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Archive for Deborah Klugman

NAKED IN ALASKA at the Bootleg Theatre

(Photo by Orlando Myxx)

(Photo by Orlando Myxx)

Deborah Klugman – Stage Raw

Twenty-year-old Valerie Hager was down on her luck. She’d split from her boyfriend, lost her job, and owed $3500 in parking tickets which she would need to pay to retrieve her towed car. So when River, her flamboyantly self-assured BFF, suggested Valerie forget about the crummy minimum wage gig and join her at a club as an exotic dancer, Valerie went along.
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Now running through November 19

YOHEN at East West Players

(Photo courtesy East West Players)

(Photo courtesy East West Players)

Deborah Klugman – LA Weekly

Set in 1986, Philip Kan Gotanda’s Yohen depicts the unraveling of a 37-year marriage. Although it tumbles off-track in its final third, the play to that point is an astute portrayal of the dynamics of a failed intimacy.
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Neal Weaver  – Stage Raw

The title of Philip Kan Gotanda’s play, Yohen, refers to the unpredictable changes that take place when pottery is placed in the kiln. The result may be disastrous, or it may create an unexpected treasure. His play refers to the disruptive changes which occur in a human relationship over the course of years.
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Frances Baum Nicholson –The Stage Struck Review

Eighteen years ago, Danny Glover and the late Nobu McCarthy shared the stage of East West Players in Philip Kan Gotanda’s “Yohen,” about the struggles of an couple coming to terms with the husband’s retirement after 37 years in the military.
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Now running through November 19

CAUGHT at Think Tank Gallery

(Photo by Vincent Madero)

(Photo by Vincent Madero)

Terry Morgan  -  Stage Raw

The subject of deception and the malleability of truth couldn’t be more timely. When the highest levels of government and entire media organizations such as Fox News are openly lying to the populace every day with few consequences, the very value of facts or being truthful comes into question.
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Deborah Klugman – Capital & Main

Unfolding like a set of Russian nesting dolls, Christopher Chen’s intensely clever play points to our penchant for accepting whatever we’re told, and the equivocacy of what we commonly refer to as “the truth.”  CAUGHTScene2-2_preview
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Now running through December 10

THE WONG STREET JOURNAL at Bootleg Theatre

Kristina-Wong-photo-by-Lily-Kravets

Photo by Lily Kravetz

Deborah Klugman – Stage Raw

American armchair activists receive a solid drubbing in The Wong Street Journal. Kristina Wong’s solo show is not only dynamic, clever and entertaining; it’s also a compelling reminder of the harsh conditions that exist outside the ken of most Americans.
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Now running through November 19

AN ENEMY OF THE PUEBLO at Casa 0101

Photo by Ed Krieger

Photo by Ed Krieger

Deborah Klugman – Capital & Main

In An Enemy of the Pueblo, playwright Josefina López appropriates the basic construct of Henrik Ibsen’s classic, tosses in a few large dollops of magical realism, and transforms the lead character from a 19th-century Norwegian doctor into a 21st-century Mexican curandera. The result is a stirring adaptation that features a luminous Zilah Mendoza as an earthy, compassionate, albeit flawed, woman of principle.
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Now running through November 12

 

THIS LAND at Company of Angels

(Photo: Grettel Cortes Photography)

(Photo: Grettel Cortes Photography)

Deborah Klugman – Capital & Main

Early on in Evangeline Ordáz’s engaging and arrestingly mounted historical melodrama, an altercation ensues between Toya (Cheryl Umaña), a proud and angry Indian princess, and Enrique (Jeff Torres) the amiable son of a Mexican landowner. The year is 1843 and the issue is water……

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Now running through November 13

 

TURN ME LOOSE at the Wallis Annenberg Center for the Performing Arts

(Photo by Lawrence K. Ho)

(Photo by Lawrence K. Ho)

Deborah Klugman – Capital & Main

In his powerhouse performance as Dick Gregory, the stand-up comic who rose to fame in the 1960s, Joe Morton tells the following story: He was civil rights organizing in the South with his good friend Medgar Evers, when he received a call informing him that his infant son had died.
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Dany Margolies – The Daily News

On the first page of her script titled “Turn Me Loose,” Gretchen Law introduces the piece as “a full-length play for stage, from the life and works of Mr. Dick Gregory.” The play retains this purposeful yet respectful tone throughout. Quietly, cerebrally, it packs a punch.
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Now running through November 19

MICE – Ensemble Studio Theatre at Atwater Village Theatre

(Photo by Youthana Yuos)

(Photo by Youthana Yuos)

Rob Stevens – Haines His Way

If you have a fear/distaste for certain rodents, say mice or their bigger cousin–rats, Mice at Ensemble Studio Theatre might not be your piece of theatrical cheese.
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Deborah Klugman – Stage Raw

Schaeffer Nelson’s Mice is a strange little play in which a man in a mouse costume kidnaps two pastors’ wives and holds them prisoner in his basement. It’s a creepy story and not for everyone.
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Now running through November 5

TIME ALONE at L.A.T.C.

 (Photo by David Morrison)

(Photo by David Morrison)

Deborah Klugman – Capital & Main

This powerful drama by Alessandro Camon delves into the minds of two extraordinarily isolated people: a convict serving a life sentence for a murder he committed as a juvenile, and the mother of a police officer whose only son was shot and killed in the line of duty.
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Neal Weaver  – Stage Raw

Playwright Alessandro Camon, an Oscar nominee for his screenplay for The Messenger, is deeply interested in the soul-destroying practice of solitary confinement, and in the experiences of crime survivors — people who lost loved ones to murder. He deals powerfully with both issues in this two-person play.
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Now running through October 22

WITH LOVE AND A MAJOR ORGAN at Boston Court Performing Arts Center

2017_With_Love_0021

Erin Conley – On Stage & Screen

Some people go through life with their heart on their sleeve, while others are much more guarded, desperate to protect their hearts from being broken. In With Love and a Major Organ, a whimsical, poignant play by Julia Lederer currently in its west coast premiere at Boston Court Performing Arts Center, this concept is taken a step further. Read more…

Paul Birchall – Stage and Cinema

Midway through playwright Julia Lederer’s feather-light, yet rather droning romantic comedy, a character literally reaches into her own chest and pulls out her heart, which thumps and pumps and leaks blood into the padded envelope she shoves it into. The lovesick woman then leaves it in a New York City subway station for the man she hopes to catch. Read more…

Deborah Klugman – LA Weekly

In playwright Julia Lederer’s With Love and A Major Organ, a West Coast premiere directed by Jessica Kubzansky at Boston Court, a warm spontaneous woman falls ardently in love with a stranger she meets on the subway.  The main idea — a quest for love requited —may be as old as the hills, but Lederer’s wit and poetical language, along with Kubzansky’s directorial finesse and state-of the-art staging, makes for a beguiling evening of theater. Read more…

Frances Baum Nicholson –The Stage Struck Review

Recently, as part of an assignment at a nearby public high school, students experimented at a local mall to see what people their age would do if a stranger (also their age) came up to try to engage them in conversation. Over and over, the subjects of their experiment would look down at their phones – use their electronic social network to avoid talking to a real person. Interestingly, that was the expected result, according to the teens.
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Now running through November 5

HEAD OF PASSES at the Mark Taper Forum

Photo by Craig Schwartz.

Photo by Craig Schwartz.

Frances Baum Nicholson –The Stage Struck Review

Every once in a while one comes across a performance which may outweigh the play it takes place in. In this case, a good play becomes greater because of one person who takes a playwright’s words and their own and their director’s understandings and makes of them something much more than the sum of those parts. This is Phylicia Rashad in “Head of Passes,” now open at the Mark Taper Forum.
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Jonas Schwartz -  TheaterMania

Throughout Act 1 of Tarell Alvin McCraney’s Head of Passes, now at the Mark Taper Forum, Phylicia Rashad plays a religious woman on her last legs who chooses her birthday to unravel family secrets. Nothing in that act prepares audiences for the awe-striking flow of passion that emits from the famous actor in Act 2 as she spews fury at God……..
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Deborah Klugman – LA Weekly

In Head of Passes, playwright Tarell Alvin McCraney strives to create a narrative of epic proportion, but with only moderate success. Directed by Tina Landau at the Mark Taper Forum, the play nonetheless is worth seeing for the questions it poses, the production’s finely-tuned ensemble, and the lead performance by Phylicia Rashad as a devout woman sorely tested by her God.
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Now running through October 22

 

THE MADWOMAN OF CHAILLOT at A Noise Within

Photo by Craig Schwartz)

Photo by Craig Schwartz)

Deborah Klugman – Stage Raw

Jean Giraudoux’s The Madwoman of Chaillot (translated by Maurice Valency) has always been one of my favorite plays. Written in 1943 and premiering after the playwright’s death in 1945, it’s a witty whimsical takedown of perfidious capitalism and a paean to the artists and free spirits who oppose them.
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The Stage Struck Review

Jean Giraudoux’s classic play “The Madwoman of Chaillot” is one of those plays everyone should see at some point in life. Though written in 1943, during the Nazi occupation of France, and only performed after the playwright’s death, it is often associated with a celebration of the end of tyranny. Read more…

Jonas Schwartz -  TheaterMania

French author Jean Giraudoux’s classic comedy The Madwoman of Chaillot was written in 1943, while Germany occupied France, only for it to be first produced in December 1945 when the war had come to a halt. Yet in today’s world, when fracking, contaminated water, and plutocracy flood the national headlines, the play seems ripped from our daily headlines.
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Now running through November 11