Photo by Brian Biery
Don Shirley – LA Observed
January 21 was a great day for immersive theater in Los Angeles. I’m referring to one event you probably know about, the Women’s March. But I’m also writing about “fellowship” – which you probably don’t know about. The former attracted the masses; the latter has a maximum capacity of 42 for any single performance.
Photo: Kevin Parry for The Wallis
Don Shirley – LA Observed
Two major productions in LA right now more or less begin with scenes set in LA – which is so unusual on our larger stages that I’m happy to salute any effort to examine our own community, no matter how tentative.
Photo by Debora Robinson/SCR.
Don Shirley – LA Observed
The telenovela genre, that hotbed of steamy romance, becomes embroiled in a fervent embrace with the theater in “Destiny of Desire,” Karen Zacarias’ wildly funny play at South Coast Repertory in Costa Mesa. Read more…
Now running through November 20
Photo by Miriam Geer
Don Shirley – LA Observed
The end of summer approaches. Have you seen any alfresco theater this year?
Fortunately, the 299-seat Theatricum Botanicum keeps its expansive stage busy from the first week of June through the first weekend of October, in Topanga Canyon. That’s twice as long as the Old Globe’s outdoor season in San Diego. Read more…
Photo by John Perrin Flynn
Don Shirley – L.A. Observed
Two plays named after cities: “Barcelona” at the Geffen Playhouse and Rogue Machine’s production of “Pocatello” (in case that doesn’t ring a bell, its namesake is the fifth largest city in Idaho.)
Which theatrical destination sounds more inviting?
Well, “Barcelona” isn’t bad. But “Pocatello” pops. Read more…
Don Shirley – LA Observed
LA theater has been embroiled in behind-the-scenes controversy for the past year. Many actors angrily challenged their own union over its decision to end the 99-Seat Theater Plan, which allows Equity members to work for only token fees in small LA theaters, at much less than the minimum wage. Read more…
Photo by Jason Niedle
Don Shirley – LA Observed
How to attract young-adult audiences to LA’s professional theaters? Plenty of pondering about this subject occurs at theater conferences and in theater journals. I won’t address the logistics of marketing to millennials here. But I’m welcoming two new productions that seemingly target them yet also offer lively experiences to those of us who are definitely not active members of that demographic group. Read more…
Photo by Jason Niedle
Don Shirley – LA Observed
Watts Village Theater Company is observing the 50th anniversary of its community’s most famous historical moment with “Riot/Rebellion,” an ensemble-driven documentary-style production.em>Read more…
Don Shirley – LA Observed
Alfresco theater is one of the best features of an LA summer, yet the big LA media usually ignore it. Charles McNulty, the LA Times theater critic for nearly a decade, wrote an essay last week about ensemble acting in three of LA’s tiny indoor stages, but he has never written a word (according to a search of the LA Times database) about the ensemble acting or anything else at the two companies – Theatricum Botanicum and Independent Shakespeare — that consistently produce on Actors’ Equity contracts in LA’s considerably larger outdoor venues, for much larger audiences. em>Read more…
Photo by Ed Krieger
Neal Weaver – Stage Raw
The church referred to by playwright Allen Barton in his play is never identified, but the details of his story evoke the horror stories told by disillusioned former Scientologists: accounts of demands for total conformity, hefty financial contributions, total commitment, and a willingness to declare all-out war on any member who wants to leave the fold. Read more…
Steven Leigh Morris – LA Weekly
Allen Barton’s absorbing new drama, Disconnection, spun from his experiences with Scientology, looks at the fallout from a regime change at a self-improvement church, when that church, under a new administration, devolves into an abusive cult. Read more…
Don Shirley – LA Observed
I saw one locally-oriented production over the last week that’s much more clearly focused than “Chavez Ravine” or “California Tempest” — even though its title is “Disconnection.” Allen Barton’s script is focused on Scientology, although it doesn’t mention the word. In fact, Scientology is the show’s indirect target.
Now running through March 1.
Don Shirley – LA Observed
Photo by Debora Robinson/SCR.
I don’t believe in year-end Top 10 lists, especially if the components are listed in order of best to, say, tenth best. Why is it necessary to draw such distinctions between creations with very different goals and styles? Are apples really better than oranges — or is it vice versa?
Photo by Michael Lamont
Bob Verini - Arts in LA
One of the most ambitious art musicals of recent years, Floyd Collins by Adam Guettel (music and lyrics) and Tina Landau (book and additional lyrics) is receiving an outstanding mounting from helmer Richard Israel and the management of the La Mirada Theatre for the Performing Arts. The producers, who regularly bring you the likes of Peter Pan and Cats, have blocked off their huge auditorium to place Rich Rose’s multilevel black-box set onto a three-quarter thrust with intimate seating. Read more…
Margaret Gray – LA Times
I had never seen anything quite like it, and it grew on me slowly. But I can’t stop thinking about, and humming snippets from, La Mirada Theatre’s revival of “Floyd Collins,” the odd, haunting musical about the Kentucky cave explorer who got himself trapped underground in 1925. Read more.
Sharon Perlmutter - Talkin’ Broadway
Floyd Collins is not an easy show to direct. The show’s protagonist spends the majority of the play trapped underground in a cave and Adam Guettel’s score—which is discordant at times—can be a difficult sell. The last time I saw a production of the show in Los Angeles, I came out humming the direction of Richard Israel, who approached the task with skill, creativity and confidence, putting together a surprisingly effective production of the musical in a small space. Read more…
Don Shirley – LA Observed
One of the best midsize venues for professional theater in LA County has a somewhat unusual location – its 199 seats are on located on the stage of La Mirada Theatre,
adjacent to the actors.
Normally, La Mirada tries to fill its proscenium-style theater’s 1,251 seats in the conventional way — with the audience facing the stage — but to get to the current “Floyd Collins,” the audience bypasses the regular auditorium. The ushers direct the spectators to chairs placed temporarily on the stage itself — in a raked, three-sided thrust around the action.
Now running through April 13.