Layout Image

Archive for Deaf West Theatre

Pig power plays at ‘Animal Farm.’ ‘Everybody’ is talkin’. Alanis and Hammerstein, but no Natives.

Geoff Elliott, top, with L-R Stanley Andrew Jackson III, Rafael Goldstein, Trisha Miller. Photo by Craig Schwartz.

Geoff Elliott, top, with L-R Stanley Andrew Jackson III, Rafael Goldstein, and Trisha Miller. Photo by Craig Schwartz.

Don Shirley – Angeles Stage

‘Animal Farm’. ‘Sanctuary City’. ‘Everybody.’ ‘Oedipus.’ ‘Jagged Little Pill.’ ‘Oklahoma!’

How ya gonna keep ‘em down on the ‘Farm’, after they’ve seen…Pasadena?

Yes, I’m paraphrasing the lyrics of an ancient pop song to make the point that Pasadena and nearby neighborhoods constitute the hottest cluster of locally-produced theater right now.

The creatures who liberate themselves from servitude in George Orwell’s “Animal Farm” at east Pasadena’s A Noise Within, as well as the human audiences there, might also want to check out “Sanctuary City” at Pasadena Playhouse and “Everybody” at Antaeus in nearby Glendale. Read more…


Brandon Simmoneau

Brandon Simmoneau

Erin Conley – On Stage & Screen

What does intimacy look like after two people have been forever changed by a devastating tragedy? The Solid Life of Sugar Water, a play by Jack Thorne (Harry Potter and the Cursed Child) currently in its US premiere at Deaf West Theatre in Los Angeles, follows a young couple as they attempt to connect sexually for the first time after the stillbirth of their child.
Read more…

Margaret Gray – LA Times

There’s a reason so many love stories end with the wedding. What happens later — the daily intimacy of marriage itself, with its late-night misunderstandings and morning breath — is often less picturesque.
Read more…

Rob Stevens – Haines His Way

British playwright Jack Thorne’s two-hander The Solid Life of Sugar Water is about a couple learning to recover from a horrific experience.
Read more…

Now running through October 13

AMERICAN BUFFALO at the State Playhouse


Photo by Noel Bass

Deborah Klugman – LA Weekly

Al Pacino and Robert Duvall are among the performers who have played Teach, the deluded, out-of-control conman who spurs much of the seamy shenanigans in David Mamet’s American Buffalo.

While I’ve never been privileged to see either in the role, I’d put money on the competitive excellence of Troy Kotsur, a signing performer whose sizzling portrayal dominates the current Deaf West production at Cal State L.A.’s State Playhouse. Read more...

Margaret Gray – LA Times

David Mamet’s “American Buffalo,” which premiered in Chicago in 1975, startled and delighted the theater world with its dialogue: broken, overlapping sentence fragments, studded with expletives, at once highly mannered and faithful to the rhythms of everyday conversation. Read more…

Sharon Perlmutter  -  Talkin’ Broadway

Troy Kotsur leaves it all on the stage. Playing Teach in the Deaf West/Cal State L.A. co-production of American Buffalo, he’s a force to be reckoned with. Kotsur’s Teach is attitude, anger, and simmering aggression. You know he’s going to lose control of his barely suppressed rage, and you worry for the health of anyone who might be nearby when the inevitable explosion occurs. Read more…

Dany Margolies  -  Arts In LA

This production of one of modern theater’s seminal plays is certainly interesting intellectually. David Mamet’s 1975 three-hander is in a co-production by Deaf West Theatre and California State University, Los Angeles. The involvement of Deaf West in a show means creative melding of spoken English and American Sign Language to seamlessly recount a story for its hearing and deaf audience members. Read more…

Paul Birchall  – Stage Raw

David Mamet’s ferociously grifty drama  of small-time thugs  gets a strikingly evocative staging in director Stephen Rothman’s innovative, adrenaline-driven production. Read more…

Now playing through March 8.


Photo by Tate Tullier

Photo by Tate Tullier

Bob Verini  -   Stage Raw

Upon leaving the opening night performance of Deaf West and The Forest of Arden’s co-production Spring Awakening – Duncan Sheik and Steven Sater’s 2006 rock musical about sexual awakening/repression in 19th century European teens, based on the 1891 play by Frank Wedekind — I posted a blissful Tweet announcing that people should see this “beautiful” show, and I stand by that assessment. Read more…

Sharon Perlmutter  -  Talkin’ Broadway

My previous experience with Spring Awakening – its national tour stop at the Ahmanson – did not endear the show to me. Among other issues, I found it difficult to connect with the characters. I had sympathy for the teens (in 1891 Germany) who were trying to find their way despite parental-imposed sexual ignorance, but found the show ultimately unmoving. Read more…

Now running through Oct. 19.