AWAKE AND SING!
Wednesday, March 31st, 2010
If all you knew about New York in the 1930s came from Hollywood movies, you’d think that the city was populated entirely with zany heiresses and egomaniacal divas whose broken legs allowed their talented understudies to go on and become overnight Broadway stars. That’s why Clifford Odet’s Depression-era drama Awake And Sing!, now being revived in an absolutely splendid production at Glendale’s A Noise Within, comes as such an eye-opening surprise. There’s not an heiress, diva, or talented understudy in sight.
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CRIME AND PUNISHMENT
Tuesday, March 16th, 2010RECOMMENDED
Actors Co-op is attempting pretty much the impossible—a 90 minute version
of Fyodor Dostoevsky’s Crime And Punishment, featuring a cast of three. The
adaptation, written by Marilyn Campbell and Curt Columbus, debuted
several years ago in Chicago, where it won the Jefferson Award for “Best New
Adaptation.” The playwrights deserve high marks for condensing a mammoth
novel into a one-act play without sacrificing cohesion. Its message of
redemption is particularly appropriate for the Christian-based Co-op. Director
Ken Sawyer is a master of the visual, and the production looks great.
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IN A GARDEN
Tuesday, March 16th, 2010
Middle East Meets West in Howard Korder’s thought-provoking culture clash dramatic comedy In A Garden, now playing to considerable acclaim at South Coast Repertory.
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HARAM IRAN
Thursday, March 11th, 2010NOT RECOMMENDED
In 2005, the Western world recoiled in horror at photos of Iranian teenagers Mahmoud Asgari and Ayaz Marhoni, hangman’s nooses around their necks, about to be put to death for, it was reported at the time, the crime of consensual homosexual acts.
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OEDIPUS EL REY
Sunday, March 7th, 2010
Where so-called “edgy” or “experimental” theater is concerned, the line between brilliant and pretentious is a fine one indeed, and in this reviewer’s experience at least, the latter is more often the case than the former. That’s why it’s such a pleasure to report that Theatre @ Boston Court’s production of Luis Alfaro’s Oedipus El Rey is out-and-out brilliant theater, even for playgoers whose tastes run, as mine do, more toward the traditional.
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THE DIVINERS
Saturday, March 6th, 2010RECOMMENDED
Don’t go expecting a happy ending in Jim Leonard, Jr.’s The Diviners. The play’s prologue reveals Buddy Layman’s fate from the get-go. “He’s dead now for certain. He’s passed on beyond us. The idiot boy is dead. Buddy Layman’s gone.”
MEN OF TORTUGA
Thursday, March 4th, 2010
In a stylish but sterile white office suite, three well-dressed men are discussing what appears to be an assassination plot with a rather scruffy, tattooed visitor whom one surmises to be the prospective assassin. The latter has qualms, not about the equipment he’ll be using, but about the pane of glass he’ll have to be shooting through. The window could affect the trajectory, he explains, adding that even humidity can affect a bullet’s course. “I’d have to say you have a low chance of success,” he informs the others. Since neither the time nor the place of the assassination can be changed, he concludes that a rifle is clearly not the answer. “If you want to do it, you’ll have to bomb the whole room,” he suggests. Maybe do it with a missile? The oldest of the three plotters has an even better idea—to put someone in the room who is willing to pay the price. He then volunteers to be that man.
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WIT
Sunday, February 28th, 2010
To paraphrase English poet John Donne, Death is not “too proud” to come knocking on 50-year-old Vivian Bearing’s door in Margaret Edson’s Pulitzer Prize-winning play Wit, now making a return visit to Los Angeles in a production by Actors Co-op that simply could not be better.
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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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