Resignations cloud Montalban’s future

Two large banners advertising “Virgin Love” still hang on the facade of the Ricardo Montalban Theatre in Hollywood, giving the impression of a successful run for the bawdy musical commedia that opened in October. But the play closed six weeks ago, and the banners mask the trouble brewing at the long-struggling community theater.

Behind the facade, internal strife again threatens the future of the Montalban, one of the most high-profile Latino cultural institutions in Southern California. Tensions spilled over during a recent retreat for top staff to explore ways to build on recent gains after years of shoddy management and spotty programming. Instead, the Jan. 5 session degenerated into another crisis for the fledgling nonprofit, with raised voices and the surprise resignations of two key players.

Just as the theater appeared to be getting its act together, new conflicts surfaced among the very people brought in to revitalize the organization at its landmark location near Hollywood and Vine. The conflicts -- primarily over scarce finances and the pace of progress -- led to the defection of David Llauger-Meiselman and Felipe Alejandro, the producing-directing duo that ran the resident Ricardo Montalban Repertory Theatre Company, launched about a year ago to create and stage original plays such as “Virgin Love,” one of the theater’s main missions. The pair plans to continue independent productions under their own banner, American Latino Theatre. And they hope to take their actors with them.

“I was just really burned out,” says Alejandro, who’s been with the Montalban as a volunteer for five years. “I was hoping to see more change in that time, and it was just moving too slowly for me.”

The new troupe hopes to stage plays in a gymnasium-like building at the Lot, formerly the Warner Hollywood Studios, where Llauger-Meiselman and his brother Erik operate Boricua Films. Among the company’s credits is “Urban Graffiti,” an annual hip-hop poetry slam.

The developments are certainly a setback for the Montalban, still struggling to realize the goal of its ailing namesake, actor Ricardo Montalban, who sought to create opportunities and a new image for Latinos in Hollywood. It’s hard not to feel disappointed in the theater’s failure to make maximum use of the historic building, especially at a time when the neighborhood is booming.

Now the board of the Ricardo Montalban Foundation, which runs the theater, is even considering a proposal to convert part of the building into a nightclub. Is that what L.A. needs? Another lounge?

I’ve never understood why the Montalban isn’t occasionally leased as a concert venue, especially for Latin music. At just over 1,000 seats, it’s the perfect size for many acts that have outgrown small clubs but are not big enough for the Gibson or even the mid-size Wiltern. The Montalban could create a hip musical identity that dovetails with its theatrical mission, creating a cultural destination while keeping the box office busy.

At this point, the board can’t even agree on the effect of the recent defections -- a fatal blow or a bump in the road?

Margarita Cannon, the Montalban’s artistic director, says the resignations of her colleagues, whom she praised for their energy and vision, made her question her own commitment to the theater. “It’s very heartbreaking for me,” says Cannon. “All of a sudden I’m faced with starting from scratch all over again, and I don’t know how long it will take us to recoup. What am I left with? An empty theater.”

Gil Smith, Ricardo Montalban’s son-in-law and a key figure in the theater’s re-organization, calls the changes “an adaptation,” not a crisis. Individuals may come and go, he says, but the theater will survive. “Our theater has a bright future,” he says. “Last year, we had a terrific year. People were looking at us again and looking for ways to help us.”

The highlight of the 2006 season was Culture Clash’s “Zorro in Hell,” a smart satire that got good reviews but had a shorter run than expected. It was followed by “Virgin Love,” the first full production by the Montalban Rep, which became a source of the current conflict.

Llauger-Meiselman says he put up much of the $90,000 it cost to produce the play, and he expected the foundation to reimburse at least a portion. He complains that the theater company was treated as “the bastard child” of the Montalban because outside productions often took priority as sources of revenue for a theater in dire need of repairs.

“I really believed in the idea of doing a Latino theater company, whatever it took,” he says. “I just couldn’t do it in that facility. You spend all your time worrying about the Great White Elephant.”

Cannon says she warned the producers that they were spending too much. Still, she says she was shocked by the resignations because she had begun the year with optimism. The theater had finally emerged from its financial hole, taking in $250,000 last year, which allowed it to pay off old debt. On board for 2008 are the spring production of “Romeo & Juliet,” by the resident Will & Company, and a summer staging of “Tommy.”

“I wish they would have given us one more year so we all could have built it up together,” she says of her departed colleagues. “I so much believe in those two guys. They’re going to make it, wherever they go. It’s just a real loss for us.”

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agustin.gurza@latimes.com