Evan Henerson - Page 3

The revival of Guirgis’s 2010 play, directed by Jolie Oliver, is equal parts humor, romance and tequila-soaked despair. Led by a muscular trio of performances by Lodric D Collins, Jordan Marinov and Alex Desert, this agile MOTHERFU**KER  is nothing short of compelling.

Jeff Gould’s THE MARRIAGE ZONE, a romantic dramady laced with dose of retro sci-fi, is not particularly deep or penetrating, but that doesn’t make this second LA staging at 905 Cole any less fun.

A tale of community and the frailty of Tinseltown dreams, YANKEE DAWG is given a full-throated production by actors Daniel J. Kim and Kelvin Han Yee under the direction of Jennifer Chang.

David Melville’s performance is a delicious mix-up of romance, hijinks and buffoonery, often overlapping. LOVE'S LABOUR'S LOST plays through July 27 in Griffith Park. 

In the 100-minute, decades-spanning duration we spend with this woman who feels so very recognizable, Ziegler, director Maggie Burrows and actors Nadine Malouf, Ryan Vasquez and Michaela Watkins leave us affected, contemplative and more than a little bit heartbroken.

For his production of ALL’S WELL, director Peter Francis James has much to work with including plenty of solid actors and an equally strong technical team, but the production’s frothy overlay often feels off key

The knives are lethal and the cuts are man...With Bert Emmett fronting an equally enthusiastic and bloodthirsty cast, the Group Rep’s NETWORK is equal parts rollicking, disturbing and thought-provoking.

This production is erotic, evocative, lean as a bone and, at a certain point, leaves HAMLET behind entirely. Director Robert O'Hara (SLAVE PLAY, BARBECUE) cracks HAMLET open, exposes it to the sun and then keeps on probing.

A dopey story combined with campy acting, an uninteresting score and a general air of corniness halt this sloppy mashup of history and mythology in its tracks.

Featuring a cast who seamlessly transport us to a working-class Dublin community in 1964 – with music to match – ANW’s production spotlights not just its leading player, but pens a love letter to the lure of the stage

Tenderly staged by director Fidel Gomez, the docudrama boils our stomach juices more over the circumstances of our country than over what we witness being played out among the central characters.

The clock is ticking, in the moment and in a greater sense, and a.k. payne’s characters can’t fully enjoy the luxury of a deep restorative breath. So neither, in this haunting but quite tender play, should we.

LOST CELLPHONE WEEKEND takes a clever premise – the reimagining of Billy Wilder’s 1945 film THE LOST WEEKEND, replacing it with cellphone/internet addiction and setting it to music – and has a lot of fun with the endeavor

Chay Yew’s production for East West Players - improbably the play’s L.A. premiere seven years after its debut at South Coast Repertory – is as raw and raucous as it is timely. Yee urges us to remember the past, be watchful of the future and enjoy the holy hell out of the process.

This CURSED CHILD is a banquet of magical delights that also happens to be a crackling good story, which should delight series neophytes and Potter-lovers alike.

What did our critic think of TWELFTH NIGHT at Antaeus Theatre?

To watch these singers perform these numbers is to dream about entire revivals of Sondheim shows built around some of these actors, maybe even productions that have their genesis at the Ahmanson.

With its gung-ho company of actors, clever construction, wicked cool set and general overall braininess, FAKE IT sails blithely along for 90 minutes, liberally trafficking in chuckles and cringes...FAKE IT’s physical and intellectual humor aren’t always completely in synch with each other, but the play is smart enough and directed with enough crispness to keep things entertaining.