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KRISTINA WONG, SWEATSHOP OVERLORD at Kirk Douglas Playhouse, a co-production with East West Players

Kristina Wong. Photo by Javier Vasquez.

Kristina Wong. Photo by Javier Vasquez.

Tracey Paleo – BroadwayWorld

There are defining moments in our lives where we either shrink away in fear or make a stand at all costs. In 2020, at the beginning of a global health crisis, under the order of a shelter-in-place lockdown, Kristina Wong faced such a moment. And in that moment, Kristina Wong became a warrior.

It’s not that she meant to be one. No, not at all, in fact. In her one-woman show, Kristina Wong SWEATSHOP OVERLORD, the artist goes to great lengths to explain, as the crow flies, that single-handedly taking on the COVID-19 pandemic was no more than an offering of service to her fellow humans during a period of personal crisis. A way of reclaiming herself while feeling lost inside a contagion she did not start, and very likely would not survive as a creative talent with a show now canceled because of schools going entirely online, theaters closing, and public spaces barred from operating. Read more…

Socks Whitmore – Stage Raw

Before launching into a beat-by-beat replay of national events, Wong opens the show with a land acknowledgement, jokes about masking, and a complete list of content warnings, all delivered with her characteristic humor and spunk. Her re-enactment of her own life is delivered with hilarious over-dramatization and a plentitude of fourth-wall breaks, the script skillfully navigating between humor and pathos to hold equal space for the absurdity and grief of it all. One might imagine that much of what Wong shares is not dissimilar to the audience’s own pandemic life stories, but knowing the future takes no thrill away from the suspense; perhaps some of the hardest-hitting moments are the video clips pulled from the greatest moments of trauma and political unrest during the pandemic, their force magnified by our collective recognition. Various moments of audience participation enhance the show’s communal energy. (If you’re sitting in the front row, prepare for the potential of being interviewed and/or small objects flying over your head.) Read more…

 

Los Angeles Drama Critics Circle Announces Nominations for Theatrical Excellence in 2022

Award-envelopes2

The Los Angeles Drama Critics Circle is proud to announce its 2022 nominees for theatrical excellence. This year, in lieu of the Circle’s annual live event ceremony, the award recipients will once again be announced online at a future date. The LADCC has also named the following special award honorees.

The TED SCHMITT Award for the World Premiere of an Outstanding New Play will be awarded to two groundbreaking plays, Tambo & Bones by Dave Harris, and Clean/Espejos by Christine Quintana. Both award winners will receive a cash prize from our Schmitt Award sponsor, The Black List.

The MARGARET HARFORD Award for Sustained Excellence in Theatre will be awarded to Center Theatre Group.

The MILTON KATSELAS Award for Career or Special Achievement in Direction will be awarded to Julia Rodriguez-Elliott. This year’s award winner will receive a cash prize from our Katselas Award sponsor, the Nederlander Organization/Broadway in Hollywood.

The GORDON DAVIDSON Award for distinguished contribution to the Los Angeles theatrical community goes to the SB1116 California Coalition led by Martha Demson (Open Fist Theatre Company), Beatrice Casagran (Ophelia’s Jump Productions), Vanessa Stewart (writer, producer, actor), Emmanuel Deleage (Casa0101), Teri Ball (Center Stage Theater), and Leo Marks (actor, activist). Their efforts resulted in the 2022 passage and signing of the California law (authored and carried by Senator Anthony Portantino) which establishes the Equitable Payroll Fund, a grant program that supports small nonprofit performing arts organizations by providing substantial reimbursements of payroll expenses.

LADCC LogoCongratulations to all the nominees and special award winners!

The nominees for theatrical excellence in 2022 are:

Production

  • Freestyle Love Supreme, Pasadena Playhouse
  • On the Other Hand, We’re Happy, Rogue Machine
  • Power of Sail, Geffen Playhouse
  • The Inheritance, Geffen Playhouse
  • The Lehman Trilogy, CTG/Ahmanson Theatre
  • Uncle Vanya, Pasadena Playhouse

McCulloh Award for Revival

  • Animal Farm, A Noise Within
  • Metamorphoses, A Noise Within
  • Who’s Afraid of Virginia Woolf?, Geffen Playhouse

Lead Performance

  • Bryan Cranston, Power of Sail, Geffen Playhouse
  • Ilan Eskenazi, Trayf, Geffen Playhouse
  • Adam Kantor, The Inheritance, Geffen Playhouse
  • Nija Okoro, Blues for an Alabama Sky, CTG/Mark Taper Forum
  • Zachary Quinto, Who’s Afraid of Virginia Woolf?, Geffen Playhouse

Featured Performance

  • Greg Alverez Reid, Blues for an Alabama Sky, CTG/Mark Taper Forum
  • Bill Brochtrup, The Inheritance, Geffen Playhouse
  • Aimee Carrero, Who’s Afraid of Virginia Woolf?, Geffen Playhouse
  • Nicolette Ellis, A Doll’s House, Part 2, International City Theatre
  • Samantha Klein, If I Forget, The Fountain Theatre
  • Alex Morris, Radio Golf, A Noise Within
  • Seth Numrich, Power of Sail, Geffen Playhouse
  • Valerie Perri, If I Forget, The Fountain Theatre
  • Scott Roberts, A Doll’s House, Part 2, International City Theatre
  • Eileen T’Kaye, A Doll’s House, Part 2, International City Theatre
  • Peter Van Norden, Hamlet, Antaeus Theatre Company
  • Tuc Watkins, The Inheritance, Geffen Playhouse

Ensemble Performance

  • Animal Farm, A Noise Within
  • Freestyle Love Supreme, Pasadena Playhouse
  • Hadestown, CTG/Ahmanson Theatre
  • Lavender Men, Skylight Theatre/Playwrights’ Arena
  • Man of God, Geffen Playhouse
  • Metamorphoses, A Noise Within
  • On the Other Hand, We’re Happy, Rogue Machine
  • Power of Sail, Geffen Playhouse
  • The Inheritance, Geffen Playhouse
  • The Lehman Trilogy, CTG/Ahmanson Theatre
  • Trayf, Geffen Playhouse
  • Uncle Vanya, Pasadena Playhouse
  • Who’s Afraid of Virginia Woolf?, Geffen Playhouse

Solo Performance

  • Mike Birbiglia, The Old Man and the Pool, CTG/Mark Taper Forum
  • Leo Marks, This Wonderful Life, Rogue Machine
  • Ben Moroski, Dog, Hollywood Fringe Festival
  • Holland Taylor, Ann, Pasadena Playhouse

Writing

  • Bernardo Cubría, The Play You Want, The Road Theatre Company
  • Jessica Goldberg, Babe, Echo Theater Company
  • Lindsay Joelle, Trayf, Geffen Playhouse
  • Steven Levenson, If I Forget, The Fountain Theatre
  • Matthew López, The Inheritance, Geffen Playhouse
  • Ben Moroski, Dog, Hollywood Fringe Festival

Writing Adaptation

  • Margaret Atwood, Penelopiad, City Garage
  • Branden Jacobs-Jenkins, Everybody, Antaeus Theatre Company
  • Anaïs Mitchell, Hadestown, CTG/Ahmanson Theatre
  • Ben Power, The Lehman Trilogy, CTG/Ahmanson Theatre

Musical Score

  • Dan Gillespie Sells/Tom MacRae, Everybody’s Talking About Jamie, CTG/Ahmanson Theatre
  • Sean Kantrowitz, How We Got On, Sacred Fools at the Broadwater
  • Anaïs Mitchell, Hadestown, CTG/Ahmanson Theatre
  • Matthew Sklar/Chad Beguelin, The Prom, CTG/Ahmanson Theatre

Music Direction

  • Rod Bagheri, Animal Farm, A Noise Within
  • Andy Collopy, Oklahoma!, CTG/Ahmanson Theatre
  • Nathan Koci, Hadestown, CTG/Ahmanson Theatre
  • Marc Macalintal, Assassins, East West Players
  • Andrew Graham, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre

Choreography

  • David Neumann, Hadestown, CTG/Ahmanson Theatre
  • Casey Nicholaw, The Prom, CTG/Ahmanson Theatre
  • Sonya Tayeh, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre

Direction

  • Mike Donahue, The Inheritance, Geffen Playhouse
  • Daniel Fish, Oklahoma!, CTG/Ahmanson Theatre
  • Gordon Greenberg, Who’s Afraid of Virginia Woolf?, Geffen Playhouse
  • Sam Mendes, The Lehman Trilogy, CTG/Ahmanson Theatre

Set Design

  • Angela Balogh Calin, Animal Farm, A Noise Within
  • Ann Beyersdorfer, Afterglow, Midnight Theatricals/Hudson Theatre
  • Wilson Chin, Who’s Afraid of Virginia Woolf?, Geffen Playhouse
  • Es Devlin, The Lehman Trilogy, CTG/Ahmanson Theatre
  • Anna Fleischle, 2:22 – A Ghost Story, CTG/Ahmanson Theatre
  • John Iacovelli, Blues for an Alabama Sky, CTG/Mark Taper Forum
  • Derek McLane, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre
  • Rachel Myers, Power of Sail, Geffen Playhouse
  • Se Oh, Man of God, Geffen Playhouse

Lighting Design

  • Ken Booth, Animal Farm, A Noise Within
  • Ken Booth, Metamorphoses, A Noise Within
  • Jon Clark, The Lehman Trilogy, CTG/Ahmanson Theatre
  • Bradley King, Hadestown, CTG/Ahmanson Theatre
  • Justin Townsend, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre

Costume Design

  • Angela Balogh Calin, Animal Farm, A Noise Within
  • Wendell C. Carmichael, Blues for an Alabama Sky, CTG/Mark Taper Forum
  • Wendell C. Carmichael, Lavender Men, Skylight Theatre/Playwrights’ Arena
  • Catherine Zuber, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre

Sound Design

  • Ian Dickinson, 2:22 – A Ghost Story, CTG/Ahmanson Theatre
  • Peter Hylenski, Moulin Rouge! The Musical, Broadway in Hollywood/Pantages Theatre
  • John Nobori, Sanctuary City, Pasadena Playhouse
  • Robert Oriol, Metamorphoses, A Noise Within
  • Nick Powell, The Lehman Trilogy, CTG/Ahmanson Theatre
  • Nevin Steinberg & Jessica Paz, Hadestown, CTG/Ahmanson Theatre
  • Kate Wecker, Animal Farm, A Noise Within

CGI/Video (WINNER)

  • Luke Halls, The Lehman Trilogy, CTG/Ahmanson Theatre

Specialty (WINNER)

  • Wig & Make-up, Tony Valdés, Animal Farm, A Noise Within

Every effort has been made to ascertain proper credits for our nominees. We regret any errors or omissions. Any that come to our attention will be corrected on our LADCC website and (when applicable) on a recipient’s award plaque.

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 current officers are as follows: Jonas Schwartz-Owen, President; Dana Martin, Vice President; Hoyt Hilsman, Treasurer; Terry Morgan, Secretary; Ellen Dostal, Web Content Editor

The 2022 LADCC membership consisted of:
Lara J. Altunian, Stage Raw, L.A. Dance Chronicle
Katie Buenneke, Stage Raw, Theater Digest
Peter Debruge, Variety
Ellen Dostal, BroadwayWorld, Musicals in LA
Margaret Gray, Los Angeles Times
Hoyt Hilsman, Huffington Post
Harker Jones, BroadwayWorld
Deborah Klugman, Stage Raw
Dany Margolies, ArtsInLA.com, Southern California News Group
Dana Martin, Stage Raw
Myron Meisel, Stage Raw
Terry Morgan, ArtsBeatLA.com, Stage Raw
Steven Leigh Morris, Stage Raw
Tracey Paleo, BroadwayWorld, Gia On The Move
Melinda Schupmann, Showmag.com, ArtsInLA.com
Jonas Schwartz-Owen, Theatermania.com, BroadwayWorld
Don Shirley, Angeles Stage
Rob Stevens, haineshisway.com

CITATIONS BY PRODUCTION:
Animal Farm; A Noise Within; 8 Nominations
The Lehman Trilogy; CTG/Ahmanson Theatre; 8 Nominations
Hadestown; CTG/Ahmanson Theatre; 7 Nominations
Moulin Rouge! The Musical; Broadway in Hollywood/Pantages Theatre; 6 Nominations
The Inheritance; Geffen Playhouse; 6 Nominations
Who’s Afraid of Virginia Woolf?; Geffen Playhouse; 6 Nominations
Power of Sail; Geffen Playhouse; 5 Nominations
Blues for an Alabama Sky; CTG/Mark Taper Forum; 4 Nominations
Metamorphoses; A Noise Within; 4 Nominations
A Doll’s House, Part 2; International City Theatre; 3 Nominations
Freestyle Love Supreme; Pasadena Playhouse; 2 Nominations
If I Forget; The Fountain Theatre; 3 Nominations
Trayf; Geffen Playhouse; 3 Nominations
2:22 – A Ghost Story; CTG/Ahmanson Theatre; 2 Nominations
Dog; Hollywood Fringe Festival; 2 Nominations
Lavender Men; Skylight Theatre/Playwrights’ Arena; 2 Nominations
Man of God; Geffen Playhouse; 2 Nominations
Oklahoma!; CTG/Ahmanson Theatre; 2 Nominations
On the Other Hand, We’re Happy; Rogue Machine; 2 Nominations
The Prom; CTG/Ahmanson Theatre; 2 Nominations
Uncle Vanya; Pasadena Playhouse; 2 Nominations
Afterglow; Midnight Theatricals/The Hudson Theatre; 1 Nomination
Ann; Pasadena Playhouse; 1 Nomination
Assassins; East West Players; 1 Nomination
Babe; Echo Theater Company; 1 Nomination
Everybody; Antaeus Theatre Company; 1 Nomination
Everybody’s Talking About Jamie; CTG/Ahmanson Theatre; 1 Nomination
Hamlet; Antaeus Theatre Company; 1 Nomination
How We Got On; Sacred Fools at the Broadwater; 1 Nomination
Penelopiad; City Garage; 1 Nomination
Radio Golf; A Noise Within; 1 Nomination
Sanctuary City; Pasadena Playhouse; 1 Nomination
The Old Man and the Pool; CTG/Mark Taper Forum; 1 Nomination
The Play You Want; The Road Theatre Company; 1 Nomination
This Wonderful Life; Rogue Machine; 1 Nomination

CITATIONS BY COMPANY:
Center Theatre Group; 27 Nominations
Geffen Playhouse; 23 Nominations
A Noise Within; 13 Nominations
Broadway in Hollywood/Pantages Theatre; 6 Nominations
Pasadena Playhouse; 6 Nominations
International City Theatre; 3 Nominations
Rogue Machine; 3 Nominations
The Fountain Theatre; 3 Nominations
Antaeus Theatre Company; 2 Nominations
Hollywood Fringe Festival; 2 Nominations
Skylight Theatre/Playwrights’ Arena; 2 Nominations
City Garage; 1 Nomination
East West Players; 1 Nomination
Echo Theater Company; 1 Nomination
Midnight Theatricals/Hudson Theatre; 1 Nomination
Sacred Fools at the Broadwater; 1 Nomination
The Road Theatre Company; 1 Nomination

CLYDE’S at Mark Taper Forum

Photo by Craig Schwartz Photography

Photo by Craig Schwartz Photography

Terry Morgan – ArtsBeat LA

According to a survey conducted by American Theater magazine, Lynn Nottage’s Clyde’s is currently the most produced play in the U.S. It’s not surprising that Nottage’s work is being done; she’s received the Pulitzer Prize twice during her illustrious career. But it’s a little disappointing that this show seems to be her most popular. I think she’s a talented playwright and have enjoyed several of her other creations, but I found this play to be meretricious and phony – I didn’t believe a minute of it. The new production of Clyde’s at the Taper is professionally done and features a capable cast, but the play itself feels more like a safe CBS TV sitcom than anything resembling reality. Read more…

Katie Buenneke – Stage Raw

A word to the wise: eat, preferably a sandwich, before seeing Clyde’s at the Mark Taper Forum. After the show ends, you’ll be hungry, not just for food like Montrellous (Kevin Kenerly), the executive chef of the titular diner, describes, but for an artistic experience that’s more substantial than what you you’ve just seen onstage. Read more…

Margaret Gray – Los Angeles Times

“If you can’t stand the heat, get out of the kitchen,” advises a favorite proverb of tough-love advocates. And in a universe with free will and infinite possibilities, it’s probably sound advice. Don’t sit around grousing about your situation; find one you like better.

But what if there’s nowhere else to go? What if that inferno of a kitchen is your whole world? Read more…

Tracey Paleo – BroadwayWorld

“Sometimes a hero is more than just a sandwich.”

Quite possibly, a perfect production. Two-time Pulitzer Prize-winning playwright Lynn Nottage’s Tony Award-nominated CLYDE’S at the Mark Taper Forum is heartfelt, funny, and seriously delicious.

From writing to performances, direction to delivery, costuming, scenic, sound, and lighting design, opening night saw 100% on the Richter scale of live theater. Read more…

Through December 18

Confrontations with classics: THE INHERITANCE and PENELOPIAD

Adam Kantor, Bill Brochtrup, August Gray Gall and Juan Castano in The Inheritance Part 1. Photo by Jeff Lorch

Adam Kantor, Bill Brochtrup, August Gray Gall and Juan Castano in The Inheritance Part 1. Photo by Jeff Lorch

Don Shirley – Angeles Stage

Also: ’2:22,’ ‘To Kill a Mockingbird,’ ‘Rent,’ ‘Eisenhower’

When a narrative work of art attains “classic” stature, it often settles comfortably into collegiate required-reading lists — but loses its share of the current limelight.

So if E.M. Forster or Homer were alive today and sampling theater on the west side of Los Angeles County, would they be delighted that their creations are again being mentioned outside the classroom?Or would they be disturbed that their works are reference materials for playwrights with distinctively 21st-century perspectives — and that these writers are adapting the originals to reflect previously unrepresented points of view?

I’m talking about the West Coast premiere of Matthew López’s “The Inheritance” at Geffen Playhouse in Westwood and the professional LA premiere of Margaret Atwood’s “The Penelopiad” at City Garage in Santa Monica. Read more…

2:22 – A GHOST STORY at the Ahmanson Theatre

Anna Camp, Finn Wittrock, Adam Rothenberg and Constance Wu. Phtoo by Craig Schwartz

Anna Camp, Finn Wittrock, Adam Rothenberg and Constance Wu. Photo by Craig Schwartz

Rob Stevens – Haines His Way

Taking a break from their usual musical fare, Center Theatre Group-Ahmanson is offering 2:22-A Ghost Story by Danny Robins through December 4. The opening night was November 4, missing Halloween by a few days. Little costumed trick or treaters may have provided more scares than what transpired on stage. The reviewers were given a list of plot items to please not mention in their reviews, the better for future audiences to enjoy the supposed thrills. Stripped of those items, Robins’s script is basically two hours of marital discord, no matter how much director Matthew Dunster attempts to jolt the audience. He often succeeds, but it is more due to Lucy Carter’s lighting design and especially Ian Dickinson for Autograph’s sound design. Otherwise, the writing, directing and acting don’t really chill or thrill. Read more…

Harker Jones – BroadwayWorld

Arguments about the meaning of life, where we come from, where we’re headed after death, the afterlife, and the like have been debated for centuries by theologians, scientists, and philosophers alike, and we’re still not any closer to clarity. That said, it can make for gripping conversations deep into the night whether you’re stoned college students, wine-drinking soccer moms, or new parents. Read more…

Dana Martin – Stage Raw

The Ahmanson Theater is hosting poltergeist. 2:22- A Ghost Story, Danny Robins’ newest psychological thriller, is an unsettling romp through a proper haunted house. The show is making its U.S. premiere after a successful West End run last year. Read more…

Terry Morgan – ArtsBeat LA

I’m a horror film fan. I probably see 75-100 horror movies a year, and have done so for a long, long time. So I can state with certain knowledge that the cheapest of all scares is the jump scare. I have nothing against them – when a jump scare is well done, it can be a thing of beauty. But a lazy, unmotivated jump scare, just to get a visceral response  AAAAAAAAA!!!! (please imagine that this is someone suddenly screaming into your ear at top volume) can be irksome. I wanted to like the new Ahmanson production of Danny Robins’ 2:22 – A Ghost Story more than I did, but a surfeit of the same jump scare over and over and a goofy twist kept my enjoyment of the show mild. Read more…

Through December 4

THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE at the Mark Taper Forum

Cecily Strong. Photo by Craig Schwartz.

Cecily Strong. Photo by Craig Schwartz.

Katie Buenneke – Theatre Digest

Your opinion of this solo performance will likely be determined by your opinion of Cecily Strong. Personally, prior to seeing this show, I found her skilled, but not thrilling, and spending 96 minutes with her here reinforces that assessment. Read more…

Harker Jones – BroadwayWorld

When THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE originally launched on Broadway in 1985, it was an immediate sensation. The one-woman show won star Lily Tomlin Tony, Drama Desk, and Outer Critics’ Circle awards, and brought author Jane Wagner a Drama Desk Award for Unique Theatrical Experience. In 1991, it was turned into a successful film, and now it has been relaunched and updated by Wagner, to mixed effect. Read more…

Through October 23

Pig power plays at ‘Animal Farm.’ ‘Everybody’ is talkin’. Alanis and Hammerstein, but no Natives.

Geoff Elliott, top, with L-R Stanley Andrew Jackson III, Rafael Goldstein, Trisha Miller. Photo by Craig Schwartz.

Geoff Elliott, top, with L-R Stanley Andrew Jackson III, Rafael Goldstein, and Trisha Miller. Photo by Craig Schwartz.

Don Shirley – Angeles Stage

‘Animal Farm’. ‘Sanctuary City’. ‘Everybody.’ ‘Oedipus.’ ‘Jagged Little Pill.’ ‘Oklahoma!’

How ya gonna keep ‘em down on the ‘Farm’, after they’ve seen…Pasadena?

Yes, I’m paraphrasing the lyrics of an ancient pop song to make the point that Pasadena and nearby neighborhoods constitute the hottest cluster of locally-produced theater right now.

The creatures who liberate themselves from servitude in George Orwell’s “Animal Farm” at east Pasadena’s A Noise Within, as well as the human audiences there, might also want to check out “Sanctuary City” at Pasadena Playhouse and “Everybody” at Antaeus in nearby Glendale. Read more…

OKLAHOMA! at the Ahmanson Theatre

Sasha Hutchings and Sean Grandillo. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade.

Sasha Hutchings and Sean Grandillo. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade.

Steven Leigh Morris – Stage Raw

Composer-lyricists Rodgers and Hammerstein were Jewish immigrants to New York and understood very well both the American pressures of assimilation and the spurning of outsiders that culminates in the sacrifice of those who don’t belong. (The stream of victims is endless and ever-changing.) Their musical Oklahoma! opened on Broadway in 1943; central to it is the sacrifice, under dubious circumstances, of an outsider to the local community named Jud (Christopher Bannow) — a tragic thread in a musical that otherwise traffics in optimism. (“Oh, what a beautiful morning; oh, what a beautiful day. I’ve got a beautiful feeling, everything’s going my way.”) This was being sung on Broadway at the very moment the United States and its allies had prevailed in a war against Nazi Germany and Imperial Japan. Read more…

Tracey Paleo – BroadwayWorld

It seems everybody is having one of two reactions to Director Daniel Fish’s revival of OKLAHOMA! currently playing at the Ahmanson Theatre. Love it or hate it, if you can make it to the second act, something extraordinary does happen. A gorgeous dream ballet that was formerly located at the end of the first act, is now performed exquisitely by Jordan Wynn. And it expresses the emotional life and soul of the entire story. Read more…

Through October 16

Barding in the park, after dark

Kalean Ung and Sam Breen in Macbeth. Photo by Grettel Cortes.

Kalean Ung and Sam Breen in Macbeth. Photo by Grettel Cortes.

Don Shirley – Angeles Stage

‘Macbeth’ in Griffith Park, ‘Comedy’ in Irvine. CTG’s month of emulating Netflix. ‘Beach People,’ ‘Lavender Men,’ ‘Valley Song.’ Jason Alexander charts his Abby road.

Have you savored Shakespeare in the park this summer? This coming week might be the best possible moment for this annual ritual, as well as one of the last such opportunities. A daytime heat wave is expected this week, so you might not even need that extra wrap that you take, for example, to Topanga in June.

I’m recommending two productions far from Topanga — suiting different moods and, perhaps, with different ticket availability. If you want something wicked and wild, go to a dell in Griffith Park for Independent Shakespeare Company’s “Macbeth.” If you want something whimsical and witty, try the errrantly spelled “Comedy of Errrorrs” at New Swan Shakespeare Festival in Irvine. Read more…

THE PROM at the Ahmanson Theatre

National Touring Company of The Prom. Photo by Deen van Meer

National Touring Company of The Prom. Photo by Deen van Meer

Dana Martin – Stage Raw

Prom night is a big theme at the Ahmanson this season, what with the January’s production of Everybody’s Talking about Jamie, and now The Prom (book by Bob Martin and Chad Beguelin, music by Matthew Sklar and lyrics by Chad Beguelin), which is the very model of a clichéd musical. The show aims to appeal to a younger generation by celebrating the acceptance and inclusion of queer youth in our communities while simultaneously relying on old-school musical theater tropes.
Read more...

Katie Buenneke – Theatre Digest

This is a show that I just don’t connect with. I think it’s a mostly fine show, though the latter two thirds of the first act really drag. While the movie was fine (Andrew Rannells was terrific casting), I think it works better as a stage show; I’m more inclined to believe Emily Borromeo as a forgotten, longtime Broadway performer than the objectively very famous Nicole Kidman. Read more…

Now through September 11

MIKE BIRBIGLIA: THE OLD MAN AND THE POOL at The Taper

© 2022 Craig Schwartz Photography

Mike Birbiglia. © 2022 Craig Schwartz Photography

Jonas Schwartz-Owen – Theatermania

Mike Birbiglia makes a triumphant return to the stage at the Mark Taper Forum with another intimate discussion in his disarming, everyman fashion. Riffing on family, health, exercise, and grammar, Center Theatre Group’s production of Mike Birbiglia: The Old Man and the Pool has the audience in stitches, laughing hysterically at the frailty of humanity. Read more…

Peter Debruge

If you’ve ever seen Mike Birbiglia before, whether on stage or screen (or a couple months back, filling in for Jimmy Kimmel), then “The Old Man and the Pool” feels like catching up with an old friend — albeit one with a lot more health problems than you. Read more…

Katie Buenneke – Stage Raw

Mike Birbiglia is not dead. But you would be forgiven for thinking otherwise while watching his show that’s currently playing at the Taper. Yes, he’s standing in front of you, performing a comedy set, but the way he talks about his health, you might be tempted to think this is a posthumous monologue. Thankfully, though, Mike Birbiglia is alive and well, and here to perform his latest comedy set. Read more…

Now through August 28

When memories meet the present moment

Valerie Perri, Leo Marks, Samantha Klein. Photo by Jenny Graham

Valerie Perri, Leo Marks, Samantha Klein. Photo by Jenny Graham

Don Shirley – Angeles Stage

Don’t forget ‘If I Forget’ at the Fountain. Plus ‘Dear Evan Hansen,’ ‘A Wicked Soul in Cherry Hill,’ ‘King Liz,’ ‘Trouble the Water,’ ‘Freestyle Love Supreme,’ ‘Cookin’ with Gas’

The present moment is the essence of live performance. Everyone in the audience — or on the stage, for that matter — experiences an event that will never again be exactly replicated. More than filmed or “live” electronically recorded productions, live theater happens right now.

Of course improv-based stage productions, such as the current “Freestyle Love Supreme” at Pasadena Playhouse or the Groundlings’ “Cookin’ With Gas”, emphasize this quality. They rely on suggestions from the spectators, so the actual words and topics can change dramatically at each new performance (more about them later).

On the other hand, many scripted plays grapple so much with memories of the past that they sometimes ignore the relevance of the past to the present moment. This isn’t necessarily a bad thing, as long as the memories don’t feel musty. Read more…