Photo by Laura Carson
Terry Morgan - Stage Raw
The thrill of creating an experimental theatre piece lies in being able to express something one couldn’t in the standard mode. The downside is that not all experiments are a success. Read more…
Now running through June 19
Photo by Craig Schwartz.
Margaret Gray – LA Times
Is “Women Laughing Alone With Salad” the first play inspired by an Internet meme? In 2011 the feminist website the Hairpin published stock photographs of slender models appearing to exult over forkfuls of mixed greens. We’d all seen these images in advertisements, but we’d never really looked at them, or wondered what, exactly, was so hilarious about salad. Read more…
Deborah Klugman – LA Weekly
Sheila Callaghan’s Women Laughing Alone With Salad isn’t quite the female-centric piece you expect it to be. As anticipated, it comments on women’s attitudes about their bodies, the pressures they face to conform to a certain image and their experience of womanhood within our culture in general. Read more…
Myron Meisel – Stage Raw
From Kate Crackernuts through Crumble (Lay me down, Justin Timberlake), Lascivious Something and Roadkill Confidential to her best work to date, the award-winning Everything You Touch, Sheila Callaghan has purveyed a consistently inventive theatrical vision, always identifiably hers, yet with a flair for ranging variations across a spectrum of anger to whimsy. Read more…
Now running through April 3
Photo by Darrett Sanders
Deborah Klugman – Stage Raw
Kate Morgan Chadwick makes an arresting entrance as she slithers alluringly across the floor at Atwater Village Theatre, climbing onto the large white bed (Se Oh’s scenic design) that serves as the focus for Sheila Callaghan’s fiercely feminist one-act. Read more…
Pauline Adamek – ArtsBeatLA
Now running through March 13
Photo by Ed Krieger
Margaret Gray – LA Times
You may have seen your share of makeovers, but nothing like the one Sheila Callaghan inflicts on her heroine in “Everything You Touch,” her lushly written dark comedy world-premiering at Boston Court Performing Arts Center. Read more…
Pauline Adamek – Stage Raw
Sheila Callaghan’s compelling play examines the dysfunctional dynamic between narcissistic mothers and their daughters, as well as the grim misogyny that pervades the world of high fashion. In so doing, and in a markedly un-naturalistic style, it studies the corrosive effect of residual anger. Read more…
Myron Meisel – The Hollywood Reporter
One of the epiphanies in my four decades of theatre-going in Los Angeles was the 2003 mounting of Sheila Callaghan’s Shakespearean pastorale Kate Crackernuts by Jessica Kubzansky. It was so fiercely original and so abandoned to its own sometimes obscure inner voice that it encouraged me to connect more intensely to the uniqueness of our local scene, and I started immediately to forage far and wide for further such stimulation. Read more…
Now running through May 18.