Categories Theatre

Feeling the ‘Heat’ at GMU


Where and When

L.A. Theatre Works presents “In the Heat of the Night” at the Center for the Arts, George Mason University, 4440 University Drive, Fairfax. Performance on Sunday, Nov. 16 at 7 p.m. Tickets: $26-$44. Call 888-9450-2468 or visit: Note: Performance includes adult language. Parental discretion is advised.


“In the Heat of the Night” by L.A. Theatre Works at GMU Center for the Arts.

Gripping detective mysteries are not only on the television or streaming on the Internet. They can be found in a live theater production coming to the George Mason University Center for the Arts courtesy of the touring company, L.A. Theatre Works. The show is “In the Heat of the Night”.

The production will be in a live radio drama format adapted from John Ball’s mid-1960’s book “In the Heat of the Night.” His book was a classic not just of police work, but of people grappling with integration trying to move toward a future of respect no matter skin color or ethic status.

Adapted by playwright and screenwriter Matt Pelfrey, “Heat” is the story of a white, Southern police chief from a small town in Alabama, and an African-American detective from the North, who lock horns about a murder, police procedures and how two strong men can work together with respect and dignity to solve a crime. All in the midst of long-standing attitudes about how people are “supposed” to be.

“In our production, the audience becomes part of the performance. We use non-traditional staging as the actors face the audience in a radio studio setting,” said director Brian Kite. “The audience will have an opportunity to find their own truths about race, fear and ultimately respect.”

According to Kite, this production will give the audience the opportunity to deeply feel what the characters are dealing with, “What does it say about me if I accept and respect another who is different than me.”

Veteran actor James Morrison plays Police Chief Gillespie. When asked about the role, he said, “As an actor, we are an instrument to bring characters alive for the audience. We create an illusion.” Morrison also noted that the issues raised in the show remain current.

For Ryan Vincent Anderson who plays Virgil Tibbs, the African-American detective, one of the key things about the show is how the two main characters “build a relationship” to investigate a murder as well as to get along together. Given current events, he expects the powerful story will resonate with audiences who may not be familiar with either the Academy Award winning movie or the Emmy Award winning television show based upon the original book “In the Heat of the Night” book.

The production will put the audience in a ripped-from-the-headlines theatrical experience.


Categories Gallery Screencaps

Wilderness Survival For Girls Screencaps

Added caps of James Morrison in the movie Wilderness Survival For Girls to the gallery.

iTunes only has this in SD, not HD. So the quality/size of these are the best I can do for now. It’s a pretty good movie, I really really liked that the three girls are sort of girl next door type pretty and not Hollywood pretty. And James Morrison has a good amount of screen time 🙂

The usual rules apply – credit, don’t hotlink, don’t ask for zips/rars!

Categories Episode Stills Gallery Promotional

Space: Above And Beyond Photos

Added these stills and promos from Space: Above And Beyond to the gallery. Unfortunately, only a couple of them are of medium quality, the rest are low quality. I’ll replace with better ones if/when found.

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Categories Reviews

The Jazz Funeral Movie Review reviewed The Jazz Funeral:

Title: The Jazz Funeral

Director: Jesse Rosen

Starring: Bobby Campo, James Morrison, Maiara Walsh, Dee Wallace, Rene Le Vant

A world premiere and Grand Jury honorable mention selection at the recently concluded 17th annual Dances With Films Fest, “The Jazz Funeral” is a relaxed, shrewdly observed portrait of the sort of crucible that a lot of young men must pass through in entering into a functional, adult, peer relationship with their father. Smart, modulated performances and a professional, unfussy technical package mark this as a superlative indie effort — one that augurs good things for a lot of the young talent involved.

Would-be musician Billy (Bobby Campo) is having minor-chord relationship troubles with his live-in girlfriend Emily (Maiara Walsh) when his overbearing father Nick (James Morrison) breaks the news that a close family friend has passed away. Putting his life in Los Angeles on hold, Billy joins his father in New Orleans for the funeral, and discovers his dad is teetering on the edge of divorce with his latest wife. The pair meet a couple of party-hearty Australian lasses, and then get together with old friends James (Rene Le Vant) and Maggie (Dee Wallace). When Billy misses the chance to have a meeting with a producer who could further his career, however, that lost opportunity, along with another revelation, threatens to undermine their détente.

“The Jazz Funeral” bills itself in its press notes as based on a true story, and if that’s true it’s easy to see in the very simple contours of the characterizations and drama contained herein. Hearteningly, though, what writer-director Jesse Rosen (“The Art of Being Straight”) doesn’t do is force the issue, being bold for boldness’ sake merely in a grab for more air-quote indie credibility. One occasionally wishes that Rosen shed a bit more light on his characters’ personal histories, either via flashbacks or some punchier dialogue. But what’s special about “The Jazz Funeral” is that it doesn’t twist and contort itself to invent a chain reaction of escalating incidents; it’s content to establish the frustrations that Billy and Nick have with one another, and then explore and pay off that friction in believable and to-scale ways. Cinematographer Aaron Torres, meanwhile, abets this character-based approach, delivering warm frames that capture the mood and energy of on-location New Orleans.

Walsh makes a solid impression in limited screen time, but it’s Campo and Morrison who do most of the heavy lifting here. They have a great rapport together, but also exhibit canny instincts about how and why family members swallow irritation at certain moments and let it flash in other, seemingly less fraught circumstances. Morrison in particular does a good job of walking the fine line between borderline haughty/definitely exasperating and something kind of tender and touching. He has the instinct to butt in to his son’s life (he thinks Billy is in love with being in love more than in love with Emily), but it’s leavened with moments of lowered-guard jocularity (“These tools helped make you, you should be proud,” he says nonchalantly, walking around naked in the duo’s hotel room) that make his performance — and the movie as a whole — feel multi-dimensional and lived-in.

NOTE: For more information on the film, visit

Technical: B+

Acting: B+

Story: B

Overall: B+

Written by: Brent Simon