RED DOG SQUADRON is a non-profit theatre company in residence at the Circle Theatre in Los Angeles. The company was founded in 2002 by Brad Raider and James Roday, who also serve as Co-Artistic Directors. The two friends met while studying at the Experimental Theatre Wing at NYU and have been frequent collaborators since.

MISSION: Through collaborative theatre and community outreach, our mission is to provide audience and artist alike with visceral and emotionally resonant experiences, while inspiring and nurturing the next generation of young theatre professionals. In this way, RED DOG strives to create unity -- connecting one another within the ephemeral moments of a darkened theatre.

Producers. Designers. Actors. Stage Hands. The company has worked with hundreds of artists in its 15-year history and is always looking for enthusiastic, talented theatre professionals with whom to collaborate.

COMING SOON: A listing of open positions and instructions for applying to the company

The Circle Theatre is a landmark rich in Hollywood history.

Built in 1910 and originally two properties, the northern building was one of Hollywood’s earliest movie houses known first as The El Centro Theatre and later The Ivy Theatre by 1915.

The southern building on the corner of El Centro and Waring housed both a grocery store and a vitamin factory until 1947 when its history as a stage house began.

Purchased with a down payment of $200, the space (although in need of a full makeover) was a much-needed upgrade for a popular, young theatre company whose former venue was a cramped, living room in Hollywood.

The young company, known as The Circle Players, had been formed by seven UCLA drama students: Ilyana Yankovich, Margie True, Jerry Epstein, Marilyn Clark, Patricia Englund, Dan Matthews, and Julian Ludwig.

By the time they took residence on the corner of El Centro and Waring, the company had expanded to include the next-generation of Hollywood legends: Edward G. Robinson Jr., George Burns Jr., Sydney Chaplin, and Charles Chaplin Jr. ... Charlie Chaplin, himself, often provided directorial services for the young company.

Their first production in the space was Ethan Frome and The Circle Theatre was born.

The company produced 23 plays in three years and by the end of 1948, expanded to include the adjoining space, dubbing it The New Theatre Wing, dedicated to experimental work. The second space opened with a new translation of Strindberg’s The Father.

After The Circle Players’ disbanded, former company publicist George Boroff managed the theatre in the 50’s and 60’s, sending many of the produced plays there to Broadway.

The building housed many small companies until the mid-seventies when entrepreneur Ted Schmitt created The Cast Theatre in the former New Theatre space, and the Cast-at-the-Circle in the original store-front space.

The entire complex was later renamed The El Centro Theatre and saw rental productions in both spaces: the 99-seat Circle Theatre and the 45-seat Chaplin Stage.

In 2011, RED DOG SQUADRON produced Karl Gajdusek's Greedy to sold-out houses in the 99-seat space and the following year, the company purchased the building in partnership with Matt Shakman’s Black Dahlia Theatre Company.

The building underwent extensive renovations for nearly four and half years and now houses both RED DOG and Black Dahlia. The two companies plan to open the state-of-the-art theatrical space in 2017, returning it (once again) to its original moniker: The Circle Theatre.

Artist renderings of the new space

The Circle Theatre

804 N. El Centro Ave LA, CA 90038

WE'RE just west of Larchmont Blvd, north of Melrose Ave

Parking information coming soon.

ARTIFICIAL FELLOW TRAVELER written and performed by ETHAN SANDLER was workshopped at Big Daddy's Antiques in Los Angeles February 20th through March 12th, 2012 under the direction of DANIEL GOLDSTEIN  with the following crew:


GREEDY by KARL GAJDUSEK opened at the El Centro Theatre in Hollywood January 8th, 2011 and ran through January 29th under the direction of JAMES RODAY with the following cast and crew:


Producer ANDREW CRABTREE Production Stage Manager JEN BENDIK Scenic Design KURT BOETCHER Lighting Design MIKE DURST Costume Design GALI NOY Sound Design JOHN ZALEWSKI Special Prop Design KERRY DERZIUS Technical Director STEVE BARR

Five people struggle with their greed, hope, desire and integrity in the wake of an emailed plea for money promising big returns. Is it a scam or a golden opportunity?

EXTINCTION by GABE McKINLEY opened at the Elephant Theatre in Hollywood November 21st, 2009 and ran through December 13th. It then re-opened at the Cherry Lane Theatre Off-Broadway February 13th, 2010 and ran through March 14th. Both productions were under the direction of WAYNE KASSERMAN with the following cast and crew:


Producer BREANNE MOWDY Production Manager (NY) JAMES KING Production Stage Manager (LA) SUSAN K. COULTER Production Stage Manager (NY) AUDRA ROBERSON Scenic Design (LA) KURT BOETCHER Scenic Design (NY) STEVE KEMP Lighting Design (LA/NY) MIKE DURST Costume Design (LA/NY) GALI NOY Technical Director (LA) STEVE BARR Public Relations (LA) LUCY POLLAK Public Relations (NY) SAM RUDI

EXTINCTION is a darkly funny drama exploring the evolution of friendships - and the lengths to which we go to save them from falling into extinction. College buddies Max and Finn have always spent their vacations in the fast lane, religiously drinking, drugging and chasing women ... but this time something is different. In a hotel room in Atlantic City, the two friends face-off with their indulgent past and take a sober look at their all-too-present future.

WAYNE KASSERMAN's Director's Note:
While doing research for this play many months ago, I was struck by something I read that encapsulated for me the spirit of Gabe McKinley's EXTINCTION. Scientifically, there are two types of extinctions – phyletic and terminal. Phyletic extinction occurs when one species evolves into another with time; in this case, the ancestral species can be called extinct while the new continues to develop. In contrast, terminal extinction marks the end of an evolutionary lineage – the termination of a species without any descendants. It is this subtle, albeit striking, difference between the two that lies at the heart of this play. Life presents us with the constant challenge of adapting to the world around us. After all, change is inevitable. Though the process is rarely easy, it is this struggle that either makes or breaks us. Living in the past rather than the present, for instance, we can unwittingly face our own terminal extinction by not moving forward. Those who can rise to the occasion of adaptability – bending, adjusting, and growing – can choose to redefine who they are and create the life they want to live. Our existence is held in balance by our vision and our malleability, and often the influences of others can either hold us back or allow us to move on. Extinction is necessary. Without it, how could we evolve?

GRAND DELUSION by DAVID ROCK opened at the Lost Theatre in Los Angeles November 17th, 2007 and ran through December 15th under the direction of LARRY BIEDERMAN with the following cast and crew:


Producer MICHAEL MANSHEL Producer GUSTAVO SPOLIANSKY Co-Producer TIM BANNING Stage Manager SUSAN K. COULTER Asst Stage Manager BREANNE MOWDY Scenic Design SHANNON SCROFANO Lighting Design JOHN ECKERT Sound Design COLBERT S. DAVIS IV Costume Design SANDRA BURNS Technical Director MIKE ZIMMERMAN Asst Scenic/Prop Design J LAUREN JACKSON Asst Scenic/Prop Design COURTNEY OLSON Herman ALISON HEIMSTEAD Portraits/Makeup Effects XANDER BERKELEY Public Relations LUCY POLLAK Casting Director MONIKA MIKKELSEN Graphic Design BRAD RAIDER Web Design RILEY BERTON Back Cover Illustration RON YAVNIELI Publicity Photos ALAN LOAYZA RED DOG Photo EVA WEISS Party Planner LESLEY WORTON Theatre Manager CINDA JACKSON

The year is 1914. The world is on the brink of war and chaos. Millions of lives hang in the balance and the fate of future generations is being shaped boldly by a few good mad men. GRAND DELUSION, the brand-new, biting black comedy from playwright David Rock, imagines a secret summit of world leadersin the days immediately preceding World War I. The madcap cast of historical and fictional characters includes a paranoid and megalomaniacal Kaiser Wilhelm; his dimwitted cousin Czar Nicholas II; and an Austrian foreign minister hungry for a war that will suitably impress his beautiful girlfriend. It's a dark and wickedly funny depiction of how the gears of diplomacy just might have turned to alter history forever...

A Note From Playwright, DAVID ROCK:

In July of 1914, spawned by the industrial revolution, Europe was a continent luxuriating in a period of unprecedented economic prosperity, interdependence, and relative peace (outside the Balkans). The seeds of civilization planted in the Enlightenment were bearing the fruits of an increasingly liberal and rational society. However, outside of France and Switzerland, monarchies still remained dominant. Then on June 28, 1914, an Austrian archduke known best for his passion for hunting, and for evoking near-universal disdain, was assassinated (inside the Balkans). Shortly after, Europe launched itself into a cataclysmic conflagration so fierce, spreading so wide, that its repercussions continue to define our geopolitics to this day. Over the past hundred years we have come to understand nearly everything about this great inferno that changed the world forever. Except for precisely why it started. That is, until now . . .

SUSTENANCE written and directed by JAMES RODAY and CHICKENS & ASSHOLES written and directed by AARON SAIDMAN opened at the Stella Adler Theatre in Hollywood February 12th, 2004 and ran through February 14th with the following cast and crew:

Happy Jack MATT BENNETT Very Best Buddy DANA ASHBROOK Shiny Penny NIAMH McCORMALLY Birthday Boy BRAD RAIDER Feng Shui RENEÉ J. TAN Moto (from across the hall) TODD JASON HARTHAN Cassidy Lynn Kellogg AMANDA DETMER Charles Poindexter MacKENZIE ASTIN Rupert Greenspan JAMES RODAY Priscilla Bang VIVIAN BANG Superior Officer FREEMAN MICHAELS “Thank You For Watching” SEANNA HORE

Assistant Director DAVID L. ROCK Production Coordinator CATHERINE CAHILL TD/Lighting Design PARKER YOUNG Set Design KERRY DERZIUS Costume Design GALI NOY Properties MICHAEL BATES JESSICA SAMUELSON KATIE SANNER Special Make-Up Design FARAH BUNCH Special Hair Design NICOLE FRANK Postcard/Poster Design DAVID RODRIGUEZ Sound Designer (C&A) ASSAF LOTAN Cinematographer MATT DEETSCH

SUSTENANCE + CHICKENS & ASSHOLES are a pair of original one-act plays about very best buddies and bomb-throwing extremists.

SEXUAL PERVERSITY IN CHICAGO by DAVID MAMET opened at the Stella Adler Theatre in Hollywood December 18th, 2002 and ran through December 21st produced by special arrangement with Samual French, Inc under the direction of BRAD RAIDER with the following cast and crew:

Danny Shapiro JAMES RODAY Bernard Litko BRAD RAIDER Deborah Soloman NIAMH McCORMALLY Joan Webber LILLI BIRDSELL

TD/Lighting Design PARKER YOUNG Set Design NECK WILLIAMS Costume Design MURPHY LATOUR Property Design LORI JO PIQUE Soundscape ABE DRIDRAR Postcard/Poster Design DAVID ISERSON Stage Manager CHRIS MacEWAN Co-Producer TODD SHOTZ

The action takes place in various spots around the North Side of Chicago, a Big City on a lake. Summer. 1986. Please turn all cell phones and pagers into vibrators.

HENRY V by WILLIAM SHAKESPEARE opened at the Mazer Theatre in New York City October 25, 1999 and ran through December 4th under the direction of LAURIE WESSELY with the following cast and crew:

Chorus PHILIPPE BRENNINKMEYER Henry BRAD RAIDER Canterbury / Fluellen MICHAEL HOGAN Ely / Gower DAVID ANDREW SALPER Exeter GABRIEL SILVA Gloucester ERIC FELDMAN Westmoreland DAVID C. ROBINSON York / Jamy / Court MICHAEL STOCK Salisbury / MacMorris / Bates CHRISTIAN CONN Cambridge / Governor SID HAMMOND Scroop / Orleans DAVID LOOK Grey / Rambures JARED DAWBER Montjoy / French Soldier BOLTON MARSH Nym / Williams RAY RODRIGUEZ Bardolph / Erpingham HUGH SCULLY Hostess Quickly / Queen of France MELANIE S. MURRAY Pistol JEFFREY SUTTON Boy JOHN ANDREW BURNETT King of France / Le Fer DAVID McCAMISH Dauphin MICHAEL RUBENSTONE Constable NICHOLAS ROCHETTE Katherine NIAMH McCORMALLY Alice DEB HIETT BORGIA Burgandy / French Soldier PETER TEDESCHI

Producers JAMES RODAY, SAMUEL PORAT Associate Producer MELISSA BRYANT Fight Director J. DAVID BRIMMER Stage Manager ELIZABETH GREENMAN Production Stage Manager SKEETER Set Design JEFF NEWBURGER Lighting Design JONAH MEACHAM Costume Design SARAH J. TOSETTI Sound Design JARED COSEGLIA Press OPR / DAVID LOTZ Marketing BRUCE ROBERTS Assistant Director MELANIE S. ARMER

LAURIE WESSELEY'S Director's Note:

What is it about King Henry V? 400 years after Shakespeare wrote this play The Life of King Henry the Fifth, and nearly 200 years following Henry's coronation, the world is still fascinated by this man. He was a youthful ruler, not confined in many ways by his time, neither military rules nor social custom. Henry was faced with extraordinary odds at Agincourt (the play cites 60,000 Frenchman opposing 12,000 English, and although that may be an exaggeration, as certainly the death toll in the text of 10,000 French and 29 English must be, the odds were by all counts at least fearful.) But instead of playing by the customary rules of warfare at the time, Henry fought the battle from behind a line of yeoman archers who cut down the French nobles and their horses, hopelessly stranded in the muddy fields. He fought side by side with members of all classes, as well as Scots, Irish, and Welsh fighters, creating a united front unprecedented in English history. Although Henry is not really a tragic figure, at least not in the course of this play, he is a man of great complexity, charisma, of thought, of emotion, and above all, a man of action. All these admirable traits Shakespeare presents to us, along with some of the most extraordinary poetry of the canon.

Although the history of this king is fascinating, I find myself drawn to his extraordinary spirit. He chooses, the night before a battle in which his troops are doomed to overwhelming defeat, to wander among his men, to give comfort, to understand their feelings, to pray for their cause, to engage them in theological debate. He does not do what other kings of his time would certainly have done and ransom himself to the French. He follows his cause into battle, and although he does not always choose the most humane path by modern standards, he certainly ruled his kingdom and his troops with great conviction and care. He is careful to treat the French with dignity and respect outside the battlefield, and his own troops with honest leadership and a bond of brotherhood. This production was particularly inspired by the thought that, were Henry a modern figure, circumstances might have allowed him to be a man of peace, of diplomacy, of spirituality. In his time, his leadership was expressed through the necessary brutality of military expression, and this production certainly does not shrink from that; but today Henry might have the opportunity to fight his cause on a different kind of battlefield, as other great leaders of our century.

"Our enemy is our best guru. From him we learn our most valuable lessons: compassion, understanding..." - The Dalai Lama