CLARA VS. INFINITY


The Curious Incident of the Dog in the Night-Time. Peter and the Starcatcher. And now Zack Rocklin-Waltch’s Clara vs. Infinity. Plays don’t get any more extraordinary than these.
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AMERIKA OR, THE MAN WHO DISAPPEARED

Writer-director Dietrich Smith takes a young German immigrant on the journey of a lifetime in his stage adaptation of Franz Kafka’s Amerika or, The Man Who Disappeared, the year’s most exhilarating theatrical adventure ride.

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KIM’S CONVENIENCE


As hard as I fell for Kim’s Convenience when I streamed the Canadian sitcom on Netflix a couple of years back, I was unprepared for how head over heels I would be for its inspiration, Ins Choi’s 2011 feel-amazing stage gem now paying a visit to the Ahmanson.
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FAIRVIEW

It’s taken eight years for Jackie Sibblies Drury’s Fairview to make it from New York to L.A., and though I have mixed feelings about her Pulitzer Prize-winning play, the production Rogue Machine Theatre has mounted of it could not be more sensationally acted, directed, or designed.
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RED HARLEM

An intriguing truth-is-stranger-than-fiction premise (Stalin-era Soviets’ recruitment of African-American performers for a movie expose on racism in the U.S. to be shot in the USSR) and some inventively stylized staging by director Bernadette Speakes are two major pluses in Kimba Henderson’s Red Harlem. What it needs to achieve full impact is a trim.
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HERE LIES LOVE

Center Theatre Group’s sensationally designed and performed West Coast Premiere of Here Lies Love, aka the Imelda Marcos Disco Musical, has everything an entirely sung-through show ought to have except one vital element–songs you’d want to listen to a second time.

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INCITATION TO THE DANCE

An intriguing premise—sultry queer Millennial insinuates himself into the lives of a couple of gay married Boomers—falls flat in Theatre West’s overlong, overwrought, credibility-defying World Premiere melodrama Incitation to the Dance.
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THE CIRCLE

Issues of familia, cultura, and política come to a head over the course of one tumultuous weekend in Stacey Martino Romero’s powerful if overlong World Premiere dramedy The Circle, now playing at the Greenway Court Theatre.

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