TO KILL A MOCKINGBIRD
Friday, January 14th, 2011
If adapting a novel for the stage provides a writing challenge for any playwright, imagine how daunting the task becomes when the novel in question has been voted the “Best Novel Of The 20th Century.”* Christopher Sergel took on this challenge in his 1990 stage adaptation of Harper Lee’s beloved Pulitzer Prize winner To Kill A Mockingbird, and though the resulting script does not rise to the level of its source material, its latest revival reestablishes The Production Company’s standing as one of L.A.’s finest and provides two hours of edifying, thought-provoking, beautifully acted, and ultimately inspiring theater.
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DADDY
Sunday, January 9th, 2011
Actor-playwright Dan Via puts an intriguing new spin on the romantic triangle—and the often blurred line between friendship and romance—in the highly provocative Daddy, now getting an impressive West Coast Premiere under the skilled, nuanced direction of Rick Sparks.
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LOVE, SEX, AND THE I.R.S.
Friday, January 7th, 2011
Imagine you’re a 20something male living with your longtime best buddy and the tax season is drawing near. As you scan down the seemingly endless list of federal tax rules and regulations, you come to the realization that you’re paying loads more taxes simply because your roommate isn’t a woman and your wife. Then it dawns on you. Since your best friend is lucky enough to have one of those unisex names (like Ashley, Kelly, Tracy, Robin, or in this case Leslie), you suddenly realize how easy it would be simply to check F instead of M on Leslie’s tax return, and married instead of single on both of your returns. Voila, you’re saving a ton of money that Uncle Sam would otherwise pocket and do who knows what with.
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ELEVATOR
Saturday, December 11th, 2010
Few L.A. theater success stories can rival that of Michael Leoni’s Elevator. Opening last June at the tiniest of the Hudson theaters for a mere seven performances at the Hollywood Fringe Festival, Elevator proved such a hit with audiences that it returned in July for a month-long run. Good fortune then struck with a Critic’s Choice review in the L.A. Times, and Elevator’s producers had themselves a bona fide hit. In September, the show re-reopened at the considerably larger Hudson Mainstage for another month of performances, ultimately re-re-reopening in October at the Macha, where it now heads into the homestretch of a smash two-week-turned six-month run fueled almost entirely by word-of-mouth—though the L.A. Times review certainly didn’t hurt.
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ALL HAIL THE QUEEN
Monday, December 6th, 2010
There are divas galore in the biz we call show, but none burn brighter than Olivier Award-winning Lesli Margherita, or so she reminds us (tongue decidedly in cheek) throughout her self-lovingly titled dazzler of a cabaret act, All Hail The Queen.
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COLD LANG SYNE
Saturday, December 4th, 2010
In college, frat brothers Trevor, Perry, Garth, and Mark were known as the Four Musketeers of Sigma Pi, and since then—once every four years for the past twenty years—they’ve been reuniting to catch up on old times. There’s only one hitch. Trevor, Perry, and Garth can’t stand Mark’s guts, and wouldn’t mind at all if he dropped dead.
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LITTLE FLOWER OF EAST ORANGE
Friday, November 12th, 2010
“Dysfunctional” doesn’t begin to describe the O’Connor family in Stephen Adly Guirgis’s The Little Flower Of East Orange, now in its West Coast Premiere engagement by the Elephant Theatre Company. Indeed, elderly matriarch Marie Therese Sullivan O’Connor, and her grown son and daughter Danny and Justina are so totally f*cked up as to make Amanda, Tom, and Laura Wingfield seem positively well-adjusted by comparison.
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MAKING PARADISE: THE WEST HOLLYWOOD MUSICAL
Sunday, October 24th, 2010
Cornerstone Theatre Company and the city of West Hollywood celebrate their mutual Silver Anniversaries with the World Premiere of Making Paradise: The West Hollywood Musical. Featuring a cast of thirty-one, some of whom have never acted before, let alone sung and danced on a theater stage, Making Paradise tells the story of the founding of WeHo through exactly the kind of people who make up its population—a gay, lesbian, straight, and transgender, rainbow colored, multiracial, multiethnic mix of 20somethings, middle-agers, and octogenarians. Some of the voices are only so-so and some cast members appear to be working hard on remembering which dance step follows which—and it matters not a whit. Making Paradise: The West Hollywood Musical succeeds not just because of its strengths but also because of (what in a more traditional production would be considered) its weaknesses. It’s a thrilling, dramatic, informative, entertaining, suspenseful, and ultimately quite moving piece of theater.
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