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‘All American Girl’ (ITC)

A Singular Performance Creates The Shine

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Wendy Graf has written an intelligent, craftsman work about an idealistic All American Girl seeking to convey her love of life through religious expression, first embracing Islam and then through personal tragedies, descends to the level of a terrorist.

Graf’s work, which is precise, emotionally truthful and devoid of tabloid hysteria, finds a director fully capable of staging her piece with the lucidity and honesty it demands, in Anita Khanzadian.

Together they have given the play the center and grounding to make its protagonist’s journey accessible to audiences who might otherwise be unreachable behind their preconceived hostilities.

That in itself is commendable, and the rare opportunity of following a pathway that holds such relevance in today’s world, is reason enough to make the effort to see this one woman show.

However, it is the unrelenting, emotionally raw performance of Jeanne Syquia as Katie, our All American Girl, that should have you racing to see this production.

Syquia’s performance is all but flawless as she travels from her childhood and the American heartland, to meet and mingle with others in the far corners of the globe, finally arriving at the crossroads, deep within the darkest edge of her soul.

Graf, Khanzadian and especially Syquia succeed in putting a face on the monster we all fear, while revealing a greater horror still; that that face is but our own reflection.

Please note, that this role is double cast, and that Annika Marks will be appearing in the role for the rest of August. However, InterACT, the producing company is first and foremost a fine collection of the most talented actors, so I cannot imagine that Marks’ performance will be any less thrilling than Syquia’s.

All American Girl at the InterACT Theatre Company (ITC) has been extended to the end of August.

For theater location, schedule or to order tickets click HERE.

(NOTE:  Pictured Jeanne Syquia – photo by Rick Friesen)

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An award-winning L.A. playwright and rabble-rouser of note who has hoisted glasses with Orson Welles, been arrested on three continents and once beat up Charlie Manson. His first play, Among the Vipers was a semi-finalist in the Julie Harris Playwriting Competition and was featured in the Carnegie-Mellon Showcase of New Plays. It was produced at the NPT Theater in Ashland, Oregon and Los Angeles’ celebrated Odyssey Ensemble Theatre. His following play, “The Little Boy Who Loved Monsters” was produced at The Hollywood Actors Theater, where he earned praise from the Los Angeles Times for his “…inordinately creative writing.” The play went on to numerous other productions including Berlin’s The Black Theatre under the direction of Rainer Fassbinder who wrote in his program notes of Kearney, “He is a skilled playwright, but more importantly he is a dangerous one.” Ernest Kearney has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist three times in the Julie Harris Playwriting Competition. His work has been performed by Michael Dunn, Sandra Tsing Loh, Jack Colvin and Billy Bob Thornton, and to date, either as playwright or director, he has upwards of a hundred and thirty productions under his belt, including a few at the Bob Baker Marionette Theater as puppeteer. After a wild and misspent youth, which lasted well into middle age, Kearney has settled down and is focusing on his writing, as well as living happily ever after with his lovely wife Marlene. Ernest's stage reviews and social essays can be found at TheTVolution.com and workingauthor.com. Follow him on Facebook.

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