All you have to do is leave a comment on THIS BLOG POST that includes the sentence: “I want to win free tickets to A Wither’s Tale!”

Then…cross your fingers!

Deadline to post a comment is Tuesday, August 3 at midnight.  A winner will be randomly chosen and notified on Wednesday, August 4.

Good luck everyone!

Falcon: What was your first experience with dance and/or theater?  What was it that inspired you to make it your career?

Ameenah Kaplan: My first experience with dance was taking ballet as a kid around age 9 or 10.  Unfortunately, my parents understood sports much better than the arts, and they dropped the dance lessons in favor or organized sport.  I loved sports but longed to return to dance which didn’t happen until I was about 14 years old.  At that point I knew I wanted to be an actor.  The summer I turned 15, I booked my first professional job in the theater.  I was a witch in the Georgia Shakespeare Festival’s production of Macbeth. This production sealed the deal for me.  The actors were inspiring and I felt at home in the environment.  Theater was what I wanted to do.  I continued taking jazz and ballet lessons at the Atlanta Jazz Theater.  That fall, I transferred to the local performing arts high school and began to study seriously.

F: How do you approach a new piece?  If there are composers/musicians involved, how do you work with them?

AK: I like to have a chat with the director first to get a sense of his/her overall concept for the show.  I want my choreography to compliment the director’s style and intentions.  Their vision is what’s most important to me.  I personally love working with composers because I am also a musician.  I love to accent syncopation and other musical tricks they have used with my movement.  I usually like to throw in some kind of body percussion or something as a nod to the musical side of me. If the composer has written a musical phrase that I can interpret rhythmically with my body, I really go for that.

F: Tell us a little bit about your current project, A Wither’s Tale.

AK: I’ve been working with Matt Walker and the Troubie’s for a while now and we’re definitely finding our groove.  My choreography has really matured with this company.  The music of Bill Withers has a bouncy, clappy, club, fun feeling to me.  Along with Matt’s notes, this is the feeling I’m taking into the choreography.

F: How did you get involved with the Troubies?

AK: I believe Matt saw a show that I had choreographed and directed called Everyman for Himself.  It was the first ever workshop of my work, and I’m not sure why he thought, hey, that girl would make a good choreographer for me!  hahaha!  But he did, and I’m eternally grateful because it’s helped spin me down a path that I could not have anticipated.  My first show was A Christmas Carol King and I remember being so nervous because the techniques I’d used in Everyman were so crude and here I was trying to replicate them with performers that I didn’t know.  haha!  I’m sure I was a little harsh with them, but it was just nerves.  My style tends very physical and can even be abstract.  This approach is usually better for hard core physical theater or dancer types.  In the past, I’d give movement or rhythm to the Troubies that just wasn’t working.  I’ve had to learn to create movement that satisfies the “out there” urge in me that’s doable by actor/comedian/singers.    I want the movement to suite them but not be too easy or standard.  Together, we’ve found our way.

F: Do you have a favorite project you’ve worked on over your career?

AK: Of the Troubie projects, I’m particularly fond of Oedipus the King, Mama! That’s the show where I feel we hit our stride.  Alice in One Hit Wonderland was the beginning, but things really came together with Oedipus.  Outside of Troubie, I just choreographed The Women of Brewster Place.  It’s my favorite work to date as it fulfilled many of the dreams in my head about what my ography can be.  It was challenging, huge, and so rewarding.  Again, a strong and willing cast made it possible.

F: What is your dream project?

AK: They’re all my dream projects.  I can’t believe I’m lucky enough to do what I do.  They are part of what I hope will be a strong body of work.  When I’m old and gray and looking back, I can say, ‘I was a part of that?  Really?  That’s a pretty cool way to spend a life.’

F: How is working in LA Theatre different from theatre in NYC, where you went to school?

AK: I like the freedom that the Equity waiver plan gives LA actors, directors, and designers.  Theater here is abundant as a result.  The weather is also a major plus in terms of being able to workshop projects year round–outside if you need to.  I’ve certainly done it!  One issue I have is that the abundance of work doesn’t necessarily translate to quality.  And quality companies like the Troubies can work hard for years and not get the recognition and funding they deserve because theater is considered a side project.  New York by contrast is full of people with money who produce theater.  They’re not trying to adapt your stage play into a TV show.  What I think the Troubies deserve is a living wage.  Perhaps their shows would be running in Off-Broadway houses in NYC under equity contracts by now.  Perhaps they’d already be on Broadway.  The Troubies have already demonstrated that they know how to build an audience and keep them coming back for more.

F: Why should people come see your work in A Wither’s Tale?

AK: They shouldn’t come see it for my work alone.  My experience with the Troubies is a true ensemble one.  The dance is completely dependent upon the performances of the cast and the writing and directing of Matt.  They should come to see A Wither’s Tale because the music is incredible, the band will be poppin’, the cast will be killing it, the direction will be off the chain, and the choreo will be hot as well.

A Wither’s Tale begins previews August 11 at the Falcon Theatre

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Ameenah Kaplan (Choreographer) NYU’s Tisch School of the Arts. Choreography: The Women of Brewster Place, Altar Boyz, and Title of Show for Celebration Theatre; Duel and Steel for Oasis Theater Company; The Legend of Alex for CTG; Oedipus the King—Mama, CHiPs, Frosty the Snow Manilow, A Christmas Carol King, Santa Claus is Coming to Motown, The Comedy of Aerosmith, Jackson Frost, Alice in One Hit Wonderland II, It’s a Stevie Wonderful Life for Troubadour Theater Company. Sissy for Company of Angels. Prove It On Me for LA Women’s Theater Project.  Princess Bean’s Messy World for Princess Bean Productions. Original work: Everyman for Himself (2007 NAACP Award: Best Choreography; 2007 LA Weekly Awards: Best Fight Choreography and Best Original Score).  2007 Richard E. Sherwood Award from Center Theater Group.  2009 LA Weekly Award: Best Choreography

The 2010-2011 5-Play Subscription Season begins on August 11, 2009.

Falcon Theatre Founder, Garry Marshall, is thrilled to announce the Falcon Theatre’s 2010-2011 5-Play Subscription Season. The Falcon’s 8th subscription series is cultivating comedy through the voices of veteran stage actors and newcomers alike, featuring two new musical parodies from the Troubadour Theater Company, a hit one-woman show staring Stephanie Zimbalist, a new comedy by the up-and-coming talent Annie Hendy and an international hit presented in association with the Falcon’s long-time friend Rita Wilson.

The season begins in Bohemia as the Troubadour Theater Company stirs up Shakespeare’s The Winter’s Tale with the soulful music of singer/songwriter Bill Withers, in their musical parody A WITHER’S TALE. Next, Stephanie Zimbalist stars as Hollywood legend Katharine Hepburn in the critically acclaimed one-woman show TEA AT FIVE.  For the holidays, the Troubadour Theater Company returns with a brand new musical parody blending the tunes of Billy Joel with the story of the nativity in THE FIRST JO-EL.  Kicking off the New Year, it’s the sexy and irreverent new comedy about finding love by Annie Hendy, THE CATHOLIC GIRL’S GUIDE TO LOSING YOUR VIRGINITY.  And finally, Debra Ehrhardt shares her electrifying and hilarious journey to the USA from Jamaica during the turbulent 1970s in JAMAICA, FAREWELL.

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Falcon Theatre 2010-2011  5-Play Subscription Season

August 11-September 26, 2010

The Troubadour Theater Company’s

A WITHER’S TALE Directed by Matt Walker

Previews:   August 11 – August 19, 2010

Opening:    Friday, August 20, 2010

Closing:     Sunday, September 26, 2010

October 13-November 14, 2010

Critically Acclaimed

TEA AT FIVE Written Matthew Lombardo

Directed by Jenny Sullivan

Starring Stephanie Zimbalist

Previews:   October 13 – October 21, 2010

Opening:    Friday, October 22, 2010

Closing:     Sunday, November 14, 2010

December 1, 2010-January 17, 2011

The Troubadour Theater Company’s
THE FIRST JO-EL Directed by Matt Walker

Previews:   December 1 – December 9, 2010

Opening:    Friday, December 10, 2010

Closing:     Sunday, January 16, 2011

February 2-March 6, 2011

New Comedy!

THE CATHOLIC GIRL’S GUIDE TO LOSING YOUR VIRGINITY Written by Annie Hendy

Previews:   February 2 – February 10, 2011

Opening:    Friday, February 11, 2011

Closing:     Sunday, March 6, 2011

March 16-April 17, 2011

International Hit!

JAMAICA, FAREWELL Written by Debra Ehrhardt

Directed by Joel Zwick

Presented in association with Rita Wilson

Previews:   March 16 – March 24, 2011

Opening:    Friday, March 25, 2011

Closing:     Sunday, April 17, 2011

All performances, unless scheduled otherwise, are Wednesday, Thursday, Friday and Saturday nights at 8pm and Sundays at 4 pm. All productions and artists are subject to availability.

For subscription purchases and ticket reservations, call the

FALCON THEATRE BOX OFFICE at (818) 955-8101.

Individual show tickets available for purchase online at FalconTheatre.com

Additional season information and season order forms available at www.FalconTheatre.com.

One of these creative minds behind CHiPS THE MUSICAL, now playing at the Falcon Theatre, Rick Batalla, took some time out of his busy production schedule to reflect on his experiences with the show so far.

Rick Batalla - writer & "Ponch" in CHiPS THE MUSICAL

Falcon: What was your first experience with the theater?

Rick Batalla: My first experience was awkward.  I didn’t really know the girl, and I don’t think she was that into me.  I remember weeping afterwards.  Oh wait, you said theater experience…Never mind.  I’m getting that awkward feeling again.

Falcon: What is it like writing a new musical?

RB: This is my second musical, the first being the Ovation Award winning Blake..Da Musical, and the process is pretty much the same.  I look at the characters from the TV show and then give them some kind of special powers, or at least something that is new about them that no one knew existed, and then develop the scenes around that, then I develop melodies and lyrics.  Then I meet with Henry Phillips and he listens to them and he says they suck and changes them all and voila!

Falcon: How do you relate to the characters in the play?

RB: My favorite thing about playing the part of Ponch in CHiPs the Musical, is that Erik Estrada has always been a role model for me. Growing up a Latino who didn’t speak Spanish, had extremely white teeth, and who loved to wear excessively tight clothing, I didn’t have a lot of people to look up on TV.  But all that changed when Double E made his debut on that small screen.  I can only hope I can affect the lives of any Latino theater goers who don’t speak Spanish, have white teeth, and love to wear tight clothing. I know they’re out there.

Falcon: What is it like to originate a role in a world premiere play?

RB: It’s been expensive. Up until recently I have been secretly following Erik Estrada around on my Segway, and I don’t know if you know how much one of those costs, but they are pricey, but an absolute necessity if you want to get close to someone. Then there were the tanning fees, teeth whitening strips, and myriad court costs associated with the filing of restraining order by the guy who you thought you were secretly following.

Falcon: What is your favorite novel, play or movie?

Henry Phillips - composer for CHiPS THE MUSICAL

RB: My favourite movie has to be Airport 1975, where the part of Julio was played by none other than Erik Estrada himself. It not only made want to be a airline pilot who incessantly hits on the stewardesses, but it made proud to be a Latino who didn’ t speak Spanish, had white teeth, and wore tight clothing. It made me believe I could do anything.

Falcon: What is the funniest thing that has happened during a rehearsal?

RB: We were all there once. That was pretty funny. Actually that was pretty weird.

Falcon: Why should people come see CHiPS?

RB: Because they love America, and they want the economy rebound, and they want all sheltered puppies to get adopted.  Seeing me in this show is the start of all that.

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Rick Batalla (Writer) Rick grew up with the cop shows of the ‘70’s, and since his only other friend at that time was his harpsichord, the pairing of music and cop shows seemed natural to him. Some of the other cop musicals Rick has done are Barnaby Jones is Jed!, Telly Like It Is, and the Robert Blake musical entitled Blake…Da Musical, which won the Ovation Award for Best Musical.  Rick studied and performed at The Second City, and founded Upfront Comedy in Santa Monica.   He has been a writer for TBS, NBC, and CBS.

Henry Phillips (Composer) has been seen performing his twisted songs and stories on Comedy Central, ABC’s Jimmy Kimmel Live and NBC’s Late Friday.  His nationally released CDs, fusing mellow folk-rock ballads with psychopathic lyrics have earned him mention in Billboard magazine’s ‘Critic’s Choice’, as well as acclaim from such notable artists as Moby, who referred to Phillips’ songs as “disconcertingly funny”.  His first collaboration with Rick Batalla, the acclaimed Blake…Da Musical earned the Ovation Award for Best New Musical.

Buying your tickets online is a convenient and easy way to make sure you get the seats you want for the great Falcon Theatre shows!  Our Box Office staff is still ready and waiting for your phone calls or to see your smiling face at the ticket booth window, but now, if you stay up until midnight and suddenly want to buy those tickets to the show on Wednesday – you don’t have to wait until noon the next morning, or leave a sleepy message on the Box Office voicemail!

Visit our website at FalconTheatre.com to buy online!  A link to the ticket purchase page is also on the left side bar on this blog.

Happy online ticketing!

The Falcon Theatre is thrilled to present CHiPS the Musical, presented by the Troubadour Theater Company, a world premiere musical parody with original story and music written by Rick Batalla & Henry Phillips, and directed by Matt Walker. Do you crave some good, old-fashioned police work where men in uniforms that are a bit too tight, dance, sing and catch the bad guys?  Look no further!

Take a journey down the 405 Freeway circa the 1970s when highways were hopping and surface streets were for sissies – when you could get from Downtown to the Westside in 20 minutes, and not just in a Toyota. There you’ll find those super-flashy stewards of safety and suave-ness, Ponch and John, in CHiPS the Musical.  Rest assured, Ponch and John are still wearing their well-starched uniforms, packin’ the heat, and looking fine enough to cause a fender-bender while battling criminals of the worst kind: female eco-terrorists sporting roller skates and short shorts!  The boys on bikes are back…and this time, they’re singing!

Recommended for ages 16 & Up!

CHiPS the Musical runs June 17 through July 25, Thurs-Sat at 8pm and Sat & Sun at 4pm.

Tickets are on sale soon!  Stay tuned!  Click HERE for more info!

Jeffrey Cannata and Dana Green in THE PSYCHIC

We have two more chances for Falcon audiences to win a FREE session with Kenny (a $300 dollar value!)  April 7 (tomorrow) and April 14, we’ll be holding a drawing as well – so buy your tickets for a Wednesday show and enter to win!

If you need a little push to come see the show, check out what the reviewers have been saying about THE PSYCHIC by Sam Bobrick:

“The play’s clever, Pirandello-esque twists make for a pleasant divertissement…director Susan Morgenstern deliberately toys with the audience’s preconceptions in a cheeky and well-paced staging…the crispy comic Green shines as a slink femme fatale…performances bode well for this satisfyingly unpredictable ‘Psychic’”
- LA Times

“(Horvitz’s) turn as the mafioso ‘Johnny Bubbles’ is a pistol whip to the funny bone…an energetic cast keeps the zings flying fast.”
- LA Weekly

“Cannata is a likeable protagonist, enlisting our empathy for this befuddled average Joe…his deadpan retorts hit the target.”
- Backstage

“The Psychic concludes The Falcon Theatre’s 2009-2010 season on a high note of mystery, surprise plot twists, and all-around hilarity. It’s one of the best original comedies I’ve seen at a theater which has debuted quite a few. If you’re anything like me, you’ll love it!”
- StageSceneLA

“A delightful murder mystery adventure…many humorous, suspenseful, unexpected twists and turns, very characteristic of the talented playwright Sam Bobrick…Bobrick shows his innate ability with this play’s sharp wit and impeccable comedic timing…LA audiences…will savor the suspense and surprise that “The Psychic” delivers.”
- Tolucan Times

“The Psychic is a laugh-filled unexpectedly entertaining ride that gratifies copiously from moment to moment. A definite must see with anelectrically charged cast!”
- Broadway World

“Engaging, surprising,clever and funny!”
- Examiner