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Archive for Reviews

We Are Proud to Present a Presentation About the Herero of Namibia Formerly Known As South-West Africa, From the German Sudwestafrika, Between the Years 1884–1915 at the Matrix Theatre

Photo by Jillian Armenante

Photo by Jillian Armenante

Bob Verini – ArtsInLA

If you revel in fine actors’ pushing the envelope of what performance can do, or have an interest in investigating important historical experience via theatrical means, this ungainly-named but unforgettable work is *the* production of the summer, just as Son of Semele’s recently closed Our Class was *the* production of the spring. In both, a splendidly unified ensemble, masterfully directed, shape-shifts among multiple roles to tackle, head-on, the 20th century’s legacy of dread.
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The Complete Works of William Shakespeare (Abridged) at the Santa Monica Repertory Theater at The Promenade Playhouse

shakespeare abridgedDany Margolies – Arts In LA

In this three-person show—originally the work of writer-actors Adam Long, Daniel Singer, and Jess Winfield—three actors enact highlights of, summarize, or at least mention the title of all 37 of Shakespeare’s plays. First up are highlights, or lowlights, of Romeo and Juliet. Next, Titus Andronicus is boiled down to a cooking show on which body parts get stewed by a handless Titus and a tongueless Lavinia.
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The Taming of the Shrew at Will Geer’s Theatricum Botanicum

Taming Shrew

Photo by Ian Flanders

David C. Nichols – LA Times

With summer here, the whirligig of time brings in “The Taming of the Shrew” at Will Geer’s Theatricum Botanicum, and it proves a blissfully madcap occasion. This rip-roaring take on William Shakespeare’s ever-popular romantic comedy opens the 40th anniversary season at this incomparable outdoor venue with marvelous forward momentum.
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Hungry Woman at Casa 0101

hungry woman

Photo by Ed Krieger

“This is either the longest suicide note in history, or the juiciest, dirtiest, most delicious confession you’ll ever hear,” begins “Hungry Woman” at Casa 0101. Food, family and post-feminist freedom are the chief thematic ingredients in playwright Josefina López’s witty, compelling fantasia, and though still refining, it’s perhaps her richest work yet.   Read more…

Yes, Prime Minister at the Geffen Playhouse

Tamara Summers, Dakin Matthews, Jefferson Mays, and Michael McKean Photo by Michael Lamont

Tamara Summers, Dakin Matthews, Jefferson Mays, and Michael McKean
Photo by Michael Lamont

Dany Margolies – Arts In LA

Before you hear this production described as “sitcomish,” know it was written by Antony Jay and Jonathan Lynn, the writers of the 1980s British television series Yes Minister and then Yes, Prime Minister. And if the humor of those series was good enough to keep the Brits giggling, it’s good enough for this reviewer.
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A Man of No Importance at Elephant Stages

man no importanceBob Verini – ArtsInLA

The first extended run of the tuner A Man of No Importance is a matter of some importance, as it inaugurates—in this era of folding companies and theaters in transit—a new enterprise: the Good People Theater Company, under the direction of the gifted veteran stager-choreographer Janet Miller. Taking on the countervailing winds (money drying up, expenses mounting, uninterest in live performance growing) is a brave and noble thing, and one wishes Miller and company well.
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Les Spindle – Frontiers L.A.

The intimate 2002 musical, A Man of No Importance—an Outer Critics Circle Award winner and Lucille Lortel nominee—proves to be an astute choice for the debut offering of the Good People Theatre Company. The new organization’s Producing Artistic Director Janet Miller produces, directs, and provides musical staging for a memorable production of this subtly profound musical.
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One Night in Miami at Rogue Machine Theatre

Pauline Adamek – ArtsBeatLA

It’s not every day you get to be heavyweight champion of the world—for a professional sportsman it’s a once in a lifetime event, at least the first time is… In 1964, at the tender age of 22, boxing legend Cassius Clay (soon thereafter known as Muhammad Ali) ascended to the pinnacle of his chosen sport.
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Photo by John Flynn

Photo by John Flynn

David C. Nichols – LA Times

The pull of history and considerable topicality sells “One Night in Miami…” at Rogue Machine. Although this well appointed dramedy about what might have gone down in the Hampton House hotel the night that Cassius Clay became world heavyweight champion slightly overdoes the 20/20 hindsight, that doesn’t stop it from grabbing our imaginations.
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Little Shop of Horrors at Long Beach Playhouse Mainstage

Shirle Gottlieb for the Gazette Newspapers

Unless you’ve been lost in the desert for the last five decades, you’ve undoubtedly heard of “Little Shop of Horrors.” Originally produced circa 1960 by the infamous Roger Corman, this black-and-white film has become a cult classic that is still going strong.
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Photo by Jonathan Lewis

Photo by Jonathan Lewis

Dead Man’s Cell Phone at International City Theatre

 Melinda Schupman – ArtsInLA

Sarah Ruhl’s slightly daffy but contemplative play takes a shot at our cell phone culture while examining human connections and the nature of love. Jean (Alina Phelan) is sitting in a cafe, ostensibly working on something, when a cell phone at the next table rings over and over, interrupting her concentration. Finally, she rises to encourage the man at the table to answer it. The problem is, he’s dead, and, in Ruhl’s world, a phone demands to be answered.
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Photo by Suzanne Mapes

Photo by Suzanne Mapes

Shirle Gottlieb – Gazette Newspapers

International City Theatre opened “Dead Man’s Cell Phone” last Friday, and it’s a winner across the board. Written by Sarah Ruhl in 2007, it walked away with the Helen Hayes Award for the Best New Play, and with Richard Isreal’s astute direction, it’s easy to see why.
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A Midsummer Night’s Dream at the New American Theatre

Mayank Keshaviak – LA Weekly

Bottom is the tops in New American Theatre’s take on the classic tale of love and mischief, here set in 1930s Greece. Director and company founder Jack Stehlin brings energy and cheeky wit to the character of Nick Bottom by fully exploring the hills and valleys of Shakespeare’s linguistic landscape.
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Robert Cicchini and Vanessa Waters.  Photo by Jeannine Wisnosky Stehlin

Robert Cicchini and Vanessa Waters. Photo by Jeannine Wisnosky Stehlin