DOCTOR ANONYMOUS

The gay liberation movement may have started in earnest with the 1969 Stonewall riots, but homosexuality was still deemed a “curable” mental illness by the American Psychiatric Association in 1972 when a masked Dr. John E. Fryer addressed the annual APA conference as “Dr. H. Anonymous,” beginning his speech with the simple words “I am a homosexual. I am a psychiatrist.”

A year later homosexuality was removed from the Diagnostic and Statistical Manual of Mental Disorders.

Inspired by Fryer’s speech, psychiatrist/playwright Guy Fredrick Glass has written Doctor Anonymous, now getting its World Premiere at the Zephyr Theatre, and though several of its actors rise above the material, neither their performances nor a topnotch production design can mask Doctor Anonymous’s many serious flaws.
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THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS AND COUNT LEO TOLSTOY: DISCORD

Three superb performances, a snazzy design package, a delightful opening sequence, and then a whole lot of speechifying add up to a less than compelling ninety minutes as the NoHo Arts Center presents the World Premiere engagement of Scott Carter’s The Gospel According To Thomas Jefferson, Charles Dickens And Count Leo Tolstoy: Discord.
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HERSHEY FELDER IN ABE LINCOLN’S PIANO

Hershey Felder is back at the Geffen with his latest one-man show, Hershey Felder In Abe Lincoln’s Piano, and though Felder does treat the audience to a bit of Gershwin’s Rhapsody In Blue, unlike the smash hit Hershey Felder As George Gershwin Alone, the maestro’s latest may prove a hard sell to all but Felder fanatics.
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ENDGAME

There are plays that grab you from their opening moments and keep you on the edge of your seat throughout. And then there’s Endgame, the latest from A Noise Within.
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PROMETHEUS BOUND

There are a number of reasons to spend a September evening out in Pacific Palisades where the Getty Villa* is presenting its annual classic theater offering, the least of which is the play itself, for despite intense, committed performances, innovative design, and a couldn’t-be-better setting, Prometheus Bound remains that most acquired of tastes, Greek Tragedy.
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eve2

Playwright Susan Rubin experiments with the surreal in eve2, an avant-garde one-act that left me scratching my head in bewilderment.
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PACK UP THE MOON

A gay couple still dealing with the sudden crib death of their adopted child decide a year later to become parents again—this time through surrogacy. Could there be a more current, hot-button topic for a world premiere play?

If only Christina Cigala’s Pack Up The Moon lived up to that promise.
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THE BONEYARD AND TALISMAN

There’s no L.A. actress whose work I enjoy seeing more than Elephant Theatre Company’s Kate Huffman. Elephant artistic director David Fofi is one of the consistently finest directors in town. Timothy McNeil’s Supernova was singled out for a Scenie as one of The Twelve Best Plays Of The Year and McNeil’s performance in The Little Flower Of East Orange won him a Best Lead Actor Scenie. That’s why it’s disappointing to report that their latest collaboration as star, director, and writer/star of the pair of one-acts entitled The Boneyard and Talisman ended up not this reviewer’s cup of tea despite three excellent performances and Fofi’s sharp direction.
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