LA Theatrix Review: The Young and the Rest of Us at Group Rep Theatre

Tamir Yardenne's new play The Young and the Rest of Us, directed by Douglas Jewell in its world premiere at the Group Repertory Theatre, is a chaotic, satirical dark comedy that blends a murder mystery with the emotionally heightened world of soap opera culture.

Set on the night a long-running soap-opera series celebrates its Emmy nominations, the play follows a group of actors whose celebration quickly unravels into a whodunit filled with secrets, rivalries and unchecked egos.

Jesse Chandler Montgomery (D. Anthony Boone) is the soap-opera star at the center of the play and the reason the celebration is happening in the first place. His status within this world and his relationships with the other characters make him an important presence throughout the story. A portrait hanging on the wall of his home, where the celebration takes place, reflects both his celebrity and the larger-than-life image everyone around attaches to him.

The Ensemble

The entire eight-member ensemble delivers consistently engaging performances, striking a balance between satire and sincerity. The actors show strong chemistry and active listening, which keeps their energy dynamic and cohesive throughout.

Marcel Licera as eccentric script supervisor Dithers and Suzy London as showrunner Karen stand out with particularly sharp and memorable performances. Across the board, comedic timing is precise, and it drives the momentum of the show while keeping the audience locked in.

"Marcel Licera as eccentric script supervisor Dithers and Suzy London as showrunner Karen stand out with particularly sharp and memorable performances."

— LA Theatrix

Design & Production

Kathi Chaplar's set design centers the action in an intimate, stylized living room anchored by a blush chaise and conversational seating. Details like a bar cart, bookshelf and framed photos create a lived-in environment, while symmetrical doorways and a large, unavoidable portrait of Jesse add structure and visual focus.

Cynthia Payo's costumes bring personality to each character and support the performances without overpowering them. Devin Leo Harris' lighting adds depth through a mix of saturated blues and purples contrasted with warmer tones, enhancing both the mood and emotional texture of the piece without becoming distracting. Dan O'Connell's sound design works seamlessly with the lighting to support transitions and key moments — cues are precise and reinforce the pacing, helping to ground the world of the play while maintaining its theatricality.

Direction & Vision

Jewell's direction is focused and intentional, aligning with writer Yardenne's tone and structure. Blocking feels tight and purposeful, and pacing moves effortlessly from moment to moment. While some of the fight sequences read as exaggerated, they fit within the show's heightened style. The combination of technical elements with actor movement is especially effective, adding a layer of creativity that elevates the production.

Themes & Takeaway

At its core, the play explores ego and the need for external validation. It raises questions about what it means to feel valued in an industry that often depends on recognition and approval. The story leaves a lingering thought about the difference between external praise and internal worth, echoing the idea that validation from others is fleeting compared to self-assurance.