Areas We Cover
Categories
Los Angeles
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Theater Review: JUAN AND JOHN (L.A. – Culver City)
THE EPIPHANIES THAT COME TO US AFTER BEING HIT IN THE HEAD BY A BASEBALL BAT Among the happiest of theatergoing experiences is entering the theater, without any expectations whatsoever, and, upon exiting, feeling that your life has been upended to a degree, perhaps even altered.  Roger Guenveur Smith’s soul-stirring Juan and John provides just…
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Theater Review: FOUR CLOWNS and STANDING ON CEREMONY: THE GAY MARRIAGE PLAYS (L.A. – Hollywood)
ONCE-A-WEEK Monday nights at 8:00 p.m. at the L.A. Gay and Lebian Center’s Lily Tomlin/Jane Wagner Cultural Arts Center (The Renberg Theatre): If you’d like to take a pleasant leisurely stroll down a very narrow path abloom with fresh wildflowers and strewn with patches of weeds, I recommend Standing On Ceremony: The Gay Marriage Plays….
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Theater Review: John Fleck’s MAD WOMEN (L.A. – Los Feliz)
THE OBSESSIVE PURSUIT OF ARTISTS There are few things funnier than watching John Fleck, sweating and crazed, walk perilously close to the edge of a high cliff, teeter towards falling off, and, by the neatest trick of balancing himself at the pivotal moment, catch himself from what seemed like inevitable disaster. There are few things…
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Theater Review: VOICE LESSONS (L.A. – Hollywood)
IT’S NOT THE SIZE OF THE PLAY THAT MATTERS Say what you will about Voice Lessons, Justin Tanner’s shockingly uproarious one-act play, now receiving an encore presentation at Sacred Fools Theatre, but you will never forget that you attended it. Still emblazoned in my hippocampus is Tanner’s 1994 hit,  Pot Mom, which remains one of the…
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Theater Review: THE MALCONTENT (Antaeus Theatre Company)
A CRITIC WHO RHYMES? IT’S A SIGN OF GOOD TIMES. I tell you, there’s no place that I’d rather be in, than a theatre where actors become Jacobean. A classical company, Antaeus by name, has created a show that begs nationwide fame. Penned by John Marston in 1604, The Malcontent proves to be all but…
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Theater Review: KISS ME, KATE (L.A. – Westwood)
RECIPE FOR SUCCESS Here’s a mouth-watering recipe for making people happy: 1) Take a great musical. (Kiss Me, Kate will do. If you need to ask why, then I’ll tell you: It’s both a wonderful backstage comedy romance and a scintillating interpretation of Shakespeare’s The Taming of the Shrew and it combines the two in…
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Los Angeles Theater Review: HOW TO DISAPPEAR COMPLETELY AND NEVER BE FOUND (The Theater @ Boston Court in Pasadena)
DISAPPEARANCE ACT After the opening night performance of Fin Kennedy’s existential and enigmatic drama How To Disappear Completely and Never Be Found, someone remarked that, while film is about story, theatre is about ideas. As intriguing as this notion is, I merely nodded in bemusement, for I had just watched a show during which I…
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Los Angeles Theater Review: HOW TO DISAPPEAR COMPLETELY AND NEVER BE FOUND (The Theater @ Boston Court in Pasadena)
HOW TO DISAPPEAR COMPLETELY AND BECOME A STAR If you lose your way trying to navigate the Kafkaesque journey Fin Kennedy wants to take us on in his startlingly original and thematically dense How To Disappear Completely and Never Be Found, keep your eye on Brad Culver – it’ll be impossible not to – because…
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Los Angeles Theater Review: UNSCRIPTED REP (Impro Theatre at the Odyssey)
MASTERS OF AUTOSCHEDIASM I was so blown away by Impro Theatre’s  Shakespeare Unscripted that I had to check out Unscripted Rep at the Odyssey, where the inimitable company is having fun in the style of Sondheim and Williams along with Shakespeare. After viewing  Tennessee Williams Unscripted, the greatest joy occurred when my theatre-going companion stated that this…
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Reviews of currently running shows
New York City – Broadway Memphis reviewed by William Gooch open run Million Dollar Quartet reviewed by Sarah Baram open run — New York City – Off Broadway The Accidental Pervert reviewed by Andrew Turner scheduled to close June 25 The Gazillion Bubble Show: The Next Generation reviewed by Cindy Pierre open run — Los…
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Theater Review: HOUSE OF THE RISING SON and THE CHINESE MASSACRE (ANNOTATED) by Tom Jacobson (L.A. – Atwater Village)
THE TALENTED MR. JACOBSON Tom Jacobson is nothing if not ambitious. He is not only the most prolific Los Angeles playwright of the moment, but he is the one, given the astonishing record of his successes, on whom one is counting to stay the course and win national recognition – which has eluded some of…
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Theater Review: THE CHINESE MASSACRE (ANNOTATED) (L.A. – Atwater Village)
THE WILD, WILD BRECHTIAN WEST The Chinese Massacre (Annotated), Tom Jacobson’s rousing new play, is like a fun day at Disneyland. Jacobson chronicles the 1871 lynching of 18 Chinese men by a mixed-race mob, historically considered to be Los Angeles’ first race riot. Actors break the fourth wall by expounding on exposition and commentating on…
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Theater Review: THE BOY IN THE BATHROOM (Orange County)
A SHOW IN HOT WATER The Chance Theater is the best and most enterprising small theatre in Orange County; under the guidance of managing director Casey Long and co-founder and current artistic director Oanh Nguyen, the Chance produces new, challenging, and rarely seen works with astounding professionalism. Nguyen brings a brilliant interpretation to the shows…
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Theater Review: THE ECCENTRICITIES OF A NIGHTINGALE (L.A. – Glendale)
IN PRAISE OF ECCENTRICITIES It is not surprisng that Tennessee Williams preferred The Eccentricities of a Nightingale to Summer and Smoke. Freed of the conflict between Puritanism (repressed sexuality) and science (sexual liberation),  Eccentricities is also freed from a good deal of the melodrama which afflicted  Smoke. Instead, Williams offered up a delicate character study of Alma…
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Theater Review: GEORGE GERSHWIN ALONE (Hershey Felder at the Pasadena Pasadena)
TIME SPENT WITH A MUSICAL GENIUS If ever a production fitted so perfectly within the walls of the elegant Pasadena Playhouse as George Gershwin Alone, I can’t imagine what it may have been. This is, quite simply, what refinement and good taste is all about. Even Yale Pardess’s stage design evokes the thirties in a…
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Theater Review: BURN THE FLOOR (L.A. – Hollywood)
FOXY TROT There are three reasons to attend Burn the Floor – the heart-pounding Ballroom Dance Sextravaganza now throbbing and thumping on the boards at the Pantages: one, the sexiest bodies this side of Mount Olympus; two, the astounding choreography of Jason Gilkison; and, three, the sexy bodies. Plus, an added benefit would be the…
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Los Angeles Theater Review: I NEVER SANG FOR MY FATHER (New American Theatre)
I SING THE THEATER ELECTRIC Any mental notes I had regarding I Never Sang For My Father at The McCadden Place Theatre disappeared just after curtain call. I was haunted by thoughts of my own father, who passed away several years ago; vivid images, conversations and arguments came rushing back to me with bemusement –…
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Los Angeles Theater Review: LITTLE ME (Musical Theatre Guild)
HOW THE HELL DO THEY DO IT? Ah, celebrity. If you think that the headlining of television stars in Broadway musicals is a new phenomenon, check out the action in the early 1960s: brassy redhead Lucille Ball took to the oilfields when she bankrolled  Wildcat while, two weeks later, top banana Phil Silvers topped the bill…
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Theater Review: A WEEKEND WITH PABLO PICASSO (Los Angeles Theater Center)
THE ACTOR AND THE ARTIST: TWO MASTERS AT WORK AND PLAY What a joy it is to watch the Los Angeles Theatre Center roar back to life. Once considered a dodgy neighborhood, the Historic Core has become the center of downtown’s magnificent gentrification. The area is now a haven of lofts, art galleries and restaurants;…
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Theater Review and Commentary: THE CHAIRS (A Noise Within) & ENDGAME (Sacred Fools)
WHAT AN ABSURD TIME: EXISTENTIALISM 101 & THEATRE OF THE ABSURD You’re watching a play but you have no idea what’s happening. There is no plot, the dialogue is gobbledygook, and characters are filled with despair, yet you are told that this is Theatre of the Absurd, one of the milestones in modern drama. Still…


















