(Photo by Kate Danson Photography)
Erin Conley – On Stage & Screen
“Fifteen years ago I killed my sister.” This shocking line opens Nocturne by Adam Rapp, an acclaimed play that first debuted in New York in 2001.
Now running through August 13
May 21, 2022Steven Leigh Morris – Stage Raw Shakespeare’s play gets a Wooster Group-ish makeover in John Gould Rubin’s modern dress staging for the Wallis. Tech is omnipresent, almost omniscient. Narrow, vertical panels on both sides of the stage provide screens for Keith Skretch’s projection design, featuring striking images of fires and floods now generally associated with
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May 20, 2022The 2022 Los Angeles Drama Critics Circle is pleased to announce its current officers and members for the upcoming 2022- 2023 season. Founded in 1969, the Circle currently includes 17 critics covering productions across the Greater Los Angeles area. The Los Angeles Drama Critics Circle has held its first election since the COVID lockdown. The
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May 18, 2022Jonas Schwartz-Owen – Theatermania There’s a gargantuan myth surrounding the opening of Hadestown at the Ahmanson Theatre. Not the Greek tragedy of Orpheus and Eurydice, which this musical does borrow, but the legend of the juggernaut Broadway production that opened in April 2019. Arriving with 14 Tony nominations and eight awards in tow, the production
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May 13, 2022Terry Morgan – Stage Raw If one reads in the press that a new play is a “minstrel show,” it might give one pause about seeing said show. Historically, minstrel shows were racist entertainment in which White people wearing “blackface” makeup depicted African-Americans in a derogatory way. These shows were mostly popular in the 19th
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May 12, 2022Steven Leigh Morris – Stage Raw The times have caught up to playwright Murray Mednick, now an octogenarian, who has sustained a singular, uncompromising vision in his plays over the course of half a century. The vision is grim, but not without humor. I found myself smiling throughout his latest play, Three Tables, but unable to laugh.
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May 5, 2022Harker Jones – BroadwayWorld The musical TOOTSIE, based on the 1982 film of the same name, is a contemporary take on an old trope: a man unconvincingly passes himself off as a woman, everyone in his world buys it, and hilarity tries to ensue. It’s been done countless times, going back past Shakespeare to the
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May 4, 2022Just over a month ago, millions of us witnessed a dramatic descent into chaos onstage at the Dolby Theatre in Hollywood. At the Oscar ceremony, the usual back-patting was upstaged by the unscripted cheek-slapping of Chris Rock by Will Smith. Now fresh drama has returned to the Dolby. Last Tuesday, the stage musical adaptation of
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Archive for July 2017
SO LONG BOULDER CITY at Celebration Theatre at the Lex
By LADCC critics · Comments (0)
Sunday,
July
30th,
2017
Neal Weaver – Stage Raw
This show is advertised as a one-woman show, but in this case the woman is a guy: Jimmy Fowlie (Go-Go Boy Interrupted), who modestly lists himself in the program as “Co-writer/Star.” The piece purports to be the one-woman show performed by Mia Dolan, the heroine of the movie Lala Land. (I haven’t seen the movie so some of the finer points of this piece may have been lost on me.)
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Now running through August 19
Photo by Vitor Martins
Dany Margolies – The Daily Breeze
How can people be rhinoceroses? Ask that in the literal and figurative senses and you have Eugene Ionesco’s 1959 landmark play, “Rhinoceros.” Read more…
Lovell Estell III — Stage Raw
It’s difficult to imagine a timelier and more fitting play for the “Make America Great Again,” era than Eugène Ionesco’s 1959 absurdist satire. The playwright wrote it in response to the alarming ascent of fascism during the first half of the twentieth century. Despite the passage of time, it is arguably more relevant now than when it was first written. Read more…
Now running through
THE MARRIAGE ZONE at the Secret Rose Theatre
By LADCC critics · Comments (0)
Friday,
July
21st,
2017
Photo by Ed Krieger
Frances Baum Nicholson – The Daily Breeze
Perhaps the two greatest dangers in producing an original work of theater is either directing your own performance or directing your own play. In either case, the absolutely necessary second opinion — the critique needed to make sure the thing is the best it can be — is lacking. Read more…
Paul Birchall – Stage Raw
My favorite episodes of Doctor Who, that amazing TV series about a time traveling alien that’s run for about 40 years, are the ones in which the Doctor meets earlier versions of himself. When the older character meets the younger character, there are always jokes about how the younger version hates how he turned out — while the older version always criticizes the younger version’s taste or intelligence or what have you. Read more…
Now running through August 27
(Photo by Ed Krieger)
Deborah Klugman – Stage Raw
Premiering at the Skylight Theatre under Eric Hoff’s direction, Tom Jacobson’s latest play is a delectable little fable about free will, human folly and the encounter of a non-believer with God, Hell and the Devil.
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Rob Stevens – Haines His Way
With his latest work, The Devil’s Wife, playwright Tom Jacobson has created a fun piece of fluff. Read more…
Now running through August 20
(Photo by Joshua Scott)
Neal Weaver – Stage Raw
Anna (Marie Fahlgren) is a dancer and choreographer who not only walks in her sleep — she also dances. She has fled from her former lover, who seems to be stalking her, to strike out on her own. Read more…
Now running through July 30
OTHER DESERT CITIES at Will Geer’s Theatricum Botanicum
By LADCC critics · Comments (0)
Wednesday,
July
19th,
2017
Photo by Miriam Geer
Dany Margolies – The Daily Breeze
What happens in other people’s homes behind closed doors? That’s the stuff of so much Great American Theater. Read more…
Now running through October 1
(Photo by Adam Ikaika)
Lovell Estell III — Stage Raw
Continuing its successful run at the 2017 Hollywood Fringe Festival, Keith Huff’s dark two-character play is centered on the long time, combustible relationship between a pair of Windy City cops, whose professional and personal lives are thrown into freefall by circumstance and tragedy. Read more…
Now running through July 30
MEASURE FOR MEASURE – ISC at the Old Zoo at Griffith Park,
By LADCC critics · Comments (0)
Tuesday,
July
18th,
2017
Photo by Mike Ditz
Margaret Gray – LA Times
Every summer I’m surprised by how much I enjoy the Independent Shakespeare Co.’s Griffith Park Free Shakespeare Festival. Performances start at 7 p.m., when the sun is still a bit too bright and the actors are oddly dressed figures in the distance, shouting British things I can’t quite hear over the crinkling of potato chip bags in the crowd. Read more…
Now running through July 22
KING OF THE YEES at the Kirk Douglas Theatre
By LADCC critics · Comments (0)
Tuesday,
July
18th,
2017
Photo by Craig Schwartz
Katie Buenneke – Stage Raw
Fans of the fourth wall — that imaginary wall separating performers from their audience — should steer clear of Lauren Yee’s new play King of the Yees, now playing at the Kirk Douglas in Culver City. But for more adventurous folks, those willing to throw caution (and conventional theatrical tradition) to the wind, the show proves a fun ride, full of twists and turns. Read more…
Deborah Klugman – LA Weekly
The many pleasures of King of the Yees, directed by Joshua Kahan Brody at the Mark Taper Forum, emerge not from playwright Lauren Yee’s rambling unfocused script but from the abundant talents of its versatile ensemble and the production’s colorful staging. Read more…
Jonas Schwartz - TheaterMania
There are intriguing themes considered in Lauren Yee’s comedy King of the Yees, currently running at the Kirk Douglas Theatre, particularly about the playwriting process and how artists begin with a preconceived notion only to broaden their scope as they discover the truth of these subjects.
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Frances Baum Nicholson – The Daily Breeze
There is a moment toward the end of a favorite documentary where people who grew up in the then-segregated African-American neighborhood around Central and Slauson in L.A. talked about the loss of that neighborhood with regret. Entrance into the mainstream was great, they say, but they lost those close-knit community ties. Read more…
Now running through August 6
ANIMAL FARM at Will Geer’s Theatricum Botanicum
By LADCC critics · Comments (0)
Saturday,
July
15th,
2017
Photo by Liam Flanders
Dany Margolies - Arts In LA
While Big Brother watches over Broadway as George Orwell’s 1984 plays there through this summer, our own Topanga Canyon is putting the neigh in neighbors with Orwell’s Animal Farm. The legendary author’s decades-old writing remains horrifyingly pertinent. Read more…
Now running through October 1
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.
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.
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.
Now running through August 6
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