Review: HERE LIES LOVE at Mark Taper Forum
With so many delights and leaning heavily into both the political moment that is recounts and what America is experiencing in the here and now, HERE LIES LOVE rocks as aggressively as it rallies.
Evan Henerson - Page 2
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Review: SYLVIA SYLVIA SYLVIA at Geffen Playhouse
SYLVIA SYLVIA SYLVIA is trying to be perhaps too many things at once and not really succeeding at any of them.
Review: POETRY FOR THE PEOPLE at Fountain Theatre
These are words that both sing and challenge.
Review: BROWNSTONE at Open Fist Theatre
The playwright’s story structure is engaging and West’s cast is rich with charisma, with the action fitting comfortably into Munroe’s smartly realized stage at the Atwater Village Theatre complex.
Review: Eddie Izzard HAMLET at Ricardo Montalban Theatre
The almost bare bones solo turn – at the Ricardo Montalban Theatre for a quickie six-performance run - is Izzard’s homage to the original performance practices of William Shakespeare, and also to her early years as a street performer.
Review: ALL THE DEVILS ARE HERE at Broad Stage
Over a convivial 85 minutes directed by Simon Godwin, the shape-shifting Broadway vet Page holds us captive as he demonstrates why he is perpetually in demand as a classical actor, as an interpreter of Shakespeare, and certainly as an enactor of villains.
Review: THE NOTEBOOK at Pantages Theatre
Between Ingrid Michelson’s heart-swelling score, a safe and steady book by Bekah Brunstetter and the co-direction of Michael Greif and Schele Williams, this entertaining but hardly remarkable tale kicks off the 2026 season at the Hollywood Pantages on an appropriately tear-streaked note.
Review: A MIDSUMMER NIGHT'S DREAM at The Acting Company At The Rubicon Theatre
As the southland welcomes a return visit from The Acting Company, things remain as topsy-turvey as they must needs be in the woods of Athens.
Review: SUFFS at Hollywood Pantages
If you don’t already know them, you’ll likely want to look up the names of Alice Paul, Carrie Chapman Catt, Ida B.
Review: WORKING GIRL at La Jolla Playhouse
WORKING GIRL ultimately soars and plummets based on the root-ability quotient of its title character.
Review: PASSION at Chromolume Theatre At The Zephyr
Employing a 12-person cast who are largely at ease with difficult music, Esposito and company deliver a rare opportunity to commune with this difficult play.
Review: TABLE 17 at Geffen Playhouse
The fervor of a given audience – kind of its own character in this play - probably helps distract from the fact that, its sweet vibes aside, there’s not a lot of there in Lyons’ play.
Review: THE AARON PLAY at Independent Shakespeare Company
Co-produced by Independent Shakespeare Company and Coin & Ghost, THE AARON PLAY will engage theater-goers and Bard-hounds as well as those who embrace stories with ideas.
Review: GUAC at Kirk Douglas Theatre
Co-written by Oliver and James Clements and directed by Michael Cotey, GUAC embraces its rough-around-the-edges persona without laboring to break new ground.
Review: ANTHROPOLOGY at Rogue Machine At The Matrix Theatre
No form of artificial intelligence will be able to recreate the experience of sitting through Lauren Gunderson’s ANTHROPOLOGY, and specifically what Rogue Machine Theatre’s John Perrin Flynn has accomplished with it for the play’s North American premiere at the Matrix Theatre.
Review: JAJA'S AFRICAN HAIR BRAIDING at Mark Taper Forum
JAJA’S AFRICAN HAIR BRAIDING, completing a mini tour of regional theaters at the Mark Taper Forum following an acclaimed New York run in the fall of 2023, is a tender and humorous snapshot of a community and also a plea for community.
Review: HUZZAH! at Old Globe Theatre
If life were a Renaissance Faire, things would be…well, different, certainly.
Review: EUREKA DAY at Pasadena Playhouse
That lovely melodious “ka-boom!” you may be hearing down the 210 freeway emanates from the collision of strong wills, good intentions and a progressive ideology of five very conflicted characters.
Review: ONE MAN, TWO GUVNORS at A Noise Within
Staged with take-no-prisoners verve by Julia Rodriguez-Elliott and Geoff Elliott, Richard Bean’s romp of a play is a joyride through a 60s England in which would-be actors ham it up gleefully, blondes are dizzy, would-be lovers are temporarily thwarted, and positively everybody is ready to cut loo
Review: & JULIET at Ahmanson Theatre
& JULIET proves rather emphatically that nobody really needs an original idea or song when you can just as easily get folks rocking out to Britney Spears or Katy Perry.
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