Trailer version 2.0

Ryan Hudson rocks center stage

Ryan Hudson rocks center stage

Cassidy Catanzaro bares her soul

Cassidy Catanzaro bares her soul

Braden Lyle finds a groove

Braden Lyle finds a groove

The amazing Julia Lage on bass...

The amazing Julia Lage on bass...



Imagine a dimension where a powerful live rock concert, a bold theatrical stage play, and an epic big-screen love story are harmoniously blended with one another to take its audience on a mind-bending, musical journey through PARALLEL WORLDS.

It's going to take the minds of a genius to blend the three powerful entities together, but that is exactly what Brandon Beckner has done.  But it would be a terrible mistake to dismiss this as something created solely for the esoteric, academic or experts in quantum physics. PARALLEL WORLDS has all the hallmarks of global appeal. 






Besides plans for Off-Broadway, Broadway and Vegas productions of Parallel Worlds, Brandon has a live action/animated feature film in development called MK-ULTRA: Sex, Drugs and the CIA.  Brandon wrote and directed the independent feature Remarkable Power! starring Kevin Nealon, Tom Arnold, Nora Zehetner, Kip Pardue and Dule Hill.  The film opened a nation-wide theatrical run headlining Carmike Cinemas’ Independent Film Series in March ‘09 , launched its cable premiere on Showtime and appeared at over 40 film festivals winning several awards, including: Best Picture/Director (FirstGlance Philadelphia), Best Picture/Screenplay (HD Fest, Los Angeles), and Best Feature (ACE Fest, New York City). On the writing front he has optioned several screenplays and sold a one-hour pilot, Darkside, to Fox Studios.  



Steve is an award winning filmmaker and writer who has been collaborating with Brandon for the last 25 years. His work writing the lyrics for the songs in a show with such an intricate musical landscape is one of his proudest and most unique accomplishments of his career.



Matthew has directed productions and workshops at Center Theatre Group, South Coast Repertory (StudioSCR), The LA Philharmonic @ Disney Concert Hall, Deaf West Theatre, Theatre @ Boston Court, REDCAT, Circle X, Son of Semele,  The Chance, Moving Arts, Rogue Machine, College of the Canyons, Chapman University, CalArts, among others,  and has produced 15 seasons of theatre in Los Angeles as the Founding Artistic Director of Son of Semele Ensemble.
For his direction of his critically-acclaimed production of “Our Class” Matthew received a 2013 SAGE Award and a 2014 LA Drama Critics Circle Award (nominations from the Ovation Awards and LA Weekly). His direction of Martin Crimp’s “The City”  earned him an award nomination from the LA Weekly and in 2007 he received an LA Weekly Award for Multi-Media/Projections for his media co-design of Iphigenia… A Rave Fable. Matthew has received grants from EST/Sloan Science and Technology, CCI/Durfee ARC, and was a finalist for the Sherwood Award. KCRW has said, "[McCray] distinguishes himself as one of the most plugged in theatre makers in LA." Matthew has performed on the stages of REDCAT, Disney, REPRISE!, Overtone Industries, Theatre @ Boston Court, Musical Theatre West, Shakespeare Orange County, Son of Semele, as well as on the TV showsParenthood, New Girl, Will & Grace, Boston Legal, The Cure (pilot), and the feature film The Commission (starring Martin Sheen, Edward Asner and Martin Landau). He has served on panels at CalArts, the Los Angeles Convention and Visitor’s Bureau and LA Stage Alliance, among others. He is an Executive Officer of the Theatrical Producers League of Los Angeles/Intimate and has been an Ovation Voter since 2008. BFA, Chapman University. Member: SDC, AEA & SAG/AFTRA. @matthewmccray 



Jason designs video and projection for theatre, dance, opera, theme parks, commercial and corporate events. Selected credits: Baby It’s You! (Broadway), Hopscotch a live streaming multimedia mobile opera taking place in various locations around Los Angeles, Wingman a one-man multimedia clown show, The Cunning Little Vixen (Cleveland Orchestra), Cage Songbooks (Carnegie Hall, SF Symphony, and New World Symphony), Crescent City Opera and Invisible Cities new experimental operas directed by Yuval Sharon, Re:Union (Vancouver and Ottawa), Fast Company and Tokyo Fish Story (South Coast Rep), Tales from Hollywood (Guthrie Theatre), The Steward of Christendom (Mark Taper Forum), Great Immensity and Venice (Public Theatre), Remember Me (Parsons Dance Company), Chavez Ravine (Kirk Douglas Theatre, Ovation Award),  Stars on Ice (2007-Present). Current projects include video system design for the Petersen Auto Museum renovation, an opera in Vienna and two live shows for Disney Shanghai Park and Resort.



Scott co-wrote and produced Brandon Beckner's debut film, the independent feature Remarkable Power! starring Kevin Nealon, Tom Arnold, Nora Zehetner, Kip Pardue and Dule Hill.  The film opened a nation-wide, limited theatrical run headlining Carmike Cinemas’ Independent Film Series in March ‘09 , and appeared at over twenty-five film festivals winning several awards, including: Best Picture/Director (FirstGlance Philadelphia), Best Picture/Screenplay (HD Fest, Los Angeles), and Best Feature (ACE Fest, New York City).  Teaming up with Brandon on the writing front, he has optioned several original screenplays and sold a one-hour pilot, Darkside, to Fox Studios.  



Bio to follow



Tim is Head of Production for Lussier Creative, a leading marketing agency producing award winning promotional campaigns for shows such as High School Musical 2, Dancing with the Stars, American Idol, Bates Motel, Damien, Scandal, Agents of S.H.I.E.L.D. Tim also produces and directs independent promo short films, including several for Bates Motel that have screened at Comicon.    



Keith graduated summa cum laude from the University Of Hard Knocks, where he obtained a double masters in drunken string theory and contemporary American literature written by alcoholics and substance-abusers. It was during these formidable years that he developed an unhealthy obsession with cinematography,  a profession that continues to ruin his life to this very day.  Keith utilizes the most modern techniques in self-flagellation and other destructive motivational tools in order to create something that resembles art, so that he may justify his existence, feed his tortured soul, and distract himself from the “eternal suffering of the spotted mind”. When not on set, he moonlights as a quality-assurance tester for fine Kentucky bourbons, waxes Bukowski, and questions authority with unparalleled exuberance.



Josh is currently serving as Creative Director for Soundgarden, Josh Graham works from concept to completion across all mediums of today’s multi-faceted creative campaigns: album packaging, merchandise, promotional material, social media imagery, concert visuals, and music videos.  He is always looking for new opportunites, and available to focus on singular elements or oversee entire campaigns. MUSIC INDUSTRY WORK INCLUDES Soundgarden, Jay Z, Drake, Neurosis, Wolfmother, Megadeth, Ten Commandos, Ice Cube, D12, The Dillinger Escape Plan, Shrinebuilder, Jesu, Nadja, Chris Cornell, Underoath, Sleep, Florence & the Machine, Moon Taxi, Red Sparowes, A Storm of Light, ISIS, Sunn, Mastodon, Saves the Day, Willo Perron, Jurassic 5, Battle of Mice, No Doubt, Chiodos, Foo Fighters, Madonna, Southern Lord Records, Neurot Recordings, Universal Records, A&M, Metal Blade, EyeHateGod, Century Media, Vattnet Viskar, Tooth and Nail, Vagrant, Equal Vision, and Scion’s music division.



Stephanie's recent credits in Los Angeles include scenery for Shiv at The Theatre@Boston Court, The Who’s Tommy at East West Players Need to Know at Rogue Machine, Pygmalion at Pasadena Playhouse, Dontrell Who Kissed the Sea at Skylight Theatre, Ovation Best Production Trevor for Circle X, Stupid Fucking Bird for Theatre@Boston Court with Circle X, and Costume Design for Reunion at South Coast Repertory. As Resident Designer at Rogue Machine she has designed scenery and/or costumes for many productions including: Penelope, Falling, One Night in Miami, Three Views of the Same Object, New Electric Ballroom, Blackbird, Treefall among others. For CTG/Mark Taper Forum she designed costumes for The Lieutenant of Inishmore and Randy Newman’s Harps & Angels.  Her work has received multiple awards and nominations, including Ovation, LA Weekly, LADCC, and NAACP awards.



Ashley is a freelance make-believer. In Los Angeles she’s an ensemble member of the award-winning Son of Semele. She's also worked for Colony Theatre, Road Theatre and Ghost Road Company.  In New York, she co-created a devised piece The Visceral City Project.  In London she’s assisted directed Much Ado About Nothing at Park Theatre, A Midsummer Night’s Dream at Chelsea Theatre (both dir. Andrew Shepherd), and Bunbury Banter’s Mortar radio series (dir. Ali Anderson-Dyer). She also co-produced Guns, Love and Chemistry with Define Choice.  Ashley holds a BA in Theatre from USC and an MA in Theatre and Performance from Queen Mary, University of London. @ashleysteed


MUSIC VIDEOS and sneak peEks





Cassidy toured the US as the "Debut Artist" on Starbucks', 'Hear Music Label' in conjunction with Atlantic Records. Her first release went on to sell over a million copies. Cassidy has toured with legendary acts including, The Rolling Stones and Aerosmith, and has sung with rock icons from Greg Allman to Steve Perry. She has appeared on 'TheTonight Show' and TODAY and has been featured in Rolling Stone Magazine several times

Most recently, Cassidy began writing songs for artists including, pop star Demi Lovato, Mount Holly Band, Swedish recording artist Tommy Burr and has had multiple songs featured in film and television.

Her project, 'Cassidy and The Music'. released the EP, "What Is REAL." on April 10th 2016.  Cassidy studied acting at The New School in New York City and UCB in Los Angeles. She has performed with several improv teams around Hollywood. Her film debut was a small part in 'The Skeptic' starring Zoe Saldana.

She's thrilled to be playing Tabatha with such an incredible cast and crew.



Julia Lage is a professional bass player born and raised in São Paulo Brazil, but now resides in Los Angeles. At the age of 17 Julia joined the Latin Grammy nominated Brazilian band Barra Da Saia. While Julia was playing with Barra Da Salia, they were regulars on radio, tv, and were a household name in Brazil. Also adding to Julia’s credits, in 2013 she performed with the world renowned guitarist, Richie Kotzen, throughout Europe. She’s also played numerous highly regarded local shows such as Sound Check Live and The Ultimate Jam night. She has shared the stage there with Glen Sobel, Steve Ferlazzo, Matt Starr and many more. In 2015 she performed on American Idol’s finale supporting artist Janelle Monáe as a taiko drummer. And last but certainly not least, she just finished a tour as the bassist/backing vocalist for the band Kicking Harold on their USA tour opening for The Winery Dogs. With her musical depth, stage experience, and BA in Music Performance, Julia is ready to take her career to the next level!



Mike Odabashian was born and raised in Massachusetts, he has a Bachelors in Performance from Rhode Island College and has studied with drum guru Mike Mangini and currently studies with drummer extraordinaire Dave Elitch. Some of Mike's biggest accomplishments have been the live drummer and studio drummer for Zander Bleck whom he had met in 2011. Zander was an Interscope recording artist who was signed by the legendary Jimmy Iovine and produced by Red One (Lady Gaga Jlo). They released an official video with Interscope, and were tour support for The Wanted, David Cook, Third Eye Blind and many more. The NYC based project then went on to sign with Redone's 2101 Records, an imprint under Capitol Records.

Mike recently just finished a US run with Kicking Harold as tour support for supergroup The Winery Dogs. Mike continues to be an in demand session/live drummer in Los Angeles and teaches regularly helping drummers find their true potential.



Ryan grew up in Oklahoma surrounded by the same classic rock that his parents grew up with. However it wasn’t until he was 13 that he caught the music bug and picked up a guitar. By 16 he was gigging in bars all over town, racking up hundreds of shows, several recordings, and a couple tours all before he was old enough to buy a beer. At 21 he left Oklahoma in search of new musical adventures and landed in Los Angeles. Before turning 22 he had toured overseas, played in front of crowds as large as 50,000, performed live on MTV, and been featured by radio stations and magazines in multiple countries. In 2010 he joined L.A. based rock band Love and a .38 and has been performing and recording with them nonstop ever since, building a worldwide fan base almost unheard of for an independent rock act in 2016.



Braden Lyle is a local 24-year-old guitarist in Los Angeles.  After relocating to LA in 2012 and a short-lived stint at music school, he picked up his first gig and began traveling the U.S. playing his guitar in various pop and r&b bands, far from the Led Zeppelin he grew up on. Braden now plays music ranging from old-school gospel to garage rock, jazz to delta slide and is excited to bring something unexpected to the Parallel Worlds experience.




Bio coming soon.


Musicians From L.A.'s Club Scene Make This Out-There Theater Hybrid Worth a Damn

LA WEEKLY: THURSDAY, JUNE 16, 2016 AT 7:08 A.M. 

Photo: Rock With You Photography

Photo: Rock With You Photography


It hasn’t been easy for musical-theater makers to harness the lightning-in-a-bottle power and presence of the live rock performance. In the nearly 50 years since Hair minted the genre, precious few rock musicals have convincingly navigated the vast reaches of cultural space that separate the very different planets responsible for the sublimating Dionysian power of rock and the structured poetic logic of dramatic narrative. As a rule, actors can’t rock, and rockers don’t act.

Which is why the significant revelation of Parallel Worlds, the intriguing experimental rock musical by Brandon Beckner (score and book) and Steve Sobel (lyrics) now playing in Sherman Oaks, is the exhilarating degree to which the half-film/half-live stage hybrid succeeds at delivering rock without necessarily cohering as the backstage meta-musical it strives to be.

That’s because Beckner and Sobel (with lyricist Paola Jimenez), whose backgrounds straddle music and movies rather than the theater, turn out to be extraordinarily credible songwriters. The 20-tune original score of moody romantic ballads, swaggering anthems and high-octane rockers could easily grace a Viper Room set list on a Saturday night. Additionally, rather than using trained actors, director Matthew McCray has gone outside the musical-theater ranks to cast veterans from the local club scene as the story’s rock-world musicians/characters.

Real-life singer-songwriter Cassidy Catanzaro (formerly with New York’s all-female alt-country Antigone Rising) plays Tabitha, the lead belter of a struggling retro-metal band that has been hired to score the movie projected onstage (on designer Stephanie Kerley Schwartz’s assemblage of monitors and projection screens). Ryan Hudson, the real-life frontman for L.A. hard rockers Love and a .38, is Miles, Tabitha’s recently ex-lover and the band’s co-lead vocalist and rhythm guitarist. Braden Lyle (lead guitar), Angelica Abrams (keyboards and vocals), Julia Lage (bass and vocals) and Mike Odabashian (drums) fill out the ensemble.

Photo: Rock With You Photography

Photo: Rock With You Photography

The book’s supranatural conceit follows Tabitha’s discovery that as the band sets down the movie score’s tracks, the emotional colorings of the songs alter the onscreen love story about aspiring artist J.B. (Shawn Reaves) and true love Ella (Marci Miller). J.B. wavers between becoming a New York art superstar or being with the stubbornly L.A.-rooted Ella. (Tim Gray directed the film, which was shot by Keith DeCristo.) Soon Tabitha and Miles are working out their own unfinished personal business by dueling onstage to determine the onscreen lovers’ fate: Cassidy’s wistful, neo-folk romantic ballads bring the lovers together; Miles’ cynical and raucous, Zeppelin-esque rockers push them apart.

All the players have serious recording and club-rock chops, and both Catanzaro and Hudson prove themselves powerfully soulful and pitch-perfect song interpreters (Abrams and Lyle are equally impressive on their solos in act two’s “Anarchy.”) The band’s live concert is a tour de force.
And though Beckner has his music dueling for the soul of the onscreen narrative, the far more compelling duel is ontological and has to do with live presence and the fascinating overlap between the metonymic world of the onscreen fiction and the metaphoric “reality” enacted live onstage. In the end the battle is no contest: The band rocks, the acting does not. And what’s astonishing is the degree to which that doesn’t matter.

CAP Studio, 13752 Ventura Boulevard, Sherman Oaks; through June 26.


Review: ‘Parallel Worlds: A New Rock Music Experience’

CULTURE SPOT LA: June 9, 2016 | By Julie Riggott

"Parallel Worlds" at CAP Studio in Sherman Oaks / Photo by Rock With You Photography

"Parallel Worlds" at CAP Studio in Sherman Oaks / Photo by Rock With You Photography


Sometimes, you just have to hand it to artists who refuse to be daunted by the sheer audacity of their vision, whatever that vision may be. And thus, I applaud the creators of Parallel Worlds, billed as “A New Rock Music Experience” that combines live music, dramatic acting and film. While I’m not sure that “new” is the right adjective to describe a show built around classic rock, it is an experience that is generally exciting and immersive, and will keep most of your senses engaged throughout.

Parallel Worlds is the brainchild of Writer/Composer/Executive Producer Brandon Beckner. A longtime musician, Beckner has also had success in the filmmaking arena with his well-received 2009 indie film, “Remarkable Power!” Drawing on his dual talents, he conceived of a show that had an interwoven storyline between what was happening on stage between musicians, and what was happening in a film running simultaneously. With each element mirroring or propelling the storyline of the other, it ignites a lively conceptual interplay that deepens the emotional resonance of the piece as a whole.

As mentioned, the three legs of Parallel Worlds are music, film and drama. They don’t all rest on equally sturdy foundations, however. The strongest element is the music. In a town as full of musical talent as LA, you would expect them to assemble a tight, rocking band and that is exactly what you get onstage. Auditions yielded six musicians who play like they have been together for years. With excellent, clear acoustics, the bass and drums have exciting, visceral impact; the talented lead guitarist and keyboardist have ample opportunity to show their chops as well.

The heart of the band is the two lead singers, played with charisma and charm by Cassidy Catanzano and Ryan Hudson. While the band is ostensibly in the studio to record a soundtrack to a film about a failing relationship, it eventually becomes apparent that there is an equally contentious relationship between the two singers. Of the pair, Catanzano really impresses with her soaring vocals and stage presence. Hudson has the look and sardonic attitude of a jaded rocker down pat and his vocals are strong as well, despite a thinner voice.

The music is straight up classic rock with no effort to be “modern.” You can hear influences of Pink Floyd, Creed, Melissa Etheridge, Third Eye Blind and The Beatles at various points throughout. What I particularly appreciated was the lack of a “Broadway” veneer to the songs. They were not sweetened or softened, and the singers avoided the typical theatrical histrionics.

Concurrent with the music, the film runs on seven screens of varying sizes that appear around and behind the performers. It tells the story of a young artist living in LA who must go to New York for a job opportunity, against the wishes of his girlfriend. Through flashbacks, we see the genesis of their relationship and the difficult choices he must face in maintaining his artistic and personal integrity. Positives were the guerilla-style shooting (presumably with an SLR), dynamic editing and interesting actors. Negatives were the too-long dream montage, extraneous personae and the cornball ending.

The onstage drama was the weakest link. Whether this was due to lyricists Steve Sobel and Paola Jimenez or Stage Director Matthew McCray, I could not say, but the “drama” between the singers felt insipid and did not go anywhere interesting, leading to a big shrug at the end. The opportunity to involve the other four players was lost, as they were not integral to the story and had no dramatic importance save for the occasional quip.

With 25 songs, Parallel Worlds could use some editing to make it tighter and maintain momentum. Paring back on the overly extended dream sequence comes to mind as an obvious place to cut. With some tweaking, this show could easily find an appreciative audience in larger venues, which it deserves. Whatever one thinks of the film or dramatic goings-on, all fans of classic rock can be assured of a rollicking good concert with engaging songs. If you’re like me, you’ll definitely feel the urge to raise your digital torch (cell phone) at encore time.

—David Maurer, Culture Spot LA

“Parallel Worlds” runs through Sunday, June 26. Catch performances Thursdays through Saturdays at 8 p.m. and Sundays at 7 p.m. Doors open at “Club Parallel” one hour before show time, as does the bar. Drinks are “on the house” with the $40 ticket purchase (served responsibly). 

Tickets are available online here. All ages are welcome, but parents might consider this a PG-13 show: no sexual content but some mature language. 

Club Parallel invades CAP Studio in the heart of Sherman Oaks for this multi-dimensional experience (13752 Ventura Blvd., Sherman Oaks, CA 91423; 818-990-2001). 


Review: A Fresh, Innovative and Consistently Entertaining Musical Production –

“Parallel Worlds"

LIVING OUT LOUD: By Jeremy Ross on June 5, 2016

It takes varying skill sets to stage a play, direct a film and perform a concert, and aptitude in one area hardly guarantees talent in another. This is the remarkable thing about “Parallel Worlds: A New Rock Music Experience,” a musical production that runs at CAP Studio in Sherman Oaks through June 26. The production bills itself quite accurately as a rock music experience, since it mixes film, theater and rock music to form a show in which all of the pieces may seem independently familiar, but their combination feels fresh, clever and ultimately innovative. Separate each aspect of the show from the rest, and the individual pieces may not seem particularly novel, but the creators of “Parallel Worlds” act like master chefs, taking what seem like standard ingredients and combining them to create something fresh.

“Parallel Worlds” is the creation of Brandon Beckner, who wrote the production as well as the original songs that dominate the show alongside the songwriters/lyricists Steve Sobel and Paola Jimenez. The production mixes a live concert with a film that tells the story of young lovers J.B. (Shawn Reaves) and Ella (Marci Miller) whose relationship is torn apart when he must leave Los Angeles for his big break as an artist in New York. A live band performs songs that serve as commentary on the action, and essentially act as a Greek chorus for the couple, thus becoming characters themselves. Gradually the focus shifts from the action on screen to the action on stage, as the band members become characters in themselves.

Much of the production seems inspired by the culture of the 1990s, from the Ethan Hawke in Reality Bites look of Reaves to the songs that would fit easily right beside Lisa Loeb and Juliana Hatfield on that movie’s iconic soundtrack. The female lead singer of the band, Cassidy Catanzaro, recalls Melissa Etheridge during her “Come to My Window” heyday, while the male lead, Ryan Hudson, has the long hair and goatee of a young Dave Grohl. Most of the band members may have barely been in diapers during the era that “Parallel Worlds” invokes, but they seem eerily transported from the Seattle grunge scene of a quarter century ago.

While none of the songs are as memorable as “Smells Like Teen Spirit,” every one is solid and well-crafted, performed with gusto by each of the musicians on stage. Where they far exceed expectations is when the songs end and their stage performances begin. None of the band members are trained as actors, but it is impossible to tell. Catanzaro and Hudson remain as compelling when the music stops as when they are singing, and drummer Mike Odabashian steals the show with bits of comedy. Demonstrating a flair for physical comedy while hidden behind a drum set hardly seems possible, but that is precisely what Odabashian does.

“Parallel Worlds” succeeds both as a narrative and as a rock concert, but it is the particular ways in which these two separate disciplines interact that make the show so fresh and surprising. The story makes some impressive gambles which pay off remarkably; Beckner and the rest of the creative team show a real willingness to push boundaries, and thus while each of the elements of the show may feel standard on their own, “Parallel Worlds” ultimately offers something that is unpredictable and consistently entertaining.

“Parallel Worlds: A New Rock Music Experience” is performed Thursday through Saturday at 8 p.m. and Sundays at 7 p.m. through June 26 at CAP Studio (13752 Ventura Blvd., Sherman Oaks 91423). 

For tickets and more information, visit