Penny L. Moore Acting Studio
Articles
Top 100 People Issue
Penny L. Moore
Making dents
Comments (0) By Steven Mikulan Wednesday, May 9 2007
mosimage} Penny Louise Moore’s first theater role was the jack-in-the-box in a production of Rumpelstiltskin. She was in the first grade, and her stage was on a flatbed hay wagon that would be driven from one part of Adairville to another, since her tiny Kentucky town had no theater. For that matter, the local high school did not offer theater classes and, later, as a university theater major, Moore had to take all her drama courses as a freshman before budget cuts wiped them out. Today she’s the producing director of the Actors Group, a small Lankershim Boulevard theater in a space once occupied by the Kindness of Strangers coffeehouse. Her company, which she founded in 2000, is the truest labor of love, which she supports with her Sheraton Universal Hotel bartender job and gigs as an entertainment industry personal assistant.
Her production of Romulus Linney’s A Lesson Before Dying put the theater on the map a few months ago, winning rave reviews for its depiction of racial injustice in a postwar Louisiana town.
“My passion is not necessarily in political plays,” she says with a slight country twang, “but in human stories. Plays that make people think.”
Moore understands the lives of people who came up the hard way (her mother and father were, respectively, a janitor and welder) and, in 2004, as part of an outreach program, she invited three groups of teenage girls from a foster home for troubled children to watch Mastergate, M*A*S*H TV writer Larry Gelbart’s Iran-Contra hearing spoof. The kids arrived sullen and resentful — they were only there because their parents had not wanted them home that weekend. Still, the girls left excited and hopeful, and high school students who played pages in the comedy got so politicized that they later brought a TV to the theater to watch the presidential debates.
Outside her theater, Moore also tries to make a dent where it counts, having traveled to New Orleans five times since Hurricane Katrina, volunteering to help devastated residents as well as engaging in animal rescue work. (About the only time Moore’s smile evaporates is when she describes the way some people in the Big Easy still don’t have electricity or running water.) She’s currently talking to Gelbart about producing his new Katrina farce, Floodgate, a play that should accomplish the seemingly impossible — returning smiles to theatergoers’ faces and making them think.
LA STAGE TIMES
Penny L. Moore’s Steel Magnolias Has Two Diverse Casts
Steel Magnolias, presented by Actors Repertory in association with Doxie 4 Production and Missing Piece Theatre, plays Fri.-Sat., 8 pm; Sun., 5 and 8 pm (no performance July 4); through July 11. Tickets: $12-$18. Missing Piece Theatre, 2811 W. Magnolia Blvd., Burbank; 800.838.3066; brownpapertickets.com/event/111688 or theactorsrepertory.com.
If you head out to The Missing Piece Theatre in Burbank you may be seeing double for the next few weeks. That is, if you’re lucky.
Robert Harling’s beloved tale Steel Magnolias, which has been produced previously at least twice this season at other theatres, is being presented with not one, but two casts at, coincidentally, this Magnolia Boulevard theatre. Director Penny L. Moore says the decision to do a Caucasian cast and an African American cast was a mixture of opportunity and curiosity. (On Fridays at 8 pm and Sundays at 5 pm, the following cast plays: Gwendolyn Edwards, Ann Hearn, Carol Mack, Julie Sanford, Teddy Vincent and Hayden Wyatt. On Saturdays and Sundays at 8 pm, the cast consists of: Robin Dionne, Michele Harrell, Christine Karis, Baadja-Lyne, Tarina Pouncy and Vivian Vanderwerd.)
“I always do issue-oriented plays and like to blind cast but in this play it was really hard to do that because race becomes one of the issues,” says Moore. “Also, I wanted to see how both went; I wanted to see the differences in the diverse casts working on the same play.”
At the end of the rehearsal process, Moore decreed, the fundamental differences skeptics might predict do not exist, only a difference in the energy distinguishes the two casts.
Vivian Vanderwerd, Tarina Pouncy, Baadja-Lyne, Christina Karis and Robin Dionne
According to Moore, the African American cast, many of whom had not seen the well-known movie that gained the story of Steel Magnolias its fame, has a more electric kinetic energy. “They are such strong female characters, and the energy tends to be lighter and higher in the African American cast. You can really tell they love it!” says Moore.
The Caucasian cast comes primarily from the South and therefore interprets the script with more of the original subdued Southern humor. “Southern humor is just different,” says Moore with her Kentucky accent. “These women have lived it, so they don’t over tell it; it’s a little more matter of fact. Jokes aren’t punched and singular lines are a little more serious.”
Moore says the casts adopted these energy styles from the writing of the show which possesses singularly brilliant one-liners that feed and inform the actresses’ interpretation. Of course interpretation is also fueled by the background. During rehearsals Moore tried to cater to the actresses’ specific cultural instincts. “The hair was the biggest learning curve for me.”
Set in a beauty salon in the 1980s, hair styling is a crucial element of the piece. Thus, each cast voiced particular concerns and ideas about washing and drying hair during the show. While the African American women solved the problem by donning multiple wigs as a form of cosmetic expression, the Caucasian actresses were concerned about their hair drying naturally in time and used wigs only to mask their own wet hair.
Another collaboration topic was costumes. Moore costumed everyone in the same clothes as their double except for the African American actress portraying Ouiser. “She came up to me and said Ouiser had to wear something different because she was a wealthy black woman,” says Moore. “I have worked with her before and trusted she knew what she was talking about; of course, after one of the performances people came up to me and said her costumes were what a rich black woman would wear.”
Ann Hearn, Julie Sanford, Hayden Wyatt, Gwendolyn Edwards, Carol Mack and Teddy Vincent
As Moore listened to the suggestions of both casts, which she rehearsed separately, she directed each group exactly the same, letting the differences in the story telling come out of the actresses themselves. “It has been a process but both are the same play; both casts are brilliant. I knew they would be different in some ways but really all I see are deep friendships that have formed on both ends.”
Half of Moore’s rehearsal process is not rehearsing. This more untraditional half usually happens during working hours but Moore makes sure to pencil in “getting to know you time” into the actual schedule. She brings coffee and snacks to the theater, encouraging people to sit around and chat, hopefully forming bonds offstage that will trickle into the relationships onstage. “This makes such a huge difference during the rehearsal process. It’s not the fluff in relationships that makes an audience think and feel; it’s the realness of a relationship.”
In a show with formidable female characters whose relationships run deep as the Louisiana mud, Moore’s experiment with two racially diverse casts has merged into one conclusion about the human condition: relationships are not based on race or culture; they are universally achieved in the same way. “It’s not about race at all, just how people interpret it,” says Moore.
As audiences have come in for the first shows they seem to be getting that message too. The majority expressed the desire and sometimes the need to see the other cast after watching one show. “Most people want to see the other show because they know, like I do, they will learn something new about the relationships and the play,” says Moore.
Although Moore hoped it would be a tandem piece, she knows whichever cast an audience sees, they are sure to be blessed with wit, humor and compassion when they take their seats.
Production photos by Penny L. Moore
Article by Greta McAnany
.
“To Kill a Mockingbird”
This compellingly captivating production marks the first full-run play at Burbank’s newest playhouse. Co-produced by Penny L. Moore and Colleen McGrann, (who also co-own the theatre) and directed with gut wrenching passion by Moore, this strong effort is a clear sign of things to come here. Taking on Harper Lee’s classic, Pulitzer Prize-winning “To Kill a Mockingbird,” (adapted by Christopher Sergel) and boasting a huge cast of 20 actors… this duo of creative women are fearless! It is the well-known racist story of a fair-minded attorney in 193’s, who heart-wrenchingly defends a negro man, charged with the unthinkable crime of raping a white woman. Jim Gleason is mesmerizing in the role of Atticus… flawless in every aspect! (Gregory Peck won the Oscar in the film version.) As the traumatized victim in question (Mayella), Hayden Wyatt gives a brilliantly focused performance, as does David Wells as her leering, low life father. Myron Rimes as the towering defendant is riveting, and Baadja-Lyne as Atticus’s family housekeeper/nanny is also wonderful! Penny L. Moore (the director) beautifully threads the events from her childhood, in memory flashbacks, as Atticus’s daughter, Scout. Three precocious kid actors: the young Scout (Rachel Arnold), the older brother Jem (Dalton O’Dell) and a visiting friend, Dil (Taylor Cosgrove Scofield). Each in their first staged play, they were precious but at times were not loud or clear enough. Opening night jitters, I suspect. The rest of the focused cast, in smaller roles, was excellent… staying deeply in character, one and all! Though they are many, I feel each actor deserves a mention. Colleen McGrann (Miss Maudie), Terri Simmons (Miss Stephanie), Morma Michaels (Miss Dubose), Gerald Brodin (prosecuting attorney), Gregor Manns (Reverend Sky), Heck Tate (sheriff), Michael Patrick McGill (neighbor), Charles Martin Warner (Judge Taylor), Alise Fuller (Helen), and Price Carson (Boo)—congrats to all! Moore’s detailed and attractive set and design, Darrell Bryan’s sound and the 1930’s costumes (a group effort) round out my enthusiastic kudos! A powerful and deeply involving production… Do see it!
Running through Oct. 25th at the Missing Piece Theatre (2811 Magnolia Blvd. in Burbank). For seats call (800) 838-3006.
osimage} PICK 
A LESSON BEFORE DYING In rural Louisiana in 1948, Jefferson (a superb Malik B. El-Amin), a semi-literate young black man, accidentally witnesses a shootout that kills a white man. Too confused and scared even to deny his guilt, Jefferson is charged with murder and sentenced to death. The local black community, and one sympathetic white deputy (Shannon McClung), knows he is innocent, but there’s no hope of a retrial in the racist legal system. Jefferson’s friends can only strive to help the young man to face death with dignity, courage and a sense of his own worth. His stern, loving, matriarchal godmother (Baddja-Lyne) enlists the aid of her preacher (Gregor Manns), and two of Jefferson’s former teachers, Grant (Eddie Goines) and Vivian (Syr Law), who also happen to be lovers. Ultimately, it’s Grant’s doubt rather than the preacher’s faith that provides a dollop of salvation and a muted, tragic triumph. The play, skillfully adapted by Romulus Linney from a novel by Ernest J. Gaines, faithfully re-creates the time and place, and director/designer Penny L. Moore brings it to vivid life, assisted by a terrific cast. There is a touch of clumsiness in the staging, due to space limitations, but in every way that counts, it’s a wonderful production. Doxie 4 Productions at Actors Group Theatre, 4378 Lankershim Blvd., Universal City; Fri.-Sun., 8 p.m.; thru Feb. 18. (818) 585-8880. (Neal Weaver)
WOMEN IN THEATER
WOMEN IN THEATRE 2011 RED CARPET AWARDS!
WIT Lifetime Achievement Award
Debbie Reynolds
WIT Theatrical Champion Award
Lee Melville
WIT Humanitarian Award
Lee Meriwether
Theatres/Groups/Organizations
24th Street Theatre
Academy of New Musical Theatre
Bootleg Theater
Cornerstone Theater Company
Dream Shapers
Greenway Arts Alliance
Victory Theatre
Vox Femina Los Angeles
Individuals
Nona Daly & Peggy Holmes
Suzanne Lummis
Penny Moore
Trish Ostroski
WIT is a 501 (c) 3 non-profit established in 1978.
Empowering Theatre Arts Professionals through Performance, Education, Networking, Service, and Outreach in Southern California
Penny L. Moore
Penny fell in love with the theatre at age 7 when she toured with a children’s repertory company in her home state of Kentucky. She earned a Bachelor of Arts degree from Western Kentucky University, worked with WKU Theater Department and Fountain Square Players local theatre. Since moving to Los Angeles in 1989, she has rallied theatres and communities to support prop, costume and set sharing, as well as educating dozens of theatres about the value and richness of non-traditional casting.
She began producing theater with Gene and Toni Bull Bua at The Acting for Life Theater in Burbank and became the managing director of The Actors Group in 1999, expanding acting services and classes into The Actors Group Theater stage. As a producer, she created over 100 free theatrical performances for the NOHO Theater and Arts Festival for three years.
In 2001, Penny founded The Actors Repertory Theater, where she is still serves as Artistic Director. Penny has been awarded by theatres throughout LA, and recognized as director and producer by the NAACP Theater Awards and LA Weekly Theater Awards. In 2007 Penny was named one of the top 100 People in Los Angeles by LA Weekly. In 2009 Penny moved The Actors Group to Burbank, transforming the old Third Stage Theater into the Missing Piece Theater, and later opening The Actors Group Studio next door. Penny’s other entertainment experience runs the gamut from Talent Agency Assistant at ICM, Writers Assistant on TV’s Santa Barbara, Casting Director for independent film and stage productions, as well as her numerous film and television credits as an actress.
NEW REVIEW GO The title of Larry Gelbart’s 1989 Broadway comedy, subtitled A Play on Words, may also be an allusion to what many Americans feel about our leaders in Washington, D.C.: that they’re just a bunch of jack offs. It’s a hilarious indictment of the doublespeak from opportunistic politicians, government officials and the media as well as a skewering of our own lemming-like purchase of their perverse logic. When a financier runs afoul of the IRS and the government takes over his movie studio, the administration thwarts Congressional oversight and uses the guise of a revisionist Vietnam War movie shoot to ship arms to right-wing Latin American paramilitary forces, a la the Reagan-era Iran-Contra scandal, When it all hits the fan, the ensuing hearings are more a farcical exercise in ass-covering and verbal gymnastics than fault-finding. Penny L. Moore’s direction hits some bumps along the way, but her fine cast makes up for the claustrophobic staging, with the standouts being Paul LaGreca as sycophantic IRS agent Abel Lamb, Price Carson as the martinet Major Manley Battle, Desi Bullock as pompous Secretary of State Bishop and Craig Patton as the venal V.P. Burden. Actors Group Theater, 4378 Lankershim Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun. 3 p.m. (no perf Fri., Oct. 31.); through Nov. 2. (800) 838-3006. Doxie 4 Productions & The Actors Repertory. (Martin Hernandez)
Mastergate Photo by Penny L. Moore
It's not the size that counts
By Lawrence Davis
View the Full Article | Return to the Site
It's not the size that counts at least not at the theater!
You can spend a great evening as I did at a very small theater such as The Actors Group Theater in Universal City and still have a wonderful time!
I was fortunate to attend the opening of Jake's Women at the 31 seat Actors Group Theater. The cozy feeling of being in someone's living room could not be duplicated at any of the larger LA area theaters. The energy was that of a time gone by; friendly patrons, an incredibly friendly and talented cast and the comfort you feel in a overstuffed couch. The intimacy is as if you become a fly on the wall as you observe the play evolve.
This was my fist visit to as The Actors Group Theater but not my last. Being that it was opening night there were a few stumbles over the lines but the overall level of talent far outshined these minor slips. I am sure that by the time you see the play there will be no dialogue glitches. This is a play with lots of dialogue. All the performers were great, everyone brought our the best in their individual characters with heartfelt strong performances. The play itself actually turns out to be a comedy with deep meaning.
Jake's Women, from the Pulitzer Prize and Tony Award winning author Neil Simon is a semi-autobiographical piece about the female relationships in his own life. Presented by Doxie 4 Productions & The Actors Repertory In association with The Actors Group.
Daydreaming is delightful, but can imaginary conversations become more satisfying than real ones? Meet Jake, a neurotic writer who is in the midst of a marital emergency when his unresolved feelings for his deceased first wife interfere with his second marriage. Jake works through his trials and tribulations by summoning the key women in his life from his imagination and seeks their help, permission and advice. The glitch is Jake is writing their responses and creating their dialogue. Whether his interactions with these lovelies are real or fiction, the past is unraveled into a very funny, yet poignant conclusion.
This accomplished cast consists of: Mark Arnott (Broadway: A Small Family Business), Jean Carol (Emmy Nominated and Soap Digest Award winning role on CBS' "Guiding Light, Mastergate), Colleen McGrann (Judging Amy, Boston Public), Penny L. Moore (Santa Barbara, Sunset Beach), Goreti da Silva (Mastergate, Two Rooms), Robbie Troy (pilot episode of "Grey's Anatomy" scheduled to air mid-season on ABC), Shelley Delayne and Morgan Matzke. Directed by Penny L. Moore the Founder of The Actors Repertory Theater, who most recently directed the critically acclaimed political satire MASTERGATE by Larry Gelbart.
Backstage West
-
Jake's Women
By Dave DePino | Posted Jan. 28, 2005, midnight
Neil Simon's serious comedy is given a mixed but rather amiable production here, which, with a few performances under its belt, should lose many of its rough edges and allow character chemistry to develop more fully. Keep in mind this is Simon, so, even at its most humorous and poignant best, the play will be riddled with angst and never quite achieve a convincing reality.
The playwright's alter ego, Jake (Mark Arnott), is also a writer. Jake has lots of women in his life. To keep things manageable, or to his liking, he writes imaginary scenes, which are played out. He lives half in the real world and half in the world he's scripted for himself. His imaginary scenarios conjure his daughter at 13 and 21 years of age (Morgan Matzke and Shelley Delayne, respectively), his caustic and feisty shrink (Jean Carol), his wisecracking sister (Goreti da Silva), his present wife in a very shaky marriage (Colleen McGrann), his new, cute, young squeeze (Robbie Troy), and his deceased and much missed wife, first in her 20s and later at the pretend age of 35 (Penny L. Moore, who also directs).
Arnott is immediately likeable, presenting Jake as the unintentionally self-centered ringleader of the circus that is his life. He has found an ideal tone to deliver Simon's very funny one-line zingers. The gorgeous McGrann does quite nicely in a somewhat thankless role as the downer who brings most of the drama to the piece. The delightful Troy gives Sheila an innocence and genuineness, which stands out by contrast like the proverbial breath of fresh air. On the minus side, the mother-daughter scenes--the play's emotional centerpiece-- need more awe and wonderment mixed in with the gooey sentiment to get the tears Simon counts on. The rhythm of the production is irregular, as is the script, because Simon and Jake take liberties to pontificate on their personal, needed catharsis. Director Moore's staging earns kudos as she moves eight actors with countless entrances and exits on a relatively tiny stage without collision or chaos.