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Tony Frankel
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Los Angeles Theater Review: LUNCH LADY COURAGE (Cornerstone at Cocoanut Grove Theater)
FOOD FIGHT Using Brecht’s Mother Courage and her Children (1939) as a template, writer Peter Howard has created a wartime tale about the need to survive in challenging times. But the war isn’t an overseas conflict. It is one that takes place in a school cafeteria, where Ana, a.k.a. Lunch Lady Courage, has arrived to…
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Los Angeles Opera Review: CINDERELLA (LA Opera at Dorothy Chandler Pavilion)
EVERYBODY HAS A BALL AT THIS CINDERELLA Gioachino Rossini’s Cinderella (La Cenerentola) was written in 1817 during the bel canto era when operas were written to showcase beautiful singing, but LA Opera’s delightful production, which opened on Saturday, actually showcased the talents of Spanish Director Joan Font. The spirited and humorous production skittered around a…
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Los Angeles Theater Review: THE NETHER (Kirk Douglas Theatre in Culver City)
NETHER NOR Reality is the state of things as they actually exist, right? Not anymore. It’s fascinating that the World English Dictionary defines reality as “the state of things as they are or appear to be, rather than as one might wish them to be.” As they appear to be. Are we to take that…
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Los Angeles Theater Review: ON THE SPECTRUM (Fountain Theatre)
HAVING ISSUES WITH ISSUES Ken LaZebnik’s On the Spectrum, which opened last week at the Fountain Theatre, belongs to a genre known as Theatre of Identity, aka Social Issues Theatre; the idea is to promote a particular cultural identity – in this case, autism. Plays like the currently running Tribes (which deals with deafness) were…
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Theater Review: THE WHALE (South Coast Repertory in Costa Mesa)
NOT WORTH THE WEIGHT The title of Samuel D. Hunter’s The Whale refers to three things. The first is Charlie, a homebound, 600-pound tutor who instructs online classes in expository writing. Second is a student essay on Moby-Dick. The third is the biblical story of Jonah. At the top of South Coast Rep’s production, Charlie,…
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Bay Area Theater Review: FALLACI (Berkeley Rep)
AN APPETIZER FOR THE REAL LIFE OF ORIANA FALLACI At the top of Berkeley Repertory Theater’s Fallaci, Italian opera soars as the chiaroscuro image of Oriana Fallaci is illuminated by only her cigarette lighter. It is a fitting introduction to a play which sheds light on a character but fails to fully illuminate the life…
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Los Angeles Music Review: LE SALON DE MUSIQUE (Season 3, Concert 6 at the Dorothy Chandler Pavilion)
SOUL MASSAGE It’s easy to walk into a salon and pamper your body with a facial, pedicure, or rubdown, but there is a different salon in town where once a month there is an opportunity to have your soul massaged: a Chamber Music Concert Series called Le Salon de Musiques, a compendium of LA’s most…
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Los Angeles Theater Review: URBAN DEATH (Zombie Joe’s Underground in North Hollywood)
L. A. THEATER RISES FROM THE DEAD With an assemblage of the bravest actors in Los Angeles, Zombie Joe returns with an all-new Urban Death, the naturalistic horror show in the style of Le Théâtre du Grand-Guignol. In just under an hour, this ghoulishly delightful series of vignettes serves up unfathomable repulsions, profound evils, distressed…
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Theater Review: THE TROUBLE WITH WORDS (Coeurage Theatre Company at Lost Studio)
THE TROUBLE WITH THE TROUBLE WITH WORDS In 2011, I stumbled upon a refreshing new composer at the Hollywood Fringe Festival. The extraordinarily encouraging work in Gregory Nabours’ song cycle, The Trouble with Words, was thrilling. Comparable to the work of Duncan Sheik (Spring Awakening), the music, whether bouncy or haunting, incorporated innovative harmonies with…
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Los Angeles Theater/Dance Review: KEN ROHT’S MISS JULIE(N) (MorYork Gallery in Highland Park)
GAY ABSTRACTION For years, Ken Roht has proved himself to be one of the most inventive theater practitioners in Los Angeles. His avant-garde works include the renowned 99 Cent Only shows, which contain extravagant costumes by Ann Closs-Farley and sets wholly manufactured with items acquired at the 99 Cent Only Store. The original, entertaining and…
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Los Angeles Theater Review: WHEN YOU’RE IN LOVE, THE WHOLE WORLD IS JEWISH (Greenway Court)
WHAT WERE JEW THINKING? Baby boomers should recall the time when a great comedy album could be played with regularity. Some of my favorites were Bill Cosby Is a Very Funny Fellow…Right! (1963), which contained his iconic “Noah” sketches; George Carlin’s Class Clown (1972) with its infamous track entitled “Seven Words You Can Never Say…
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Los Angeles Theater Review: OKLAHOMA! (Musical Theatre West)
THE CORN IS HIGH INDEED Messrs. Rodgers and Hammerstein reinvented American Musical Theater for the ages when they created Oklahoma! in 1943, incorporating song and dance to tell their story rather than detract from it. The musical avoids creaking with age because Hammerstein’s book shuns overt sentimentality, and the lyrics are chock-full of poetic imagery…
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Documentary Film Review: THE HOUSE I LIVE IN (Directed by Eugene Jarecki)
AND YOU THOUGHT THIS WAS THE HOUSE THAT CRACK BUILT As with any empire which has come before, America has a nasty habit of singling out groups of its denizens to bear the blame for the country’s ills. Since landing in Virginia over 400 years ago, fringe groups and individuals have been chosen by the powers that…
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Los Angeles Theater Review: PARADISE – A DIVINE BLUEGRASS MUSICAL COMEDY (Ruskin)
ON THE WAY TO PARADISE [EDITOR’S NOTE: Since this 2013 review, Paradise has been re-tooled. Please see our new review of the 2018 production.] There is a telling item buried among the bric-a-brac of Stephanie Kerley Schwartz’s detailed country set of an economically depressed, coal-mining, hillbilly burg named Paradise: A tin sign shows a forest…
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Los Angeles Theater Review: CHESS (Musical Theatre Guild)
MUSICAL WITH A CHECKERED PAST GETS A CHECKERED PRODUCTION Chess, the musical about two chess tournaments between the U.S. and the U.S.S.R. during the Cold War, is the 1979 brain child of lyricist Tim Rice, who teamed up with ABBA composers Benny Andersson and Björn Ulvaeus to create the (still) immensely popular 1984 concept album….
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San Diego Theater Review: THE BROTHERS SIZE (Old Globe)
A SIZE THAT DOES NOT FIT ALL Of the three plays which constitute Tarell Alvin McCraney’s “The Brother/Sister Plays,” The Brothers Size, now playing at The Old Globe, is the most intimate and confined, much like a chamber piece. The first play of the triptych, In the Red and Brown Water, is an epic tale…
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Los Angeles/Regional Dance Review: THE LITTLE MERMAID (Hamburg Ballet at Segerstrom)
ALL HANS ON DECK Don’t expect the Disneyfication of Hans Christian Andersen’s The Little Mermaid when you attend Hamburg Ballet’s rendition of the tragic 1836 fairy tale, which opened last night at Segerstrom Hall. This imaginative and handsome adaptation is more faithful to its dark and bittersweet source material. In John Neumeier’s version, created for…
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San Francisco Theater Review: THE MOTHERFUCKER WITH THE HAT (San Francisco Playhouse)
MIGHT AS WELL FACE IT, WE’RE ADDICTED TO, WELL, EVERYTHING In the tragicomedy The Motherfucker with the Hat, every character has something painful in their lives that they are self-medicating. Bronx couple Jackie and Veronica are alcohol and drug addicts, trying hard to get their lives together but continually slipping up. After being imprisoned for…
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San Francisco Theater Review: SE LLAMA CRISTINA (Magic Theatre)
FEAR AND LOATHING IN THE SPANISH GHETTO Octavio Solis’ Se Llama Cristina is a gritty, mind-bending trip. The main characters, Man and Woman, slip in and out of past, present, and future with varying degrees of lucidity. They and the audience struggle to keep a grasp on what’s real. What is tangible is that Magic…
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Bay Area Theater Review: OUR PRACTICAL HEAVEN (Aurora Theatre)
THE SEMBLANCE OF A PLAY It is unfortunate that Our Practical Heaven is a relationship-fueled play, because it was difficult to invest in any of the characters. The two-hour play, now receiving its world premiere at the Aurora in Berkeley, contained one-dimensional characters and lacked a three-dimensional story. Anthony Clarvoe’s script resulted from Aurora’s Global…
Theater Review: MEN OF SOUL (Black Ensemble Theater / Chicago)
by Mitchell Oldham | July 1, 2026
in Chicago, TheaterWHY A BOX OFFICE HIT CAN STILL LOSE MONEY
by Leslie Rosenberg | July 1, 2026
in Extras, FilmTheater Preview: PROOF (El Portal Theatre / North Hollywood)
by pwsadmin | June 30, 2026
in Los Angeles, Theater



















