Calendar shmalendar - the way this critic knows summer has arrived is by attending the premiere of Will Geer’s Theatricum Botanicum’s repertory season at its airy Topanga Canyon amphitheater. A joyous annual ritual for me is making the trek out to this woodsy nook north of Malibu where WGTB extends the conventional notion of the stage.

 

Audiences are familiar with theatrical terms such as “the fourth wall” and “theater in the round.” But ensconced on a hillside amidst a forest, WGTB gives us what could be called “three dimensional theater.” This year’s exceptional opening production, William Shakespeare’s Coriolanus, is an excellent case in point. The tragedy’s mise-en-scène is barely constrained to the stage per se, as the ample-sized (and talented) company makes full use of the slopes behind the boards and the surrounding sylvan glade. They troupers troop up and down the aisles, gather and cavort behind the bleacher seats and so on, making full use of the Topanga landscape. Corio’s choreo gives new meaning to Shakespeare’s dictum in As You Like It that “all the world’s a stage.”

 

The personal is extremely personal in Rogue Machine’s Mexican Day. Tom Jacobson’s insightful script intimately, intricately interweaves ethnicity, class, sexuality and more in his story depicting a landmark Civil Rights struggle in late 1940s Los Angeles, when a sort of “apartheid light” was still being practiced in a not so angelic City of the Angels. This segregation is the source of the title of Jacobson’s play, which is part of a trilogy.

 

At least three of the drama’s thespian quartet depicts actual historical personages in Jacobson’s two-acter. First and foremost is the renowned African American equal rights activist Bayard Rustin (Donathan Walters, who recently understudied Bigger Thomas and The Black Rat at Antaeus Theatre’s gut-wrenching production of Richard Wright’s Native Son). In the late 1940s, Rustin - who eventually became a key organizer of 1963’s legendary “March on Washington for Jobs and Freedom” wherein Dr. King made his “I have a dream speech” - is dispatched to L.A. to desegregate Bimini Baths, an actual hot springs oasis with mineral waters that had existed in what is now L.A.’s Koreatown.

 

Sleeveless T-shirt with colorful tie-dye pattern in a spiral and the words Pro choice AF

Sun, June 5, 12pm
61 Jefferson Ave.
This is our June Crafternoon event!

Help us get ready for PRIDE season!! We've got white tank tops AND t-shirts that say PRO CHOICE AF for you to tie-dye! The cost is $15 and it includes either a t-shirt or a tank top and whatever colors (and materials) your heart desires for your tie-dye!

It'll also be a potluck! Bring something summery and we'll try to cook out! 

Make sure to wear clothes you're okay with getting dye on - accidents happen after all. :) 

We *should* have enough dye for some individual projects if you want to bring your own stuff, but we hope you like us enough to wear a NARAL Pro-Choice Ohio shirt that you've dyed yourself! 

These will also double as our summer tabling shirt, so we hope you love us enough to volunteer with us this summer, too!!

Round black circle with black fist rising as if its a tree from the ground with Columbus skyline in the background

Saturday, June 2, 10pm-2am, The Summit, 2210 Summit St.

It’s summertime, we chillin’ in the sun (finally), and Community Pride is about to JUMP OFF with four QTIPOC DJs from Columbus and Cleveland: Adab, Fana, A.S.L. Princess, and Noided.

Bring your best LOOKS and get it JUMPIN’ to club, techno, disco beats, and more. Instead of buying into sponsored parties or crowded, expensive bars, let’s start Pride right: alongside our own community!

Unfortunately, you must be 18 or older to attend this event. Check our calendar at the end of the description for all-ages events!

Visual ASL Interpreters will be provided for all Community Pride events. Please contact the interpreter coordinators at cbuscommunityprideinterpreters@gmail.com to request close vision or tactile interpreters for all Community Pride events.

America does what it wants.

This is obvious, except it’s also monstrously unnerving. Let’s at least add some quote marks: “America” does what it wants — this secretly defined, self-obsessed, unelected entity that purports to be the United States of America, all 325 million of us, but is, in fact, a narrowly focused amalgam of generals, politicians and corporate elites who value only one thing: global dominance, from now to eternity.

Indeed, they’re capable of imagining nothing else, which is the truly scary part. Until this changes, “peace” is a feel-good delusion and “disarmament” (nuclear and otherwise) is the butt of a joke. The American empire may be collapsing, but the war games continue.

Israeli elites failed in their support of terrorists in Syria and were
unable to bring down a resurgent Iran (just look at rising science citation
index for Iran and compare it to Arab countries!).  This failure was o be
compensated with by massacres in Gaza: murdering 125 protestors at the
borders; injuring thousands; testing new weapons on a captive poipulation;
bombing Gaza's remaining infrastructure; and attacking and seizing boats
carrying students and injured people trying to leave Gaza to Cyprus [what
is the excuse here?]. The latest victim of this Israeli onslaugt was a 21
year old paramedic Razan Al-Najjar killed while aiding injured peaceful
protesters. She was a beautiful inspiring girl. I am haunted by the
side-by-side pictures one of her smiling in her white uniform next to it a
picture of her grieving mother. Imagine this your family!

The Yemen and Gaza genocides thus continue while Trump and his
administration play with the media on their on again off again meeting with
the North Korean leader. A simple resolution at the UN Security Council to

Along with William Shakespeare’s Richard III, Giuseppe Verdi’s Rigoletto are the stage’s most famous disabled characters. Like Victor Hugo’s Quasimodo, they are hunchbacks who share with King Richard, as the Bard wrote, being “rudely stamp'd… deformed, unfinish'd…” and unable to “strut before a wanton ambling nymph.” (Verdi’s 1851 opera, with a libretto by Francesco Maria Piave, is actually based on an 1832 play by Hugo, Le Roi s’amuse, which was banned after a single performance because it criticized royalty.)

 

Rigoletto is a figure of fun - not only because cruel people take perverse delight in mocking the disabled (like Trump despicably mimicking a NY Times reporter with a disability), but because Rigoletto is also the court jester of the Duke of Mantua. (In LA Opera’s May 27-June 3 performances, Italian baritone Ambrogio Maestri was Rigoletto while from May 12-19 Spanish baritone Juan Jesus Rodriguez played the part. New Jersey tenor Michael Fabiano was the Duke May 27-June 3, while Mexican tenor Arturo Chacon-Cruz had the role May 12-19.)

 

Near the end of his life, Dr. Martin Luther King came to some radical conclusions about the fundamental root of oppression. “Why are there forty million poor people in America?” he said in 1967. “When you begin to ask that question, you are raising questions about the economic system, about a broader distribution of wealth. When you ask that question, you begin to question the capitalistic economy.

“We have moved from the era of civil rights to the era of human rights, an era where we are called upon to raise certain basic questions about the whole society,” he said in a report to the Southern Christian Leadership Conference. “We have been in a reform movement…. But after Selma and the voting rights bill, we moved into a new era, which must be the era of revolution. We must recognize that we can’t solve our problem now until there is a radical redistribution of economic and political power.”

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