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Archive for Terry Morgan

BLED FOR THE HOUSEHOLD TRUTH at Rogue Machine Theatre

Photo ny John Perrin Flynn

Photo ny John Perrin Flynn

Terry Morgan  -  Stage Raw

Rogue Machine, one of the theatre companies in town I most admire, has been promoting its new show, Ruth Fowler’s bled for the household truth, as something important and shocking, and warning that easily offended people may walk out at intermission. In my experience, having specific expectations for a play or any work of art ahead of time often proves detrimental, and sadly that is the case here.
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Now running through December 18

 

CAUGHT at Think Tank Gallery

(Photo by Vincent Madero)

(Photo by Vincent Madero)

Terry Morgan  -  Stage Raw

The subject of deception and the malleability of truth couldn’t be more timely. When the highest levels of government and entire media organizations such as Fox News are openly lying to the populace every day with few consequences, the very value of facts or being truthful comes into question.
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Deborah Klugman – Capital & Main

Unfolding like a set of Russian nesting dolls, Christopher Chen’s intensely clever play points to our penchant for accepting whatever we’re told, and the equivocacy of what we commonly refer to as “the truth.”  CAUGHTScene2-2_preview
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Now running through December 10

KAIDAN PROJECT: WALLS GROW THIN at East West Players

kaidan

Terry Morgan  -  Talkin’ Broadway

High-end haunted houses seem to be more popular than ever these days. One can see the appeal—a bit more personal of a scare than simply watching a horror movie, a safe Halloween adventure. East West Players and Rogue Artists Ensemble have taken this trope and put their own unique spin on it with Kaidan Project: Walls Grow Thin….
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Margaret Gray – LA Times

It’s part haunted house, part art installation, part performance-art piece: The Rogue Artist Ensemble and East West Players’ immersive “Kaidan Project: Walls Grow Thin” unfolds in an abandoned warehouse that has been reconfigured into settings for a series of nightmares spun out of Japanese folklore.
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Now running through November 5

MR. BURNS, A POST-ELECTRIC PLAY at the Sacred Fools Theater Company

(Photo by Jessica Sherman Photography)

(Photo by Jessica Sherman Photography)

Terry Morgan  -  Stage Raw

After the recent Equity nonsense, wherein said organization did whatever it could to destroy our beloved 99-seat theatres, there was a general sense that L.A.’s theatrical scene was going to stagger backwards and falter.
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Now running through November 18

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

 

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

PTERODACTYLS at the Commissary at The Culver Studios

Photo by Edo Tsoar

Photo by Edo Tsoar

Terry Morgan  -  Stage Raw

A frequent complaint heard over the years is that the film and TV industry doesn’t do anything to help support the L.A. theatre community. From personal experience, I can testify that this is true, although the reasons why remain mysterious. That said, Pop Up Theater, Inc. seems to have cracked the code…
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Now running through September 24

EMILIE: LA MARQUISE DU CHÂTELET DEFENDS HER LIFE TONIGHT at Greenway Court Theatre

Photo by John Klopping

Photo by John Klopping

Terry Morgan  -  Stage Raw

One of the positive uses of art is to shine a light on historical figures that might otherwise  have remained obscure — to give someone the credit he or she deserved but didn’t receive in life. A film such as Hidden Figures, which detailed the important contributions African-American women made to the space program, is a good example.Read more…

Now running through September 17

TILDA SWINTON ANSWERS AN AD ON CRAIGSLIST at the Celebration Theatre

Photo courtesy of Celebration Theatre

Photo courtesy of Celebration Theatre

Deborah Klugman – LA Weekly

In Byron Lane’s shtick-drenched comedy at the Celebration Theatre, a flamboyant figure claiming to be actress Tilda Swinton (Tom Lenk) shows up on the doorstep of a suicidal man named Walt (Lane) and inspires him to accept himself and get on with his life. Read more…

Terry Morgan  -  Stage Raw

There’s a special subset of shows that parody or examine a particular celebrity, such as Mindy Kaling and Brenda Withers’ Matt & Ben (about the titular Good Will Hunting creators), or Jonathan Tolins’ examination of life in Streisand’s home mall in Buyer and Cellar. Read more…

Now running through August 31

 

AS YOU LIKE IT at Antaeus Theatre Company

(Photo by Daniel G. Lam Photography)

(Photo by Daniel G. Lam Photography)

Terry Morgan  -  Stage Raw

One of the reasons for the continued popularity of Shakespeare’s work over the centuries is how unusually open it is to reinterpretation — directors or actors can use it as a lens with which to focus anew on some aspect of the world.
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Erin Conley – On Stage & Screen

“All the world’s a stage…” William Shakespeare’s classic comedy As You Like It features some of his most famous monologues and a great deal of whimsy.
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Now running through September 10

HEISENBERG at the Mark Taper Forum

Photo by Craig Schwartz

Photo by Craig Schwartz

Hoyt Hilsman  -  Huffington Post

In the finest tradition of the theatrical two-hander, British playwright Simon Stephens (adapter of the Tony-award winning Curious Incident of the Dog in the Night) has imagined a random encounter between a forty-something eccentric woman and a very ordinary seventy-five year old butcher. Read more…

Deborah Klugman – LA Weekly

British playwright Simon Stephens’ Heisenberg tracks the ups and downs in the relationship of an American woman in her 40s and an Irishman in his 70s. First produced at the Manhattan Theatre Club in 2015 and later remounted on Broadway, the play shares its appellation with physicist and 1932 Nobel Prize winner Werner Heisenberg.

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Frances Baum Nicholson –The Stage Struck Review

The uncertainty principle of German scientist Werner Heisenberg states that the position and velocity of any object cannot both be measured exactly at the same time. In Simon Stephens’ much-celebrated play, “Heisenberg,” that theory is applied to people – two impressively dissimilar adults who meet awkwardly in a London train station…
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Terry Morgan  -  Stage Raw

I think it’s fair to say that we’ve all seen plenty of “manic pixie dreamgirl” romantic comedies, and even enough of the subset of May/December relationship dramas — but these are sturdy tropes that will always be with us. The latest theatrical iteration of this genre is Simon Stephens’ Heisenberg……   Read more…

Dany Margolies  -  Arts In LA

Playwright Simon Stephens puts two characters onstage, captures them in conversation, and leaves us knowing no more about themselves our ourselves than we knew at the start of this 80-minute work.

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Pauline Adamek – ArtsBeatLA

Annoying, pointless and utterly dated — Simon Stephens’ play Heisenberg perpetuates not only the myth of the ‘manic pixie dream girl’ but fails to question the normalcy and acceptability of May/December romances. Neither are desirable nor relevant outlooks for the 21st century stage.

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Now running through August 6

THE PRIDE at the Wallis Annenberg Center for the Performing Arts.

 

Photo by Kevin Parry

Photo by Kevin Parry

Jonas Schwartz -  TheaterMania

Alexi Kaye Campbell’s The Pride juxtaposes homosexuality in both the repressed world of 1958 London and the more liberated 2008. Whether people are trapped by society’s morality or by their own self-sabotaging instincts, love proves to be a true test of wills. Though the script can be didactic and overlong, the new production at the Wallis Annenberg Center for the Performing Arts features a top-notch cast who bring humanity to the characters.Read more…

Terry Morgan  -  Talkin’ Broadway

News of the Los Angeles premiere of Alexi Kaye Campbell’s The Pride generated hopeful expectations of high quality, since the play won an Olivier Award and critical acclaim for its 2008 London premiere.   Read more…

Dany Margolies – The Daily Breeze

Whether or not you’re struggling with the current political configuration, one thing is clear: Most homosexuals are more widely accepted today than in the 1950s. The secrecy and repression of previous centuries, the unhappy marriages for “show,” the lives lived less than truthfully are no longer a universal way of life — at least for now.
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Now running through July 9