Neal Weaver – Stage Raw People are always doing things to Chekhov. At least since the 1950s, when Joshua Logan reset The Cherry Orchard to the post-Civil War American South in a short-lived adaptation called The Wisteria Trees, the Russian playwright has been adapted, spoofed, satirized, de-constructed, re-conceived, re-thought, re-written and plagiarized. Chekhov Derivatives and Recycling has become … Read more
David C. Nichols – LA Times Aeschylus meets Agnetha, Björn, Benny and Anni-Frid in “ABBAMEMNON,” the latest deconstruction from Troubadour Theater Company. The classic Greek playwright, Swedish pop group and incomparable troupe may never be quite the same again, and neither will audiences. Read more… Steven Leigh Morris – LA Weekly There are no sly topical winks … Read more
Steven Leigh Morris – LA Weekly Tarell Alvin McCraney’s tender, poetical drama The Brothers Size (Fountain Theatre) and Billy Van Zandt & Jane Milmore’s meta-theatrical farce Drop Dead! (presented by Theatre 68, at North Hollywood’s NoHo Arts Center) share one salient commonality: Each production has moments when the actors recite stage directions about their own characters. Tarell Alvin McCraney’s … Read more
Deborah Klugman – LA Weekly Zombies From The Beyond, which premiered off-Broadway in 1995, takes place in the Eisenhower Years, that era of dull certitude when the Soviet Union was America’s arch-enemy and the possibility of creatures from outer space invading the planet haunted American popular culture. Read more… Jonas Schwartz – Arts In LA The … Read more
Deborah Klugman – LA Weekly Backyard wrestling – the emulation of the aggressive antics of professional wrestlers by ordinary folk – serves as the point of departure for Mickey Birnbaum’s funny, frenzied, probing play, Backyard. It begins with two teenagers, Chuck (Ian Bamberg) and Ray (Adan Rocha), meeting in Chuck’s backyard to work out a series … Read more
Bob Verini – Arts In LA Rogue Machine has turned itself into the go-to organization for provocative two-handers. If Rajiv Joseph’s Gruesome Playground Injuries lacks the dread of 2011’s Blackbird or the contemporary relevance of 2013’s Dying City, this production, directed by Larissa Kokernot, demonstrates anew the Pico Boulevard company’s knack for finding something precious in the confrontation of one … Read more
Neal Weaver – Stage Raw Shirl Hendryx’s play is set in an inn on a small Mediterranean island off the coast of Greece, where a group of movie-makers have gathered to prepare for a location shoot. Socially conscious American movie star Branson (Richard Chassler), who’s scheduled to head the cast, has insisted on the hiring … Read more
Bob Verini – Arts In LA Kimber Lee’s different words for the same thing, directed by Neel Keller, seems intended as an Our Townfor our time. Like the Thornton Wilder classic, it takes a cross-section of a little burg to investigate themes of love, death, and community, though Lee’s strategy is more tightly focused on a single … Read more
Deborah Klugman – LA Weekly If you’re not much on abstract theory when it comes to interpreting architecture as art, chances are you’ll find Oren Safdie’s False Solution slow-going stuff. A student of architecture before becoming a playwright, Safdie – son of famed architect Moshe Safdie, who designed L.A.’s Skirball Cultural Center – integrates high-toned analytical jargon into … Read more
Hoyt Hilsman – Huffington Post Even in this subdued and somber rendering of a pair of Chekhov stories, Mikhail Baryshnikov and his creative partners from the Big Dance Theater display a magical grace and style that transcends the bleakness of Chekhov’s tales. Big Dance Theater directors Annie-B Parson and Paul Lazar, who also adapted the … Read more