2 earlier works

from HAPPY ENDING
(Who Will Live, Will See)

“L.A. WEEKLY
(S.L. Morris)

”THE RETURN OF BIG THEMES...

...A KIND OF FUSING OF BECKETT AND IONESCO...

FROM THEIR OWN COMPANY, AND THEIR OWN FANTASIES, THE SISTERS CARVED THEIR OWN MEANING AND PURPOSE.
SARTRE WOULD HAVE APPROVED.””

"HAPPY ENDING
(WHO WILL LIVE, WILL SEE)"

WRITTEN+DIRECTED BY/COSTUME DESIGN BY: JOHN SINNER
CAST: KEIRIN BROWN/BETSY MOORE/PAUL TUCCI/ILANA GUSTAFSON + (on-screen) ALAN MANDELL
PRODUCTION DESIGN/ART DIRECTION: J GOODKIND
VIDEOGRAPHY: ADAM SOCH
LIGHT+SOUND DESIGN: MATT RICHTER
SET PIECES: DAVIS CAMPBELL
COSTUME FABRICATION: FRANCINE BRAZEAU

BETSY MOORE          KEIRIN BROWN — **BETSY MOORE KEIRIN BROWN**

"THE AUDIENCE ENTERED THROUGH THE CAVERNOUS VENUE'S SLIDING GARAGE DOORCROSSING PAST A STAGE FLOOR STREWN WITH PAGES FROM PRINTED LITERATURE . . . "     LA WEEKLY — "THE AUDIENCE ENTERED THROUGH THE CAVERNOUS VENUE'S SLIDING GARAGE DOOR
CROSSING PAST A STAGE FLOOR STREWN WITH PAGES FROM PRINTED LITERATURE . . . " LA WEEKLY

"... AND PASSING BY A WOMAN (KEIRIN BROWN) IN A TORN HOOPSKIRT AND A BILLOWY BLOND WIG, WHO APPEARED VERY MUCH ABSORBEDIN HER OWN WORLD ..."  LA WEEKLY — "... AND PASSING BY A WOMAN (KEIRIN BROWN) IN A TORN HOOPSKIRT AND A BILLOWY BLOND WIG, WHO APPEARED VERY MUCH ABSORBED
IN HER OWN WORLD ..." LA WEEKLY

"...ON THE OTHER SIDE OF THE STAGE WAS A KIND OF GOTHIC THRONE ON WHICH ANOTHER WOMAN (BETSY MOORE) SAT LOOMING AND GLARING FROM AN ALTITUDE CLOSE TO THE RAFTERS.  (PRODUCTION DESIGN BY J GOODKIND).  A BAROQUE GOWN DRAPED BELOW  HER S… — "...ON THE OTHER SIDE OF THE STAGE WAS A KIND OF GOTHIC THRONE ON WHICH ANOTHER WOMAN (BETSY MOORE) SAT LOOMING AND GLARING FROM AN ALTITUDE CLOSE TO THE RAFTERS. (PRODUCTION DESIGN BY J GOODKIND). A BAROQUE GOWN DRAPED BELOW HER SOME 10 TO 15 FEET . . . " LA WEEKLY

"A HOSPITAL BED HUNG UPSIDE DOWN, SUSPENDED IN THE SKY. THE PHOTOGRAPHIC IMAGE OF ACTOR ALAN MANDELL'S FACE WAS PROJECTED ONTO THE PILLOW . . . "   LA WEEKLY — "***A HOSPITAL BED HUNG UPSIDE DOWN, SUSPENDED IN THE SKY. THE PHOTOGRAPHIC IMAGE OF ACTOR*** **ALAN MANDELL'S FACE WAS PROJECTED ONTO THE PILLOW . . .** " LA WEEKLY

"BENEATH THE BED WAS SOME KIND OF ANCIENT HOSPITAL EQUIPMENT AND NURSE MATILDA (ILANA GUSTAFSON) COSTUMED IN A BLUE-AND-WHITE BLOUSE AND APRON, AND THE KIND OF CAP THAT SIGNALED SHE MIGHT HAVE BEEN AT SOME EUROPEAN OUTPOST DURING WORLD WAR I (COSTUM… — "BENEATH THE BED WAS SOME KIND OF ANCIENT HOSPITAL EQUIPMENT AND NURSE MATILDA (ILANA GUSTAFSON) COSTUMED IN A BLUE-AND-WHITE BLOUSE AND APRON, AND THE KIND OF CAP THAT SIGNALED SHE MIGHT HAVE BEEN AT SOME EUROPEAN OUTPOST DURING WORLD WAR I (COSTUMES BY SINNER)."
LA WEEKLY

"IN CASE THIS SOUNDS IN ANY WAY GRIM, THE PRODUCTION WAS ACTUALLY ... A KIND OF FUSING OF BECKETT AND IONESCO . . . SARTRE WOULD HAVE APPROVED."   LA WEEKLY — ***"IN CASE THIS SOUNDS IN ANY WAY GRIM, THE PRODUCTION WAS ACTUALLY ... A KIND OF FUSING OF BECKETT AND IONESCO . . . SARTRE WOULD HAVE APPROVED.***" LA WEEKLY

Mad and madcap, the work takes the audience into the shell-shocked emotional states of two recipients of our modern benefits: 2 agoraphobic adult sisters Aggie May and Ethie Lou, whose dance and play create their own strange cocooned home that also protects their father and “God’s way." The sisters panic as the “outside” world threatens to enter (including in the form of a lost young soldier intruder returning from war). Fearful of the looming apocalypse - they wage their own internal war with their dying father who barks his patriarchal demands from his hospital bed suspended upside down from the ceiling, as his ultra-religious Nurse Matilda keeps vigil.