Author Archive

CASEY GARRITANO

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THE QUALITY OF LIFE


When I see a production as beautifully written, directed, and performed as The
Quality of Life, I thank my lucky stars that I live in Los Angeles (well, in
Alhambra, actually, but who’s splitting hairs?). Where else could I be treated
to internationally known film and TV vets like Scott Bakula, Dennis Boutsikaris,
Laurie Metcalf, and JoBeth Williams returning to their stage roots, an award-
winning writer/director like Jane Anderson with serious film/TV/stage credits,
and a design team as fine as the one assembled at the Geffen for this
production?
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ANON


Kate Robin’s provocative new play Anon begins as a light romantic comedy 
and soon develops into something a good deal more weighty. Trip (Blayne 
Weaver) and Allison (Kit Pongetti) meet cute when animal psychologist Allison 
makes a house call at Trip’s apartment because his cat (named Cat) has 
been peeing in all the wrong places. She advises him to talk to Cat, confide in 
her, buy her more toys, keep her litter box tidy (with a metal scooper), and by 
all means give her a less generic name.  Her $200 fee paid, Allison accepts Trip’
s impulsive invitation to dine with him (Chinese take-out) and the evening 
ends with a bout of passionate lovemaking.
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“MASTER HAROLD” … and the boys


The Colony Theatre Company’s last production, Trying, proved to be its biggest and
most critically acclaimed hit in years, and has scored an impressive 8 Ovation
nominations—in every category for which it was eligible. A decidedly tough act to
follow, but follow it they have, with a superb and supremely moving production of
Athol Fugard’s “Master Harold” … and the boys.
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TOM, DICK, AND HARRY


Nobody writes farce better than the UK’s Ray Cooney, whose plays are a staple
of regional and community theaters across the U.S. His most recent comedy,
Tom, Dick and Harry (written with son Ray Cooney) is getting its West Coast
Premiere at International City Theatre in Long Beach, and thanks to Cooney’s
brand of nonstop mayhem, crackerjack direction by Todd Neilsen and a
sensational cast, this is a chance to see Cooney farce at its best.
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THE FASTEST CLOCK IN THE UNIVERSE

NOT RECOMMENDED

The Fastest Clock in the Universe, by Philip Ridley, is the blackest of black
comedies.  Captain Tock, a 50ish bespectacled gent in a black vaguely Chinese
smock and dark trousers, shares an East End of London flat with a much younger
and entirely self-centered hunk named Cougar Glass.  Their relationship is
perversely symbiotic. Symbiotic= a close association of animals or plants of different
species that is often, but not always, of mutual benefit.  (Emphasis in this case on
the “not of mutual benefit.”)  Glass gets adoration from (and gray hairs plucked
by) Tock.  Just what Tock gets from Cougar, other than constant humiliation, is
open to debate.  Today is the 11th time Cougar is celebrating his 30th birthday,
and he has invited a 15 year old schoolboy as his annual present to himself. When
the schoolboy arrives with his pregnant girlfriend in hand, things get ugly.

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SPIN


Maryland governor Ben Wiley’s approval rating is down to 32% following an
incident in which he “copped a quick feel” in his private office in the State house. 
It was a setup, he tells gubernatorial advisor/“miracle worker” Billy Dodge. She was
wearing no bra and “they were hanging there like ripe fruit.”  What was a
governor to do?
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DANGEROUS CORNER


Theatre 40’s revival of Dangerous Corner, J.B. Priestley’s 1932 London and Broadway mystery thriller, is both a well realized period play, with attention paid to costumes, hair, and set design, and a surprisingly modern piece of theater with plot twists any contemporary playwright would be proud of. Fast paced, well acted and directed, and authentically designed to take the audience back seventy-five years, Dangerous Corner is a suspenseful and conversation-provoking treat.
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