RETURN FROM THE ASHES
Wednesday, April 13th, 2011RECOMMENDED
Fabienne Wolf has ”un petit problemme,” and she has come to her father Dr. Pierre Le Bigan for help. The beautiful young Frenchwoman believes the time has come for her missing-person mother Elizabeth Wolf Pilgrin, once Pierre’s lover, to be declared dead, and the only one with the legal authority to do so is Pierre. Naturally, the physician’s refusal to accede to his daughter’s request does not sit well with Fabienne, set to inherit a vast fortune upon her mother’s death, money she plans to share with her stepfather Stanislaus Pilgrin, her mother’s much younger husband and Fabienne’s current lover.
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THE SONNETEER
Monday, April 11th, 2011
Nick Salamone’s exquisite The Sonneteer has the look and feel of a theatrical classic, yet it is one that could only have been written by a contemporary playwright.
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SILENT SKY
Sunday, April 10th, 2011
When you think of pioneering names in the field of Astronomy, who pops into your head? Nicolaus Copernicus? Galileo Galilei? Tycho Brahe? Sir Isaac Newton? Johanes Kepler?
Notice anything these five men have in common?
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THE YOUNG MAN FROM ATLANTA
Friday, April 1st, 2011
The love that dare not speak its name remains conspicuously unspoken in Horton Foote’s 1995 Pulitzer Prize-winning The Young Man From Atlanta, at long last getting its splendid Los Angeles Premiere, directed by August Viverito for the multi-award winning The Production Company.
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GROUNDSWELL
Sunday, March 27th, 2011
The legacy of Apartheid lives on even today, two decades after the end of its ugly segregationist laws, in Groundswell, Ian Bruce’s ninety-minute psychological thriller now getting an absolutely swell Southern California production at San Diego’s Old Globe Theatre.
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PROOF
Wednesday, March 16th, 2011
In the decade since David Auburn’s Proof premiered on Broadway, the four-character drama has become one of the most produced plays in the United States. For a time there, it seemed that just about every regional, intimate, or community theater in Los Angeles was doing, had done, or was going to do their own version of the Broadway hit—and no wonder. How many plays can you name that have won the Drama Desk Award for Best New Play, the Lucille Lortel Award for Outstanding Play, the New York Drama Critics’ Circle and Tony Awards for Best Play, and the Pulitzer Prize for Drama? Add to that the fact that it’s a one-set play which offers several of the best acting roles of this or any decade, and you’ve got a play that any theater in its right mind would want to have as part of its season.
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THE MERCY SEAT
Sunday, March 13th, 2011
What if a national tragedy offered you the chance to start a new life, in a new city, without the complications of a marriage you no longer wanted to be part of and children you didn’t want to put through the hell of a divorce? What if there was someone else in your life, someone you’d been seeing secretly for several years, someone who could start that new life with you somewhere far, far away if you simply pretended to be one of the missing-presumed-dead? Would you make the break for freedom? Would she be willing to join you?
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JUDGMENT AT NUREMBERG
Sunday, March 13th, 2011
When Abby Mann wrote Judgment At Nuremberg for its 1959 telecast on Playhouse 90, the Eisenhower administration set about to insure that the production would never see the airwaves. A teleplay about Nazi war criminals on trial for their part in the Holocaust could impede efforts to make Germany an ally in the then-raging Cold War, officials maintained. Ultimately, though, the show did go on, but not without one of the program’s sponsors, American Gas, Inc., insisting on muting the words “gas ovens.”
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Since 2007, Steven Stanley's StageSceneLA.com has spotlighted the best in Southern California theater via reviews, interviews, and its annual StageSceneLA Scenies.
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