Posts Tagged ‘Morgan-Wixson Theatre’

MARY POPPINS

Santa Monica’s Morgan-Wixson Theatre delivers the family entertainment goods with a supercalifragilisticexpialidocious Mary Poppins, once again proving that you don’t need Broadway-budget spectacle to get audiences cheering.
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LITTLE WOMEN, THE MUSICAL

Santa Monica’s venerable Morgan-Wixson Theatre once again blurs the lines between community and professional theater with the best performed of the more than half-dozen big-and-small-stage Little Women, The Musicals I’ve seen.
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SEUSSICAL

Theodor Seuss Geisel probably never imagined the day that so many of his creations—including an elephant who hatches an egg, a boy with a head full of “thinks,” and a cat (in a hat)—would end up sharing a stage together, but these are just some of the Dr. Seuss icons who light up the Morgan-Wixson Theatre’s absolutely splendid Seussical (The Musical).
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HAROLD AND MAUDE

The strokes of inspiration that made last year’s Private Eyes one of Morgan-Wixson Theatre’s best are occasionally evident in Colin Higgins’ Harold And Maud, but this time around director Brandon Baer is hampered by casting missteps, pacing problems, and a stage too cavernous for the inventive look he and his design team have conceived.
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COMPANY

Director Kristin Towers-Rowles makes Stephen Sondheim and George Furth’s 1970 Broadway classic Company seem fresh and new in the terrifically performed and choreographed revival it’s now being given at Santa Monica’s Morgan-Wixson Theatre.
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PRIVATE EYES

Reality and fiction. Truth and lies. Has any playwright had more fun fooling (and delighting and engaging) an audience than Steven Dietz does in Private Eyes, the best straight-play production I’ve seen at Santa Monica’s venerable community theater, the Morgan-Wixson, and one that easily holds its own against the top professional houses in town.
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SPRING AWAKENING

RECOMMENDED
A talented young cast and some imaginative directorial touches highlight Spring Awakening at Santa Monica’s Morgan-Wixson, a laudably bold programming choice for the venerable Westside community theater despite certain deficiencies in design, particularly sound, that prevent the Steven Sater/Duncan Sheik musical from being an unqualified success.
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