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Letters to the Editor: Trump Threats Warrant Relentless Protests, Democracy or Dictatorship? and Making Gaza The 51st State

The Trump Threats Warrant Relentless Protests by the People

The return of Donald Trump to the White House has been a torturous experience for many of us. The notion that respectable Americans could elect a man who exemplifies such an obvious and severe lack of moral character and integrity is bewildering beyond belief.

The display of flagrant ignorance and bullying by the officers of the highest office in our country is revolting beyond measure. President Zelensky has more courage and moral fiber in his little finger than Trump, Vance and Musk have combined.

I’m a child of the 1960’s. The outrage of what is transpiring is overwhelming for me. I lived in a time where outrage promoted immediate action on a very wide scale. I am asking myself where the masses of people are to immediately engage in protest. Because I am almost ¾ of a century old…..I don’t have the energy to “organize” a protest….but, certainly have the strength to attend. When I look at the recent town hall meetings being held I see that most of the folks attending are seemingly over 60 years old! WHY? I feel like the younger generations have grown complacent and lazy simply waiting for the old folks to get the work done for them. This is a “desperate” time. Everyone PLEASE take the time necessary to stand up and save this precious country of ours from the tyranny of Donald Trump.

We, in the LA harbor area, have a perfect venue to protest the maniacal man that is calling the horrifying shots that are destroying our country. The Trump Golf Club in Rancho Palos Verdes should become the mecca for these protests. I urge the San Pedro, Torrance and all other local Democratic Clubs to pick up the gauntlet here and create a schedule for these protests. You can be assured that I and many others will be there.

The principles of this country are well worth fighting for.

Janet Schaaf-Gunter

San Pedro

 

Democracy or Dictatorship? The Urgent Choice Facing America

We are watching what we never thought possible—the apparent transformation of our democracy into a dictatorship (or, as Trump has promoted, a monarchy with him as king).

The battle of our day is no longer about Democrats versus Republicans or left versus right. The choice right now is democracy or dictatorship. And we’re sliding faster than I ever thought possible into the latter. Everyone must choose which side they’re on.

You may be feeling helpless, powerless, and alone. But you are not. Most Americans are as disgusted by this as you are. Trump and his billionaire friends want us to feel helpless, powerless, and alone—because that’s how Trump will take over.

But tyranny cannot prevail over people who refuse to succumb to it.

And something is beginning to happen. Boycotts are taking hold. Protests are on the rise. Federal courts are hitting back. The Trump-Musk-Vance regime’s popularity is plunging, and DOGE is losing credibility.

In these dark times, people are starting to fight back.

Ultimately, what happens to our country will come down to our own courage and resolve: To engage in peaceful protest. To organize and mobilize others. To work against hate and bigotry. To fight for justice and democracy.

That’s why I’m writing to you today to ask you to support MoveOn, an organization I deeply admire and that has millions of members in every corner of our country. MoveOn can reach, train, support, organize, and communicate at a scale that is unparalleled in the progressive movement, and it does so with cutting-edge technology. We need MoveOn at this moment, now more than ever.

Former Secretary of Labor Robert Reich

 

Mad King Trump Makes Gaza The 51st State

Time to update those American Flags most likely made in the People’s Republic of China with an additional star for the United States’ newly declared 51st state… otherwise known as the Gaza Strip. Who declared such a thing, you might ask? Oh, that would be the demented 78-year-old convicted felon fascist thug Donald Trump of the anti-American GOP (Greedy Old Perverts).

You know, the same psychotic self-declared “stable genius” who has already told everyone that he wants to illegally order the American military invasions of Mexico, Canada, Panama, and Greenland in contravention of international law and all reason. Orange Hitler, y’all.

Or is Trump just “Wrong Don”. I can see why a born-with-a-silver-spoon in his big mouth buffoon like deranged Donald Trump might be under the Adderall-infused delusion that he is now the new King of America when tyrannical toddler Trump has been such a spoiled brat his entire selfish existence as sociopathic swine.

Here’s some constructive criticism for the Mad King Donald Trump: If you’re going to try to wave your White Power wand and actually create a 51st state, your moronic majesty, why not Canada as you initially called for, or Puerto Rico instead? Or is that tangerine twit Trump just going to toss some more paper towels at the problem?

“Be best”, you racist! And Puerto Rico’s already a long-time American territory, etc. Why does plutocratic pig Trump hate Puerto Ricans so much? Whereas, if you add a 51st star to the American flag for Gaza (just so the Trump Crime Family can own a country club on the Mediterranean), then you do of course know soon to follow will be a 52nd star for the West Bank.

What? You think the Palestinians in the West Bank aren’t also going to attempt to flee from their mass murdering Israeli occupiers and acquire protections under the United States Constitution as well as their beleaguered brethren in Gaza, if Trump’s proposal for turning the Gaza Strip into his so-called “Riviera of the Middle East” is passed by the otherwise do-nothing, know-nothing, overpaid and completely corrupt Republican Congress of cowards and suck-ups.

Jacob Pickering

An Injury To All

 

If An Injury To One Is An Injury To All, What is An Injury to 2.3 Million?

“An injury to one is an injury to all” was the Wobblies’ slogan a century ago, as they worked to build one big union for all workers in all industries, regardless of the divisions bosses routinely used against them — ethnicity, race and religion. Today, the Trump/Musk regime is trying to injure 2.3 million workers — illegally and unconstitutionally firing tens of thousands outright and trying to traumatize the rest into quitting or falling in line with Trump’s lawless reshaping of government. Their hope is to portray government workers as demonized others, as not really workers at all.

But, “The Trump regime’s attempts to demonize federal workers flies in the face of the experience of everyday Americans. There is virtually nothing we do that does not have a federal hand in it!” said San Pedro labor lawyer Diane Middleton. “Send a letter anywhere in the U.S. for under one dollar? That’s the U.S. Postal Service—which Trump wants to privatize. Worried about the safety of food or drugs? That’s another federal agency. Concerned about infectious diseases spreading in the U.S. from another country? That’s the role of the CDC. How about visiting a national park?

“Let us be clear,” Middleton said. “The Trump administration has no mandate. The election was won with slightly over 1% of the popular vote. The people of America did not vote for any of this. Lawsuits have been filed challenging all of these unconstitutional power grabs.”

None of this impresses MAGA leadership.

“Federal employees do not deserve their jobs,” said MAGA Rep. Marjorie Taylor Greene flatly in an oversight hearing. “Those are not real jobs.”

Air traffic controllers, infectious disease specialists, national park rangers, IRS employees chasing down tax-cheating millionaires — these are not workers, they’re “bureaucrats,” you see. “We want the bureaucrats to be traumatically affected,” Trump’s top budget official Russel Vought said in videos surfaced by ProPublica before the election. “When they wake up in the morning, we want them to not want to go to work because they are increasingly viewed as the villains,” he said. “We want to put them in trauma.”

Putting 2.3 million workers in trauma. That’s the Trump/Musk anti-worker plan in a nutshell.

“They want to create shock and awe and traumatize workers and community members. Their plan is to issue something almost daily, overwhelm us, and dismantle our response mechanism,” said Victor Navarro, project director at UCLA Labor Center. .

So how is it making workers feel? AFGE represents over 750,000 federal workers, and their feelings range all across the map, according to Public Policy Director Jacqueline Simon.

“I can only tell you what our members have reported to us,” Simon told Random Lengths News. “They’ve expressed a range of emotions from fear to fury and at some point when they [DOGE] keep making mistake, after mistake, after mistake, just sort of throwing up their hands and laughing. So there’s all kinds of responses.”

One thing’s for certain, it’s not helping them do their jobs — which are all about serving the public.

The first agency Musk and DOGE targeted for defunding was USAID, not only getting rid of workers, but canceling contracts including millions of dollars of agricultural exports—and disease-fighting programs including Ebola and AIDS. USAID has saved millions of lives, and gained enormous gratitude and support for America since its founding by John F. Kennedy in 1961. Its support for America’s soft power in world politics has been invaluable. But now, “We’re watching psychological warfare against a workforce that has been committed to furthering the lives of other people,” USAID’s chief economist, Dean Karlan, told NPR on Feb. 26, just after resigning.

The cut-off of AIDS funding had cost 1,700 infant deaths as of Monday, March 3, and 16,633 adult deaths, according to the PEPFAR Impact Counter website. A leaked internal memo projected up to 18 million additional cases of malaria per year, and as many as 166,000 additional deaths, plus 200,000 children paralyzed with polio annually, and hundreds of millions of infections. This is what happens when you mass fire government workers. People die.

On Feb. 27, there were mass firings at National Oceanic and Atmospheric Administration and the National Weather Service, following the initial pattern of targeting “probationary workers”— either new hires with less than one to three years on the job (it varies by agency) or veterans newly promoted because of their exemplary performance. These workers are, in short, both the future of the agencies and some of its most valuable employees. They’re fired because their status makes it easy to do, though the reasons given—“poor performance” are patently absurd. In addition to workers promoted for excellence, some new hires had not even begun working yet. They had no performance to be judged on. The lives lost by firing them were not so readily predictable, but the economic losses are considerable.

“The U.S. NWS is a truly world-class meteorological predictive service, perhaps singularly so,” said UCLA meteorologist Daniel Swain. “Its cost of operation is only ~$3-4/yr per taxpayer —equivalent to a single cup of coffee — and yields a truly remarkable return on investment (at least 10 to 1, and perhaps 100 to 1).”

Firing workers at the IRS was similarly economically ludicrous: these are the people who bring money into the government—and the firings came just ahead of tax season. It’s like a business firing its accounts receivable department.

But looking at all the different sorts of agencies and workers affected distracts attention from the sheer big picture enormity of what’s going on. That enormity was underscored by a Feb. 26 memo calling for agency leaders to “undertake preparations to initiate large-scale reductions in force,” which could go as high as 65% at the Environmental Protection Agency, for example. “This memo is that wake-up call that the lives of the majority of the 2.3 million federal employees and their families are at stake,” Navarro said.

And not just those workers. “Any kind of job cuts at Social Security will be devastating,” Simon warned. “It’s already tremendously understaffed…. I think the harm will be felt almost immediately by beneficiaries.” Missed payments within the next three months are a distinct possibility.

The mass firings are reminiscent of Ronald Reagan firing air traffic controllers in 1981. Both are sharp breaks with tradition, but they didn’t come out of nowhere, and they sent a signal of much worse to come. “They are both connected to a strategy and agenda,” Navarro warned. “Reagan breaking the PATCO strike and firing 11,000 federal employees in 1981 launched his agenda to weaken the labor movement. Reagan’s NLRB followed this strategy by aggressively reversing precedents and diminishing workers’ rights,” he explained.

But the differences are equally important, Navarro noted. “A significant difference is the size and scale. What Trump is doing is massive compared to Reagan era and the consequence will be much more devastating,” Navarro said. “Roughly 80% of federal workers live outside the Washington area. This will have a devastating impact on the economic situation of these employees and their families, which will then be a drain on the local economies in the cities where they reside. Moreover, the planned massive layoffs and firings from many department will greatly diminish the delivery of their services to those in need.”

“We’re all connected. The federal government, the state and local government and the private sector,” Simon said. “We are all intertwined and without federal employees spending money in the private sector on housing and groceries and apparel and everything else, you will feel it in the private sector,” she warned. “When grants are not provided to the state government and local governments for promised infrastructure projects or healthcare, you will definitely see it impacting state and local budgets. So it so it’s all going to be felt up and down the scale.”

But Simon took issue with the Reagan comparison in one respect. “The air traffic controllers under Reagan went on strike, and when they did so they knew they were breaking the law. And so when Reagan fired them, he was operating within the law,” she said. This time it’s the opposite. The Trump administration is breaking laws left and right. She noted, “There are numerous lawsuits.”

But lawsuits alone aren’t enough. “They want to do the damage and expect to get sued,” Navarro said. “If the court rules against them, they appeal the decision to drag out the process. When they finally lose a case, they would have accomplished their goals by that point.”

Broadly speaking, “A major goal of the conservative groups and the Republican party has been to destroy the labor movement and unions,” Navarro noted. But, “What is happening today is different. Trump and his group have total disregard for the laws and regulations. They don’t even believe in Constitutional rights,” he said. “It is clear with their recent activities at NLRB and DOL, that they intend to deteriorate workers’ rights and are prioritizing the elimination of unions.”

To prevent that, “What we have as our most powerful weapon for justice is the streets and public protests,” Navarro stressed. “We are going to need the type of groundswell and mobilizing like we did on May Day 2006 when millions of workers took to the streets throughout the country in massive protests,” which were as close as America’s ever come to a general strike. “We will need to create this type of massive mobilization and sustain it. The legal strategy of filing lawsuits is useful to slow down their attacks and create breathing space for the organizing and mobilizing.”

The potential for that is substantial. “The one common denominator that we have today is that all workers – private sector, public, independent/misclassified, gig workers, etc. are under attack,” Navarro pointed out. “With this major crisis today, we have a big opportunity to lift up the political consciousness of the working class and engage in this struggle together. Anthony Romero, executive director of National ACLU, said it best in an interview recently where he said, ‘we may need to shut down the country.’”

“We the people are the only force that can stop this madness,” Middleton added.

Key to doing this are kinds of organizing work that fly below the radar of mainstream political reporting.

“In recent years, the labor movement has become broader in Los Angeles, NYC, Chicago, and other parts of the country to include worker centers, gig organizing efforts, and other worker struggles under the same umbrella,” Navarro explained. “We are more interconnected than ever before, especially in supporting organizing and policy campaigns. We will need to harness and deepen this collective solidarity building process to take it to the next level. We will need to be in radical solidarity to move our agenda to counter the Trump and Project 2025 strategy.”

To do that, “We need to prioritize seizing this moment to create public education and raising consciousness among all workers,” he said. “This should be a priority of unions, workers centers and other allies to engage in internal political education and raising consciousness on a massive level.”

Looking ahead, Navarro said, “May Day 2025 is coming up, and that could be the first moment to create the mass groundswell. It is in the streets where we will win.”

Talking Trade, Kool-Aid and Gaslighting ― A Barstool Debate on Tariffs, Robots, and Reality

I was having lunch at the San Pedro Brewing Company next to a couple of longshoremen at the bar. Never being one to shy away from controversial topics, our conversation drifted over to automation and trade tariffs. One of them tells me he used to vote liberal but has changed in the last 20 years. I asked if robots and trade politics would change his mind about the Orange Felon and he said, “I doubt it. I probably won’t be around to see complete automation. Besides, they don’t have enough electricity to power the entire ports fully.”
We agreed on that point and I told him that the defunding of the Environmental Protection Agency will only add years to meeting the zero-emissions goals. “EPA has placed 171 employees in Diversity, Equity, Inclusion, and Accessibility and Environmental Justice on administrative leave,” according to a released statement by the EPA. However, the IQAir 2024 world air quality report set to be released on March 11, found that “The most polluted major U.S. city in the U.S. was Los Angeles. And Ontario, California was the most polluted city in the United States.” And the ports of Los Angeles and Long Beach remain the largest stationary source of pollution in the seven counties of Southern California.
Then the conversation drifted off to the COVID-19 pandemic and I said that the defunding of the National Institute of Health and World Health Organization would only make America vulnerable to the next virus. He poo-pooed that this had anything to do with protecting national health. When he started blaming Dr. Anthony Fauci, I knew I was talking to a man who had drunk more than beer but the Kool-Aid of the radical right. I paid my tab and thanked them for the conversation.
On this very same day, Reuters reported, “U.S. President …. [placed] new 25% tariffs on imports from Mexico and Canada took effect on Tuesday, along with a doubling of duties on Chinese goods to 20%, sparking trade wars that could slam economic growth and lift prices for Americans still smarting from years of high inflation.” The Dow Jones dropped 1,200 points. These tariffs are set to upend nearly $2.2 trillion in annual trade. And my conservative new friend didn’t think it would matter to his job on the waterfront.
I’m sure that the farmers in Kern County who voted for the Orange Felon also believe that deporting their farm workers and having a trade war with China, which buys tons of our agricultural products, is a good idea just like the MAGA longshoreman who lives in Orange County.
The Joint Session of Congress on this same evening was just an extension of what we’ve all groaned to expect from the — Orange reality TV show “star.” It’s a performative theatrix not unlike the debacle with Ukraine’s president, Volodymyr Zelenskyy, a colossal embarrassment on the world stage that makes our allies cringe and a growing number of Americans sick with regret. The problem is that even though this is a kind of performative political theater, real consequences will come. It will come faster than expected this time and the resistance will have to be more responsive — either a national boycott of the billionaires or a general strike — before the next pandemic or recession starts. Will the Democrats lead or follow in such efforts? Will this be a class war or a culture war, perhaps both?
Yes, nobody wants to admit it but it’s been historically true that under every Republican president since Richard Nixon there has been an economic recession. The worst, of course, was under George W. Bush, with the mortgage bond debt swap banking collapse of 2008. And what we saw with the COVID-19 pandemic recession is just a primer of what the Orange Felon is going to do again with defunding national health systems and having a vaccine skeptic as the Secretary of Health and human Services. Who wants to have an outbreak of measles in their school?
It’s going to take a lot of brick-wall reality checks to change some peoples’ beliefs about what really makes America great and what makes it a tragic farce. I’m not yet even addressing the horrific war in Gaza because that’s a blind spot for both Democrats and Republicans.
We are now standing on the edge of democracy, a term best understood from the Netflix documentary of the same name about the rise, fall, and redemption of Luiz Inácio Lula da Silva, the most popular labor party president of Brazil. He won his first election with an astounding 83% of the vote. After two terms, he was prosecuted twice with political allegations of corruption from the far right and after two years in jail his case was overturned and he ran for a third term and won. It almost sounds similar but is the opposite, where justice and democracy prevailed.
It is uncertain at this point if the continued gaslighting from the Oval Office will succeed but what is becoming particularly clear is that this form of governance is patrimonialism — one based on individual loyalty and appeasement — a system of government where the leader runs the state as if it were his personal property or family business. It is still authoritarian fascism, no matter how high the gaslight flame you cook it. And it’s still not making America great.
PS. An afterthought on the speech to Congress — I never trust a man who has to continually repeat himself because it makes him appear as though he’s trying to convince himself of things he knows just aren’t true.

LA Harbor International Film Festival Sets Sail on 22nd Voyage March 13-16

 

Programming and sponsors for the LA Harbor International Film Festival were announced and the official poster and street banner unveiled, for LAHIFF at the Seafarin’ Reception & Press Launch, held at Port Town Brewing Company, Feb. 13.

LAHIFF takes place at four different locations since the Warner Grant Theatre, the traditional venue for the festival, has closed for renovations. Festival director Stephanie Mardesich welcomed guests before announcing programming.

“We are delighted to return to Port Town Brewing Company to announce programming as we did in 2024. With its landmark location, and support of proprietor James Brown since the inception of the film festival, it is the perfect setting for our guests to convene and later enjoy dining at one of our ‘Epicurean Sponsor’ venues after the event,”

The official poster and street banner “Liberty On The Cinematic Bridge” were unveiled by Los Angeles County Supervisor Janice Hahn, who stepped in for LA City Councilman Tim McOsker, District 15.

LAHIFF begins March 13 with education outreach Program A “Read the Book, See the Movie” or RBSM culmination program, featuring the classic novel 20,000 Leagues Under The Sea by Jules Verne, and 1954 Academy Award nominated film.

Opening Night Program B, March 15, 5 to 7 p.m. “Happy Hour + ” features the oral history project Stories of Los Angeles Harbor Area: For Yesterday, Today & Tomorrow (SOLAHA The Movie Vol. VI) at the Dalmatian American Club, which Mardesich called “a true community event” including a “no-host bar and appetizers.

Venue: DAC 5 p.m., 1639 S. Palos Verdes St., San Pedro.

Reservations:310-831-9821

Program C March 15 Hollywood Nostalgia Tribute happens aboard Battleship IOWA, fantail-aft deck, at 4 p.m., screening MGM’s delightful musical On The Town, about WWII Navy plebes on 24 hour “liberty” in New York City.

Venue: Battleship IOWA, 205 S. Harbor Blvd., San Pedro

Reservations: Eventbrite https://LAHIFF22.eventbrite.com

Closing Day, Program D, March 16 “DocSunday,” 2 p.m. at the YWCA Harbor Area Julia Morgan Auditorium. This year features the POLA premiere of Patrice:

The Movie, which Mardesich viewed as a press delegate for the 68th BFI London Film Festival in October 2024.

“The movie touches on so many issues that reflect the YWCA mission including social justice, equity, and civil rights; evoking a mood of humanity and an element of romance in the unique story,” Mardesich said.

Venue: YWCA Harbor Area, 437 W. 9 th St., San Pedro

Reservations: Eventbrite, https://tinyurl.com/LAHIFF-Doc-Sunday

The LAHIFF offers stimulating and entertaining programming that inspires the audience and respects the integrity of the silver screen. Mardesich founded the LAHIFF in 2003 (with Jack Baric) and observes “the film festival is a way to offer a collective experience augmenting the cultural landscape and promoting all San Pedro and surrounding areas have to offer residents, visitors, and tourists.”

Details: All programs are free

Reservations requested for Programs B, C, and D.

See www.laharborfilmfest.com for updates on programming.

The Actors Jungle: A New Era of South Bay Theatrical Innovation

 

San Pedro’s vibrant theater scene has gained a groundbreaking theater company, The Actors Jungle, which is dedicated to fostering creativity, inclusivity, and bold storytelling. Premiering March 28 and 29, The Actors Jungle’s new production is set to transform how audiences experience live performance.

Founded by a diverse group of passionate artists, The Actors Jungle creates a welcoming space where performers and audiences alike can explore the depths of the human experience through innovative productions. The company’s mission is to challenge traditional narratives, spotlight underrepresented voices, and engage the community in dynamic, thought-provoking performances – while the audience actually participates as directors and judges.

“The Actors Jungle is more than just a theater company; it’s a movement,” said artistic director Will August. “We want to cultivate a community where artists can thrive and where audiences can connect deeply with the stories we tell. Our goal is to blur the lines between performer and spectator, creating an immersive experience that resonates long after the curtain falls.”

August noted the opening scene in the company’s upcoming show involves an exploration into racist insults and their effects on people.

How and why people use racial slurs, and how do we respond in the given circumstances?” he asked.

“Using the “N” word comes into play. But we, as truth-seeking actors, are fearless to expose it for what it is.”

The company is launching its first season with a mix of classic revivals and original improv works. It will also host workshops, talkbacks, and community engagement initiatives to foster collaboration and connection among artists and audience members.

“One big reason we started, among many, is that we discovered that there was going to be a vacuum when the Little Fish Theater moved (in February 2024),” August said. “And we want San Pedro to have a San Pedro-based theater company, for our community and the surrounding communities.”

The director said the company feels a little bit like a David and Goliath situation, the little guy trying to get started. The company’s workshops are for directors and screenwriters, or as he said, “a creative laboratory, if you will, for creatives.”

“There’s acting classes around, particularly in Hollywood,” August said. “Actors go and they work on their acting skills. There’s certainly writers’ classes and writers’ workshops where writers can go. But where do they go to put it all together? And that’s where we’re unique.”

The Actors Jungle brings writers, directors, and actors together every Tuesday night at 6 p.m. at Collage. They have a state-of-the-art stage from which to work and writers can come in with their new scripts — particularly local writers, August noted. Actors bring the scripts to life, directors direct the actors based on the scripts, and everyone sees the product before people spend money on it and try to produce it.

With August’s company, writers bring in their work at the earliest possible stage, for example, a draft of a screenplay. The actors perform, other writers observe it, and the director discusses what they like or dislike and what they can or cannot do.

“It’s a very productive situation at an early stage, before any money has been spent to get the wheels rolling, and you can’t stop it,” August said.

August’s idea came as a result of wanting to fill the new theater gap in San Pedro. He started looking around and talking to everyone he knew about a location. He was finally led to Richard Foss, executive director at Collage through Taran Schindler, the deputy artistic director at Warner Grand, and August said it was a great fit.

“That theater is gorgeous,” August said.”We have a core group of terrific actors who are trained, easy to work with, and creative spirits.”

There’s a flow between new and regular people who attend the workshops but the company needs at least a dozen more people. He hopes to appeal to folks who can join them and help them grow. Another good thing about this little theater company is its location, which may sound surprising. August admitted most performing arts workshops where actors, writers, and directors go are going to be on the West Side, Hollywood, and in the Valley.

“But there’s not one group doing what we do … local to Torrance, San Pedro, Palos Verdes, Wilmington and Long Beach,” August noted. “We have actors come up from Orange County because they come to us instead of having to drive that extra hour [to LA] an actor can’t do that, a writer can’t do that. So we can provide a great service to people in this area, but we need to get known.”

The company’s first goal is getting known. Its debut show was in November 2024. It was very well received and it sold out at Collage. They even had to turn away people at the door.

“That’s how much interest there is in this,” August said. “There’s potential here.”

The Actors Jungle has a unique tool; its “one great strength,” as August said, is that it presents an entertaining, cutting-edge show that is simple and involves the audience. The format introduces the audience to a “truthful, behind-the-scenes look at a real acting class.” The audience enters, August is there as the director and he speaks to the audience as if they’re actors there to be trained. And they actually have input as directors into some of the scenes. They experience firsthand what actors go through to prepare for a movie, a television show, or a play.

“It’s exciting for them because it’s not what they expect,” August said.

To support this strength, August explained, actors have one huge tool called scene study, where they take a scene from a script and perform it on stage. It’s done with very few props or sets. Like the actors, the audience uses its imagination to discover where the actors are and what the situation is. Then August directs the actors “the way it’s actually done, which has very little to do with telling an actor where to go and what to do.”

“There’s certainly a blocking to it but actors have to be alive,” he said. “I facilitate actors living truthfully under imaginary circumstances. “We have real actors [from] the acting class come in, as if from a hard day’s work to start class. They enter once the audience is there and from there we usually put up about six or seven scenes. It’s not like a three-act play which can oftentimes be quite boring in a small theater. In our case, it’s a fast-moving six or seven short scenes, fast-paced, so it’s extremely entertaining. The audience is wondering what happens next.”

August is an award-winning actor and director. He starred in a Fox Primetime television series called My Big Fat Obnoxious Boss. If that title doesn’t sound familiar it’s because Fox put the show up against Desperate Housewives, which was doing 30 million viewers a week. (For comparison, August said the Superbowl had 80 million viewers at one time).

“We were a very successful show, but we were [at] maybe five million a week,” he said. “And we were in international syndication. But it was a bit squelched in the U.S. because of Desperate Housewives.”

Among his awards, August won First Place at the prestigious Los Angeles Shakespeare Slam competition where he interpreted one of Shakespeare’s sonnets. He is a veteran of hundreds of projects and has worked with David Mamet (Pulitzer-Prize & Academy Award Winner), The Atlantic Acting Co., The Groundlings Improvisation group, Larry Moss (Broadway Director), W William H. Macy & Felicity Huffman (Emmy Award Winners), and Gordon Hunt (Multi-Award Winner). He has performed major roles in theater and television and he is writing The Actors Jungle.

August said he would love to present four to five shows a year. Audiences can expect both comedy and drama, usually four of each performed in seven or eight scenes. For now, The Actors Jungle is growing its social media presence. One way is through its series of acting tips which the company posts on its social media, where for free, actors can get a 60-second quick and helpful comment or tip about acting. You can also find scene reels on their Facebook and Instagram pages.

The company also shares a valuable tool for actors as part of its workshops. Actors have to do something called self-tapes, or the “modern audition.” Instead of auditioning in person, the actor makes an audition video on their cell phone and uploads it to a platform where the casting people view it. Actors have to film it themself and get a neighbor, friend, or someone to do the scene with, who is not usually a professional actor. But they have to make that tape look great and professional. That’s a lot of variables for a struggling actor.

The Actors Jungle invites its actors to take videos of their self-tape in its workshops. They get a professional director giving them help to send in a great tape and they’ve got their fellow professional actors to read with them.

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Will August gives direction to two Actors Jungle actors. Photo courtesy of the Actors Jungle

“The bottom line is that the actors’ auditions and tapes are much better than if they did it themselves, as a result of participating,” August said. They don’t have any clue what the casting people might be looking for. So when they come into class … I can help them interpret the script, get a great performance and they have actors to do the scene with them.”

August noted agents who have actors in the South Bay or Long Beach send them to The Actors Jungle to do their self-tapes because it’s close and the actor has a better chance of booking the job.

“And here’s the kicker; for all the services, we charge $30 which is incredibly cheap. Most places are going to charge you maybe $80 and they require you to do six weeks in a row …and that’s the lower priced ones. We’re incredibly economical because we can be.

Join the company’s grand gala on March 28 and 29, at Collage to see The Actors Jungle: The Judgement of John B. The event will feature live performances and an opportunity to meet the creative team behind The Actors Jungle.

Details: www.actorsjungle.com

Brouwerij West Closes its Doors After a Weekend of Goodbyes

 

By Rosie Knight, Columnist

It was with heavy hearts and the vibrant, rowdy San Pedro spirit that residents bid farewell to Brouwerij West over a weekend of lively parties and emotional goodbyes.

The celebration began on Friday with the last of what has become a must-attend event, La Bota, the tamborazo night which brings thousands of dancers to the Port of Los Angeles every month to dance into the early hours of the morning. The high-energy brass-based Mexican band had become a South Bay staple since it first debuted at Brouwerij West in 2023. The massive success of the regular parties introduced boundless new faces to San Pedro while celebrating a vital part of the local culture.

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‘La Bota,’ a tamborazo night of dancing. Photo by Arturo Garcia-Ayala

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Bodies swayed and music vibrated through the World War II warehouse that has housed the local brewery for nearly a decade. It was a fitting goodbye for the brewery, which has hosted karaoke, trivia, gamedays, and many, many live shows over its near-decade tenure. It was clear from the thousands of people who showed up for La Bota that the passion for Pedro and tamborazo music is still just as strong as ever. Friends danced together, bartenders poured locally brewed beers, and hugs, kisses, and smiles were as abundant as empty glasses.

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Mike Watt + The Missingmen perform at the Brouwerij West farewell celebration. Photo by Arturo Garcia-Ayala

As the sun rose on Saturday and many Brouwerij West regulars nursed sore heads, it was time for one last blowout party, which had been in the works even before the news broke that the brewery would be closing its doors on March 3. Saturday’s big celebration was supposed to be Brouwerij West’s 9th Anniversary, but with recent news, it also became a bittersweet bash that carried the label of “Farewell Party.” Headlined by punk band, Fartbarf, the lineup included Icky & The Splooges, Clown Sounds, Mike Watt + The Missingmen, Bombón, and DJ Nick Aguilar.

San Pedro locals, Crafted vendors, and Brouwerij West devotees packed the courtyard and interior of the brewery for the event that began in the sunny afternoon and ran well into the chilly night. It was a vibrant reminder of the joyful community fostered by the brewery, with families, music fans, and beer lovers boisterously sharing in the lively atmosphere.

On Sunday, Brouwerij West’s final day of business, locals who had once waited tables in the early days of the brewery chipped into bus tables one last time as the neighborhood crowded in to get a final pour of Dog Ate My Homework or Popfuji. While the weekend’s festivities saw the community come together and celebrate, there was an emotional edge, especially as the closure of the brewery meant a loss of 30+ local jobs in the San Pedro community, including well-known workers who had become a staple of the port and its thriving community of workers, vendors, and families.

On Instagram, Brouwerij West shared a post thanking the local community for all their support. “San Pedro: We don’t even know where to begin. Nine years ago we had a dream and took a chance on creating not just a brewery, but something truly special. Thanks to you, we did just that. Thank you to everyone who offered their support — from kind words and connections to GoFundMe donations — to try and keep this crazy dream going. The outpouring was overwhelming, and we will be forever grateful.”

The adjacent building housing the art market known as Crafted will remain open for regular weekend hours, welcoming visitors to its recently expanded space featuring new vendors and businesses. As for what happens next for Warehouse No. 9, there were rumors aplenty over the weekend but no concrete announcement for what will take the place of the beloved brewery.

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Two patrons of Brouwerij West enjoy a dance during ‘La Bota’ at the brewery’s farewell celebration. Photo by Arturo Garcia-Ayala

The only thing that is sure is that both the local and wider Los Angeles community will be grieving the loss of Brouwerij West for a long time, not just as a business but also as a hub for families, local music, delicious food trucks, and as its final weekend proved once again unforgettable parties.

From Tuna Street to Walker’s Cafe

San Pedro Fights Back Against Demolition By Neglect

By Emma Rault, community reporter

“Demolition by neglect” is an existential risk to San Pedro. The term is used to describe situations when property owners allow their buildings to fall into disrepair. Sometimes, the reasons for this can be circumstantial — lack of funds or changes in arrangements, like a longtime owner or steward stepping down, causing important expertise to be lost.

At other times, it betrays a lack of interest in the buildings themselves and what they mean to the community. We tend to see this when land becomes more valuable than what is on it, as in Los Angeles in recent decades.

For absentee property owners, it’s easier and more profitable to cash out and let a developer put up something new.

Corporate developers, meanwhile, are often happy to let buildings sit and rot. As time goes by, people are more likely to get exhausted, tired of pushing back against ill-advised plans and looking at boarded-up windows. “Just do something — anything!”

A quick scroll through Zillow will reveal a number of blighted homes billed as “investment opportunities.” In other words: not a new homeowner’s fixer-upper, but an invitation for developers to come in, bulldoze, and start over.

When it happens to houses, it’s bad enough. When it happens to community spaces, however — spots that are important to our history, our connections with each other, our sense of place — it can be devastating.

But people can — and do — push back. Last year, we reported on the Port of LA’s plans to bulldoze what’s left of historic Tuna Street — the last surviving buildings from the thriving Japanese American community that was abruptly evicted after the attacks on Pearl Harbor at the beginning of WWII.

It’s a site that organizations such as the National Trust for Historic Preservation and the LA Conservancy consider rare and precious. And it’s vitally significant to the Terminal Islanders — a multi-generational organization made up of Japanese Americans with roots on the island.

That includes people with a direct link to the remaining buildings on Tuna Street, like Tim Yamamoto and Derek Nakamura, whose grandfather and great-grandfather Akimatsu Nakamura ran a grocery store on the site.

When they learned the port was intending to demolish these buildings to create more space for container storage, they immediately took action. They set up a preservation committee headed up by Paul Boyea, reached out to other stakeholders, and opened a dialogue with the city. The Central San Pedro Neighborhood Council stepped in passing a motion of support and brought the Terminal Islanders in masse to the Harbor Commission. The port gave lip service to the preservation but their intent was demolition.

Then last month, CD 15 Councilmember Tim McOsker introduced a motion to landmark the buildings, which after a touching meeting received a unanimous “yes” from the LA City Council.

The advocacy of the Terminal Islanders spurred a realization that these buildings have been stuck in limbo for far too long. “This is our opportunity … to do something that significantly acknowledges this great legacy,” McOsker said.

The end goal, Paul Boyea said at the city council meeting, is “adaptive reuse”: bringing the buildings back to life in a way that memorializes the important history of this community once known as East San Pedro. According to the US Post Office, it still is part of the 90731 zip code.
Meanwhile, over on the other end of San Pedro, we have Walker’s Cafe. After it was shuttered by its absentee owners in late 2021, a widespread community effort — with a petition signed by more than 3,000 people — resulted in the cafe receiving LA Historic-Cultural Monument status in 2022.

The landmarking triumph sent out a powerful signal. To quote the National Trust for Preservation’s slogan: “This place matters” — it needs to come back to life.

But partway through the landmarking process, the property was somehow scooped up off-market for $650,000 by Prospect Group, a developer whose MO is summed up in their Instagram bio as “Fix & Flip.”

In the years since they have let the shuttered cafe sit. And sit. And sit. Following numerous requests from our neighborhood councils, in October 2023 Prospect Group finally appeared at a Coastal San Pedro Neighborhood Council meeting — and unveiled plans for a massive, 3,500+ square feet, two-story residential development in the back of the lot.

This ocean-view mega-mansion would dwarf Walker’s Cafe — not to mention the single-story homes on either side of it — and rob the cafe of the space needed for storage and outdoor seating.

In short: this huge development would mean the death of the cafe — and it would destroy the unique historic charm of Point Fermin.

When the developer’s lawyer presented the plans to the community, dozens of local people and stakeholders sounded the alarm. They included neighbors, restaurant owners who had been ghosted by Prospect Group after offering to work with them to bring the cafe back, realtors, and architectural historians specializing in bringing LA’s historic sites back to life.

Prospect Group submitted their plans to the city’s Department of Planning two weeks later, having ignored the community’s concerns and made no substantial changes.

Two years later, the questions raised at that neighborhood council meeting still remain unanswered. Questions like: Where are the accommodations needed for the cafe to reopen — space for parking and dumpsters, enough outdoor seating to turn a profit, and the legally required distancing between a working kitchen and the huge house planned in the back?

Entering the third year of Prospect Group’s ownership, it’s looking as though no answers have been given because no good answers exist. Because the priority appears to be something else altogether — not bringing a popular business back to life, but squeezing every drop of profit out of a parcel of real estate.

On March 20, 2025, at 9:30 a.m., Prospect Group’s plans for the site will be discussed at a Planning Department hearing.

If the developers are able to push these plans through, this would allow them to sell the lot with “entitlements” — permits to build that mega-mansion — and leave Pedro behind in its rear-view mirror. They’d be able to turn a profit without so much as breaking ground. That’s what it means to “Fix & Flip.”

In that scenario, Walker’s Cafe becomes collateral damage. A landmarked legacy business held hostage for years on end with issues piling up and its chances of revival dwindling.

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“Demolition by neglect” is an existential risk to San Pedro.
Graphic by Emma Rault.


But like Tuna Street, Walker’s Cafe still has a chance. With the recent loss of the Alhambra, Dancing Waters and Brouwerij West, it’s even more important to hold onto the historic community spaces we’ve got left.

San Pedro again finds itself at a crossroads. Last year, the question was: More container storage or nationally significant historic buildings?

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The long-running San Pedro nightclub Dancing Waters, which saw many different iterations. Photo by Arturo Garcia-Ayala


The answer was loud and clear.

Now: An oceanfront mega-mansion or a new chance to take in the view and meet with friends in a 1940s legacy eatery?

The March 20 hearing will be held online. You can let them know how you feel. For details on how to attend and share your views, see https://planning.lacity.gov/dcpapi2/meetings/document/78316 or go to savewalkerscafe.com.

 

Know Your Rights Red Cards


All people in the United States, regardless of immigration status, have certain rights and protections under the U.S. Constitution. The ‘Know Your Rights Red Cards’ were created to help people assert their rights and defend themselves against constitutional violations. Knowing and asserting rights can make a huge difference in many situations, such as when ICE agents go to a home. Red cards provide critical information on how to assert these rights, along with an explanation to ICE agents that the individual is indeed asserting their rights.

Red Card Spanish

The editors at Random Lengths News are concerned about the safety of the Harbor community. With that in mind, we’re sharing information with you about ‘Know Your Rights Red Cards’ and we encourage you to spread the word.

The Harbor Area is home to many immigrants. As news of ICE raids throughout LA has been circulating, those who could be affected should know their rights.

RLN aims to inform and empower you by providing you with vital information on issues that affect us all.

You can visit our office to get Red Cards for yourself and your family and friends.

From the editors at Random Lengths News, independent and free!

#RLNResist

This Information is NOT intended as legal advice.

Lydia Maria Child’s Forgotten Lessons in a Nation Still Learning the Hard Way

As Americans muddle through this “find out” period, 45 days after we inaugurated the first criminal to the presidency, it’s surprising that more white Americans still haven’t learned that the wages of whiteness will leave us all impoverished.

In the last election, exit polls indicated that some 52% to 55% of white women voted for a convicted rapist and a political party that has fought against abortion access and the bodily autonomy of everyone but men.

For me, the past three elections show that we are living in the failed Susan B. Anthony’s vision of American freedom.

Susan B. Anthony fought for abolition and women’s suffrage but prioritized white women’s status in America’s racial hierarchy. She and Elizabeth Cady Stanton opposed the 15th Amendment, arguing that granting Black men the right to vote without including women left white women behind.

Reflecting on this moment, I think of Lydia Maria (Mariah) Child, a prominent 19th-century writer and activist. Abolitionist leader William Lloyd Garrison called her “The First Woman of the Republic.” For over 50 years, she wrote groundbreaking works, including Hobomok, which depicted a romance between an Indigenous man and a colonial woman, The Frugal Housewife, the first American cookbook, and An Appeal in Favor of That Class of Americans Called Africans, the first known use of the term “African Americans.” She also authored History of the Condition of Women and numerous essays on religious and social equality. Today, many recognize her as the editor of Incidents in the Life of a Slave Girl, the book that introduced filmmaker Natoma Lillie Keita to her work.

Unlike suffrage leaders like Stanton, who sought to appease Southern white women by excluding Black women, Child prioritized racial justice. She supported Black men’s voting rights before women’s and insisted that Black women fight alongside white women for suffrage and abolition. When Stanton and Anthony invited her to join the Women’s Suffrage Movement as an honorary member, she refused, stating that she would not divide her efforts between freeing enslaved people and securing voting rights for Black men.

In 2001, filmmaker Constance L. Jackson (now Natoma Lillie Keita) helped induct Child into the National Women’s Hall of Fame alongside Althea Gibson, Lucille Ball, Ruth Bader Ginsburg, and Rosalynn Carter. In 2007, through Permanent Productions, Jackson wrote, directed and produced a documentary on Child’s life, earning recognition from Child scholars and LA County Supervisors. This renewed attention led to Child’s permanent exhibit at the Smithsonian’s National Museum of African American History and Culture.

Child’s most controversial work is her book An Appeal in Favor of That Class of Americans Called Africans, which called for immediate action to end all forms of racial discrimination — from employment bans to segregated schools to anti-miscegenation laws. The book landed in thousands of hands, including the Reverend Martin Luther King during the Civil Rights Movement of the 1950s and 1960s.

The United States has yet to atone for the original sin of slavery, and in some key respects, it has doubled down on holding onto the ill-gotten proceeds of white supremacy. The most recent election exemplifies this, particularly in the role that white women played in preserving systems that deny fundamental rights to marginalized groups. While they are not the only example, their complicity highlights the tension between the promise of suffrage and the reality of exclusionary feminism.

More than half of white women supported Trump in the last election, which suggests that despite the advances of the suffrage movement, many white women remain aligned with white supremacy at the expense of their own gender’s rights.

The recent election also underscores a broader realignment in American politics, where the Republican Party has increasingly appealed to working-class voters across racial lines. While many political analysts view this shift as an indication that education and class matter more than race, this interpretation ignores the extent to which whiteness still functions as an economic and social currency. White blue-collar voters, for example, overwhelmingly supported Trump over Kamala Harris by a margin of 63% to 34%, reinforcing the idea that the “wages of whiteness” — the material and psychological benefits of racial privilege — continue to outweigh other factors. Even some historically marginalized groups have, in some ways, been folded into this system, further complicating efforts to build solidarity across racial and economic lines.

Lydia Maria Child’s vision of an America free from white supremacy remains unfulfilled. Until we confront this reality and commit to dismantling these systems, we will continue to see history repeat itself — at the expense of justice, equality, and true democracy.

To learn more about Lydia Child’s legacy, visit permproductions.com where you can stream Natoma Lillie Keita’s documentary, Over the River: Life of Lydia Maria Child, Abolitionist for Freedom.

Garage Theatre turns 25 by the grace of community

When I sat down with a quartet of Garage Theatre co-founders in 2010 as they got ready to celebrate their 10th anniversary, they told me that nearly three times as many groups were doing theatre in Long Beach as when the Garage came on the scene.

But that trend has reversed, and in 2025 you can count on your fingers the number of groups that don’t have “high school” in their name offering theatre of any kind in the 44th biggest city in the United States.

But 25 years on, the Garage Theatre endures. Ask this little engine that could how they can, and they’ve got a word for you: community.

***

The Garage Theatre community started to come together in 1995 when Eric Hamme met Jamie Sweet and Jeff Kriese at Orange Coast College, a conducive environment for DIY drama nerds.

“In addition to the classes and mainstage shows, they had the OCC Rep, which was basically a student-run theatre company,” Hamme relates. “[…] You had to do everything yourself, so it wasn’t uncommon for me to be directing a show, acting in two shows, running lights for one show…. If you needed a set piece, it was like: go to the shop and build it.”

The trio quickly found themselves kicking around the idea of forming their own company, but it was when the three transferred to Cal State Long Beach — “and met much more talented people” (Hamme) — that the Garage really started to happen.

Jessica Variz was among those talents. Kristal Greenlea. Amy Louise Sebelius. And Matthew Anderson, who landed in the CSULB’s Theatre Department straight from Minnesota. When Sweet directed him in a production of David Mamet’s The Revenge of the Space Pandas, Anderson saw a window opening on a possible future: “I felt like we could do this again and again and again and again. All of the pieces were there. It was so much fun, so irreverent…. It just felt so good.”

Immediately after graduation, Anderson, Hamme, and Sweet drove to Washington to see Phish for the first time. It was an epiphany.

“I had never experienced live music in such a way where it felt like the audience was a part of the experience instead of just watching something unfold in front of them,” Anderson recalls raptly. “[…] All of my prior experiences felt like you were going to a concert show or going to a play and watching something. [But at the Phish show] there was a give-and-take, like the audience was feeding what was happening onstage and vice versa. That imaginary fourth wall was just really blurry.”

Many such road trips followed (these are real live Phisheads, kids), as much for the inspiration and camaraderie as for the music.

“Cultivating that connection through the art we were presenting felt like the only thing that was worth pursuing,” Hamme says. “[…] Lots of conversations about shows we wanted to do came on the road driving 12 hours in the middle of night. That solidified the relationship of us as friends and us as a company.”

The Garage Theatre debuted in 2001 with Eric Bogosian’s Scene from the New World at Studio 354, a club known for Monday-night keggers where a ten-spot got you live music and all you could drink. But one week into the Garage’s second show Studio 354 was shut down (Hamme: “It was totally illegal”), and during the next four years the Garage performed kinda wherever they could (including once in the Santa Ana digs of fellow OCC spinoff Rude Guerilla (RIP)) and averaged only two shows a year.

Yet to their surprise, they had a bit of a following.

“I remember in grad school [hearing] that theatres were desperately trying to capture that 18-34 demographic because theatre is expensive and it gets perceived as a little elitist,” Hamme says. “But from Day One we had it. […] We tried to market ourselves as theatre for people who don’t like theatre. We encouraged people to bring their own beer and wine to the show. […] We were just trying to do stuff our friends would like. We didn’t [yet] know or have a relationship with the greater Long Beach community, so we just said, ‘Well, we like it — and if our friends give us the thumbs-up: success!’”

But it was after their 2005 move into “the space” at 251 E. 7th Street — made available when the Found Theatre (RIP) decamped for new digs across the street at the City Place Shopping Center — that they first felt like a full-fledged theatre company. And with it, the added pressure.

“We knew we had to pay rent now,” says Hamme, “so it was just: show show show show” — eight in 10 months, which they realized wasn’t a sustainable model creatively. By 2007 they’d hit their stride, doing six shows including a Mamet, a Sebelius autobiographic that was a local sensation, the third installment of Sweet’s five-play melodrama/farce, and a staging of Don DeLillo’s Valparaiso (the set was a box without walls tricked out in lo-fi multimedia) that convinced me they definitely had something going on.

The next several years were relatively smooth sailing, as they joyfully navigated everything from The Threepenny Opera and Richard III to The Last Days of Judas Iscariot and Trey Parker & Matt Stone’s Cannibal! The Musical — all while regularly being voted Long Beach’s fave arts organization. Original projects were regularly in the mix, such as 2011’s monumental LOLPERA, whose libretto was composed exclusively of LOLcat memes and hilariously dramatized the catastrophe inherent to a world where the search for meaning in life has been commodified into the most meaningless of pursuits.

But communities change. Kriese left in 2008, and by 2013 Sebelius, Greenlea, and Variz had followed. That year the Garage merged with (ingested?) Alive Theatre, a younger spawn of CSULB’s Theatre Arts program. Although results of the partnership were mixed (“We’ve done some stinkers for sure,” laughs Hamme, ticking off a few examples both pre- and post-merger), one of the two Alivers still with the Garage today is Thomas Amerman, who — along with Garage mainstay and set designer Rob Young — is chiefly responsible for tending the flame of one of the Garage’s most charming traditions: how for each show the interior is transformed so that at least a little (and sometimes a lot — even the seats and stage may be in totally different places) it feels like you’ve never been in that particular space.

And some of the Garage’s best work was to come. A peak was 2015’s world-premiere staging of Tom Stoppard’s radio play Darkside, which fashions a narrative from both the music and themes of Pink Floyd’s Dark Side of the Moon. Conceived and directed by Hamme, the result was so well regarded that Stoppard sent a representative from England to check it out. How often does something like that happen to a theatre that rarely has seating for 40?

But by 2018 the waters were choppy. Sweet was gone, leaving Hamme and Anderson the last co-founders standing. And while the lack of a rigid hierarchy wasn’t a problem with the original crew, now the pair’s lack of feel for helmsmanship left the Garage a bit rudderless. There were only three productions that year (including a restaging of Darkside) and just two in 2019 (though one, a parody version of the Patrick Swayze flick Road House, was one of the funniest things they’ve ever done).

Knowing they were adrift, Hamme and Anderson resolved to get a better grip on the tiller. But smack dab in the middle of the 2020 opener came the tsunami known as COVID-19. Not only was the Garage’s 20th washed away, but if they weren’t sinking, they were sure taking on a lot of water. Attention, passengers: in an emergency your seat cushion can be used as a floatation device.

“We had a little bit of money in the bank, but we really depend on that first show to get us through the rest of the year,” Hamme says. And while “a sizeable donation from a family friend” meant they could pay rent on the space for the short term, the nonprofit, all-volunteer Garage (no employees, no payroll) qualified for very little COVID financial assistance and ultimately got none.

So they turned to community. And their community came through.

“In general asking for money has always been an uncomfortable thing for us,” Hamme says. “And let’s be honest: [although] our audience is incredible — I think we have the best audience in Long Beach, and they’re very supportive — we don’t have the wealthiest audience. […] We thought $5,000 [was enough] to get us a few months into 2021. But then we decided, ‘Look, if we’re going to ask for anything, let’s go big.’ And the response was absolutely incredible.”

Despite setting a target of $10,000, the Garage’s “Yes We Can” fundraiser brought in about $25K, which enabled the Garage to pay 2021’s rent in one lump sum.

“I remember thinking, ‘Shit, this actually means something to people,’” Hamme reflects. “Because when you’re in your own little corner of the sandbox just doing your thing, you don’t really think of that; you’re just trying to entertain the people who chose to be there that night.”

“Lots of donations came with stories and experiences that people shared about what we meant to them, how our being there has helped them,” Anderson adds. “It solidified for us our place in the hearts of the community.”

And community was always the goal.

“No matter what year, no matter what the show, when you walk into our space, whether you’ve been there two times or 20, you feel it,” Anderson says. “That’s part of the reason you’re there: that connection, that relationship. Whether you know us or not, you feel like you’re a part of something. And you are.”

***

While in the midst of working on promos for the Garage’s 25th Season kickoff event, Hamme made the mistake of leaving both his laptop and backup drive together in his car overnight. In the morning he was greeted with the broken window, the missing backpack. A record of the last quarter-century in a little corner of Long Beach, gone.

“I called Eric after I got back [from vacation recently], and he said, ‘It’s gone, everything’s gone,’” Anderson says. “But how do you measure something that’s living and breathing? Experience is the thing. Yes, the record of it is gone, but you never really could go back and revisit the experience itself, anyway.”

Twenty-five years on, there’s no end in sight for the Garage. In fact, 2025 is their first five-show season since 2016. And co-founder Jessica Variz — who brilliantly directed Cannibal! The Musical and LOLPERA — is back for a show this autumn.

“We didn’t think it would last 25 years,” Hamme says. “But we just keep doing the work. […] Everyone — even Matt and me — has a last day with the company coming. I’d like for it to go on even after the two of us are gone; but if/when it’s meant to stop, it’ll stop. [In that case] I think it would be cool if there’s just a little plaque at the space that says something like, ‘This shit happened here.’ That’s enough.”

This shit here continues Friday when the Garage Theatre opens its 25th season with the world premiere of Ryan McClary’s Tragedy Gift Shop (dir. Matthew Anderson). For tickets and all things Garage Theatre, visit thegaragetheatre.org.