Theater Review: Crone Creed<\/h3>\n![\"Theater](\"https:\/\/i0.wp.com\/giaonthemove.com\/wp-content\/uploads\/2026\/10\/Crone-Creed_production-photo-by-Jim-Cox.png?resize=1024%2C735&ssl=1\")
Ben Ubi\u00f1as and Vivianna McCormick battle as brother and sister in CRONE CREED at the El Portal Theatre, NOHO. Photo by Jim Cox.<\/figcaption><\/figure>\nKudos to the cast of Crone Creed<\/a> who were utterly committed to a severely under written script, not truly ready for audience consumption.\u00a0 Vivianna McCormick, Ben Ubi\u00f1as, Jacquelyn Ritz, April Nixon, Carolina Hoyos, Brennen Amonett, Corey Dorris, Avery Norris and Matthew Kirkwood, are truly the industrial strength adhesive that keeps this production together.\u00a0 Without these exceptionally strong actors, there would not be a show.<\/p>\nBreaking every rule in Aristotle\u2019s classical unities and the general four of playwriting (including Show, Don\u2019t Tell), this anti-elitist, religion imbued, mythic fantasy, drama, begins in medieval Europe and makes its way to the 1800s American frontier.\u00a0 There Vita (Vivianna McCormick), a young woman from an ancient lineage of time-traveling mystical witches known as Crones, has been reborn in order to battle her evil brother (Ben Ubi\u00f1as) \u2013 and misogyny \u2013 now running a corrupting force known as, The Fallen.\u00a0 The Crones live as pseudo immortals through time-jumping.\u00a0 Their purpose is to influence and protect human existence.\u00a0 So, in order to defeat her brother Vita must do practically nothing in order to accomplish the takedown.\u00a0 It\u2019s complicated.<\/em><\/p>\nThere are a lot of borrowed, highfalutin ideologies dancing inside this Power vs Choice mixer. \u00a0 The whole Joan of Arc meets Sarah Connor to save (vaguely) everyone plot is set up as a symbol of spiritual resistance involving loyalty, oaths, reincarnation and moral conviction vs oppression. But all of them get lost once the two pull out their version of the Force in a heated battle, only to find out it\u2019s their baby sister (Avery Norris) who is stronger than them both. <\/p>\n
\u201cSiblings: your only enemy you can\u2019t live without.\u201d ~Anonymous<\/em><\/p>\nTheater Review: Marisol<\/h3>\n![\"Theater](\"https:\/\/i0.wp.com\/giaonthemove.com\/wp-content\/uploads\/2026\/10\/Marisol_5219.jpg?resize=1000%2C667&ssl=1\")
Jade Santana and Hutchins Foster in MARISOL. Photo by John Dlugolecki.<\/figcaption><\/figure>\nDirector Amanda Weier was incredibly on the mark when she said, \u201cMarisol feels astonishingly relevant.\u201d The absurdist, apocalyptic, Obie-winning fable by Puerto Rican playwright Jos\u00e9 Rivera, is deeply entrenched in magical realism that is frankly more 2026 hyper reality than mere 1992 struggle for sanity story. That is, given predictions of AI ending human civilization in less than a decade from now. And the world blowing up or about to (literally) because of a single meta narcissist controlling all the levers of global power. Phew!\u00a0 That\u2019s a mouthful.<\/em><\/p>\nSeriously, though, although much of the cast went only superficially deep into the fear, paranoia, disorientation, and profound despair in the collapsing world of this script, lead Jade Santana (Marisol) hits her stride in the second act. And the key moment comes in a comically grotesque interaction.<\/p>\n
As Hutchins Foster, wheelchairs onto the stage as the Man with Scar Tissue, he presents a harrowing and razor sharp physical embodiment of the urban decay, societal violence, and psychological trauma being inflicted onto the people. Foster\u2019s performance is highly nuanced, as is his understanding of the material and delivery. His appearance is the true inflection point of the play. It kicks Marisol out of denial and onward into the challenge to fight, given to her by her guardian angel presently entrenched in the Save Earth Now battle.<\/p>\n
\u201cWhat a time to be alive, huh?<\/em><\/p>\nRecommended<\/p>\n
Produced by Open Fist, Atwater Village Theatre. Performances run September 12 through October 24, with performances Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. (no performance Saturday, October 3). An additional performance will be held Monday, Oct. 5 at 8 p.m. Preview performances are Thursday, Sept. 10 and Friday, Sept. 11 at 8 p.m. Tickets<\/a><\/strong> range from $26 to $40.<\/p>\nThe Backstage at the Geffen<\/em> Online Auction<\/strong> is now live!<\/h3>\n\n![\"\"](\"https:\/\/i0.wp.com\/giaonthemove.com\/wp-content\/uploads\/2026\/10\/Backstage-at-the-Geffen-auction.png?resize=1024%2C728&ssl=1\")
<\/figure>\n\nFeaturing an exciting collection of one-of-a-kind experiences, entertainment packages, luxury getaways, and more. Money raised from the Geffen online auction \u2013 held as part of the annual \u201cBackstage at the Geffen\u201d fundraiser \u2013 goes directly to support the Geffen Playhouse\u2019s theater productions<\/a>, arts education, community engagement, and new play development programs.<\/p>\n<\/div>\n<\/div>\nBid now through Thursday, October 22, 2026, at 6 p.m.<\/strong>\u00a0 Don\u2019t let your favorite item get away\u2014place your bid before the auction closes!<\/p>\nLead photo: Hutchins Foster nad Jade Santana in Marisol at Open Fist Theatre. Photo by John Dlugolecki.<\/em><\/p>\n\u00a9 Copyright 2026 GiaOnTheMove.com. All Rights Reserved.<\/a><\/p>\n
Kudos to the cast of Crone Creed<\/a> who were utterly committed to a severely under written script, not truly ready for audience consumption.\u00a0 Vivianna McCormick, Ben Ubi\u00f1as, Jacquelyn Ritz, April Nixon, Carolina Hoyos, Brennen Amonett, Corey Dorris, Avery Norris and Matthew Kirkwood, are truly the industrial strength adhesive that keeps this production together.\u00a0 Without these exceptionally strong actors, there would not be a show.<\/p>\n Breaking every rule in Aristotle\u2019s classical unities and the general four of playwriting (including Show, Don\u2019t Tell), this anti-elitist, religion imbued, mythic fantasy, drama, begins in medieval Europe and makes its way to the 1800s American frontier.\u00a0 There Vita (Vivianna McCormick), a young woman from an ancient lineage of time-traveling mystical witches known as Crones, has been reborn in order to battle her evil brother (Ben Ubi\u00f1as) \u2013 and misogyny \u2013 now running a corrupting force known as, The Fallen.\u00a0 The Crones live as pseudo immortals through time-jumping.\u00a0 Their purpose is to influence and protect human existence.\u00a0 So, in order to defeat her brother Vita must do practically nothing in order to accomplish the takedown.\u00a0 It\u2019s complicated.<\/em><\/p>\n There are a lot of borrowed, highfalutin ideologies dancing inside this Power vs Choice mixer. \u00a0 The whole Joan of Arc meets Sarah Connor to save (vaguely) everyone plot is set up as a symbol of spiritual resistance involving loyalty, oaths, reincarnation and moral conviction vs oppression. But all of them get lost once the two pull out their version of the Force in a heated battle, only to find out it\u2019s their baby sister (Avery Norris) who is stronger than them both. <\/p>\n \u201cSiblings: your only enemy you can\u2019t live without.\u201d ~Anonymous<\/em><\/p>\n Director Amanda Weier was incredibly on the mark when she said, \u201cMarisol feels astonishingly relevant.\u201d The absurdist, apocalyptic, Obie-winning fable by Puerto Rican playwright Jos\u00e9 Rivera, is deeply entrenched in magical realism that is frankly more 2026 hyper reality than mere 1992 struggle for sanity story. That is, given predictions of AI ending human civilization in less than a decade from now. And the world blowing up or about to (literally) because of a single meta narcissist controlling all the levers of global power. Phew!\u00a0 That\u2019s a mouthful.<\/em><\/p>\n Seriously, though, although much of the cast went only superficially deep into the fear, paranoia, disorientation, and profound despair in the collapsing world of this script, lead Jade Santana (Marisol) hits her stride in the second act. And the key moment comes in a comically grotesque interaction.<\/p>\n As Hutchins Foster, wheelchairs onto the stage as the Man with Scar Tissue, he presents a harrowing and razor sharp physical embodiment of the urban decay, societal violence, and psychological trauma being inflicted onto the people. Foster\u2019s performance is highly nuanced, as is his understanding of the material and delivery. His appearance is the true inflection point of the play. It kicks Marisol out of denial and onward into the challenge to fight, given to her by her guardian angel presently entrenched in the Save Earth Now battle.<\/p>\n \u201cWhat a time to be alive, huh?<\/em><\/p>\n Recommended<\/p>\n Produced by Open Fist, Atwater Village Theatre. Performances run September 12 through October 24, with performances Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. (no performance Saturday, October 3). An additional performance will be held Monday, Oct. 5 at 8 p.m. Preview performances are Thursday, Sept. 10 and Friday, Sept. 11 at 8 p.m. Tickets<\/a><\/strong> range from $26 to $40.<\/p>\n Featuring an exciting collection of one-of-a-kind experiences, entertainment packages, luxury getaways, and more. Money raised from the Geffen online auction \u2013 held as part of the annual \u201cBackstage at the Geffen\u201d fundraiser \u2013 goes directly to support the Geffen Playhouse\u2019s theater productions<\/a>, arts education, community engagement, and new play development programs.<\/p>\n<\/div>\n<\/div>\n Bid now through Thursday, October 22, 2026, at 6 p.m.<\/strong>\u00a0 Don\u2019t let your favorite item get away\u2014place your bid before the auction closes!<\/p>\n Lead photo: Hutchins Foster nad Jade Santana in Marisol at Open Fist Theatre. Photo by John Dlugolecki.<\/em><\/p>\n \u00a9 Copyright 2026 GiaOnTheMove.com. All Rights Reserved.<\/a><\/p>\nTheater Review: Marisol<\/h3>\n
The Backstage at the Geffen<\/em> Online Auction<\/strong> is now live!<\/h3>\n
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