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.
Barely six months since braving Wilson's KING HEDLEY II, the company and director Gregg T.
With a packed Taper house, a stage full of hot young singer/dancers performing, signing and middle fingering their hopes and disillusionments into an iconic rock score; yeah life doesn’t suck too much.
From the second we enter the Morgan-Wixon, ushered in by black cowl-clad members of the Cult of Bat Boy; from the moment we see that pointy-eared effigy strung up to the rafters, we’re primed for two plus hours of four alarm horror camp.
Read BroadwayWorld's review of A Good Guy at Rogue Machine at The Matrix Theatre.
Martin Crimp’s free adaptation – first staged in 2019 with James McAvoy in the title role - is as urgent and beguiling as it is contemporary, a classic with a fiery heart and not an inch of dustiness or quaintness.
The work’s premiere at the Will Geer Theatricum Botanicum feels like a couple of different narratives – along with a screed or two – stuffed into a single evening.
THE BROTHERS SIZE, a heart-rending, music-suffused three-hander exploring the strength and limits of fraternal bonds, is being staged in the Geffen’s smaller Audrey Skirball Kenis Theatre, where it fits beautifully.
The world premiere of the LaBute-ian tango, IF I NEEDED SOMEONE, is being staged at Santa Monica’s City Garage where director Frédérique Michel and actors Devin Davis-Lorton and Adam Langsam serve it up with (sorry, Jules) considerable sweetness.
Director David Melville's Forest of Arden has plenty of space for the melancholy, the displaced and the lovelorn alike, even for a frisky French goatherd who warbles merrily as she bags goat poop.
In Barry Edelstein, we’ve got an adaptor/director who is guiding these proceedings with a rock and roll brio.
Rob Morrow has found a dramatic vehicle that – more than 25 years after its premiere - is deepening and maturing as intriguingly as the actor himself.
Director Kent Gash’s production in Pasadena serves up equal parts heat and cool, a slick and sweaty celebration of a man who was as vibrant and dangerous as his music.
The Bard is back and DURAN DURANTHONY & CLEOPATRA is up to snuff, zanily on point both in its concept and execution.
As Denzel Washington, Kenny Leon and Co.
It may take a few minutes for a viewer to get his bearings within the world of WATER BY THE SPOONFUL.
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