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Archive for Beverly Hills Playhouse

BOB’S HOLIDAY OFFICE PARTY at Beverly Hills Playhouse

Photo by Marissa Drammissi.

Photo by Marissa Drammissi.

Socks Whitmore – Stage Raw

It’s December in Los Angeles and ‘tis the season for LA’s self-proclaimed longest-running “holiday hit,” Bob’s Holiday Office Party. Written by Joe Keyes and Rob Elk, this outrageous comedy began as an “improvised romp” in 1995, and since then has made an appearance each year everywhere from the late Tamarind Theatre on Franklin Ave., to Atwater Village Theatre, to the Zephyr. This production marks the show’s first appearance at the Beverly Hills Playhouse and the 25th season of shenanigans starring insurance agent Bob Finhead and his eclectic mix of friends and clients. Every year, Bob gathers his fellow small-town white bread Americans for a holiday bash in his office, and every year, chaos seems to ensue. Read more…

Through December 18

YELLOW FACE at the Beverly Hills Playhouse


Frances Baum Nicholson – The Daily Breeze

When Rachel Dolezal was forced to step down from the presidency of the local branch of the NAACP in Spokane, Wash., in 2015 because she was not (as she had claimed) African-American, it spurred a debate on the nature of race and cultural appropriation which was long past due.

Read more…

Deborah Klugman – Stage Raw

In 1989, Caucasian actor Jonathan Pryce, sporting eye prosthetics and bronzer, appeared as a Eurasian pimp in a West End production of playwright David Henry Hwang’s Miss Saigon. Pryce won the Olivier award that year for best actor in a musical, and was slated to appear in the Broadway production as well.

Now running through September 26

DISCONNECTION at the Beverly Hills Playhouse

Photo by Ed Krieger

Photo by Ed Krieger

Neal Weaver  – Stage Raw

The church referred to by playwright Allen Barton in his play is never identified, but the details of his story evoke the horror stories told by disillusioned former Scientologists: accounts of demands for total conformity, hefty financial contributions, total commitment, and a willingness to declare all-out war on any member who wants to leave the fold. Read more…

Steven Leigh Morris  – LA Weekly

Allen Barton’s absorbing new drama, Disconnection, spun from his experiences with Scientology, looks at the fallout from a regime change at a self-improvement church, when that church, under a new administration, devolves into an abusive cult. Read more…

Don Shirley – LA Observed

I saw one locally-oriented production over the last week that’s much more clearly focused than “Chavez Ravine” or “California Tempest” — even though its title is “Disconnection.” Allen Barton’s script is focused on Scientology, although it doesn’t mention the word. In fact, Scientology is the show’s indirect target.


Now running through March 1.



Photo by Scott Krieger

Photo by Scott Krieger

Pauline Adamek  – Stage Raw

Writer-director (and classical pianist) Allen Barton gained critical acclaim last year with his play Years To The Day, presented by Skylight Theatre Company. It was a futuristic satire of our self-important discussions of movies and tech gadgets via the reunion of two long-time friends at a coffee shop. During their meeting, they psychically and spiritually disemboweled each other. Barton’s latest play, Disconnection, tackles cult-like religions and organizations. 

Read more…




Beverly Hills Playhouse.




Dear Friends of the LADCC:

Thank you so much for your support of our efforts at last night’s awards show. We are so pleased at the reactions to the event and the delighted reactions so many of the nominees, recipients, presenters, sponsors, and audience members have expressed to us.

I do, however, need to make a deep apology to Mr. Allen Barton and the Beverly Hills Playhouse, sponsors of the Milton Katselas Award for career achievement in direction. Mr. Barton was in attendance at the event, and was fully prepared and ready to be called on stage and present the award to this year’s recipient, Ms. Elina de Santos. Through a combination of crossed wires and missteps, all of the checks I had put in place for bringing up all of the VIPs failed, and so the presentation came and went without Mr. Barton’s participation.

We hate it when anything goes wrong, but particularly when it comes to our sponsors, whose names I read aloud in my thanks. At that time I expressed my feelings, and those of the Circle, in citing how much they do, and how far they go above and beyond, in support of the LA theatrical community. We have always sought to go above and beyond in our treatment of them at the awards event. Clearly we failed last night.

As the producer I take total responsibility for the oversight. I apologize profoundly to Mr. Barton and the Beverly Hills Playhouse, to whom no slight was intended. I also apologize to Elina de Santos, whose career and accomplishments deserved better at my hands. Finally, I apologize to my fellow LADCC members, whose commitment always to make our sponsors the highest priority I let down as well.

Bob Verini.