Lauren Patten. Photo by Jeff Lorch.
Patrick Chavis – LA Theatre Bites
World Premiere: The Lonely Few @ Geffen Playhouse – 8 out of 10 – Good Show! LA Theatre Bites Recommended! More…
March 18, 2023Patrick Chavis – LA Theatre Bites World Premiere: The Lonely Few @ Geffen Playhouse – 8 out of 10 – Good Show! LA Theatre Bites Recommended! More…
March 17, 2023Patrick Chavis – LA Theatre Bites West Coast Premiere: La Egoista @ Skylight Theatre – 8.2 out of 10 – Good Show! LA Theatre Bites Recommended! More…
March 17, 2023Rob Stevens – Haines His Way. GRT’s production uses projections on the back wall and on smaller screens that come and go from the wings in an attempt to open up the action. Unfortunately, they don’t add much to the show and Larry Eisenberg’s lackadaisical direction lets the production drag on. Most scenes just meander
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March 15, 2023Lara J. Altunian – Stage Raw When it comes to classic fairy tales, there’s always room for updated adaptations — particularly when it comes to introducing one with antiquated values to a new generation of audiences. Santa Monica Playhouse’s rendition of the Brothers Grimm’s Snow White spins the narrative of a helpless young girl into
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March 13, 2023Dana Martin – Stage Raw …Mean Girls is updated from the movie in order to reflect an era of smartphones and selfies but still manages to feel dated. Even the most feared book in school, the almighty Burn Book, loses a bit of its sting. Yet — Mean Girls doesn’t talk down to its audience
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March 9, 2023Katie Buenneke – Theatre Digest Through some unlucky combination of script, direction, cast, set design, and video design, this felt more like sitting through a scene study class than a professional play. Somehow, I hadn’t seen a play by Caryl Churchill before, but I’m in no rush to see another. Read more… Patrick Chavis –
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March 7, 2023Martίn Hernández – Stage Raw Playwright-director Steven Silverman’s dark yet amiable comedy offers up a multi-ethnic family whose members, despite living or being raised in racially turbulent Chicago, have no apparent animus over each other’s skin colors. No, these folks are dealing with more explosive issues common to many a kith and kin, regardless of
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Archive for Geffen Playhouse
The ‘R’ in SCR. A WW2 ‘Much Ado’. ‘Sunday’ starts Sondheim fest. The ‘Maggie’ musical.
By LADCC critics · Comments (0)
Friday,
February
24th,
2023
Photo by Jenny Graham/SCR
Don Shirley – Angeles Stage
Plus Geffen’s ‘Breath,’ Kristina Wong, and more.
A flood of openings gushed through Greater LA theaters in February — although two of the new productions were delayed by an outbreak of COVID.
During the first weekend of the month, South Coast Repertory in Costa Mesa planned to activate the “repertory” in its name for the first time in the company’s 59-year history — with two different plays sharing the same stage and many of the same actors in alternating performances. “The Little Foxes” and “Appropriate” were waiting in the wings, united not only by a stage and actors and narrative similarities but also by a composite title — “Voices of America.”
Unfortunately, COVID barged in, canceling the entire opening weekend of both plays. Read more…
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Categories : Reviews
Tags : A Noise Within, And If I Don't Behave, Angeles Stage, Appropriate, Calvin Berger, Chance Theater, Colony Theatre, Come Get Maggie, Don Shirley, Geffen Playhouse, If I Don’t Behave Then What, Incident at Our Lady of Perpetual Help, Kirk Douglas Theatre, Kristina Wong, Mean Girls, Much Ado About Nothing, Nimrod, Pantages Theatre, Pasadena Playhouse, Ride the Cyclone, Rogue Machine, South Coast Repertory, Sunday in the Park with George, The Dry Years, The First Deep Breath, The Little Foxes, Theatre 40, Theatre of NOTE
THE FIRST DEEP BREATH at Geffen Playhouse
By LADCC critics · Comments (0)
Monday,
February
13th,
2023
Photo by Jeff Lorch
Terry Morgan – ArtsBeat LA
Plays in which family secrets are tragically revealed are nothing new – Oedipus and his mom were shocking audiences back as far as 429 BCE. In the U.S., the 500 lb. gorilla of this genre would be Eugene O’Neill’s Long Day’s Journey into Night, and the most influential of recent plays of this type is Tracy Letts’ August: Osage County. Playwright Lee Edward Colston II seems to have taken County as a stylistic inspiration for his play The First Deep Breath, which focuses on the many secrets that come out during a large family gathering. There is a lot to like about the Geffen Playhouse’s production, from a superb ensemble to Colston’s skill for humorous dialogue and dramatic moments, but unfortunately it’s also an overstuffed play and at its current running time of four hours it could perhaps use some judicious trimming. Read more…
Patrick Chavis – LA Theatre Bites
West Coast Premiere: The First Deep Breath @ Geffen Playhouse – Review. More…
Jonas Schwartz-Owen – TheaterMania
At almost four hours, The First Deep Breath at the Geffen Playhouse is unwieldy — and not because audiences will not sit for an epic play. An earlier work this season, part one and part two of Matthew López’s The Inheritance, ran six and a half hours total and left audiences transfixed. And while Deep author Lee Edward Colston II has a knack for stirring monologues and humorously evocative exchanges, there are too many secrets, too many lies, too many dramas. It is the audience at the Geffen who is too exhausted to take deep breaths anymore. Read more…
Deborah Klugman – Stage Raw
There are moments in Lee Edward Colston II’s family melodrama where one or another of the characters reflect on human behavior in an eloquent and/or meaningful way. These are moving moments when, watching intently, you think to yourself: I know so well what that person is talking about, and it is so very true. Such interludes, however, are too infrequently found in this sprawling ambitious work, whose text might benefit from pruning and whose current staging at Geffen Playhouse features missteps in casting, design and performance that undercut the play’s strengths. Read more…
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Confrontations with classics: THE INHERITANCE and PENELOPIAD
By LADCC critics · Comments (0)
Monday,
November
21st,
2022
Adam Kantor, Bill Brochtrup, August Gray Gall and Juan Castano in The Inheritance Part 1. Photo by Jeff Lorch
Don Shirley – Angeles Stage
Also: ’2:22,’ ‘To Kill a Mockingbird,’ ‘Rent,’ ‘Eisenhower’
When a narrative work of art attains “classic” stature, it often settles comfortably into collegiate required-reading lists — but loses its share of the current limelight.
So if E.M. Forster or Homer were alive today and sampling theater on the west side of Los Angeles County, would they be delighted that their creations are again being mentioned outside the classroom?Or would they be disturbed that their works are reference materials for playwrights with distinctively 21st-century perspectives — and that these writers are adapting the originals to reflect previously unrepresented points of view?
I’m talking about the West Coast premiere of Matthew López’s “The Inheritance” at Geffen Playhouse in Westwood and the professional LA premiere of Margaret Atwood’s “The Penelopiad” at City Garage in Santa Monica. Read more…
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Categories : Feature article, Reviews
Tags : 2:22 - A Ghost Story, Ahmanson Theatre, Angeles Stage, Center Theatre Group, Coeurage Ensemble, Don Shirley, Eisenhower: This Piece of Ground, Geffen Playhouse, Hollywood Pantages, Margaret Atwood, Matthew Lopez, Mike Donahue, New LA Repertory Company, Pantages Theatre, Rent, The Inheritance, The Penelopiad, Theatre West, To Kill A Mockingbird
Adam Kantor and Juan Castano. Photo by Jeff Lorch.
Jonas Schwartz-Owen – Theatermania
The final five minutes in Part 1 of Matthew Lopez’s epic Tony-winning The Inheritance, now running at the Geffen Playhouse in Los Angeles, are some of the most gut-wrenching moments in theater. At the performance I attended, the entire audience sat connected — some teary-eyed, some crying — but it seemed everyone was affected somehow by the play’s sadness and other-worldly camaraderie. The entire seven-plus-hour production, which is divided into two parts, spellbinds with precise dialogue, rich characters, and an analysis of the United States as a whole.
Read more…
Rob Stevens – Haines His Way
Simply put, Matthew Lopez’s The Inheritance is a masterpiece of writing. This six-and-a-half-hour two-part play about a group of gay men in New York City circa 2015-2018 is a worthy successor and companion piece to Tony Kushner’s epic Angels in America from nearly 20 years earlier. Where Kushner dealt with the early years of the AIDS epidemic and blended in the politics of Roy Cohn and even Ethel Rosenberg, Lopez’s gay men enjoy the freedoms earlier generations fought hard for without their really realizing what it was like to live in those near yet distant decades. The current production at Westwood’s Geffen Playhouse should not be missed. It just might be the best work to ever grace their stage since the venue opened in 1975 as the Westwood Playhouse. Read more…
Terry Morgan – ArtsBeat LA
The epigraph of E. M. Forster’s 1910 novel, Howards End, is “Only connect…” This motto mainly referred to opening oneself up to the world and other people for greater understanding and potential happiness, but it is also about the importance of remembering the past and seeing how it affects the present. When playwright Matthew López took Forster’s book as the inspiration for his play The Inheritance, he retained this theme of connection and remembrance but created something new and powerful with it in his story of modern gay men grappling with a complicated present and the legacy of AIDS. The current production of this work at the Geffen Playhouse is magnificent, a tour de force on every level, and definitely one the best plays of the year. Read more…
Tracey Paleo – Gia On The Move
As a 6-hour theatrical journey of life, death, pain, loss, suffering, discovery, ecstasy, and triumph…
…THE INHERITANCE is thoroughly astounding! More…
Dana Martin – Stage Raw
Matthew López’s sprawling saga, The Inheritance Part 1 and Part 2, is an artistically refined and emotionally raw examination of modern gay life in the aftermath of the AIDS epidemic. The Geffen’s season opener has seismic power that won’t be soon forgotten. Read more…
Don Shirley – Angeles Stage
When a narrative work of art attains “classic” stature, it often settles comfortably into collegiate required-reading lists — but loses its share of the current limelight. So if E.M. Forster or Homer were alive today and sampling theater on the west side of Los Angeles County, would they be delighted that their creations are again being mentioned outside the classroom?Or would they be disturbed that their works are reference materials for playwrights with distinctively 21st-century perspectives — and that these writers are adapting the originals to reflect previously unrepresented points of view?
I’m talking about the West Coast premiere of Matthew López’s “The Inheritance” at Geffen Playhouse in Westwood and the professional LA premiere of Margaret Atwood’s “The Penelopiad” at City Garage in Santa Monica. Read more…
Through November 27
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Los Angeles Drama Critics Circle Announces 2020-2021 Award Recipients
By LADCC critics · Comments (0)
Wednesday,
August
3rd,
2022
The Los Angeles Drama Critics Circle is proud to announce the award recipients for 2020 and 2021. Poor Clare (The Echo Theater Company) and The Father (Pasadena Playhouse) received the prestigious Production award, with additional honorees named in 18 other categories.
In total, 13 different productions were honored, celebrating a wide range of Los Angeles theater. Pasadena Playhouse’s The Father received the most awards for a single production and the most awards overall, with nine.
This year, out of an abundance of caution, the LADCC will once again forgo its annual event ceremony and will instead send the plaques to the honorees. Congratulations to all of the award recipients!
The complete list of award recipients for 2020 and 2021 is as follows:
Production:
- Poor Clare, The Echo Theater Company
- The Father, Pasadena Playhouse
McCulloh Award for Revival
- My Fair Lady, Dolby Theatre
Lead Performance
- Jordan Hull, Poor Clare, The Echo Theater Company
- Alfred Molina, The Father, Pasadena Playhouse
Featured Performance
- Sue Cremin, The Father, Pasadena Playhouse
- Ann Noble, Poor Clare, The Echo Theater Company
- Michael Sturgis, Poor Clare, The Echo Theater Company
Ensemble Performance
- Poor Clare, The Echo Theater Company
- The Father, Pasadena Playhouse
Solo Performance
- Jim Ortlieb, Stand Up If You’re Here Tonight, VS. Theatre Company & Circle X Theatre Co.
Writing
- Chiara Atik, Poor Clare, The Echo Theater Company
- Florian Zeller (translation by Christopher Hampton), The Father, Pasadena Playhouse
Writing Adaptation
- Branden Jacobs-Jenkins, An Octoroon, The Fountain Theatre
Musical Score
- Kristen Anderson-Lopez and Robert Lopez, Frozen, Hollywood Pantages Theatre
- David Yazbek, The Band’s Visit, Dolby Theatre
Music Direction
- John Bell, My Fair Lady, Dolby Theatre
- Andre Cerullo, Hamilton, Hollywood Pantages Theatre
- Adrian Ries, The Band’s Visit, Dolby Theatre
- Ryan Whyman, Lizastrata, Troubadour Theater Company
Choreography
- Jess Coffman, Suzanne Jolie, L.T. Martinez, Matt Walker, Lizastrata, Troubadour Theater Company
- Christopher Gatelli, My Fair Lady, Dolby Theatre
Direction
- Alana Dietze, Poor Clare, The Echo Theater Company
- Jessica Kubzansky, The Father, Pasadena Playhouse
Set Design
- David Meyer, The Father, Pasadena Playhouse
- Frederica Nascimento, An Octoroon, The Fountain Theatre
Lighting Design
- Elizabeth Harper, The Father, Pasadena Playhouse
- Natasha Katz, Frozen, Hollywood Pantages Theatre
- Azra King-Abadi, Poor Clare, The Echo Theater Company
Costume Design
- Christopher Oram, Frozen, Hollywood Pantages Theatre
- Halei Parker, Lizastrata, Troubadour Theater Company
- Catherine Zuber, My Fair Lady, Dolby Theatre
Sound Design
- John Zalewski, The Father, Pasadena Playhouse
CGI/Video
- Kaitlyn Pietras, Jason H. Thompson, Revenge Song, Geffen Playhouse
- Finn Ross, Frozen, Hollywood Pantages Theatre
Streaming Design
- Corwin Evans, Bree Pavey, UnRavelled, Global Brain Health Institute, based at the University of California, San Francisco; and Trinity College Dublin, the University of Dublin, Ireland
- Andrew Schmedake, The Ballad of Emmett Till, The Fountain Theatre
Specialty
- Lily Bartenstein, Prop Design, Lizastrata, Troubadour Theater Company
- Jeremy Chernick, Visual Effects, Frozen, Hollywood Pantages Theatre
- Joe Seely, Puppet Design, The ODDyssey, Troubadour Theater Company
Every effort has been made to ascertain proper credits for our award recipients. We regret any errors or omissions. Any that come to our attention will be corrected on our LADCC website and (when applicable) on a recipient’s award plaque.
The Los Angeles Drama Critics Circle was founded in 1969. It is dedicated to excellence in theatrical criticism, and to the encouragement and improvement of theatre in Greater Los Angeles.
The 2020-2021 membership consisted of:
Lara J. Altunian, Stage Raw, L.A. Dance Chronicle
Katie Buenneke, Stage Raw, Theater Digest
Erin Conley, On Stage & Screen
Peter DeBruge, Variety
Ellen Dostal, BroadwayWorld, Musicals in LA
Lovell Estell III, Stage Raw, ArtsInLA.com
Margaret Gray, Los Angeles Times
Hoyt Hilsman, Cultural Daily, Pasadena Now, Riot Material
Harker Jones, BroadwayWorld, ArtsInLA.com
Deborah Klugman, Stage Raw, Capital and Main, Gia On The Move
Dany Margolies, ArtsInLA.com, Southern California News Group
Dana Martin, Stage Raw
Myron Meisel, Stage Raw
Terry Morgan, ArtsBeatLA.com, Stage Raw
Steven Leigh Morris, Stage Raw
Melinda Schupmann, Showmag.com, ArtsInLA.com
Jonas Schwartz-Owen, Theatermania.com, BroadwayWorld, ArtsInLA.com
Don Shirley, Angeles Stage
Rob Stevens, haineshisway.com
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Tags : Circle X Theatre Co, Dolby Theatre, Echo Theater Company, Geffen Playhouse, LADCC, LADCC Annual Awards, LADCC awards, Los Angeles Drama Critics Circle, Los Angeles Drama Critics Circle Awards, Pantages Theatre, Pasadena Playhouse, The Fountain Theatre, The Los Angeles Drama Critics Circle (LADCC), Theater, Troubadour Theater Company, VS. Theatre Company
Sabrina Sloan and Michelle Ortiz. Photo by Jeff Lorch
Deborah Klugman – Stage Raw
Liz Rico (Sabrina Sloan) the central character in playwright Fernanda Coppel’s sports-themed drama, is one tough cookie. A woman-of-color, she’s hauled herself up by her bootstraps, transitioning through hard work from an impoverished childhood (her mom died of cancer because her dad couldn’t afford treatment) to Yale on a full scholarship to a pinnacled place as a sports agent with one of the most prestigious companies in the business. In her 40s and blazing hot in her 4-inch stilettos, Liz now owns a luxury condo on the Upper West Side in proximity to people like Steven Spielberg and Oprah Winfrey. She’s been recognized several times in Forbes and Time magazines, and is viewed by her peers as one of the most formidable and relentless players in her game, which is still mostly dominated by men. Read more…
Now through August 14
Valerie Perri, Leo Marks, Samantha Klein. Photo by Jenny Graham
Don Shirley – Angeles Stage
Don’t forget ‘If I Forget’ at the Fountain. Plus ‘Dear Evan Hansen,’ ‘A Wicked Soul in Cherry Hill,’ ‘King Liz,’ ‘Trouble the Water,’ ‘Freestyle Love Supreme,’ ‘Cookin’ with Gas’
The present moment is the essence of live performance. Everyone in the audience — or on the stage, for that matter — experiences an event that will never again be exactly replicated. More than filmed or “live” electronically recorded productions, live theater happens right now.
Of course improv-based stage productions, such as the current “Freestyle Love Supreme” at Pasadena Playhouse or the Groundlings’ “Cookin’ With Gas”, emphasize this quality. They rely on suggestions from the spectators, so the actual words and topics can change dramatically at each new performance (more about them later).
On the other hand, many scripted plays grapple so much with memories of the past that they sometimes ignore the relevance of the past to the present moment. This isn’t necessarily a bad thing, as long as the memories don’t feel musty. Read more…
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Categories : Feature article, Reviews
A WICKED SOUL IN CHERRY HILL at Geffen Playhouse
By LADCC critics · Comments (0)
Tuesday,
July
19th,
2022
Nicholas Mongiardo-Cooper and Rivkah Reyes. Photo by Jeff Lorch
Deborah Klugman – Stage Raw
There are many things to like about A Wicked Soul in Cherry Hill, a musical by composer/lyricist Matt Schatz that was developed in a writers’ workshop at Geffen Playhouse, where the production now runs through July 24. A lively upbeat score (performed on stage by a five-member band, musical direction/orchestration by Scott Anthony), clever lyrics that tell a good story, and a well-disciplined ensemble under Mike Donahue’s very able direction are among the production’s strengths. Read more…
Jonas Schwartz-Owen
If you ever wondered what it would be like for composer William Finn (Falsettos) to musicalize an episode of Dateline, your dream has come true. A world premiere folk musical, A Wicked Soul in Cherry Hill, now running at the Geffen Playhouse, features the germ of a good idea, but the execution is sloppy and confounding. Read more…
Now through July 24
Photo by Jeff Lorch
Peter Debruge – Variety
The lights come up on four Korean American teens crowded around a hotel bed. They’re members of a So Cal church group on a mission to Bangkok, Thailand — though the location only matters is the abstract. Audiences never leave the hotel room in “Man of God,” although director Maggie Burrows’ creative staging of this punchy feminist one-act from Anna Ouyang Moench has our imaginations working overtime. Read more…
Tracey Paleo – BroadwayWorld
In, MAN OF GOD, playwright Anna Ouyang Moench quite deftly gets right to the point in the setup for this extremely comic drama about four Asian-American high school girls on a mission trip to Thailand with their Pastor. And it’s definitely not what anyone expects. Read more…
Now through June 19
To hell (and back?) in TOOTSIE and HADESTOWN: Plus, A Heated Discussion, Who’s Afraid of Virginia Woolf?, A Doll’s House Part 2, Masao and the Bronze Nightingale, Jane Austen Unscripted
By LADCC critics · Comments (0)
Wednesday,
May
4th,
2022
Photo by Evan Zimmerman for MurphyMade
Don Shirley – Angeles Stage
Just 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 “Tootsie” made its first LA appearance there, under the auspices of Broadway in Hollywood, depicting a very different fall from grace. It’s a contemporary take on the beloved 1982 film comedy about a man who enjoys steady employment — and even fame — while posing as a woman, before his ruse is exposed. Read more…
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Categories : Feature article, Reviews
Tags : A Doll's House Pt 2, A Heated Discussion, Ahmanson Theatre, Angeles Stage, Casa 0101, Dolby Theatre, Don Shirley, Garry Marshall Theatre, Geffen Playhouse, Hadestown, International City Theatre, Jane Austen Unscripted, Masao and the Bronze Nightingale, Robey Theatre, Tootsie, Who’s Afraid of Virginia Woolf
WHO’S AFRAID OF VIRGINIA WOOLF at Geffen Playhouse
By LADCC critics · Comments (0)
Wednesday,
May
4th,
2022
Photo by Jeff Lorch
Terry Morgan - Artsbeat LA
Bitchiness, thy name is Albee. Has there ever been a play that reveled in so much in mean-spirited badinage as Edward Albee’s Who’s Afraid of Virginia Woolf? Sour wit courses through the blackened veins of this show like acidic blood, or more specifically like the booze the characters actively embalm themselves with. Read more…
Jonas Schwartz-Owen – Theatermania
Edward Albee’s classic Who’s Afraid of Virginia Woolf? exposes the crud hidden behind the closed doors of American households between Eisenhower’s cheery post-war tranquility and John F. Kennedy’s focus-on-the-future optimism. No couple performs an S&M act, even without whips and chains, as depraved as George and Martha. Reveling in the play’s bitterness and booze, Zachary Quinto and Calista Flockhart make a cruel twosome in this harrowing and darkly hilarious production at the Geffen Playhouse. Read more…
Peter Debruge – Variety
The trick of stage acting comes in playing the same thing every night as if it were happening for the first time, right there in front of the audience’s eyes. But once-controversial American classic “Who’s Afraid of Virginia Woolf?” calls for something different. Edward Albee wrote a play in which we get to observe the latest round in a cruel and competitive game of escalating insults between career-stalled history professor George and Martha, the wife who makes vicious sport of her disappointment. Read more…
Harker Jones – BroadwayWorld
Edward Albee’s Tony Award-winning play about discontent and despair in 1960s academia is brought to blazing, blistering life by director Gordon Greenberg at The Geffen Playhouse, its themes and anxieties as relevant as ever on its 60th anniversary. Read more…
Now running through May 29
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Copyright © 2023 All Rights Reserved