Posts Tagged ‘Los Angeles Theater Review’

THE SECRET IN THE WINGS

Life is no fairytale for the dozens of fairytale characters who people Mary Zimmerman’s dark and dazzling The Secret In The Wings, the latest from L.A.’s “Pay What You Want” Coeurage Theatre Company and as spellbinding a theatrical experience as I’ve had since Coeurage’s equally stunning Failure: A Love Story.
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THE MAN WHO CAME TO DINNER

Radio superstar Sheridan Whiteside is at it again, terrorizing the Ohio Stanleys, fomenting family rebellions, and scheming to get his own egomaniacal way in Actors Co-op’s pitch-perfect revival of the 1939 George S. Kaufman and Moss Hart screwball classic The Man Who Came To Dinner.
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LITTLE WOMEN [a multicultural transposition]

If Meg, Jo, Beth, and Amy March had come of age in post-WWII L.A. as the Mayeda sisters, offspring of a Japanese-American father and a Chinese-American mother, Louisa Mae Alcott’s classic novel might look and sound just like Little Women [a multicultural transposition], Velina Hasu Houston’s unabashedly G-rated World Premiere rewrite that had me in its spell from ebullient start to heartwarming finish.
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END OF THE RAINBOW

Even the words “definitive” and “tour de force” seem inadequate to describe Angela Ingersoll’s astonishing transformation into Judy Garland in End Of The Rainbow, Peter Quilter’s powerful, probing examination of the last months Judy’s not-so-storybook life, superbly directed by Michael Matthews for La Mirada Theatre and McCoy Rigby Entertainment.
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MR. BURNS, A POST-ELECTRIC PLAY

With each of its three acts performed on a different stage of Sacred Fools’ newly renamed (and spiffily remodeled) Broadwater complex on Santa Monica Blvd. and Lillian, the company’s sensationally directed, performed, and designed Los Angeles Premiere of Anne Washburn’s Mr. Burns, A Post-Electric Play achieves event status. Whether or not Washburn’s audacious Drama Desk-nominated take on a post-Apocalyptic civilization is your cup of tea, for its adventurous execution alone, Mr. Burns is a fall-season must-see.
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THE WOMAN IN BLACK

Theatre Unleashed offers Halloween season audiences an entertaining and occasionally shiver-and-gasp-worthy intimate staging of the three-decades-long-running West End smash “ghost play” The Woman In Black minus the full quotient of horror-movie chills a bigger-bucks production could provide.
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YOHEN

Danny Glover gives East West Players/Robey Theatre Company’s revival of Philip Kan Gotanda’s Yohen plenty of movie-star box-office draw, but Gotanda’s delicate, perceptive “portrait of a marriage” and Yohen’s luminous leading lady June Angela deserve better than Glover’s lackadaisical performance as a retired African-American soldier estranged from his Japanese wife of thirty-plus years.
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THIS LAND

At once epic and intimate, Evangeline Ordaz’s This Land weaves two centuries of Watts history—from the Mexican ranchers who seized Tongva Indian land in the 1880s, to the white homeowners who took flight in the 1950s when blacks moved in, to the Latinos who became the majority four decades later, to today’s white gentrifiers—into two absorbing, illuminating hours of Los Angeles theater at its best.
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