Website: www.wildworxproductions.com
Blog: www.splitid.wordpress.com
Twitter: justinawalford
Facebook: Justina Walford and Getty Gein
After a number of years writing and producing for the stage, Justina Walford has turned her unique eye and voice to the screen.
In April of 2008, she was a finalist at the Beverly Hills Film Festival and in November of 2007, she was a finalist in the Queens International Film Festival Screenplay Competition with her film adaptation of EVOLUTION OF SUNDAY. Justina received raves in the LA Weekly and Backstage West for the play and thought it long overdue for adaptation. It is currently in development with a March ‘09 shoot date. The film is an intimate drama about a man who, following the tragic loss of his wife, seeks redemption with the guidance of an unlikely spiritual guide. The stage version enjoyed four successful runs – twice at Walford’s Split Id Theater, the Hudson Guild Theater in Hollywood, and the Camino Real Playhouse in Dana Point. Praised by both the LA Weekly and Backstage West, it was described as “a thoughtful and affecting drama about faith, love and forgiveness”.
Walford most recently produced and edited the comedy short, THE DANCER’S BEATDOWN. Written and directed by Wildman, the film focuses on a young man who, escorted and prodded by a posse of women, dances “at” a group of men trying to enjoy their weekend. Last year, Walford wrote and produced the animated short, SEX TOYS FOR GOD. Irreverent and controversial, the film focuses on a creative approach to the heart of the religiously committed. Previously, Walford wrote and directed the comedic short film, ROMANTIC INTERVENTION.
For her productions on the stage, Walford was a proud recipient of the Women in Theater Red Carpet Award, which was presented to her in 2004. She was the Artistic Director of Split Id Staged Performances in Hollywood for three years. During that time, she produced six full-length productions a year and countless one-night shows. Additional past productions include OVERFLOW, her autobiographical play featuring six women representing variations on one persona, the Asian-American themed MEMOIRS OF AN ALMOST GEISHA, and her seriocomic ensemble piece DATING IN PERSON, as well as popular published plays such as Don Nigro’s SPECTER and Howard Korder’s BOYS’ LIFE.
Also critically acclaimed as a theatre director, Walford gained kudos for her work on Michael Rex’s THICKER THAN WATER, Mark Dunn’s MORNING COFFEE, Dominic Savio’s one-man show REVELATIONS FROM GOD and NO REFILLS. Last year, Walford most recently directed Wildman’s EXPLODING GIRLFRIENDS at Actoberfest at The Secret Rose Theater in North Hollywood.
Walford also curated the Stranger Than Fiction monologue performances at both the Split Id Theatre and Sugar Shack Theater Space from 2005-2006.
Film
Dancer’s Beatdown, short film 2007
John Wildman writes and directs. Justina Walford produces and edits.
Sex Toys for God, short film 2006
Justina writes and John directs. Angela Truong animates. It has a hilarious Christian rock band scene.
* “It’s so wrong. Yet so right.” -Sarah Peters
* “Justina -and anyone involved with this project- is going to burn in hell.” -Dominic Savio
* “It’s comic madness with a message.” -audience member
* “Ewww.” -audience reaction
* “I don’t get it.” -Justina’s Mother
Actoberfest, Secret Rose Theatre 2006
Justina directs John’s short one act “Exploding Girlfriends.” There were baked beans and barbie dolls.
Thicker Than Water, Actors’ Circle 2005
LA Weekly says “Justina Walford directs.” And they are correct. I did. It also got a recommend, which rocks. Michael Rex is a great writer and actor and I hope he becomes famous so he can buy me lunch.
15 Minutes of FEM, Egyptian Arena Theatre 2005
I didn’t win this little contest, but I made some incredible friends from the experience and got some sweetheart who called herself a “fan” to talk to me after the show.
Overflow, Hudson Guild Theatre 2005
Split Id wore out the reviewers by 2005, but many die hards call this autobiographical piece their favorite Walford play. Review Plays called the women of the show “haunting.” That’s because the cast was six hot hapas talking about being, well, hapas. I was one of them. So I just called myself hot. That’s right. I’m hot.
Stranger Than Fiction, Split.Id Theatre 2005
This is the show I want to do forever and ever. It’s This American Life meets indie theater. Writers get on stage and talk about something that really happened to them. Or they lie.
Breaking Up, Split.Id Theatre 2005
* “Split.Id says farewell to the Complex with a bang. Their last show at the Split.Id Theatre is two hilarious one acts –“Morning Coffee” by Frederick Stroppel and “Gendermat” by Mark Dunn- directed by award winning Justina Walford. The first one act, “Morning Coffee,” is a biting look at breaking up with New York live-in couple, Katie and David. Their relationship thrives on their many melees, but this Saturday morning, things will change. From cheap jabs to true pain, this break up shows how an everyday fight can turn into last words. The second one act, “Gendermat,” cleverly shows the different genders and their universal way of breaking up. Set in an apartment basement laundry room, a couple says their farewell. The one act is a sort of tag team theater where a character’s gender changes with the actors.” -ReviewPlays.com
Evolution of Sunday, Hudson Guild Theatre 2003, 2004
Written and performed twice, this drama about grief and loss received rave reviews. Backstage West called the ‘04 production “compelling” and the actors “superb” while in ‘03 NoHo>LA raved that the production “makes you ponder about where you are spiritually.” But the best kudos was from LA Weekly who on both productions called the play “well written” and “intelligent.”
* Full review from LA Weekly: “Writer Justina Walford has delivered a thoughtful and affecting drama about faith, love and forgiveness, remarkable for both the clarity of its focus and the complexity of its characters. Director Marisa O’Brien gets subtle yet powerful performances from her cast of two, and tries a novel device for scene transitions: Segue music is sung live from behind the audience up in the booth area, and singer Annie Katsura Rollins adds nicely to the changing moods with her lovely voice. The story begins as a stunned and bleeding man, Kevin (Braden Tenney), staggers into the office of pastor Danielle (Zanne Walls). At first he seems antagonistic and crazy, until it is revealed that he’s just been in a car accident where his wife was killed. Kevin’s late wife had made him promise to spend four Sundays at this church, and now he angrily appeals to Danielle for comfort and guidance. Danielle has a secret, however, which will turn this relationship inside out. Tenney does a terrific job with a tricky role. Kevin isn’t such a great guy: He took his wife for granted, he’s rudely confrontational, but beneath that surface he’s collapsing completely, and Tenney balances the anger and sorrow very well. Walls excels with the more internalized Danielle, and when her secret is revealed, Walls displays her helpless grief and shame in a sudden torrent of emotion that is startlingly deep and moving.”
Memoirs of an Almost Geisha, Split.Id Theatre 2003, 2004
I created this with writer/actor Penney Wei. It’s a monologue and sketch collection focused on the female Asian-American experience. Kristina Wong was a highlight of that particular adventure. She’s funny.
Dating in Person, Split.Id Theatre 2003, 2004
* “With a nod to Howard Korder’s Boy’s Life, Justina Walford’s well-written comedy follows three friends as they navigate through the thickets of love and romance…The action unfolds in a series of simple, short scenes, where this trio of gal pals meets and matches up with different fellows, wrestles with temptations, and ultimately finds salvation in the arms of their true loves or in independence. The cast is flawless.” -LA Weekly
Revelations from God, Split.Id Theatre 2004
Ah, nothing beats directing a bi-polar recovering addict again.
* “Director Justina Walford precisely locates Savio’s strengths as writer and proficient actor, knowing when to let Savio let his words stand on their own. The final product of the show reveals her own ability to excavate a rare hour of genius story within a story about madness.” – NoHo LA
No Refills, The Split.Id Theatre 2003
Ah, nothing beats directing a bi-polar recovering addict. But it was all worth it to see people moved by Dominic Savio’s one-man show. Kudos to the man who bore his mad soul.
Mad Art, The Split.Id Theatre 2003
The first play in Split.Id’s home –The historic Complex in Hollywood. A young artist must create a collection of paintings within an hour. Every performance had a 4 x 4 original painting by none other than artist/sax player Eric Passchier.
Buffets, The Complex 2002
Writing and producing my first full length play inspired me to lease a space for over two years. It was funny. It was fun. And I grew so much as a writer and producer in the three years that followed.
Creative Juices, The Flight Theatre 2002
“Genius!” -Chris Moore…that’s right, the man who brought you “American Pie” called me genius after seeing my short one act, Cops. He was, however, drinking at the time.
Kiss a Stranger, Glaxa Theatre 2002
“Boring” – LA Weekly. Well, you can’t bat 100 every time. It was my first review after all.
