‘Gloria’ is a Glorious Morality Tale for the Unscrupulous at the Change Theater – Review

The Orange County Premiere of ‘Gloria‘, the Pulitzer Prize finalist is a theatrical triumph at the Chance Theater.

(lt to rt) Erik Scilley, Johnathan Middleton, Will Martella, Branda Lock, Emma Laird and Audrey Foreman,in ‘Gloria‘ at Chance Theater. Playing September 27 – October 20, 2024, at the Bette Aitken Theater Arts Center on the Cripe Stage. Written by Branden Jacobs-Jenkins. Directed by Marya Mazor. Photo by Doug Catiller.

The Orange County premiere of ”Gloria‘, the Pulitzer Prize finalist by the exceptionally gifted Branden Jacobs-Jenkins, is a theatrical triumph at Chance Theater. Under the dynamic direction of award-winning Marya Mazor, ‘Gloria‘ dives deep into the cutthroat world of a New York City magazine office, transforming what initially feels like a gathering of entitled junior upstarts into a profound morality tale of dark ambition and selfishness. It compels audiences to confront the amoral behaviors that permeate both left and right ideologies.

Marya Mazor brings her extensive experience and keen directorial insight to this powerful piece. Her impressive resume includes directing ‘The Model Apartment‘ at The Geffen Playhouse and acclaimed productions like ‘Tigers Be Still‘ and ‘Tribes‘ at Chance Theater, the latter winning the OC Register’s Best Play of 2017. Mazor has directed at prestigious venues such as South Coast Rep, Edinburgh Fringe, and Pasadena Playhouse. Her dynamic vision elevates ‘Gloria‘ to new heights, ensuring a fresh perspective on the complexities of ambition and morality.

The cast delivers unforgettable performances that breathe life into Jacobs-Jenkins’ incisive writing, an experience that resonates deeply with me. Back in the late-90s/early-2000s at San Francisco State University, I was in the journalism program alongside a classmate who often faced rudeness…to put it mildly. Two of my friends reminded me so much of Lorin and Dean in how they treated him, one actually being genuinely interested in getting to know said person, the other, just being polite.

One day he stormed into the newsroom, visibly frustrated, mumbling about “going postal”—a Gen X euphemism for shooting up the place under the weight of constant disrespect. Hearing this, my friends and I invited him to lunch, and discovered he was not only an intriguing person but also an incredibly talented hip-hop dancer.

After graduation, we drifted apart, but hopefully that small act of kindness helped him realize that not everyone is callous. Sometimes, a little compassion can make a world of difference.

In a compelling exploration of ambition and identity, the performances in ‘Gloria‘ of Branda Lock, Emma Laird, Audrey Forman, Will Martella, Johnathan Middleton, and Erick Scilley weave a rich tapestry of human experience. Lock captivates as Gloria in the first act and Nan in the second, effortlessly evoking both familiarity and heartbreak. Her tragic portrayal of Gloria breaks your heart, while her transformation into Nan, a self-centered executive who profits from office tragedy, showcases a remarkable range and depth that anchors the emotional core of the play.

Emma Laird impressively tackles multiple roles as Ani, Sasha, and Callie, each revealing different facets of youthful desperation and ambition. As Ani, the mean girl striving for acceptance, Laird captures the raw urgency of early adulthood. Her portrayal of Sasha, a publishing executive who has lost touch with her roots, juxtaposes the complexities of success with her role as Callie, the pragmatic researcher, illustrating the societal pressures that shape their choices, especially working in television.

Audrey Forman brings remarkable skill to the challenging role of Kendra, embodying the snooty, upper-crust persona with precision. Her performance provokes thoughtful examination of privilege and identity, as she navigates Kendra’s complexities with grace. This adds a layer of depth to the narrative, inviting dialogue about the social structures that underpin her character. Forman’s turn as Jenna only proves that interaction in this industry only matters when its based on how important you are, case in point in how Jenna treats Lorin when she discovers that the lowly, middle-aged intern is actually directly connected to the possible optioning of the book.

(lt to rt) Johnathan Middleton, Will Martella, Emma Laird and Audrey Foreman, in ‘Gloria‘ at Chance Theater. Playing September 27 – October 20, 2024 at the Bette Aitken Theater Arts Center on the Cripe Stage. Written by Branden Jacobs-Jenkins. Directed by Marya Mazor. Photo by Doug Catiller.

Will Martella’s portrayal of Dean begins with an obnoxious, gay, self-centeredness that quickly unravels, revealing a character grappling with the consequences of his actions in the wake of tragedy. Martella captures this internal struggle masterfully, adding depth to the overall narrative arc and prompting reflection on the price of ambition, even if Dean is never fully to see past his own shortcomings.

Johnathan Middleton showcases his versatility as Miles, Shawn, and Rashaad, evoking pity as Miles, the intern caught in chaos. He transitions seamlessly to Shawn, the compassionate barista, and Rashaad, the television executive, highlighting the pervasive nature of ambition across different industries. Each character’s journey reflects the intricate dance between aspiration and ethical compromise.

Finally, Erik Scilley’s Lorin emerges as the moral compass of the play, embodying kindness and scruples amidst the turbulence of the publishing world, even if his life is overstressed and underpaid. His character’s journey, marked by personal suffering, serves as a reminder that it costs nothing to be kind, especially to someone like Gloria, who deserved a little bit of compassion. Together, these performances create a powerful narrative that resonates with anyone who has navigated the murky waters of greed, aspiration and identity.

The creative team of ‘Gloria‘ also deserves high praise. Christopher Scott Murillo’s striking scenic design, Adriana Lámbarri’s thoughtful costumes, and Andrea Heilman’s evocative lighting all enhance the immersive experience. Stage manager Jordan Jones ensures seamless transitions, while Jocelyn L. Buckner’s insightful dramaturgy adds depth to the storytelling. Martin Noyes’ fight direction injects intensity into key moments, further elevating the production.

‘Gloria‘ runs at The Chance Theater from September 27- October 20, 2024. Friday performances are at 7 p.m. (only Sep 29) and 8 p.m., Saturday performances at 3 p.m. and 8 p.m. & Sunday shows at 3 p.m.

Visit www.chancetheater.com to purchase tickets for ‘Gloria‘ and see what other great shows are following this season.

The Chance Theater is located at Bette Aitken theater arts Center on the Cripe Stage:
5522 E. La Palma Ave.
Anaheim, CA 92807