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No Exit
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Broadway World

Real Art Daily Production's Kick Off Production Of Jean Paul Sartre's NO EXIT
by BWW News Desk Feb. 5, 2018

Real Art Daily Productions (RADProd) proudly presents our company's kick off production, Jean-Paul Sartre's 1944 existentialist play, No Exit. Three strangers are locked together in a belligerently distasteful room for eternity. Without the expected torture to occupy them, they are forced to simply exist. There is no escape: from the room, each other, and worst of all themselves. With a set design inspired by Bauhaus style and German Expressionism, we aim to immerse the audience into the characters' claustrophobic world. Join us for a bout of existential absurdity!

Real Art Daily Productions welcomes a superb group of local talent to the stage-Georginna Feyst, who serves as the producer, also plays smart and mischievous, Inez Serrano; Adam Slemon as an idealistic and self-righteous, Vincent Cradeau; Brittany Lewis as the posh and snobby, Estelle DeLauney; and Marcin Mesa as the Bellboy. RADProd is thrilled to bring to the stage such a unique perspective on Cradeau, Inez and Estelle in No Exit.

"Award-winning Director, Ye'ela Rosenfeld, has a deep understanding of existentialism, Jean-Paul Sartre, and the importance of this play as a social commentary. Her strong, artistic vision will breathe new life into this classic play, with a fresh perspective and a healthy dose of comedy." - Georginna Feyst, CEO of Real Art Daily Productions

Why This Production? Why Now? No Exit was chosen, among many reasons, because the producer, Georginna Feyst, believes Sartre's message is crucial for us at this time.

"Our country is drastically divided over ideology. If we could realize what Estelle, Cradeau, and Inčz come to understand at the end of this play, that our empty rituals, destructive beliefs and projections upon each other are what's causing the agony of our situation, and if we could see the ridiculousness of our minds and accept ourselves and each other as we are, we could potentially heal the rift that has seized our nation and experience a more peaceful existence." -Georginna Feyst, Producer
About The Director and Producer

Director, Ye'ela Rosenfeld started as a director in the film squad of the Israeli Army, and later worked as a director and assistant director in the Israeli film and TV industry. After four years in Prague she moved to Los Angeles, to attend the directing program of the American Film Institute in Hollywood, where she directed four films including The Evening Journey with Malcolm McDowell, Patrick Mapel and Jack Kehler.

With 15 years of directing experience, Ye'ela has directed 7 narrative shorts, several documentaries, music videos and several theatre productions. She has directed in 3 different languages in 3 different countries. In 2010, Ye'ela directed an extended theater production Ferdinand! written by former Czech president Vaclav Havel. Ye'ela's film, Just in Case opened at the Palm Springs International ShortFest and was shown in film festivals nationally and internationally. It has won the Special Jury Selection Award at the Lady Filmmakers Film Festival in Santa Monica and the Award of Merit at the Los Angeles Cinema Festival of Hollywood.

Ye'ela co-wrote Jacob's Dream in 2016, a feature film funded by Israeli Film Fund. Ye'ela is also a mother and a passionate educator.

Producer, Georginna Feyst, graduated from University of Washington with a B.S. in Mathematical Statistics. Upon graduation, she began a corporate IT career in Detroit Michigan, which she advanced for over a decade. As she grew professionally and interpersonally, Georginna went back to college to continue her education in the arts for music at Wayne State University in Detroit and San Jose State University. She, then, went on to earn a conservatory certificate in acting at Foothill Theatre Arts Conservatory in Northern California. An avid learner, Georginna has also studied consciousness, deliberate creation and holistic healing since 1996, starting as part of the grass-roots new age movement in Michigan in the early 2000's.

To date, Georginna's acting career has consisted primarily of theatre and indie shorts and features, allowing her to play a wide array of characters and genres. Her favorite genres are dark comedy, sci-fi and inspirational drama. She moved to LA and started a creative career in entertainment to make a positive difference and to influence thought through performance & production in theatre/film/TV. She truly wants to inspire/empower society's underdogs and help foster a world that embraces diversity and insists on equality.

Georginna has an immense passion for theatre, film, and TV and a great love for humanity. She is using her business skills and artistic talents to act, write, and produce projects that inspire expansion of consciousness and individual/societal healing through increased compassion and greater understanding of those we view as different than us.

As a producer, Georginna champions female, LGBTQ and disabled leadership, and has a strong intention to inspire and empower minorities, both communities and individuals, through non-conventional characters, storylines and productions. She has created Real Art Daily Productions, her fledgling film/theatre Production Company, and Final Wave Films, an all-female film Production Company, as vehicles to accomplish these goals.


Fanbase Press

Written by Barbra Dillon, Fanbase Press Editor-in-Chief

Tuesday, 20 February 2018 17:29
Read 514 times
Fanbase Press Interviews Ye’ela Rosenfeld and Georginna Feyst on Real Art Daily Productions’ ‘No Exit’

The following is an interview with producer Georginna Feyst and director Ye’ela Rosenfeld regarding Real Art Daily Productions' play, No Exit. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Feyst and Rosenfeld regarding the design of the production, their shared creative process with the cast and crew, how you can purchase your tickets, and more!

Barbra Dillon, Fanbase Press Editor-in-Chief: Real Art Daily Productions will soon be launching its production of Jean-Paul Sartre’s 1944 existentialist play, No Exit. What can you share about the choice to take on No Exit as the company’s first show of 2018, and what speaks to you about the show, as its director?

Georginna Feyst: In addition to the fact that No Exit is one of my personal favorites, this play was chosen as our company’s first production, because I believe Sartre's message is crucial for us at this time. Our country is drastically divided over ideology. If we all could realize what Estelle, Cradeau, and Inčz come to understand at the end of this play, that our empty rituals, destructive beliefs, and projections upon each other are what's causing the agony of our current situation, and if we could see the ridiculousness of our minds and accept ourselves and each other as we are, we could potentially heal the rift that has seized our nation and experience a more peaceful existence. This project is the kick-off project for Real Art Daily Productions and also serves as an opportunity to honor Jean-Paul Sartre and his most famous theatre work.

BD: How would you describe your approach to visualizing and casting this production, and what makes Real Art Daily’s production stand out?

GF: Producing No Exit has been a vision of mine for over 8 years. This play captured my heart in theatre Conservatory in 2009. The casting and vision for this project has been highly intuitive, and I am thrilled with our cast of superb local talent. I am also very pleased about the director I’ve brought on board, Ye’ela Rosenfeld. Her creative vision for this play is a distinguishing feature in making this production a refreshing change from how No Exit has generally been performed. She has been expert at bringing out the comedy that is in the script, and her vision for the set is stunningly unique. We are also building special events into each performance evening to offer patrons an entire evening of theatre, Sartre, and themes related to the play.

BD: What can you share with us about your creative process in working with the cast and crew, as well as their contributions to the production?

Ye’ela Rosenfeld: When I came on board the play was already fully cast, and I could not be more thrilled with the choices that Georginna has made. I have seen No Exit numerous times before and was never truly excited about it because of its tendency to be overacted and melodramatic at times.

However, when the work with the cast began, we quickly discovered the humor and wit in it, and under this new light the play became both entertaining and profound. Sartre could not have taken himself so seriously, I thought, not when conveying such a depressing message.

No Exit was written during the Second World War and, among other themes, deals with the demise of the age of enlightenment. I, therefore, chose to lock the three characters in a museum of contemporary art, in order to accentuate the ridiculousness of our cultural achievements when put against our monstrosities. The Paintings by Otto Dix are another reminder of that same dark history.

BD: What do you hope that audiences will take away from the performance?

YR: Other than the basic question that the play presents, do we exist away from other people’s perception of us or “Hell is other people,” I find that the most interesting notion the play helps surface is the idea that there is no redemption. So, hell is not just other people, hell doesn’t matter. Our desperate search for meaning, reasons, ideals, and principles is futile, and the only thing left to do is to laugh out loud. This is exactly how the characters end up. This notion is universal and timeless and can always serve as the base for a good discussion… the sooner we make peace with our dark side, the better chance we have to overcome it.

GF: I hope that everyone who attends one of our performances of No Exit learns a little bit (or a lot) about Sartre, art, and their own mind and heart after spending an evening with Cradeau, Inez, and Estelle and the rest of us at Real Art Daily Productions. I hope each person will leave with a little something they didn’t have when they came and that all of the hard work and good intentions that have gone into this production are transferred into recognizable benefits for those who come see our shows, whether it be an increased appreciation for art, a better understanding of self, or new perspectives on life.

BD: Real Art Daily Productions also provides pre- and post-performance opportunities to engage with guest speakers, as well as the cast and crew, in discussions regarding the topics contained within the show. What inspired this audience engagement, and what are you most looking forward to about engaging with audiences?

GF: As producer, I want to give our patrons the richest experience possible. I want the evening to be experiential, educational, and thought-provoking. I want to encourage connections and friendships, new and old, and I want to foster an environment of goodwill. Various lecture topics have been chosen to expand on the themes of the play, the author, and his philosophy, and what was happening during the times No Exit was written, which was post WWII in France. This will give great food for thought and conversation over imbibements and Sartre’s favorite dessert. I am personally looking forward to meeting people who stay after to mix-and-mingle and am also very excited to hear their feedback about the play and how they feel the lecture enhanced their experience.

BD: Are there any additional upcoming projects that you would care to share with our readers?

GF: This production of No Exit is Phase One of a three-phase project that will span 18 months, and we will produce a delightful, new, existentialist surprise for our second run of No Exit in 2019.

Real Art Daily Productions will begin pre-production on our premier film in the Summer 2018. Final Wave Films, my all-female production company, will be writing and co-producing with Real Art Daily Productions, an upcoming feature where a disabled female protagonist finds purpose in her life that was recently saved.

BD: Lastly, what would you like to tell readers who want to learn more about and purchase tickets for No Exit?

GF: This is going to be a delightful evening of art, theatre, education, friendship, and existentialist storytelling. We have a superb cast of local talent and dedicated crew, strong female leadership and creative vision, and a synergistic team of business and marketing folks. We have designed this evening especially for you. We even have a special surprise at concessions. Please bring your friends and family and enjoy a refreshing new take on No Exit. You’ll never enjoy Hell as much as you will with us! Tickets can be purchased online through Plays 411 at plays411.com/noexit. You can purchase standard tickets for $20 and VIP tickets for $22, which guarantees you a seat in the front two rows.


Saturday, March 24, 2018

No Exit (review)

Spoilers ahoy!

Jean-Paul Satre wrote his play No Exit in France during the Nazi Occupation. Given that fact, and its subject matter--three people entering Hell after their deaths--one might expect something excessively grim.

Interestingly, we don't quite get that in the current production by Real Art Daily Productions. Rather the production feels more like a dark comedy, albeit not a farce, not at all. Indeed, a lot of the humor remains low key, as if building upon all sorts of tiny "in jokes" as well as the cumulative repertoire of comedy--the irritating habit, the asking of stupid questions, the almost amazing pettiness in the face of dreadfully serious matters (coupled with the realization nothing really matters anyway).

Vincent Cradeau (Adam Slemon) is let into a room he does not like by a Bellboy (Marcin Mesa). He seems surprised by the decor, displeased at the style, but on the other hand does expect thumbscrews. Upon learning there are none, he expresses surprise then tries to demand his toothbrush--even as the Bellboy points out he won't need it. Soon enough he finds himself joined by Inez Serrano (Georginna Feyst). The two immediately dislike one another. Finally Estelle Delaunay (Brittany Lewis) comes in, at first mistaking Cradeau for someone else.

The door shuts, with no way to open it. Three pieces of furniture await, places to sit. All three expect torture. Inez figures out the plan--each is to be torture to one another.

Again, this sounds grim! Yet what we get (at first) proves a kind of domestic mystery. Why have each of these individuals come to Hell? They must know, since all three know where they are. Their means of death--being shot, gas, pneumonia--give barely any hint. They try to ignore one another. It does not work, even as they resolve to avoid the torture by simply refusing to interact. Estelle, however, tries to do her makeup and finds no mirror, not even in her purse. A sign of things to come, just as Cradeau reacted in disturbed fear at never ever getting to sleep. Inez? She watches, and waits.

The mystery does prove compelling--although frankly if the actors lacked the requisite ability this play would easily descend into boredom and cliche. This script demands skill and stage presence, as well as a director on the watch to keep things interesting yet focused. Once I looked at the program, learning the director Ye'la Rosenfeld had directed The Physicists at last year's Hollywood Fringe Festival, I felt encouraged even before the play began. Likewise the weird German Expressionist set, its distorted perspective focused on the back wall, very much helped create the atmosphere needed. So too the three perfect paintings by Otto Dix upon the wall (look him up). Kudos to designer Natalia Bortolotti.

As the trio's crimes eventually come to light, the play shifts to how these three live with themselves, plus what sort of individuals they must be to have committed the acts they did. More, how do they see one another and themselves. To what do now-immortal and ageless beings in a room together, having no longer any physical needs--to what do these being cling? Without society, without any trace of their previous contexts, how can they function?

Well, they seek to recreate the society and context they knew before. Class divisions rear their heads. Lifelong habits re-emerge. Competition fueled by malice. Pleasure sought to avoid emptiness. Excuses giving purpose and definition. At all costs. At any price.

One feels a little drained after a play like this, not least because we feel the growing desperation of these three people stripped of everything save themselves and each other. The implications, however, they haunt. Something Cradeau, Inez and Estelle all lack is a core, something authentic and real, an anchor of identity. Lacking this, they also lack any real moral courage. Over and over again they proclaim themselves without regrets. What kind of life is that?

At one point in the play, the door opens and just remains that way for several minutes. None of them leave. Why may be the most provocative mystery in the play. At least one of them claims a reason, which while probably accurate to some extent, is not enough.

So we must contemplate, come up with answers of our own.

No Exit plays Fridays and Saturdays at 8pm, Sundays at 3pm until April 8, 2018 at the Chromolome Theatre, 5429 Washington Blvd (near Hauser), Los Angeles CA 90016.

Posted by Zahir Blue at 4:29 PM

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