:30 p.m. Saturday, 2:30 p.m. Sunday; ends Dec. 15.
Tickets: $25 and up
Info: tylerpricemusical.com
Running time: 2 hours, 5 minutes (one intermission)
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
ALSO READ: Maa Behen Movie Review: Madhuri Dixit, Triptii Dimri, and Dharna Durga save a slow-burning mystery
Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
-
Detroit, MI21 minutes agoStorm chances return, which could impact Motor City Pride, graduations this weekend across Metro Detroit
-
San Francisco, CA29 minutes agoHilton campaigns in San Francisco as California primary votes still being counted
-
Dallas, TX36 minutes agoCrews cover up AT&T branding as stadium becomes
-
Miami, FL39 minutes agoMiami leaders gather for FIFA World Cup Host Committee Gala
-
Boston, MA44 minutes agoPackage fire outside Boston’s Museum of African American History under investigation
-
Denver, CO51 minutes agoRockies beat reporter Patrick Saunders to leave Denver Post
-
Seattle, WA54 minutes agoSeattle granted NFL Franchise on this day 52 years ago
-
San Diego, CA59 minutes agoMater Dei Catholic rallies, beats Point Loma in rematch of last week’s final
