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Archive for Bob Verini

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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Priscilla Queen of the Desert at the Pantages Theatre

Photo by Joan Marcus

 

 

PRISCILLA QUEEN OF THE DESERT by Stephan Elliott

 

Bob Verini – ArtsinLA

Anyone who thinks national tours are always done on the cheap need only take a quick gander at the Pantages’s Priscilla Queen of the Desert, the musical version of the 1994 cult cineclassic whose title begins The Adventures of….
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THE FANTASTICKS at Segerstrom Stage, South Coast Repertory

Perry Ojeda, Addi McDaniel, Nate Dendy and Anthony Carillo in So

Photo credit: Henry DiRocco

 

THE FANTASTICKSBook and lyrics by Tom Jones, music by Harvey Schmidt.

 

David C. Nichols — L.A. Times

The delicate theatricality of “The Fantasticks” has weathered countless editions worldwide since its off-Broadway premiere in 1960. But Tom Jones and Harvey Schmidt’s adaptation of Edmond Rostand’s “Les Romanesques” has perhaps never before enjoyed the elevated insight of the daring transplant irradiating South Coast Repertory.
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Bob Verini – ArtsinLA
Not only does helmer Amanda Dehnert’s take on The Fantasticks at South Coast Rep justify yet another revival of an overfamiliar warhorse, but it also reminds us of the fundamental reasons the Tom Jones–Harvey Schmidt valentine has been a perennial for more than 50 years and is likely to remain one. Read more…

 

DYING CITY at Rogue Machine Theatre

Photo by John Flynn.

Photo by John Flynn.

 

DYING CITY by Christopher Shinn.

 

Pauline Adamek – LA Weekly

When Peter (Burt Grinstead) unexpectedly shows up at Kelly’s (Laurie Okin) Lower Manhattan apartment, the mood is prickly and awkward. It’s understandable; Peter is the identical twin of her husband Craig, a hard as nails soldier who recently died in a military accident in the Gulf. But during their uncomfortable conversation, many questions tug at this pair, threatening to tear them down into an emotional undertow. Did Craig really die in an accident? Why is Kelly’s phone number unlisted and why is she obscuring evidence she may be moving out? Read more…

Les Spindle – FrontiersLA

Christopher Shinn’s 2007 play Dying City, a Pulitzer Prize finalist, makes its L.A. debut in an electrifying production helmed by director Michael Peretzian. This haunting and challenging work charts the shattering journeys of three characters. The play examines the legacies of the Iraq War and the 9/11 tragedy juxtaposed to interpersonal relationships that are marred by emotional cruelty and betrayal.
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Terry Morgan – LAIST

It sometimes happens as a critic that you’ll see a show that’s been favorably reviewed, given awards or is simply a hit and wonder afterwards what all the praise was about. Seeing Dying City in Rogue Machine’s West Coast premiere is one of those times, unfortunately.
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Bob Verini – ArtsInLA

Dying City is, if memory serves, the first LA has seen of the remarkable output of playwright Christopher Shinn in almost a decade. It’s also the latest in a series of small-cast shows at which Rogue Machine has proved itself to be peerless. Both are reasons to make immediate plans to attend this timely and emotionally draining work.
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AMERICAN MISFIT at Boston Court

Photo by Ed Krieger

Photo by Ed Krieger

 

AMERICAN MISFIT by Dan Dietz.

Bob Verini – ArtsInLA.com

It’s easy to describe the formal aspects of Dan Dietz’s “American Misfit,” a world premiere at the Theatre @ Boston Court. Its meaning proves a much bigger headscratcher.  Read more…

 

 

LADCC Annual Awards – Monday March 18th – Host and Presenters announced

French Stewart, TV star (“3rd Rock From the Sun”) and local theatre mainstay (“Stoneface”: “Voice Lessons”) will host the 44th Annual Los Angeles Drama Critics Circle (LADCC) Awards on Monday, March 18, 2013 at the Los Angeles Theatre Center, 514 S. Spring St. Downtown. Tickets for the show and opening reception, which will start at 6:30 pm, can be reserved by e-mailing crixawards2013@gmail.com. All seats are $30.00

Stewart will preside over this year’s theme “Theatre Everywhere,” focusing on the wide geographical range within which LADCC members travel in the course of a year to see and celebrate the best of live performance. Top representatives of local institutions – including Michael Ritchie of CTG; Sheldon Epps of The Pasadena Playhouse; Barbara Beckley of The Colony Theatre; and Zombie Joe of Zombie Joe’s Underground Theatre – will assist Circle members in presenting awards in 17 competitive categories as well as a host of special award plaques.

Entertainment, too, will come from all over the region. Almost two dozen performers from Orange County will reunite to perform “The Rumble” from the Chance Theatre’s acclaimed and nominated revival of “West Side Story.” The cast of “Justin Love,” the smash musical that originated at Celebration Theatre – winner of this year’s Margaret Harford Award for distinguished achievement – will appear, alongside performers from “The Color Purple” (Cesili Williams); “The New Electric Ballroom” (Tim Cummings); and “Bad Apples” (Kate Morgan Chadwick, accompanied by the show’s composer/lyricists Beth Thornley and Rob Cairns.)

Ryan Johnson, nominated for his score for “Stoneface” which starred Stewart as the legendary Buster Keaton, serves as musical director for the evening, which will be produced by Daily Variety and ArtsinLA.com critic Bob Verini. Production stage manager is Heatherlynn Gonzalez. Award-winning sound designer Cricket S. Myers lends her skills to the event, whose associate producer is Peter Finlayson of Footlights Publishing.

A cash bar with great food and a silent auction (cash and checks only, please) will occupy the 6:30-7:30 hour, until doors open and the annual celebration of great L.A. area theatre begins.

ALL INFORMATION:

The Los Angeles Drama Critics Circle (LADCC) has announced its nominations and special awards for excellence in Los Angeles and Orange County theatre in 2012.

All tickets have been reduced to $30.00. Tickets can be arranged through crixawards2013@gmail.com, and PayPal will be accepted prior to March 18. Credit cards will be accepted at the door.

Nominees are entitled to a single complimentary ticket. Nominees please click here for important information regarding ticketing etc.

Doors will open at 6:30 p.m. on March 18 for drinks, music, hors d’oeuvres (no full dinner) and conversation, while at a Silent Auction attendees can bid on theater and film-related items. Only cash or checks will be accepted at the auction, please. The show will commence at 7:30 p.m.

Scheduled host French Stewart is a 25-year mainstay of the Los Angeles theatre scene and a notable star of TV and film. Best known for his six seasons co-starring on NBC’s 3rd Rock From the Sun, he is a member of Sacred Fools and played the title role in that company’s 2012 production of Stoneface, The Rise and Fall and Rise of Buster Keaton, which has received two LADCC nominations.

In recognition of this year’s theme, “Theatre Everywhere,” representatives of theatre companies based within the geographic beat covered by members of the Circle will join Stewart and Circle members to present awards in 17 competitive categories.

# # # # #

NOMINEES:

The 2012 nominees are…

SPECIAL AWARDS:

Six special awards will be presented under the sponsorship of organizations and individuals to whom the LADCC is most grateful. Honors have been announced for local institutions Celebration Theatre (for sustained excellence); and The Fountain Theatre and Center Theatre Group (for their excellent seasons). The Circle also recognizes prominent individuals: David O; Elina de Santos; Stephen Gifford; as well as Evelina Fernandez for her A Mexican Trilogy, an outstanding L.A. world premiere play.

The 2012 special awards winners are…

ALREADY-VOTED AWARDS:

Three already-voted awards will be presented on awards night.

Plaques will be presented on March 18 to the following recipients:

Adrian Kohler with Basil Jones for Handspring Puppet Theatre, in recognition of the design, fabrication, and direction of the puppets of War Horse at the Ahmanson Theatre

David McCormick and Kelly Todd for their fight direction of West Side Story at the Chance Theatre in Anaheim.

In addition, a special plaque will be awarded to Center Theatre Group for an excellent season.

# # # # #

MEMBERSHIP:

The Los Angeles Drama Critics Circle was founded in 1969. It is dedicated to excellence in theatrical criticism, and to the encouragement and improvement of theatre in Greater Los Angeles.

The 2012 membership consisted of:

Pauline Adamek, LA Weekly; ArtsBeatLA.com

F. Kathleen Foley, Los Angeles Times

Shirle Gottlieb, Gazette Newspapers; stagehappenings.com

Hoyt Hilsman, Back Stage, The Huffington Post

Mayank Keshaviah, LA Weekly

Amy Lyons, Back Stage, LA Weekly

Dany Margolies, ArtsinLA.com

Terry Morgan, LAist.com; Daily Variety

Steven Leigh Morris. LA Weekly

David C. Nichols, Los Angeles Times, Back Stage

Sharon Perlmutter, TalkinBroadway.com

Melinda Schupmann, Back Stage; ShowMag.com; ArtsinLA.com

Madeleine Shaner, Park La Brea News/Beverly Press; Back Stage

Les Spindle, Frontiers; Theatremania; EDGE LA

Bob Verini, Daily Variety; ArtsinLA.com

Neal Weaver, LA Weekly; Back Stage

 

The LADCC is pleased to welcome FootLights Publishing, Inc. as consultants on this year’s awards events. The mission of FootLights is to illuminate the theatre community, providing greater access to a more diverse public while at the same time offering insight into the production and process of theatre.

The LADCC expresses its gratitude to Los Angeles Theatre Center and Latino Theatre Company for their warm welcome and many courtesies.

 

 

In the Red and Brown Water, Fountain Theatre

Photo by Ed Krieger.

 

In the Red and Brown Water by Tarell Alvin McCraney.

 

Bob Verini – ArtsInLA.com

It’s about time Tarell Alvin McCraney’s work was able to be seen in Los Angeles. The Brother/Sister Plays, his trilogy about indigenous backwoods Louisiana folk operating under strange and magical Yoruba and Caribbean influences, has been garnering raves on both sides of the Atlantic (he has served as a house playwright for the RSC), whether performed as a unit or, as here, one at a time with the debut of In the Red and Brown Water at the Fountain Theater. McCraney is black and gay, but his work occupies no narrow niche; it’s for and about everyone.  Read more…

 

Pauline Adamek – ArtsBeatLA

Tarell Alvin McCraney’s poetic drama In the Red and Brown Water, now playing at The Fountain Theatre, has been extended for an additional eight weeks through to the end of February in honor of Black History Month. This play is the second part of a trilogy entitled ‘The Brother/Sister Plays.’ In this two-acter McCraney draws on West African mythology and transplants it to an urban contemporary setting to tell the tale of Oya (Diarra Kilpatrick) a young woman with vast potential as a long-distance runner. But the high-school track star puts her college dreams on hold to care for her aged and sickly mother Mama Mojo (Peggy A. Blow) – a decision that sows the seeds of disappointment throughout the rest of her life.  Read more…

 

Fraternity, Ebony Repertory Theatre

Photo by Craig Schwartz.

 

Fraternity by Jeff Stetson.

 

Pauline Adamek – LA Weekly

Jeff Stetson’s all-male political drama Fraternity, written 25 years ago, has a prescient power to it. Set in Birmingham, Ala., the storyline presents a prosperous group of black men, members of a private gentleman’s club, and the tragic history that shaped each of their lives. A shocking bombing of the 16th Street Baptist Church in their hometown resulted in the death of four little black girls, accelerating the civil rights movement. Read more…

 

 

Bob Verini – Variety

The title of Ebony Repertory’s latest offering, Fraternity, doesn’t just refer to the exclusive men’s club at which Birmingham’s fat cats of color wheel and deal while the Reagan boom years wind down. It also conjures up the brotherhood ideal to which those same men once swore allegiance, back when they were desegregating lunch counters and battling for the common good. Jeff Stetson’s sprawling, sometimes awkward, always provocative work tackles the great subject of generational neglect.  Read more…

 

Melinda Schupmann – ArtsInLA.com

Real-life events often beget theatrical productions that bring to light the larger picture surrounding those happenings. In playwright Jeff Stetson’s script, the terrorist bombing of a Birmingham, Ala., Baptist church in which four young girls died figures in a complex story about politics and race.   Read more…

 

 

Krapp’s Last Tape, CTG at the Kirk Douglas Theatre

Photo by Ryan Miller/Capture Imaging

 

Krapp’s Last Tape by Samuel Beckett.

 

Pauline Adamek – ArtsBeatLA

Samuel Beckett’s melancholy one man, one act play is being performed superbly by John Hurt in his first appearance on a Los Angeles stage, at the Kirk Douglas Theatre, in a production imported from the Gate Theatre in Dublin, Ireland. Much like Clint Eastwood waited until he was sufficiently old and grizzled enough to play the aging gunslinger in Unforgiven, Hurt seems to have arrived at the perfect point in his illustrious career to portray the decrepit Krapp. At 72, the Oscar-nominated British actor is actually a fraction older than the character (69). Hurt’s hair is short, spiky and powdered grey, his teeth appear rotten with a front one missing, his face is sagging and lined with the deep creases of a long life and Hurt even limps and leans on a walking stick throughout, at times grunting with the effort; the cane was still in use during opening night’s enthusiastic curtain call.   Read more…

 

 

Bob Verini – Variety

If there’s a bleak truth to be unearthed about the human condition, you can be sure Samuel Beckett peerlessly expressed it. His 1958 tiny masterpiece Krapp’s Last Tape is about the impermanence of memory — about how our recollections desert us just when they’re most needed to soften the blow of reviewing life’s disappointments. The emphasis on humor in Michael Colgan’s visiting Gate Theater Dublin production, executed by the brilliantly talented John Hurt, makes it easier to swallow Beckett’s bitter pill. 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…