Evan Henerson is a longtime arts and features writer who lives in Southern California. He is the former theater critic for the Los Angeles Daily News and has written for such publications as American Theatre, Playbill Online, Stage Directions and Backstage.
ENGLISH isn’t so much a play about the power of words as it is about the inextricable and very complicated bonds between language, culture and identity.
With all its visual delights on full display, the non-Equity production directed by Catie Davis (from the original direction by Alex Timbers) is a carnival of the macabre.
In the premiere of RED HARLEM at Company of Angels, director Bernadette Speakes’s production offers some frequently dynamic staging which is brought down by a mixed bag of acting performances and the heavy-handed messaging of Henderson’s script.
Embodied by the exciting Ann Noble and surrounded by a solid cast, Richard and his dastardly deeds are every inch at home within the world of Guillermo Cienfuegos’s sweet and seedy production of RICHARD III for A Noise Within.
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.
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.
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.
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.
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.
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.
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.
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.