IN THE HEIGHTS

Lin-Manuel Miranda and Quiara Alegría Hudes’s In The Heights now arrives in Anaheim Heights (sorry, make that Anaheim Hills) in as fine an intimate staging as any you could hope to see of the Tony-winning Best Musical of 2008, Chance Theater mainstays Oanh Nguyen and Kelly Todd directing and choreographing with their accustomed brilliance, aided and abetted by a sensational young cast.
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DIXIE’S TUPPERWARE PARTY

RECOMMENDED

When playwright Kris Andersson and his Tupperware Lady alter ego “Dixie Longate” debuted their “one-woman” show Dixie’s Tupperware Party at the 2004 New York International Fringe Festival, little did they realize that ten years later, their comedy confection would earn a slot at Westwood’s Geffen Playhouse. As to whether it merits a run at one of L.A.’s most prestigious regional houses … Well, I’ll say this for Dixie and her honest-to-gosh Tupperware party: There are far less entertaining ways to spend an evening at the theater than in the presence of the trailer-trashy redhead and her multi-colored plastic bowls, canisters, jars, and other assorted gadgets.
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FLIM FLAM: HOUDINI AND THE HEREAFTER

“Spiritualism” may not be the first word to spring to mind when master illusionist/escape artist Harry Houdini and Sherlock Holmes/Dr. Watson-creator Sir Arthur Conan Doyle are mentioned, but it is precisely this fascinating but lesser-known aspect of the two men’s lives on which playwright Gene Franklin Smith has based his World Premiere drama Flim Flam: Houdini And The Hereafter, now entertaining and elucidating audiences at Malibu Playhouse.
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THE CURSE OF OEDIPUS

Spending time with the Ancients has rarely if ever been as exhilarating as it is in Kenneth Cavander’s The Curse Of Oedipus, an Antaeus Company World Premiere which proves that even the deadly dullest of theatrical genres, Greek Tragedy, can end up the opposite of boring when given fresh new life by the right creative team.
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STUPID FUCKING BIRD

2014’s hottest “new” playwright may well be none other than the Russian master Anton Chekhov, his 19th Century classics having inspired not one but three current hits: Christopher Durang’s Vanya And Sonia And Masha And Spike, Donald Margulies’ The Country House, and now —most Chekhov-specifically—Aaron Posner’s inspired meta-dramedy Stupid Fucking Bird, currently being given a sensational West Coast Premiere under the ever-inventive direction of Michael Michetti.
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HOLLYWOOD FRINGE FESTIVAL 2014

ZOMBIES FROM THE BEYOND

SHUFFLE ALONG: The Journey Of The Black Actor On The Musical Stage

I WANT TO BURY MY TESTIMONY

THE WAKE

NO HOMO—A Bromantic Tragedy

MEET & GREET

SONGS FOR A NEW WORLD

BRONIES: THE MUSICAL

THE IMPORTANCE OF BEING EARNEST

‘DENTITY CRISIS

WOMEN

FRIENDS LIKE THESE

THE BROTHERS SIZE

RECOMMENDED

The Fountain Theatre follows its multiple award-winning 2012 production of Tarell Alvin McCraney’s In The Red And Brown Water with the Los Angeles Premiere of the 33-year-old playwright’s The Brothers Size, and while the production is as beautifully acted as they get, I am a good deal less enamored with the second in McCraney’s Brother/Sister Plays trilogy than I was with the first.
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