Sometimes life throws you for a loop when fun times take a turn in unexpected ways, changing your life in an instant. Such is the story at the center of tiny father, written by Mike Lew and directed by Moritz von Stuelpnagel at the Geffen Playhouse, in which fun-loving Daniel (Maurice Williams) must choose between being just a biological parent or becoming a true father after his casual “friends with benefits” relationship results in the arrival of a delivered-at-26-weeks premie baby girl now in the NICU. To complicate matters, the mother didn’t want Daniel involved with the child in any way, given his real interest was in the benefits and not their friendship. But when she dies the day after giving birth without having spoken to Daniel for months or giving the baby a name, he finds himself overloaded with more decisions to make than he seems capable of handling.
But there is Caroline (Tiffany Villarin) a no-nonsense night nurse willing to listen to his concerns while training him in the overwhelming procedures which must be followed before the baby is well enough to be released. The new dad’s journey as he learns to navigate the protocols and frustrations of NICU life on his uncertain path to parenthood, as well as the nurse’s frustration with the lack of respect from her colleagues, proves that the spirit of human kindness is “measured in more than grams” in this heartfelt new play.
Williams and Villarin are to be commended for their total immersion into not only their characters but the massive on-going dialogues packed with medical jargon and machinery usage, delivering each line with true dedication to its meaning as well as the various human emotions behind the words. As we watch Daniel’s journey from a carefree young man into being a responsible single parent thanks to his developing reliance on Caroline’s medical help and parenting advice as a mother of two young children, upon leaving the Geffen you will feel as if you have just witnessed a true slice-of-life play weaving a tale of friendship on both personal and professional levels within the confines of such a tiny space. But will their friendship survive once Daniel and his daughter leave the NICU?
You see, the two are at odds with each other as Daniel begins to question Caroline’s care choices, which he feels has delayed his daughter’s ability to go home as soon as possible. Williams and Villarin never waiver in sharing the emotional intensity of the story, pulling you along in their push me-pull you friendship as they question each other on decisions being made from moment-to-moment.
When Caroline questions Daniel, a black man, about the racial background of the baby’s mother after she passes away, his shocked reaction after revealing she was Japanese leads to a discussion about racial differences within the field of medical care which will open your eyes to the astounding factual differences in childbirth deaths among women of color. It made me root for Daniel to succeed no matter the challenges being faced, as well as for Caroline to finally being put back on the day shift to ease the pressure her husband faces while she works at night. Inequities based on race and gender are handled with deep-seated understanding and sympathy by playwright Lew, whose own daughter spent four months in the NICU in 2019.
Thanks to scenic designer David Meyer, another star of the production is the rotating stage upon which the NICU unit is set. As it turns, a countdown of passing dates spent in the NICU is projected as the many members of the stage crew refurbish set pieces and machinery. It also gives the actors offstage opportunities to change costumes designed by Tilly Grimes, with von Stuelpnagel keeping the action moving at a quick pace without making the scene changes feel rushed. Sound design by UptownWorks – Noel Nichols, Bailey Trierweiler & Daniela Hart – effectively adds in all the necessary sounds of a real NICU unit to perfection, with attention-focusing lighting designed by Pablo Santiago.
Performances of Tiny Fathercontinue Wednesday – Friday at 8pm, Saturday 3 p.m. and 8 p.m., and Sunday 2 p.m. and 7 p.m. through July 14 in the Gil Cates Theater at Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles 90024. Run time is 90 minutes, no intermission; contains profanity and is recommended for ages 12+ with kids under 10 not admitted. Tickets start at $39, available by phone at (310) 208-2028, online at www.geffenplayhouse.org or at the box office.
Inspired by the 1936 American film warning parents about the dangers of drug use among teenagers, the film Reefer Madness was originally financed by a church group as a morality tale attempting to warn parents about the dangers of marijuana use. Although often called “one of the worst films ever made,” with the re-introduction of marijuana into youth culture in the early 1970s, the film gained a new life as an unintentional satire among advocates of cannabis policy reform. The cult classic is available on more than a dozen streaming networks.
And thanks to the creatively artistic mind of new generation director/choreographer Spencer Liff and his brilliant team of designers, producers, and an incredibly talented ensemble cast, the popular multiple award-winning musical comedy Reefer Madness has returned for the first time in 25 years to where it all began: Hollywood! Filled with continuous laughter and great music, the production is staged in 1930s-era speakeasy featuring a red-hot house band under the music direction of David Lamoureux that keeps the joint jumping in more ways than one!
At the center of the story are two innocent 16-year-olds, star high school students from very conservative families, with triple-threat performer Anthony Norman (recently seen as Evan in the touring company of Dear Evan Hansen at the Ahmanson) as Jimmy Harper and Darcy Rose Byrnes as the lovely Mary Lane (There is even a song titled “Mary Jane/Mary Lane” that pokes fun at her!!) who we first meet as they compare themselves to “Romeo & Juliet” while praising the writing of Shakespeare.
But soon, their conservative beliefs and innocent ideals will be compromised when Jimmy meets Jack, the local drug-pusher based at Mae’s Reefer Den, portrayed by the talented character-shifter Bryan Daniel Porter who also portrays the conversative lecturer who warns about the dancers or marijuana later appears as Jesus. Thomas Dekker steals the spotlight every time he takes the stage as drugged-out Ralph Wiley (who resembles Beetlejuice on a very bad day) who befriends the Jimmy and Sally in the den. But after the teens consume edibles, “The Brownie Song” comically acknowledges they are on a very different path, with the innocent girl no longer “Little Mary Sunshine.” Byrnes riotous character transformation was perhaps not totally unexpected but a true comic highlight of the show!
Permanent residents in the Reefer Den include Nicole Parker as its manager, the wacked-out addicted to “The Stuff” Mae whose backbone is easily manipulated by the ever-joint-pushing Jack who brings new teen recruits to the den for both Mae and Sally (J. Elaine Marcos) to entertain. And all this takes place despite Sally having a 10-month-old baby without a name whose father is “unknown.” Despite the serious nature of Sally’s poor parenting, all scenes in the den are sexy and quite laughable due to the original morality film’s overblown idea of the lessons needing to be taught.
The engaging, immersive production includes many great musical numbers and scenes taking place featuring additional songs and material by the original creative team, including Kristen Bell, Alan Cumming, Christian Campbell, and book, lyrics, and music creators Kevin Murphy and Dan Studney, among several others. Special kudos to the multi-costume-changing ensemble players Andre Joseph Aultmon, Claire Crase (dance captain), Jane Pagageorge, and Alex Tho whose high-energy performances were spectacular to behold, especially all the high kicks performed in the aisles so close to table-seated audience members,
Side-splittingly funny performances take place at The Whitley, 6555 Hollywood Blvd. in Los Angeles 90028 on Thursday/Friday at 8 p.m., Saturday at 5 p.m. and 9 p.m., and Sunday at 2 p.m. Runs 90 minutes, no intermission. The outdoor Victory Garden opens 90 minutes prior to the show curtain where audience members can enjoy brunch, dinner, drinks, or their favorite mood enhancers. No smoking inside the theater. All ages are welcome but you must be 21+ to purchase alcohol. With some mature themes, parental discretion is advised for the musical. More info and tickets at https://reefermadness.com/#tickets The theatre has a public pay-to-park lot at 1714 Whitley Avenue.