Layout Image

Archive for Backstage

Gatz, Elevator Repair Service at REDCAT

Photo by Steven Gunther.

 

Gatz by Elevator Repair Service after F. Scott Fitzgerald.

 

Pauline Adamek – ArtsBeatLA

It’s engrossing, subtle and riveting. A theatrical performance that consists of the “reading” and acting out of an entire novel over the course of a single day, Gatz, by New York City’s experimental theater ensemble Elevator Repair Service (ERS) is a unique and rewarding experience – both literary and theatrical.   The novel is F. Scott Fitzgerald’s jazz-age classic The Great Gatsby and the show is staged as a marathon event. Dedicated LA audiences see the ‘curtain’ rise at 2pm and fall at 10pm (1pm till 9pm on Sundays). It’s a lot to demand from both audiences and the acting company, and yet it works.  Read more…

 

 

David C. Nichols – Backstage

The spirit of F. Scott Fitzgerald permeates Gatz at REDCAT, as do the ghosts of David Belasco, Joseph Papp, and John Houseman, for starters. In its breathtaking L.A. premiere, Elevator Repair Service’s marathon embodiment of The Great Gatsby is a watershed theatrical event.   Read more…

 

 

The Coarse Acting Show, Sacred Fools Theater Company

Photo credit: Pete Caslavka.

 

The Coarse Acting Show by Michael Green, adapted by Paul Plunkett.

 

David C. Nichols – Backstage

In his priceless 1964 volume “The Art of Coarse Acting,” English journalist and humorist Michael Green typifies a coarse actor as “one who can remember his lines, but not the order in which they come.” After more pointed examples, Green notes: “His problems? Everyone else connected with the production.”   Read more…

 

 

Nora, Pacific Resident Theatre

Photo Source: Vitor Martins.

 

Nora by Ingmar Bergman.

 

David C. Nichols – Backstage

It’s seldom that a revision of a classic carries the riveting punch of Nora, now getting its overdue Los Angeles debut at Pacific Resident Theatre. This stark black-box take on Ingmar Bergman’s searing 1981 reduction of Henrik Ibsen’s immortal A Doll’s House grabs its viewers from the outset and never lets go. Read more…

 

 

November, Center Theatre Group/Mark Taper Forum

Photo by Craig Schwartz.

 

November by David Mamet.

 

Pauline Adamek – ArtsBeatLA

David Mamet’s grubby and farcical political play November, now playing at the Mark Taper Forum Downtown, is a riot of foul language and racial epithets, all tumbling from the mouth of the President of the United States, as daffily portrayed by Ed Begley Jr.  Read more…

 

David C. Nichols – Backstage

It’s a week before Election Day, and U.S. President Charles Smith is going down the toilet. The polls have the incumbent dead in the water. The national head of Smith’s own party can’t come up with more than $4,000 for last-minute ad wars. A prominent Native American chief is calling in his tribe’s government-ordained claim on Nantucket. The representative from the National Association of Turkey and Turkey By-Products Manufacturers wants to get a jump on the annual Thanksgiving pardon. Even the constantly telephoning first lady knows they’re bidding the White House adieu. She wants to take their couch, but it was re-upholstered on the taxpayer’s dime, as trusted dog wagger Archer Brown informs his beleaguered boss. Read more…

 

Dany Margolies – ArtsInLA.com

Many of the modern-day U.S. presidents have been great public speakers, most have had their moments of dignity, a few have done great acts to better the nation. But, in every case, haven’t you wondered what each is like in the privacy of the Oval Office? Read more…

 

Bob Verini – Variety

David Mamet’s fleet, foulmouthed November peels back the Oval Office wallpaper to reveal a shlubby, nonentity president (Ed Begley Jr.) who, facing disaster in next week’s reelection bid, will say or do anything for a chance to hang on. At the Mark Taper Forum, helmer Scott Zigler has found the properly cool, uninflected tone for making jokes land. Better still, for all Mamet’s exaggerations, we readily believe — hell, since the Nixon tapes, we actually know — our leaders really do talk and think this way about us. This is satire with a scorpion’s sting. Read more…

 

Hoyt Hilsman – Huffington Post

David Mamet’s political farce November, which ran for six months on Broadway in 2008, gets a crackling revival at the Mark Taper Forum in Los Angeles. Of course, this is lightweight Mamet, stuffed with one-line throwaways and f-bombs. But, in this election season, with the presidential campaigns spending billions and the attack ads flooding the airwaves, even the most farfetched farce has a remarkable resonance. Read more…

 

 

By the Way, Meet Vera Stark, Geffen Playhouse

Photo by Michael Lamont.

 

By the Way, Meet Vera Stark by Lynn Nottage.

 

Terry Morgan – LAist.com

Lynn Nottage’s play, By the Way, Meet Vera Stark, is more intriguing as a concept than a reality. It looks at the marginalization of African-American actors in the twentieth century, an undeniably interesting subject, but then stumbles in multiple ways. The fault, unfortunately, is in the writing, and the strong cast in the new production at the Geffen Playhouse isn’t able to overcome this problem.   Read more…

 

David C. Nichols – Backstage

In By the Way, Meet Vera Stark, playwright Lynn Nottage, a 2009 Pulitzer Prize winner for Ruined, again turns her incisive eye on the objectification of African-American women. The West Coast premiere of her 2011 satire of racial identity in the Hollywood studio system is an often enjoyable fusion of wry comedy and gritty comment, at least until polemic overtakes the proceedings.  Read more…

 

Pauline Adamek – ArtsBeatLA

Lynn Nottage’s play By The Way, Meet Vera Stark is light years apart from her recently staged play (also at the Geffen) entitled Ruined, which was a potent portrayal of unspeakable tragedy in war-torn Congo. Yet the main focus of this play is once again the plight of black women, to which Nottage gives thoughtful examination coupled with wry commentary.   Ostensibly a comedy, this time her primary setting is the Hollywood studio system during the 1930s. We gain an unusual insight into the close friendship between two actors. One – Gloria (Amanda Detmer) – is white, privileged and desperate for the lead role in an upcoming Southern saga. The other – Vera (Sanaa Lathan) – is black and also desperate for a good movie role – any role. Unfortunately for a ‘colored girl,’ the only screen roles available are menial ones such as maids and mammies.   Read more…

 

Melinda Schupmann – ArtsInLA.com

Early in Hollywood’s heyday, directors discovered that caricatured black actors played well in films, especially comedies, and the actors, desperate for work, acquiesced. Male stereotypes were born: wide-eyed, lazy, superstitious, subservient characters who kowtowed to their superiors (read that white). Among the actors were Willie Best, Mantan Moreland, and Stepin Fetchit, the most highly paid stock actors in the genre. Read more…

 

 

The Book of Mormon, Pantages Theatre

Photo by Joan Marcus.

 

The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone.

 

David C. Nichols – Backstage

With a subversive chortle and a heart bigger than the Great Salt Lake, The Book of Mormon hits Los Angeles and triumphantly becomes the hottest attraction in town. The joyous West Coast premiere of Trey Parker, Robert Lopez, and Matt Stone’s Tony-winning gusher doesn’t just meet expectations; it tramples them. Neither Broadway musicals nor tuner devotees will ever be quite the same. Read more…

 

Pauline Adamek – ArtsBeatLA

It’s funny, it’s outrageous and the company’s energy is off the charts. Whatever you may have heard about The Book Of Mormon, check your preconceived notions at the door and surrender to an evening of laughter and song. Written by the creators of South Park, Trey Parker and Matt Stone, in collaboration with Robert Lopez (Avenue Q), The Book Of Mormon is a super fun and clever musical satire that looks lavish and expensive and is extremely well staged. Yes, it’s a mild send-up of the more wacky beliefs of the Mormon faith (and religion in general) and the storyline also touches on some seriously dark themes (such as AIDS, forced female circumcision, poverty and the brutality wrought by militia-run dictatorships), but the writers have also created a story that is brimming with heart and sweetness.  Read more…

 

Silence! The Musical, Hayworth Theatre

Photo Source: Michael Lamont.

 

Silence! The Musical by Jon and Al Kaplan (music and lyrics) and Hunter Bell (book).

 

David C. Nichols — Backstage

The impending Book of Mormon notwithstanding, it’s unlikely that Angelenos will see anything more scabrous or ham’s-holiday funny than Silence! The Musical at the Hayworth Theatre. This “unauthorized parody” of the Oscar-winning thriller is receiving a take-no-prisoners L.A. premiere and in the process decimates its source and the audience. Read more…

 

Terry Morgan – LAist

When Thomas Harris wrote his classic thriller The Silence of The Lambs, I don’t imagine he ever pictured a troupe of tap-dancing lambs. As Jonathan Demme and Anthony Hopkins collected their Oscars for the film version, it’s doubtful they thought about the story’s main characters doing a tango, complete with the glass partition between them held up as they dance. And yet here we are, decades later, presented with Silence! The Musical. And it’s a good thing, too, because it’s bloody hilarious. Read more…

 

Pauline Adamek – ArtsBeatLA

Fans of Jodie Foster, Anthony Hopkins, serial killers and musicals – look no further for a rollicking night of entertainment with Silence! The Musical, an over-the-top and ultra-broad spoof of the Oscar-winning high-brow horror movie Silence of the Lambs, all set to music.   Read more…

 

Bob Verini – ArtsInLA.com

Watching Silence! The Musical can bring on a full-fledged case of déjà vu, flashbacks to the first time you saw Airplane! (1980) or, before that, Blazing Saddles and Young Frankenstein in the ’70s. In each case, a recognizable property or genre was raked over the coals, its tropes and self-seriousness lampooned, its integrity interrupted by modern non sequiturs and general nonsense.  Read more…

 

 

 

 

The Blue Iris, Fountain Theatre

Photo by Ed Krieger.

 

The Blue Iris by Athol Fugard.

 

David C. Nichols - Backstage

In The Blue Iris, prolific South African playwright Athol Fugard treads delicately yet resolutely through the landscape of the heart. In doing so, the venerable 80-year-old dramatist cannot help clutching at ours, as this riveting U.S. premiere demonstrates.  Read more…

 

Sharon Perlmutter - TalkinBroadway.com

It’s hard to know exactly what to make of The Blue Iris, Athol Fugard’s latest play to have its U.S. premiere at the Fountain. It’s a small, intimate piece—much more about people than South Africa. To be sure, the play’s setting, the semi-desert of the Karoo, is the play’s catalyst, if not its actual antagonist. But the play features only South Africa as an inhospitable climate, not South Africa as a sociopolitical entity. It is a household who lives here—or, more accurately, lived here—that is the focus of The Blue Iris.   Read more…

 

Bob Verini - Variety

Athol Fugard’s “The Blue Iris” is deceptively simple: A desert farmhouse, just destroyed by lightning, is picked over for its treasures and memories. But secrets lurk in the ashes, too, and in just over an hour the South African master takes us on a journey of loss with the potential to move anyone who’s ever sifted through his or her life and feared what would be dug up. This little gem gets an exemplary American premiere mounting from helmer Stephen Sachs at Fugard’s self-described artistic home out west, Hollywood’s Fountain.  Read more…

 

Terry Morgan - LAist.com

One mixed blessing about being successful is that people can no longer tell you what to do, and if they try, it’s easy to ignore them. On the one hand, pure artistic freedom is a wonderful thing, but on the other hand, sometimes people need editors and sometimes plays need rewrites. I have no way of knowing what Athol Fugard’s artistic process is these days, but his latest work, The Blue Iris, (currently in its U.S. premiere in a solid production at the Fountain Theatre) is intermittently compelling but ultimately seems undercooked.   Read more…

 

 

Heartbreak House, Will Geer Theatricum Botanicum

Photo by Miriam Geer.

 

Heartbreak House by George Bernard Shaw.

 

David C. Nichols — Back Stage

After opening with a revisionist ’60s Measure for Measure that entertainingly served the Bard, the forces at Theatricum Botanicum take on Heartbreak House and serve George Bernard Shaw even better. Shaw’s deathless 1917 allegory about British socioeconomic factions heedless of the impending world war enjoys a wonderful revival, Chekhovian in tone, Shavian in attack.  Read more…