February 27, 2005 |
Jennifer PAZ has become Exhibit A in Actors' Equity's case against erstwhile members of the union who work in stage productions without Equity contracts. The L.A.-based actress, best known as the star of the Equity-blessed "Miss Saigon" tour that played L.A. in 1995, quit the union in 2003 to play the same role on a nonunion tour. She hoped to rejoin, however, in time to appear in a Rubicon Theatre production, "Songs for a New World," that will open in Ventura on Saturday.
June 7, 2002 |
As the world goes 'round, does Tim Dang's East West Players production of the musical revue "The World Goes 'Round" bring anything especially distinctive to the New York-style sensibility of the musical team of composer John Kander and lyricist Fred Ebb?
June 25, 2004 |
Jennifer Paz wowed Los Angeles in the city's first "Miss Saigon," at the Ahmanson Theatre in 1995. Wrote The Times' Laurie Winer: "The stillness, simplicity and grace of her performance form the heart of the show, a perfect jewel in a garish setting." Paz had joined "Miss Saigon" in 1992 without any professional experience. The show was her ticket to a membership in the Actors' Equity Assn., the stage actors' union.
June 3, 1999
Jennifer Paz from Broadway's "Miss Saigon" will perform July 10 at 7 p.m. in Showtime '99, the eighth annual concert to benefit the Asian American Drug Abuse Program. Comedian and actress Amy Hill will host the event at Japan America Theatre, 244 S. San Pedro St. Information: (323) 293-6284.
November 6, 1998
"Hero, a Tribute to George Takei," an evening of comedy and music honoring the actor of "Star Trek" fame, will be held Nov. 14 at 8 p.m. at East West Players' David Henry Hwang Theater at the Union Center for the Arts. The event, which features guest performers Garrett Wong ("Voyagers"), Jennifer Paz ("Miss Saigon"), Nichelle Nichols and Walter Koenig ("Star Trek") and Pat Morita ("The Karate Kid"), will benefit East West programs and operations.
February 5, 1999 |
In "Measure for Measure" at the Morgan-Wixson Theatre, director David Anthony Smith and a lively cast tear through Shakespeare's dark comedy with slapstick momentum and plenty of laughs. The staging is streamlined and simple. The stage is mostly bare, the actors clad in unobtrusive modern attire. The emphasis here is on the language, and although some lines are lost in the pell-mell enthusiasm with which they are delivered, the result is a crackling entertainment.