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Archive for Dany Margolies – Page 2

NICE FISH at the Shakespeare Center of Los Angeles

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Deborah Klugman – LA Weekly

“Think of the prose poem as the box, perhaps the lunch box dad brought home at night,” writes down-to-earth poet Louis Jenkins in the program notes to Nice Fish, a unique (and to my mind brilliant) collaborative work by Jenkins and renowned performer Mark Rylance.
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Dany Margolies – The Daily Breeze

What do we hope for when we head out to the theater? Even if it’s entertainment, or meaning, our deepest purpose is elusive.
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Now running through March 25

IRONBOUND at the Geffen Playhouse

Christ Whitaker

Chris Whitaker

Erin Conley – On Stage & Screen

At what point in life must you be willing to sacrifice happiness for survival? Ironbound, a play by Martyna Majok currently in its west coast premiere at the Geffen Playhouse in Los Angeles, tells the story of Darja (Marin Ireland), a Polish immigrant struggling to build a life for herself in New Jersey.
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Terry Morgan  -  Stage Raw

In my experience, when a production is of mixed or bad quality, the acting is rarely to blame. Occasionally an ill-judged performance will mar a fine piece of writing, but it is much more common to watch a talented ensemble struggle with an undercooked play. So it is with Martyna Majok’s Ironbound….
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Dany Margolies – The Daily Breeze

We should empathize with Darja. She’s an immigrant struggling to wrap her mouth around English, both its syntax and pronunciation. She works two jobs, when they’re available. She constantly worries about her son, who needs a stay in rehab that she can’t afford, even if she could find him these days. Indeed, she can’t find any good man who will stay around and treasure her.
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Deborah Klugman – Capital & Main

In American theater, as in life, not all voices receive equal airtime — one reason why Martyna Majok’s pitch-black dramedy about a Polish-born factory worker-slash-cleaning lady is so poignant and arresting.
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Jonas Schwartz -  TheaterMania

Darja, the lonely, unfulfilled antihero of Ironbound, at the Geffen Playhouse, grants actor Marin Ireland a showcase for her vast talents. In lesser hands, Darja, a woman who seems to live only to survive, is a character that could turn off audiences, but Ireland finds Darja’s unsinkable core and hooks us along with it.
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Now running through March 4

PICASSO AT THE LAPIN AGILE at the Norris Theatre

Ed Krieger

Ed Krieger

Dany Margolies – The Daily Breeze

As we count the years, or lately the days, of the 21st century, what are we taking pride in? Are we already viewing the 20th century with nostalgia? And regret?
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Now running through February 4

CHARLEY’S AUNT at Torrance Theatre Company

Miguel Elliot

Miguel Elliot

Dany Margolies – The Daily Breeze

How ironic that the nation that once banned women from acting on the stage found it hilarious a few centuries later to see a man onstage in a woman’s dress. But irony is a large part of British humor.
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Now running through February 18

 

SHAKESPEARE HIS WIFE AND THE DOG at the Broad Stage

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Ellen Dostal – Broadway World

It takes an awfully long time to get to the point in Philip Whitchurch’s original one act play directed by Julia St. John. Set during a fictional night in the lives of William Shakespeare (played by Whitchurch) and his wife Anne (Sally Edwards) at their home in Stratford-upon-Avon, the story reveals a couple in their later years, bickering but still clearly in love…
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Dany Margolies – The Daily Breeze

“You cannot talk without it being puns or snatches of your plays,” William Shakespeare’s wife complains in “Shakespeare his wife and the dog.” The audience might feel likewise.

But in this 65-minute work by Philip Whitchurch, ending Sunday at the Broad Stage, when these two get down to the troubles ordinary humans face — illness, lovelessness — we feel every bit of their pain.
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Now running through January 28

PICK OF THE VINE at Little Fish Theatre

lfish

Dany Margolies – The Daily Breeze

Little Fish Theater’s annual short-play festival “Pick of the Vine” this year features nine plays touching on the theme “Secrets We Keep.”

Bringing meaning and polish to the plays are a uniformly firm feel even though various directors are involved, crisp designs and solid acting.
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Now running through February 17

FREUD’S LAST SESSION at the Odyssey Theatre

(Photo by Enci Box)

(Photo by Enci Box)

Neal Weaver  – Stage Raw

George Bernard Shaw once observed that it is useless to argue with a clergyman because his livelihood depends on his not changing his mind. But the remark could equally well be applied to anyone whose career depends on defending and maintaining a particular point of view —and that could be said of both the protagonists in Mark St. Germain’s play.
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Rob Stevens – Haines His Way

Dr. Sigmund Freud was born to Jewish parents in the Austrian Empire in the mid-19th Century. He came to regard the monotheistic God as an illusion based on the infantile emotional need for a powerful, supernatural pater familias. He believed that in modern times (early 20th Century) religion could be set aside in favor of reason and science.
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Deborah Klugman – LA Weekly

Philosophers, theologians, believers and nonbelievers from a broad spectrum of cultures and faiths have been arguing about God’s existence for centuries. In Freud’s Last Session, playwright Mark St. Germain crystallizes the essence of the debate, creating a fictional encounter between Sigmund Freud, the founder of psychoanalysis and a famous skeptic, and Irish-born C.S.
Lewis, a scholar, novelist and devout Christian…
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Dany Margolies – The Daily Breeze

Freud! Lewis! Rumble in the library!

More or less.

Mark St. Germain’s two-character play, “Freud’s Last Session,” at the Odyssey through March 4, doesn’t rise to fisticuffs. But his imagined debate between the father of psychoanalysis, Sigmund Freud, and author and newly converted Anglican, C.S. Lewis, is as contentious as a heavyweight fight.
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Now running through March 4

ALADDIN at the Pantages Theatre

Photo by Deen Van Meer

Photo by Deen Van Meer

Erin Conley – On Stage & Screen

There is an inescapable nostalgia factor attached to Disney Theatrical Productions, and it was on full display at the Pantages in Los Angeles last night as the national tour of Aladdin opened to a very receptive crowd.
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Rob Stevens – Haines His Way

After the success of their animated musicals The Little Mermaid and Beauty and The Beast, with award winning scores by Alan Menken and Howard Ashman, Disney released the Arabian Nights tale of Aladdin in 1992.
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Jonas Schwartz -  Arts In LA

The stage production of Disney’s Aladdin, now playing at the Pantages, is charismatic family programming that highlights the 1992 film’s score by Alan Menken, Tim Rice, and the late Howard Ashman, with additional lyrics by Chad Beguelin.
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Deborah Klugman – LA Weekly

If a glittery, sumptuous spectacle is enough to satisfy you, you’ll probably enjoy this touring company production of Disney’s Aladdin, directed and choreographed by Casey Nicholaw, at the Pantages Theatre through March 31. If, however, you’re one of those picky theatergoers who craves substance with your spectacle, you’ll probably be disappointed.
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Ellen Dostal – Musicals in L.A.

As Disney stage musicals go, the North American tour of Aladdin that just opened at the Hollywood Pantages Theatre is the big, splashy colorful delight kids and musical theatre lovers want to see.
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Katie Buenneke – Stage Raw

Disney, that behemoth that only grows larger as each day passes, earned itself some goodwill in the theatrical landscape with its last outing, Peter and the Starcatcher — a charming, innovative take on the Peter Pan legend. Disney’s latest stage offering, Aladdin, has some charm and innovation, but feels as bland and shiny as the cast’s mile-wide smiles.
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Dany Margolies – The Daily Breeze

Had there been one more wish left in Genie’s lamp, some of us in the opening-night audience of Disney’s “Aladdin” at the Pantages might have wished that all the lead performances had been as brilliant as the show’s technical elements are.
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Now running through March 31

deLEARious at Atwater Village Theatre

Photo by Darrett Sanders

Photo by Darrett Sanders

Dany Margolies – The Daily Breeze

It takes guts, or gleeful insanity, to tackle the three pillars of civilization: the Judeo-Christian Bible, Shakespeare’s “King Lear” and audition songs.

Whatever the motivation, Phil Swann and Ron West do exactly that in “deLEARious,” Open Fist Theatre Company’s revival of its 2008 production, playing through Dec. 16 in Atwater Village.
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Rob Stevens – Haines His Way

I must admit I was getting a bit delirious watching deLEARious, “a madcap musical” (their words not mine), at Open Fist Theatre Company because I thought it would never end. This interminable attempt to outdo Mel Brooks and Spamalot fell on its own sword, repeatedly.
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Now running through December 16

CHASING MEM’RIES at the Geffen Playhouse

Photo by Chris Whitaker

Photo by Chris Whitaker

Dany Margolies – The Daily Breeze

The individual elements may be among the best, but that’s not always sufficient to construct a worthy piece of theater.

Take, for example, “Chasing Mem’ries,” subtitled “A Different Kind of Musical,” in its world premiere at the Geffen Playhouse through Dec. 17. It boasts lyrics by Alan and Marilyn Bergman, whose astonishingly prodigious work, if you’re of a certain age, may have formed a soundtrack of your life.
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Rob Stevens – Haines His Way

Josh Ravetch’s Chasing Mem’ries, receiving its World Premiere at The Geffen Playhouse, is subtitled “A different kind of musical”. It definitely is different in that none of the three cast members actually sings a song—instead they talk sing their way through like Rex Harrison did in My Fair Lady.
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Now running through December 17

THE NIGHT BEFORE THE NIGHT BEFORE CHRISTMAS at the Little Fish Theatre

Photo by Mickey Elliott

Photo by Mickey Elliott

Dany Margolies – The Daily Breeze

It’s Dec. 16 in the New Jersey home of Lou and Carol. Their daughter Pia has grown into a foul-mouthed, somewhat Goth adult, his younger sister Mona gets on his nerves, and Carol is just too amenable.
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Now running through December 11

BRIGHT STAR at the Ahmanson theatre

Photo by Craig Schwartz

Photo by Craig Schwartz

Dany Margolies – The Daily Breeze

“Bright Star” is a fairly new musical by Steve Martin and Edie Brickell. It had a life on Broadway last year and has arrived at L.A.’s Ahmanson Theatre.
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Jonas Schwartz -  TheaterMania

Bright Star has so many winning attributes that one can easily forget its shortcomings and simply enjoy the experience. The music by Steve Martin and Edie Brickell employs a lilting bluegrass sound, Walter Bobbie’s direction is stellar, and Carmen Cusack gives a performance you will remember for years to come.
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Erin Conley – On Stage and Screen

Trouble and happiness often go hand in hand, and there is plenty of both to be found in Bright Star, the charming bluegrass musical that just launched its national tour at Center Theatre Group’s Ahmanson Theatre in Los Angeles after a Broadway run last year.

Rob Stevens – Haines His Way

The opening lyrics of the opening song of Steve Martin and Edie Brickell’s bluegrass/country western infused musical Bright Star, currently starting its National Tour at the Ahmanson Theatre, tell you what to expect.
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Now running through November 19