A Conversation with Playwright/Actress Venessa Verdugo, "Hooligani," Upstairs @ El Centro, Hollywood Fringe, by James Scarborough

In "Hooligani," Venessa Verdugo becomes Tetyana Komisaruk, a Russian madam on trial for trafficking Ukrainian women into prostitution in 1990s Los Angeles. The solo performance unfolds as a courtroom plea where Tetyana attempts to secure leniency by recounting her journey from Moscow orphan to criminal.

The true crime narrative compels not just through its topicality but by casting the audience as both jury and voyeur. Drawing on her training at Cal State Fullerton and Stella Adler Conservatory West, Verdugo navigates the moral ambiguity of portraying a criminal who seeks sympathy. The challenge lies in representing a trafficker's perspective without glorifying her crimes.

"Hooligani" joins Verdugo's repertoire of solo work that resurrects controversial women from history's shadows. Her previous show "Heiress '69" similarly gave voice to Manson murder victim Abigail Folger. This pattern shows her fascination with women whose stories combine crime, exploitation and survival.

The 30-minute performance offers a concentrated character study examining how circumstances and choices turn a vulnerable orphan into a predator who exploits other vulnerable women. The production comes amid fresh interest in true crime storytelling, giving audiences an intimate look at a criminal mind that seeks understanding, not absolution.

Below follows an email conversation with Venessa Verdugo.

JS: Your show presents a human trafficker pleading her case directly to the audience as jury. What ethical issues did you face when creating a narrative that gives voice to someone who exploited vulnerable women?

VV: The purpose of HOOLIGANI is to serve as a warning to the viewer about predators in general without coming off as preachy. My goal is to show how sociopaths like her think and what these girls encountered while under her control. It is important to me that people know I am not excusing her behavior or supporting her in anyway.

JS: "Hooligani" follows your previous solo show "Heiress '69" about Manson victim Abigail Folger. What draws you to creating performances about women entangled in notorious criminal cases? How does your approach differ when portraying a victim versus a perpetrator?

VV: I created HEIRESS,’69 as a response to the many movies, documentaries and television shows about Charles Manson and his followers. The victims seemed to have been forgotten. My approach doesn’t really differ when portraying a victim versus a perpetrator because they are both human beings with the goal of getting a strong want fulfilled.

JS: In crafting Tetyana's character, how did you balance historical accuracy with the dramatic needs of theatrical performance? Were there aspects of her story you chose to emphasize or minimize?

VV: The fall of the Soviet Union allowed the world to get a glimpse of what life was really like behind the Iron Curtain, so the drama was already there for my piece. I chose to focus on her narcissism and include that many others went through hard times but did not choose to hurt others to improve their own living conditions.

JS: Solo performances demand remarkable versatility. How has your training at Cal State Fullerton and the Stella Adler Conservatory shaped your physical and vocal portrayal of Tetyana's journey from orphan to criminal?

VV: CSUF introduced me to scene study, plays and writing. I got my feet wet there. The Conservatory introduced me to Stanislavsky and technique that made my choices in a role stronger. I learned to get out of my own way mentally, to relax. The character then just comes organically. After that, Tetyana’s choices and actions just flowed consistently.

JS: The title "Hooligani" suggests both criminality and a certain cultural identity. How does the production explore Tetyana's Russian background and how that heritage shapes both her criminal operations and her worldview?

VV: Going without the basic essentials was a part of life in the Soviet Union. Its citizens did whatever they had to do to survive. Many worked hard and often went without while others fell into corruption. Tetyana was a smart woman who I believe made a choice to do the things she did. She easily could have found a legitimate way to make money.

JS: Your collaboration with Jessica Lynn Johnson, who has produced over 175 solo shows, must bring considerable experience to the production. How has her involvement influenced "Hooligani" from concept to stage?

VV: Jessica has been amazing! I only started working with her this past January and now I am ready to perform HOOLIGANI onstage! When we first started working together, I had an idea of what I wanted to do but wasn’t quite sure in which direction to go. She was so supportive and accepting about everything I wrote and my ideas, I felt free to follow my instincts and take risks.

Performances are Saturday, June 7 at 12:45 p.m. (preview), Thursday, June 13 at 5:00 p.m. and Wednesday, June 25 at 9:00 p.m. Tickets are $15. The Upstairs @ El Centro is located at 1103 B North El Centro Avenue, Hollywood, CA 90038. For more information, click here.