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Archive for Terry Morgan

JULIUS WEEZER at the El Portal Theatre

Ed Krieger

Ed Krieger

Terry Morgan  -  Talkin’ Broadway

To quote an obscure Elizabethan playwright, “we lucky few” have been privileged to enjoy the work of the Troubadour Theater Company for 25 years now. Its trademark — combining a play (often Shakespeare) with the music of a famous artist, then adding its own blend of anarchy and witty topical references (Hello, Game of Thrones Starbucks cup!) — remains a reliable delight.
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Ellen Dostal – Broadway World

In JULIUS WEEZER, Troubadour Theater Company uses its signature wit to turn a Shakespeare classic into a blissfully-alive rocker version of its ancient self, and the result is divine madness. You don’t need to be a Bard lover to have a great time but, if you are, you’ll be impressed by the level of classical talent on stage and the company’s ability to “speak the speech” while tickling your funny bone.
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Now running through May 19

DANIEL’S HUSBAND at the Fountain Theatre

Ed Krieger

Ed Krieger

Terry Morgan  -  Talkin’ Broadway

It’s always a nice moment when a work of art surprises me in a positive way. It reminds me of one of the reasons I love theater in the first place: the primal pull of story. It’s the delight of seeing something new when one was expecting something else.
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Deborah Klugman – Stage Raw

Daniel’s Husband, written by Michael McKeever and directed by Simon Levy at the Fountain Theatre, starts out decked with light comedy and glib dialogue  but midway takes a sharp turn to become relevant and affecting.
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Now running through June 23

 

THE END OF SEX at the Victory Theatre Center

Tim Sullens

Tim Sullens

Terry Morgan  -  Stage Raw

There are at least two pitfalls for “a play of ideas” — that is, the kind of piece that George Bernard Shaw made his name on and that is specifically created to discuss and debate a particular issue. The first pitfall is that this sort of play can be talky and dry, all intellect and no plot, something Shaw was accused of more than once.
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Now running through June 2

STEEL MAGNOLIAS at Actors’ Coop

Matthew Gilmore

Matthew Gilmore

Terry Morgan  -  Stage Raw

Watching this excellent current revival of Robert Harling’s Steel Magnolias at Actors Co-op, I was reminded yet again of the power of a strong ensemble. Solo shows and two-handers certainly have their place, but there is something about the interaction among a group of talented actors, where many things combine to become one greater thing, that seems to me to be the very heart of whatever magic theater creates.
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Margaret Gray – LA Times

In the first scene of the play “Steel Magnolias,” Robert Harling’s 1987 love letter to small-town Southern women, two Louisiana friends share favorites from their recipe boxes. Cuppa Cuppa Cuppa Cake is so straightforward, it doesn’t even require an index card:
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Rob Stevens – Haines His Way

Robert Harling’s comedy/drama play Steel Magnolias premiered off-Broadway in 1987 and ran for over 1,100 performances. Read more…

 

Now running through May

PURE NATIVE at the Wells Fargo Theater at the Autry Museum of the American West

Craig Schwartz

Craig Schwartz

Terry Morgan  -  Stage Raw

Theatrically, Los Angeles is blessed in many ways, and one of them is the presence of Native Voices at the Autry, the only Equity theatre company devoted exclusively to developing and producing new works from Native American, Alaska Native and First Nations playwrights. Their shows are often specific and insightful in a way no other theatre company can be — yet at the same time the themes in their work have a universal resonance.
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Now running through March 24

THE JUDAS KISS at Boston Court Pasadena

Jenny Graham

Jenny Graham

Terry Morgan  -  Stage Raw

The human desire for love is one of the main glues that holds the world together — along, of course, with greed, the lust for power and chocolate. Without love, there would be no rom-coms, no Valentine’s Day industry, and significantly less adorable tots bopping about.
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Frances Baum Nicholson –The Stage Struck Review

One of the tragic tales to come from the criminalization of homosexuality in Britain has always been the story of Oscar Wilde, the celebrated, flamboyant author and playwright whose great fame turned into great scandal, imprisonment, and self-imposed exile.
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Now running through March 24

ANNA KARENINA at the Actors Co-op

Larry Sandez

Larry Sandez

Terry Morgan  -  Stage Raw

Artistic ambition should always be encouraged. If artists never attempt greatness, if they never try working on a bigger canvas, we wouldn’t have works like Angels in America or The Iceman Cometh — plays that demonstrate how amazing theatre can be.
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Now running through March 17

AN INSPECTOR CALLS at the Wallis Annenberg Center for the Performing Arts

Mark Douet

Mark Douet

Terry Morgan  -  Stage Raw

When J. B. Priestley’s An Inspector Calls premiered in 1945, its vivid dissection of the British social class system in the guise of an Agatha Christie–style mystery was appreciated as a modern classic. Nonetheless, in the following decades its drawing-room play format fell out of favor amidst a tide of naturalism.
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Dany Margolies – The Daily News

With “An Inspector Calls,” director Stephen Daldry saddles up an old warhorse and turns it into a sleek, muscular triple-crown winner.
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Now running through February 10

HIR at the Odyssey Theatre

Enci Box

Enci Box

Terry Morgan  -  Stage Raw

The word “hir” is a gender-neutral, third-person pronoun that replaces “him” or “her.” It’s an appropriate title for Taylor Mac’s play, which examines gender definitions in the context of an American family drama. Read more…

Erin Conley – On Stage & Screen

What happens when you return home after time away only to find the home you remember has been rendered virtually unrecognizable? In Hir, a play by Taylor Mac currently in its Los Angeles premiere at Odyssey Theatre Ensemble, the concept of a dysfunctional family is taken to another level.
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Now running through March 17

SMART LOVE at Pacific Resident Theatre

Jeff Lorch

Jeff Lorch

Terry Morgan  -  Stage Raw

One of the hallowed maxims of writing teachers everywhere is: “Show, don’t tell.” Simply put, the actual experience of a thing is much more effective than simply hearing about it. There are, of course, exceptions to this rule (Swimming to Cambodia comes to mind), but it’s a solid one to follow overall. Brian Letscher, writer of Smart Love, now running at Pacific Resident Theatre, could have benefitted from this advice.
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Now running through February 24

MEASURE FOR MEASURE at The New American Theatre

Jeannine Wisnosky Stehlin)

Jeannine Wisnosky Stehlin

Terry Morgan  -  Stage Raw

Plays taken out of the context of their own times can be troublesome. For instance, modern theatres have struggled to deal with the racist portrayal of Shylock in The Merchant of Venice, to the extent that a recent production, Everything That Never Happened, revised the play’s events to relay them from Shylock’s daughter’s point of view. In this era of #MeToo, Shakespeare’s Measure for Measure is a tricky proposition — relevant, on the one hand, for its depiction of men in power abusing women, but alarming on the other hand in its resolution of these issues.
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Now running through December 16

FINKS at Rogue Machine

John Perrrin Flynn

John Perrrin Flynn

Terry Morgan  -  Talkin’ Broadway

The cost of integrity is never cheap, but it varies. Sometimes one can lose relationships with family or friends, lose a job or, in the direst circumstance, lose one’s life. In the early 1950s, the House Un-American Activities Committee wielded Cold War communist paranoia to attack people whose views they didn’t like, stripping them of their careers and reputations, or getting them to testify against their friends and colleagues.
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Rob Stevens – Haines His Way

The dictionary defines “fink” when used as a noun as “an unpleasant or contemptible person” while when used as a verb it can mean “inform on to the authorities”. Both definitions fit the characters who fink their friends to HUAC, the House Un-American Activities Committee in Joe Gildord’s play Finks…….Read more…

Deborah Klugman – Stage Raw

Plays that explore the abuse of power or the unjust scapegoating of the powerless nearly always reel me in, and Finks, written by Joe Gilford and set against the backdrop of the HUAC hearings in 1950-53, unequivocally fits that description. Leavened with humor, with a strong intuitive performer in the pivotal role, it’s a harsh reminder of what can happen when unscrupulous people acquire control of the workings of government and words become instrumental in destroying innocent lives.
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Now running through December 30