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Archive for Getty Villa

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…

LIZASTRADA at Getty Villa


Photo by Craig Schwartz

Jonas Schwartz-Owen – Broadway World

During the opening number, the Troubadour Theatre Company, affectionately known to all as the Troubies, comment how thrilled the troupe, and the audience by extension, is to have returned to live theatre. The audience responded with glorious applause, and both the occasion and the Troubies deserve that adulation. Read more…

Terry Morgan  -  ArtsBeat LA

So my first large audience theatre experience since being fully vaccinated featured women sporting two-foot-long phalluses singing Liza Minnelli songs in a Greek amphitheater on the grounds of the Getty Villa. Perhaps this requires some context. Read more…

Now running through October 2.

THE HEAL at Getty Villa

Craig Schwartz

Craig Schwartz

Deborah Klugman – Stage Raw

Everyone is wounded — that’s the overarching theme of The Heal, writer/director Aaron Posner’s ironical, imaginative play about living with pain and choosing to do the right thing even if you’re unclear just what that thing might be.
Read more…

Now running through September 28



Photo b y Craig Schwartz

Photo by Craig Schwartz

Dany Margolies – The Daily News

Each year for the past decade, the Getty Villa in Pacific Palisades has commissioned a Los Angeles theater company to adapt an Ancient Greek play for the Getty’s outdoor amphitheater. This year, the Pasadena-based Theatre @ Boston Court sets the Euripides tragedy “Medea” in modern-day Boyle Heights. Enter “Mojada: A Medea in Los Angeles” — and the results are spellbinding.  Read more…

Deborah Klugman – LA Weekly

One of the more striking elements in playwright Luis Alfaro’s work is his ability to successfully transpose Greek tragedy into stories about Mexican-Americans and Latino immigrants. Myths that may not feel relevant to many of us suddenly become germane as we watch Alfaro’s dramas about ordinary people who have extraordinary passions, much like the classical characters of old.   Read more…

Myron Meisel – Stage Raw

In Luis Alfaro’s new adaptation, Mojada: A Medea in Los Angeles, Medea (Sabina Zuniga Varela), an undocumented fugitive and a topnotch seamstress obsessively doing piecework while never leaving her home, explains that the basis for the quality of a well-crafted dress depends upon the fabric “… and the stitching.” Read more…


Now running through Oct. 3.

PERSIANS at the Getty Villa


Photo by Craig Schwartz

Dany Margolies  -  Arts In LA

The weighty ideas expressed in this piece have retained their potency from nearly 2,500 years ago. The skills and vibrancy of the actors here are flawless. Had the two elements meshed, this would be a perfect production. Read more…

Bob Verini  -   Stage Raw

Reviewing the 2011 Getty Villa production of Euripides’ Trojan Women, staged by Anne Bogart with her New York-based SITI Company, I called it “essential viewing for anyone interested in the conversation between timeless texts and modern theatrical practice,” expressing my conviction that Bogart and co. had “unearthed the vital, immediate drama within.” All of the above applies in equal measure to their current Getty attraction, Aeschylus’s Persians.   Read more…

Myron Meisel – The Hollywood Reporter

Essentially the ancient-world equivalent of a story torn from the headlines, Persians recounts how overwhelmingly outnumbered Greek ships defeated the invading fleet of Xerxes’ navy at the Battle of Salamis in 480 B.C.E., an event fresh in the minds of the Athenian audiences at the festival of Dionysos a scant eight years later. Read more…

Now running through Sept. 27.

PROMETHEUS BOUND at the Getty Villa

"Prometheus Bound"

Photo by Craig Schwartz











Bob Verini -   ArtsInLA

As Greek tragedies go, Prometheus Bound poses something of a staging nightmare. There’s no betrayed wife out to murder her own children and her rival, no king brought to understand the truth about the older woman he married. Instead, it’s a solemn religioso pageant in which the god who created mortal man, and went on to endow us with intelligence, hope, skills, and fire, is sentenced to be chained to a rock face and tormented for eternity, in perhaps the world’s first example of no good deed going unpunished.
Read more…

Steven Leigh Morris – LA Weekly

In his program note to his elegant and fervent staging of the 5th-century Greek tragedy, Prometheus Bound director Travis Preston writes, “The dramaturgy of Prometheus Bound asks us to question common assumptions of theater practice — assumptions related to individual psychology, personality, and the nature of human motivation and identity. This exceptional play urges investigation of other pathways,” which Preston goes on to describe as “communal identity, gestural power and the iconic.”
Read more…

Now running through September 28.

Euripides’ Helen, Getty Villa

Photo by Craig Schwartz.


Euripides’ Helen, by adapted by Nick Salamone.


Dany Margolies, ArtsInLA

Nick Salamone is most gracious in crediting Euripides as the writer here, merely listing himself as adaptor. He has riffed on the Greek tragicomedy original, working with historical plot and characters but blending in elements of Hollywood movie musicals and characters from Hollywood’s Golden Age. Read more…


Pauline Adamek – LA Weekly

Euripides’ fanciful version of the legend of Helen of Troy (the beauty whose abduction triggered a ten year war between the Trojans and the Achaeans) was first produced in 412 BC. In it he posits that Helen was supplanted by a phantom (fashioned by the mischievous gods) to ensure a war while the real Helen was spirited away to exile on a remote Egyptian island.  Read more…