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Archive for Lost Studio

THE MOTHER… WITH THE HAT at the Lost Studio

Photo by Zac Titus

Photo by Zac Titus

David C. Nichols – LA Times

“Your – whaddyacallit – your world view? It ain’t mine. And the day it is, that’s the day I shoot myself in the head. I didn’t get clean to live like that.”

That statement suggests the gravitas that drives the scabrous hilarity of “The Mother… With the Hat” at the Lost Studio. Stephen Adly Guirgis’ profanely engrossing 2011 study of love, recovery, moral relativism and misidentified headgear receives an invigorating L.A. premiere. Read more…

Now playing through August 10.

RX at the Lost Studio

rxMelinda Schupmann – Arts In LA

We take pills to sleep, pills to stay awake, pills to diet, pills to prevent pregnancy. Why not a pill to help you like your job? Such is playwright Kate Fodor’s premise in the witty and very contemporary cautionary tale about our societal desire for chemicals to make life easier. The Fodor-concocted Schmidt Pharma is conducting a controlled drug study that could make millions of dollars if successful.
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Margaret Gray – LA Times

Kate Fodor’s clever if uneven comedy “Rx,” in its West Coast premiere at the Lost Studio under the direction of John Pleshette, has a great premise. The Schmidt pharmaceutical company is conducting clinical trials for a new drug, code named SP-925, which specifically targets workplace depression — “a startling drop in norepinephrine levels during the working day,” as neurology team leader Allison Hardy (the wonderful, terrifyingly peppy Kirsten Kollender) explains at a shareholders meeting.  Read more…

Now running through March 1.

Translations at the Lost Studio

Photo by Laura Crowe

Photo by Laura Crowe

 

Written by Brian Friel.

Pauline Adamek – ArtsBeatLA

A study of language and identity, Irish playwright Brian Friel’s Translations charts the beginning of a grim passage of Irish history where the imperialism of the brutish British government threatened to wipe out their culture.
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Neal Weaver – LA Weekly

Brian Friel’s 1980 play is set in 1833. England has sent British troops to carry out the first geographic survey of Ireland, with orders to translate the old Gaelic place names into English, obliterating centuries of Irish history and culture. In Gaelic-speaking Baile Beag, in Country Donegal, the reaction is decidedly mixed.
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