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Archive for Deborah Klugman – Page 2

ELLIOT: A SOLDIER’S FUGUE at the Kirk Douglas Theatre

Craig Schwartz

Craig Schwartz

Deborah Klugman – LA Weekly

The first play in a three-part trilogy, Elliot: A Soldier’s Fugue delves into the experience of war for three generations of soldiers in a Puerto Rican–American family. Written by Quiara Alegría Hudes (who wrote the book for Lin-Manuel Miranda’s In the Heights), it’s a lyrical exploration of the fear, bravado and bewilderment of lonely soldiers struggling to survive the dubious battles our country has waged over the last seven decades.
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Erin Conley – On Stage & Screen

“Fugue” is a musical term, defined as a piece in which a melody is introduced by one voice, mimicked by others, and continues on by interweaving those parts. Elliot, A Soldier’s Fugue, nominated for the Pulitzer Prize for Drama in 2007 and written by Quiara Alegría Hudes as the first installment in her Elliot Trilogy, opened this weekend at Center Theatre Group’s Kirk Douglas Theatre.
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Katie Buenneke – Stage Raw

For so long, stories about war have belonged to men. Traditionally, military tales have been about men and told by men. Elliot, A Soldier’s Fugue, now playing at the Kirk Douglas in Culver City, shifts these paradigms slightly.
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Frances Baum Nicholson –The Stage Struck Review

What happens when a young man joins the service as his father and grandfather before him did? Over the course of our national narrative, particularly over the last century, this has been a recognized, even celebrated legacy.
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Now running through February 25

THE CHOSEN at the Fountain Theatre

Photo by Ed Krieger

Photo by Ed Krieger

Erin Conley – On Stage & Screen

Reuven and Danny spend their childhoods living five blocks apart, but only meet for the first time as teenagers when a contentious baseball game ends with one of them in the hospital. This sets the scene for The Chosen, adapted for the stage by Aaron Posner and Chaim Potok based on Potok’s 1967 novel of the same name.

Deborah Klugman – Stage Raw

Chaim Potok’s novel The Chosen was a best seller when it came out in 1967, and it remains a staple of middle school reading lists to this day. It’s the story of two Jewish boys living in Brooklyn in the 1940s: Reuven, raised by his gentle widowed dad as an observant orthodox Jew, and Daniel, whose exacting father is a Hassidic rabbi who shuns all things secular and plans for his son to follow in his footsteps.
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Now running through March 25

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

LEMONS LEMONS LEMONS LEMONS LEMONS at the Hudson Guild Theatre

(Photo by Daniel J. Sliwa)

(Photo by Daniel J. Sliwa)

Lovell Estell III — Stage Raw
Sam Steiner’s wildly eccentric two-hander follows the relationship of Bernadette (Brynn Alexander) and Oliver (Philip Asta) as they struggle to exist in an Orwellian world on steroids, where the government limits the number of words citizens can use daily. It’s an engaging premise with abundant potential, yet the playwright fails to explore it with commanding artfulness or coherency.
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Deborah Klugman – Capital & Main

Lemons Lemons Lemons Lemons Lemons, Sam Steiner’s 85-minute two-hander, comes packaged with an intriguing premise and the technical expertise of two of the L.A. theater community’s most established artists. Unfortunately, that’s not enough to compensate for an opaque, meandering script and uneven performances by actors understandably at sea with the flummoxing dialogue.
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Now running through February 11

 

I AM NOT A COMEDIAN…I’M LENNY BRUCE at Theatre 68

 Doren Sorell Photography


Doren Sorell Photography

Deborah Klugman – LA Weekly

When Lenny Bruce was found dead in his Hollywood Boulevard apartment in August 1966, the headline in the New York Times obituary diplomatically described him as an “uninhibited” comic. It was a tame adjective for this incendiary performer, despised in many quarters as an obscene and immoral clown, while regaled in other (perhaps worldlier) circles as a fearless and trenchant satirist.
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Now running through April 1

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

MAGIC FRUIT – Cornerstone Theater Company at the Shakespeare Center of Los Angeles

Photo by Jenny Graham

Photo by Jenny Graham

Deborah Klugman – Capital & Main

Magic Fruit is the latest (and last) offering in the Cornerstone Theater Company’s Hunger Cycle of nine plays exploring “hunger, justice and food equity issues.” It opens with sisters Tami (Cristina Frias) and Kiko (Rachael Portillo), frantic and bedraggled, stumbling through a post-apocalyptic Los Angeles in search of refuge from a shadowy serpentine monster — hunger itself.
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Margaret Gray – LA Times

Mozart’s final opera, “The Magic Flute,” is not only one of the most frequently revived and crowd-pleasing of his works, but also possibly the most difficult to summarize. Read more…

Now running through December 10

THE HEART OF ROBIN HOOD at the Wallis Annenberg Center for the Performing Arts

Kevin Parry for the Wallis

Kevin Parry for the Wallis

Deborah Klugman – LA Weekly

Marketed as family fare, The Heart of Robin Hood, David Farr’s feminist twist on the classic legend, is perhaps more suitable for kids than for grown-ups. Co-directed by Icelandic artists Gisli Örn Gardarsson and Selma Björnsdóttir, it’s a pleasant two-hour interlude that serves up an attractive spectacle…
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Rob Stevens – Haines His Way

The Wallis in Beverly Hills has a tradition of bringing International Theatre companies to local audiences. Currently they are presenting Vesturport’s The Heart of Robin Hood direct from Iceland. There is no ice on stage but there is a lot of green in Borkur Jonsson’s scenic design…
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Margaret Gray – LA Times

Deep in “The Heart of Robin Hood,” a production by the Icelandic company Vesturport, Maid Marion confesses to her sidekick/BFF Pierre that she has fallen in love with the outlaw Robin Hood.

“But he’s brutish and emotionally unavailable,” Pierre replies.
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Now running through December 17

PANG! at 24th STreet Theatre

Photo by John Pemble

Photo by John Pemble

Terry Morgan  -  Stage Raw

A couple of years ago, looking to do a piece on socioeconomic disparity, Dan Froot & Company conducted a series of interviews with families suffering from food insecurity. From these interviews — in Los Angeles, Cedar Rapids, Iowa and Miami — came three short pieces, designed as radio plays but meant to be produced as a theatre event with live performances, sound effects and music.
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Deborah Klugman – Tolucan Times

A beautifully designed radio play staged before a live audience, Pang! relays the stories of three American families who struggle each day with stresses brought on by poverty and want.
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Closed

SOMETHING ROTTEN at the Ahmanson Theatre

Photo by Jeremy Daniel

Photo by Jeremy Daniel

Erin Conley – On Stage & Screen

Just in time for the holidays, the rambunctious, crowd-pleasing national tour of Something Rotten! has opened at Center Theatre Group’s Ahmanson Theatre. This original musical, which ran for nearly two years on Broadway and was nominated for 9 Tony Awards, is a rare show that is equally enjoyable for theatre aficionados and more casual patrons alike.
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Rob Stevens – Haines His Way

There is nothing rotten to be found in Something Rotten!, a joyously over-the-top musical at the Ahmanson Theatre that spoofs and celebrates anything and everything about musical theatre. How can you not love a musical that celebrates The Black Death in song?
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Paul Birchall  – Stage Raw

I’m of two minds about this upbeat musical (the bus and truck production of the 2014 Broadway hit) which is about theater during Shakespeare’s time. Credited to Karey and Wayne Kirkpatrick and John O’Farrell, it’s cheerful, peppy, energetic, and at times quite cute.
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Deborah Klugman – LA Weekly

Something Rotten! is a ditzy satire that takes a wry poke at wannabe-ism and artistic celebrity; while it may not be the deepest or drollest of musicals, the choreography is great, the lyrics are clever, and the comic performances  are entertainingly on the mark.
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Now running through December 31

YERMA IN THE DESERT at Greenway Court Theatre

Photo by Luis Kelly-Duarte

Photo by Luis Kelly-Duarte

Deborah Klugman – Capital & Main

In Yerma in the Desert, the desert is less an external place than the state of mind of the title character. Written by Oliver Mayer, the play is inspired by Federico Garcia Lorca’s 1934 classic Yerma, whose central character, the wife of a shepherd, is childless and unhappy.
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Now running through December 16

ROTTERDAM at the Skylight Theatre

Photo by Ed Krieger

Photo by Ed Krieger

Erin Conley – On Stage & Screen

It’s New Year’s Eve in Rotterdam, and Alice (Miranda Wynne) is agonizing over a drafted email she has been meaning to send for a long time—an email in which she finally tells her parents she’s a lesbian.
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Deborah Klugman – LA Weekly

Human relationships are problematic, whoever you are.

Imagine you’re a gay woman happily partnered with another, and after some years together your beloved informs you that she’s always felt she’s a man and plans, maybe, to undergo a change. How would you feel about that?
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Now running through December 11