Monkey Wrench Wraps, Council
2
Grass Roots in Common Ground Volume 2, Number 33 December 15 th , 2011 The Fullertonian is a trademark of Tonian Publishing LLC. Continued on back Continued on back rise 6:49AM set 4:44PM rise 6:53AM set 4:47PM 12/15 12/21 by Morgan McLaughlin and Ed Carrasco by Mark Stouffer by Ed Carrasco Redevelopment Sets Up Construction MWC Makes Their Exit With Their Last Play: “Santa Claus Conquers The Martians” Excels In Campyness I t’s not every day you have a play based on one of the worst movies ever made. But, when you’re the folks at Maverick Theater, you could make anything awful as “Santa Claus Conquers The Martians” and turn it into campy, comedic gold for all to enjoy—even the little ones. Trust them, this is their sixth year doing this. An interesting aspect of this production is the seating—instead of looking straight at the stage, the seating is such that you are looking at the aisle. The reasoning behind it is because the aliens from Mars emerge from the spaceship throughout the play. When the children of Mars—espe- cially Girmar (Leah Feliciano)—are fascinated with Santa Claus and Christmas after watching a television feed of the old man being interviewed in his workshop, Kimar (Robert Dean Nunez), along with his minions Voldar (Nathan Makaryk) and Chormar (David Chorley), hatch a plan to kidnap Santa Claus (Nick McGee) on Christmas Eve and bring him to the planet to fulfill the needs of the green- colored children. The Martians want Santa to recreate his workshop for the children indefinitely. Joining Santa in this wacky adventure into Mars are two stock dork characters Billy and Betty (Ryan Cram and Katie Sapp), who unwittingly cause problems for the Martians with their antics. As Kimar attempts to make the wishes of the children of Mars come true, ten- sions start to rise within his own crew as Voldar has his own ulterior motives to dampen the Christmas spirit. For those wondering why such an awful movie like “Santa Claus Conquers The Martians” would find comedic gold in the theater, a few things should be considered. The acting throughout the play was made deliberately awkward by the playwrights as to retain the feel of watching a low-budget, B-movie; awkward pauses are more abundant than normal between characters. On top of that, the producers of the play took advantage of the low-budget nature for comedic effect—can anyone say, “flying saucer hanging from a stick”? Of course, no play set in 1964 would be complete without tons of anach- ronistic references throughout from the red button (“that was easy”) to the enunciation of the Martians when saying “excellent” (“The Simpsons”). If you’re looking for something cheer- ful this Christmas season, suspend your disbelief in B-rated acting and have a laugh at this Maverick performance. T he Fullerton Planning Commission approved a plan Wednesday to build a mixed-use develop- ment on Commonwealth that would feature senior housing. Commissioner Travis Kiger was the lone opponent to the project, who expressed con- cern about the special treat- ment given to TRG Pacific Development and the conces- sions given to the developers to put the project forward for construction. “This project comes through with some serious exemp- tions here,” he said. “I’m just concerned that this project has a high number exemptions like they’re playing a different set of rules. Then I look and I realize that this is a redevelopment proj- ect, which means it’s basically being partially funded by taxpayer subsidies.” Kiger also relayed his concerns to residents who live near the development that would have to deal with a developer that doesn’t play by the rules, build a building that’s taller than similar projects before and pay for it through taxes. His concerns did not bother the other com- missioners, who expressed their support that the senior housing project is affordable and would help fill a much needed niche in the community. TRG Pacific Development, LLC and Commonwealth Development, LLC have submitted a proposal to the Fullerton City Planning Commission for a new 6-story mixed-use development at 345 E. Commonwealth Ave. Residents familiar with the area will recall it as the longtime vacant lot located at the corner of Lemon St. (across from the Stages Theatre business complex). The Major Development Project calls for an A n important play is being staged as the last month of the Monkey Wrench Collective’s existence in Fullerton fades. It is actually a sequence of 8 short pieces, all of them US premieres, by promi- nent playwrights from the United Kingdom. The plays are important because they were all written within the last two years and they all express the social disruption of our times from the social intellectual perspective. The Monkey Wrench has long been known for breaking new ground and drawing from the vanguard of dramatic talent from the UK. And for this closeout production they have pulled a powerful collection of dramatic subject and skill together. Director Dave Barton presents us with a series of vignettes, each introduced by a video se- quence pulled from recent news, that frame this “Year of Protest” within the lives of those involved. The multi-media style, and the always crisp Monkey Wrench portrayal, lend a sense of urgency to the plays. The plays are presented by some of the the- aters most talented and award winning actors. Cynthia Ryanen is compelling in her explora- tion of the life of a clown whose daughter has special needs. Bryan Jennings and Jill Carey Martin are spot-on in the somewhat comic relief short about two poorer subjects who refuse state aid. Terri Mowrey and Patti Cumby present the effects of the destruction of a home. Also the cast of recurring Monkey Wrench playwright Mark Ravenhill’s “A Bigger Banner” mark the span of 60 years of activism well. Scott Barber is riveting in “Fragile”. The over-arching theme might be budget cuts and protests, but there is one sequence that involves shadowy government agents that in- criminate hapless dupes for the benefit of the state, telling them “It’s not about you”. In the context of the other plays it is unclear if this is to be taken as a bad thing or a good thing. And that brings us to the ideas behind the plays and these UK playwrights themselves. It must do something strange deep inside your brain when you are raised in a nation that still has a Queen. Historically, to oppose the person wearing the crown, a.k.a. “The Crown”, was to oppose your country and was thought of as weakening the nation. That unwillingness to question the head of state must still be in the backs of the minds of the playwrights of the United Kingdom. Those royal weddings where the nation seems to rotate around the hour of royal matrimony must instill some sense of allegiance to the state that we are blissfully unaware of here in the US. That could explain why the characters in “Whiff Whaff” are por- trayed as stupid country cousins (much like Americans once were) for refusing to see the goodness in having the state look after their health. Or why Linda in “Hi Vis” pitiably concedes “We are the small people”. Heck if you’re not knighted, what are you? Don’t tell me you work for a living? Source: Planning Commission Agenda The closing presentation from Fullerton’s greatest controversial theater address the protests
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Monkey Wrench drops the curtain and council approves development
Transcript of Monkey Wrench Wraps, Council
Grass Roots in Common GroundVolume 2, Number 33 December 15th, 2011
The Fullertonian is a trademark of Tonian Publishing LLC.
Continued on backContinued on back
rise 6:49AM set 4:44PM
rise 6:53AM set 4:47PM
12/15 12/21
by Morgan McLaughlin and Ed Carrasco
by Mark Stouffer
by Ed Carrasco
Redevelopment Sets Up Construction MWC Makes Their Exit With Their Last Play:
“Santa Claus Conquers The Martians” Excels In Campyness
It’s not every day you have a play based on one of the worst movies ever made.
But, when you’re the folks at Maverick Theater, you could make anything awful as “Santa Claus Conquers The Martians” and turn it into campy, comedic gold for all to enjoy—even the little ones. Trust them, this is their sixth year doing this.
An interesting aspect of this production is the seating—instead of looking straight at the stage, the seating is such that you are looking at the aisle. The reasoning behind it is because the aliens from Mars emerge from the spaceship throughout the play.
When the children of Mars—espe-cially Girmar (Leah Feliciano)—are fascinated with Santa Claus and Christmas after watching a television feed of the old man being interviewed in his workshop, Kimar (Robert Dean Nunez), along with his minions Voldar (Nathan Makaryk) and Chormar (David Chorley), hatch a plan to kidnap Santa Claus (Nick McGee) on Christmas Eve and bring him to the planet to fulfill the needs of the green-colored children. The Martians want Santa to recreate his workshop for the children indefinitely. Joining Santa in this wacky adventure into Mars are two stock dork characters Billy and Betty (Ryan Cram and Katie Sapp), who unwittingly cause problems for the Martians with their antics.
As Kimar attempts to make the wishes of the children of Mars come true, ten-
sions start to rise within his own crew as Voldar has his own ulterior motives to dampen the Christmas spirit.
For those wondering why such an awful movie like “Santa Claus Conquers The Martians” would find comedic gold in the theater, a few things should be considered. The acting throughout the play was made deliberately awkward by the playwrights as to retain the feel of watching a low-budget, B-movie; awkward pauses are more abundant than normal between characters. On top of that, the producers of the play took advantage of the low-budget nature for comedic effect—can anyone say, “flying saucer hanging from a stick”?
Of course, no play set in 1964 would be complete without tons of anach-ronistic references throughout from the red button (“that was easy”) to the enunciation of the Martians when saying “excellent” (“The Simpsons”).
If you’re looking for something cheer-ful this Christmas season, suspend your disbelief in B-rated acting and have a laugh at this Maverick performance.
The Fullerton Planning Commission approved a plan Wednesday to
build a mixed-use develop-ment on Commonwealth that would feature senior housing.
Commissioner Travis Kiger was the lone opponent to the project, who expressed con-cern about the special treat-ment given to TRG Pacific Development and the conces-sions given to the developers to put the project forward for construction.
“This project comes through with some serious exemp-tions here,” he said. “I’m just concerned that this project has a high number exemptions like they’re playing a different set of rules. Then I look and I realize that this is a redevelopment proj-ect, which means it’s basically being partially funded by taxpayer subsidies.”
Kiger also relayed his concerns to residents who live near the development that would have to deal with a developer that doesn’t play by the rules, build a building that’s taller than similar projects before and pay for it through taxes.
His concerns did not bother the other com-
missioners, who expressed their support that the senior housing project is affordable and would help fill a much needed niche in the community.
TRG Pacific Development, LLC and Commonwealth Development, LLC have submitted a proposal to the Fullerton City Planning Commission for a new 6-story mixed-use development at 345 E. Commonwealth Ave. Residents familiar with the area will recall it as the longtime vacant lot located at the corner of Lemon St. (across from the Stages Theatre business complex). The Major Development Project calls for an
An important play is being staged as the last month of the Monkey Wrench Collective’s existence in Fullerton
fades. It is actually a sequence of 8 short pieces, all of them US premieres, by promi-nent playwrights from the United Kingdom. The plays are important because they were all written within the last two years and they all express the social disruption of our times from the social intellectual perspective.The Monkey Wrench has long been known for breaking new ground and drawing from the vanguard of dramatic talent from the UK. And for this closeout production they have pulled a powerful collection of dramatic subject and skill together.Director Dave Barton presents us with a series of vignettes, each introduced by a video se-quence pulled from recent news, that frame this “Year of Protest” within the lives of those involved. The multi-media style, and the always crisp Monkey Wrench portrayal, lend a sense of urgency to the plays. The plays are presented by some of the the-aters most talented and award winning actors. Cynthia Ryanen is compelling in her explora-tion of the life of a clown whose daughter has special needs. Bryan Jennings and Jill Carey Martin are spot-on in the somewhat comic relief short about two poorer subjects who refuse state aid. Terri Mowrey and Patti Cumby present the effects of the destruction of a home. Also the cast of recurring Monkey Wrench
playwright Mark Ravenhill’s “A Bigger Banner” mark the span of 60 years of activism well. Scott Barber is riveting in “Fragile”.The over-arching theme might be budget cuts and protests, but there is one sequence that involves shadowy government agents that in-criminate hapless dupes for the benefit of the state, telling them “It’s not about you”. In the context of the other plays it is unclear if this is to be taken as a bad thing or a good thing. And that brings us to the ideas behind the plays and these UK playwrights themselves.It must do something strange deep inside your brain when you are raised in a nation that still has a Queen. Historically, to oppose the person wearing the crown, a.k.a. “The Crown”, was to oppose your country and was thought of as weakening the nation. That unwillingness to question the head of state must still be in the backs of the minds of the playwrights of the United Kingdom. Those royal weddings where the nation seems to rotate around the hour of royal matrimony must instill some sense of allegiance to the state that we are blissfully unaware of here in the US. That could explain why the characters in “Whiff Whaff” are por-trayed as stupid country cousins (much like Americans once were) for refusing to see the goodness in having the state look after their health. Or why Linda in “Hi Vis” pitiably concedes “We are the small people”. Heck if you’re not knighted, what are you? Don’t tell me you work for a living?
Source: Planning Commission Agenda
The closing presentation from Fullerton’s greatest controversial theater address the protests
The Pre-Trial hearing set for this friday regarding the death of Kelly Thomas has been pushed back. Instead, it will be a hearing to set the “Preliminary Hearing” date. Kelly’s father, Ron Thomas, has noted that the trial will be
set for late March. “The DA’s office tells me that this is way ahead of schedule’, he said. Members of Kelly’s Army will be in attendance of the hearing along with Ron Thomas at the Central Justice Center in Santa Ana. Courtroom# C55 (3rd floor) at 8:30 AM.
underground basement parking garage, approximately 3,250 square feet of ground floor commercial space and 95 affordable apartments for seniors (ages 62 and above).
In more detail, The Alexander Senior Housing Project, allots for common activity areas such as a fitness center, library and club room, 91 parking spaces, 79 one-bedroom and 16 two-bedroom apartment units with 10% available to “very low income” and 90% to “lower income” residents. This income standard equates to between $35,868 and $57,388 annually accord-ing to current Area Median Income data in Orange County.
The development companies attempt-ed to preemptively assuage concerns about traffic impact and flow by con-ducting a Parking and Traffic study outlining that “in general, senior hous-
ing generates less traffic than other types of residential development.”
Though the Planning Commission rec-ommended the project be approved by the Redevelopment Agency, it should be noted that two proposals were pre-viously approved for this specific site in years past, both for mixed-use com-mercial/resident projects, both never having been implemented or built.
This project will reach the height of the current Pinnacle Apartments, and according to the submitted plan docu-ments will be constructed in similar form. The building will have a level for parking, and atop that a level for retail space lining the corner of the streets; followed after by common use areas and apartment units. It’s almost a copy and paste of the visual currently occupying the corner of Lemon St. and Commonwealth Ave.
• SantaFeExpressCafe• BourbonStreetBar&Grill• CommonwealthLounge&Grill• KingsSmoke&gift• CoyoteHillsGolf• FullertonMuseumCenter• SalonLujon• Michaleangelo’sPizza• HolidayInnHotel&Suites• StadiumTavern• MaxBloomsCafeNoir• Alberto’sMexicanFood• HibbletonArtGallery• SteamersCafe• McClain’sCoffeehouse• PromenadeMarket• DonCarlosMexicanRestaurant• BackAlleyBar&Grill• SteamersCafe• Nick’sSuperburgersEast
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Ramos/Cicinelli Pre-Trial Delayed
MWC (Cont’d)
Turtles and Such Things
This could explain why several of the plays seem to see the government as the source of wealth. Anders Lustgarten, who was raised in Brixton but got his PHD at Berkeley, attacks capitalism as a “fat man”, a sponge that sucks up all the wealth generated by the state in his play “The Fat Man”. He channels Elizabeth Warren (US Special Advisor to the CFPB) when he says, “We edu-cate his workers. We build roads for his goods.” The government is portrayed as a source from which knowledge and wealth out-flow. No thought or mention of who pays the workers that pay the taxes that build the roads for his goods and to his factories. What a richer coun-try we would be, he says, if we didn’t have to pay for all these factories. The author thinks he has the solution to the economic downturn when he
says, “And the main thing is, there’s sh**loads of money out there. It’s a question of who has it.” And here they rely on the kingdom’s historical method of wealth generation: conquest. It is in-teresting how often “the bailout” comes up in protesters complaints on the stage and in the news. It is especially interesting when you consider how few opposed the bailout: one small faction in one party in one nation on earth, and they were labeled “The party of ‘no’”. Perhaps they have to fatten the fat man before asking for “shared sacrifice”.In all, these timely and well staged plays are important because they encap-sulate the view and deeply held beliefs of a major faction of our population and even our government. See them and start the discussion.
Planning (cont’d)
