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.
This production is erotic, evocative, lean as a bone and, at a certain point, leaves HAMLET behind entirely.
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.
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.
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.
For his production of THE SEAGULL at the Odyssey Theatre, Katzman deploys a mostly solid cast (two of whom are also producers), a talented technical team and a vision.
The production’s thrifty staging directed by Judith Hendra for Topanga Actors Company feels stagnant instead of urgent, indifferent where it could have been thought-provoking.
This deceptively dark world premiere, co-produced by People with Plays Productions and the Road Theatre Company at the Broadwater Studio Theatre, is not one for those looking to 2025 with visions of sunny skies ahead.
The mixture this time around is entertaining if not the company’s A-game.
As embodied by Rainn Wilson and Aasif Mandvi in the revival of GODOT at the Geffen Playhouse, Vladimir and Estragon are a formidable pair.
Is there some sort of formula for roping in both fans of a hit movie and stage hounds, to catch lightning in a new medium? Judging by what the musical's book writer Bob Gale, director John Rando and the musical team must have been thinking, the answer is you slavishly remake the movie on stage.
