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Archive for Stage Raw

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

FREDDY – The Fountain Theatre at the Caminito Theatre, Los Angeles Community College

(Photo by Ed Krieger)

(Photo by Ed Krieger)

Neal Weaver  – Stage Raw

This play by Deborah Lawlor, co-founder of the Fountain Theatre, is perhaps a fictionalized personal memoir. It’s about Freddy Herko, a gifted young dancer and pianist, whose talent blazed in New York City’s avant-garde scene in the 1960s, only to be snuffed out by drug addiction. Herko died when he leapt naked from a fifth-floor window when he was only 28. Read more…

Now running through October 14

RESOLVING HEDDA at the Victory Theatre

(Photo by Tim Sullens)

(Photo by Tim Sullens)

Katie Buenneke – Stage Raw

Sometimes the best way to watch a movie or TV show is to kick back with a glass of wine and some friends and yell at the TV whenever the characters do something you don’t agree with. Resolving Hedda, the new play now at the Victory Theatre in Burbank, offers a similar experience — except the titular character in Hedda Gabler is your drunk friend, railing against all her own bad decisions.
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Now running through November 12

STUPID KID at the Road on Magnolia

Photo by Brian Cole

Photo by Brian Cole

Terry Morgan  -  Stage Raw

To paraphrase a theater maxim of Edmund Kean’s, “Tragedy is easy; comedy is hard.” It’s an assertion that’s proved true time and again. Harder still, perhaps, is successfully combining these two genres into one play, as the disappointing Big Night at the Douglas proved a couple of weeks back.
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Rob Stevens – Haines His Way

Playwright Sharr White and actress Taylor Gilbert proved to be a winning pair in The Road Theatre Company’s 2015 production of The Other Place. They have joined together again for The Road’s current World Premiere of the playwright’s Stupid Kid. Gilbert’s Gigi in the current play is worlds apart from the dementia plagued Juliana of Cape Cod in the previous play. Read more…

Now running through November 11

 

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…

Now running through November 11

THE DANCE OF DEATH at the Odyssey Theatre

(Photo by Enci Box)

(Photo by Enci Box)

Lovell Estell III — Stage Raw

August Strindberg’s 1900 tale about a monumentally unhappy marriage has been neatly touched up in this adaptation by Irish playwright Conor McPherson. As bleak as it is funny, it unfolds on an island fortress in Sweden that was once a prison (nicely rendered interior of gloomy faux brick, arched doorways and barred windows by designer Christopher Scott Murillo).
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Now running through November 19

 

THE VIEW UPSTAIRS at the Celebration Theatre at the Lex

(Photo by Matthew Brian Denman)

(Photo by Matthew Brian Denman)

Neal Weaver  – Stage Raw

The Upstairs Lounge was a lively and popular New Orleans gay bar till 1973, when an arsonist doused the stairs leading to the club with lighter fluid, set it aflame, and then rang the doorbell. In the ensuing blaze, 32 people were killed — mocked and ridiculed even in death, and refused burial by local churches because of their sexuality.
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Rob Stevens – Haines His Way

In an America divided more bitterly every day along racial, gender and sexual orientation lines, in an America where the President says that Nazis and White Supremacists are “fine people,” hate crimes and senseless acts of violence keep escalating.
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Now running through October 29

 

RUNAWAY HOME at the Fountain Theatre

 (Photo by Ed Krieger)

(Photo by Ed Krieger)

Neal Weaver  – Stage Raw

Two years after Hurricane Katrina, playwright Jeremy J. Kamps went to New Orleans as a volunteer, “gutting and mucking” waterlogged, mold-ridden and decaying houses. He was able to observe firsthand the endless problems that plagued local residents in their efforts to rebuild and restore their destroyed communities: government assistance that came too late or not at all, displaced people unable to find lost friends and relatives, racism, red-tape and sometimes deliberate obstruction.

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Deborah Klugman – Capital & Main

Directed by Shirley Jo Finney, Jeremy J. Camps ‘ Runaway Home takes place in New Orleans in 2008 and revolves around a troubled 14-year-old runaway learning to survive on her own after a physical altercation with her mother prompts her to leave home.

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Now running through November 5

 

 

 

BIG NIGHT at the Kirk Douglas Theatre

Photo by Craig Schwartz

Photo by Craig Schwartz

Deborah Klugman – LA Weekly

Big Night is one of those sitcom-like stage comedies that tries super hard to tackle big themes but trips on the very glibness it purports to satirize. Read more…

Katie Buenneke – Stage Raw

Big Night is a play with aspirations bigger than it can deliver on. The new work by playwright Paul Rudnick wants to make grand statements and provoke gnarly debates about important social issues, but complex issues need to be explored carefully — they’re not best served by being glossed over to get to the next Big Idea, a trap Big Night falls into all too often.   Read more…

Jonas Schwartz -  TheaterMania

While it is clear that the recent tragedy at the Pulse nightclub in Orlando, Florida, and the regularity of mass shootings have weighed heavily on comedy writer Paul Rudnick’s mind, his distillation of these heady conversations about gun violence and mental health come wrapped in too shiny of a package in the form of his play, Big Night.
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Frances Baum Nicholson – The Daily Breeze

It’s not a new topic, but the superficiality of the film industry seems an easy and thus fairly constant pick as the foundation for an examination of modern ethics.
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 Now running through October 8

 

SEE/SAW at Civic Center Studios

(Photo by Aaron Champion)

(Photo by Aaron Champion)

Terry Morgan  -  Stage Raw

Theatre is an inherently magical experience. When done correctly, a stage, a set and some actors become a world. The audience offers up its suspension of disbelief, and art is created. The question is: Is a magic show inherently theatrical? In the talented hands of close-up card magic virtuoso Siegfried Tieber, the answer to that question is yes.
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Now running through October 29

LA RAZON BLINDADA at 24th Street Theatre

Photo by Juan Tallo)

Photo by Juan Tallo)

Deborah Klugman – Stage Raw

La Razon Blindada, Argentinian playwright Aristides Vargas’s soulful, songful play (performed in Spanish with English captions) now in revival at the 24th Street Theatre, concludes with a dedication “to those who find their dreams unjustly encircled by walls.”

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Now running through October 15

 

CARMEN DISRUPTION at City Garage Theatre

(Photo by Paul M. Rubenstein)

(Photo by Paul M. Rubenstein)

Neal Weaver  – Stage Raw

Playwright Simon Stephens (Heisenberg, The Curious Incident of the Dog in the Night-Time) deconstructs Bizet’s opera Carmen in an attempt to illuminate contemporary issues of loneliness, isolation and all-around anomie.

Now running through October 15