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Los Angeles
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Theater Review: TO BE LIBERATED (Hobgoblin Playhouse)
A REQUIEM FOR THE ERASED Written and directed by Soo Chyun, To Be Liberated is perhaps the most exquisite show the Hollywood Fringe has to offer. Running a mere half an hour, there is a clarity and brevity that complement each other while strengthening the production as a whole. It is August 15, 1945, the…
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Theater Review: THE RESERVOIR (Geffen Playhouse)
SOBER TRUTHS AND SLIPPERY MEMORIES IN A COMIC, CHAOTIC QUEST FOR CLARITY Alcoholism and Alzheimer’s. What a combo. Sounds serious, right? They both are, of course. But in the hands of playwright Jake Brasch, The Reservoir at Geffen Playhouse pulls off a theatrical magic trick: a powerfully moving and poignantly funny play, melding millennial angst…
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Theater Review: GASLIGHT (Pacific Resident Theatre)
WHEN THE ONLY TENSION IS IN THE CORSET: GASLIGHT IS ALL DIM AND NO SPARK AT PRT Patrick Hamilton’s 1938 play, Gas Light (now known as Gaslight) is a melodrama which follows a young woman whose husband slowly manipulates her into believing she is descending into insanity. This one-time taut psychological thriller is set in Victorian…
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Concert Review: BLUE NOTE JAZZ FESTIVAL (Hollywood Bowl)
BLUE NOTE’S INAUGURAL JAZZ FESTIVAL SLAMS INTO THE HOLLYWOOD BOWL Dubbed “summer’s biggest party,” the Hollywood Bowl has witnessed countless musical transformations since 1922, but Saturday’s inaugural Blue Note Jazz Festival felt particularly significant—a symbolic passing of the torch that honored the venue’s jazz heritage while boldly stepping into the future. This rebranding of the…
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Theater Review: THE NINA VARIATIONS (Broadwater Studio)
SEAGULL INTERRUPTED An extraordinarily well-written play—and a perfect choice for the Hollywood Fringe—Steven Dietz’s 75-minute one-act, The Nina Variations, takes the final scene of Chekhov’s The Seagull—that charged, heartbreaking reunion between Nina and Treplev—and explodes it into 43 compact riffs, each a new lens on longing. Dietz isn’t attempting parody or pastiche; instead, he digs…
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Theater Review: TALES OF THE ANCIENT EAST (Hudson Guild)
FIRE AND BRIMSTONE FATIGUE One must admire Antony Zioni for his aspirations with Tales of the Ancient East, which, regrettably, makes the failure of this production all the more lamentable. Tales of the Ancient East is a tribal experience. Entering the Hudson Guild Theatre one is confronted by an environment cloaked in a primitivism that…
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Theater Review: 52 PICK-UP (Broadwater Studio)
A GAME OF HEARTS PLAYED FACE DOWN There is no question that Ann Noble is one of the most talented actresses gracing the stages of Los Angeles. There are moments in her bitter-sweet, two-person clown show 52 Pick-Up at the Broadwater Studio, where this shines through. However, the show itself does not work. At the…
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Theater Review: EXCEPT MYSELF (Broadwater Black Box)
ALL IN ONE AND ONE IN ALL With Except Myself at the Broadwater Black Box, playwright Drew Petriello has achieved a clever, slick, and absolutely entertaining deconstruction of the solo show concept. Using the template of the classic absurdist play Six Characters in Search of an Author by Luigi Pirandello, Petriello has fashioned his own “five…
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Theater Review: THE GOOD RUSSIAN (Stephanie Feury)
THE GOOD ANDREW BYRON CREATES A LONG AND WINDING RUSSIAN Andrew Byron frames his one man show The Good Russian within the historical context of 2018, when Sergei Skripal, a Russian expatriate who had worked as a double agent for MI6, the British Intelligence Agency, was found poisoned along with his daughter in his home in…
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Theater Review: PARADE (National Tour, Ahmanson Theatre)
NEITHER FOOLS NOR COWARDS Michael Arden is a Renaissance artist. He approaches his work with a humanist curiosity, an intricate yet organic perfectionism, and a keen eye for composition, movement, and light. He’s a two-time Tony Award-winning director, the first of which was for his 2023 Broadway revival of Parade. This production is now on…
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Theater Review: THE CLUB OF BROKEN FASTS (Broadwater Theatre Main Stage)
SHAKESPEARE GOES BRAT PACK The trouble with tribute plays is that not all audiences are necessarily as knowledgeable about the subject of the homage as the creators are. In the case of Phil S. Gould’s faux Shakespearian The Club of Broken Fasts, the object of his retooling is the 1985 coming-of-age teen comedy-drama The Breakfast…
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Theater Review: RESERVOIR DOLLS: THE WOMEN OF QUENTIN TARANTINO (Broadwater Studio)
PULP FRICTION Reservoir Dolls is a witty, sharp satire of several sociological concerns currently occupying center stage in the cultural consciousness of both “tinsel town” and the nation: the exploitation of women in films and their limited access to roles in an image-driven industry; the institutional gender inequality and barriers facing women in the studio…
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Theater Review: SMILE: THE STORY OF CHARLIE CHAPLIN (Broadwater Main Stage)
NOT A DETAILED BIO, BUT MARCEL COLE IS THE REEL THING Smile: The Story of Charlie Chaplin is wildly successful for many reasons, only not for the reasons it would succeed with me. As a major film geek, I confess to being a certified PITAP (“Pain In The Ass Purist”). For me, the show was…
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Theater Review: Woody Allen’s MR. BIG (Hobgoblin Playhouse)
THE BIG SLEEP MEETS BIG QUESTIONS IN MR. BIG “Mr. Big” is the final entry in Woody Allen’s Getting Even (1971), his first published collection of 17 tales and essays, most of which originally appeared in The New Yorker. The main character in “Mr. Big” reflects a recurring motif for Allen: Sam Spade. Kaiser Lupowitz,…
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Theater Review: THE SECOND COMING OF JOAN OF ARC (The Actors Company)
NOT ENOUGH HEAT The Second Coming of Joan of Arc is the best-known work of American playwright, author, and lesbian feminist Carolyn Gage. Loosely based, scholars will tell you, “very loosely,” on the history of the teenage “Maid of Orléans,” who led the French armies to a series of victories over those of the English…
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Opera Review: H.M.S. PINAFORE (Pacific Opera Project at Heritage Square)
THE PICNIC COMES BEFORE PINAFORE, LITERALLY AND FIGURATIVELY. WELL, SHIP HAPPENS. It’s best to approach Pacific Opera Project’s new production of W. S. Gilbert (libretto) and Arthur Sullivan’s (music) 1878 opera, H.M.S. Pinafore: the same way that many people approach going to the Hollywood Bowl — as a reason to eat, socialize, and take selfies….
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Dance Review: CINDERELLA (Los Angeles Ballet)
I HAD A BALL Composed during tumultuous World War II, Cinderella is regarded as one of Sergei Prokofiev’s most popular compositions which made its debut in Moscow in 1945. The piece is well-loved for its jubilant and melodic score, which lends itself to all the fantastic lifts and leaps inherent in the story of love,…
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Highly Recommended Concert: BROADWAY LEGENDS FROM GERSHWIN TO SONDHEIM (Michael Feinstein and the Pasadena POPS at LA County Arboretum)
BROADWAY STARS UNDER THE STARS If you’ve ever wanted to hear Michael Feinstein conduct an orchestra while a pulchritude of peacocks prance in the background, you’re in for one of LA’s most delightfully surreal summer experiences. The Pasadena POPS is back Jun 21, 2025, at the LA County Arboretum with their annual Broadway night, and honestly?…
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Theater Review: WILDS OF SEA (Actors Company Other Space; Hollywood Fringe Festival)
SEA WORTHY Wilds of Sea is an undersea adventure that will leave little ones wide-eyed and utterly captivated. But make no mistake—this all-ages puppet spectacle is as enchanting for the grown-ups as it is for the kids. Directed by Shannon Reagan, who also built the stunning life-sized puppets, Wilds of Sea follows a mischievous seal…
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Theater Review: RAG DOLL ON A BOMB SITE (Hudson Guild Theatre; Part of the Hollywood Fringe Festival)
THIS SHOW NEEDS A LOTTA LENYA I always look forward to the shows of Shelley Cooper at the Hollywood Fringe. They are musical biographies of women who made history not only with their presence but with their voices as well; La Divina: The Last Interview of Maria Callas and Jenny Lind Presents P.T. Barnum were…



















