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.
The latest play by The Actors’ Gang, written and directed by founder/Artistic Director Tim Robbins, is a melancholy reckoning over the early days of the covid pandemic.
A moody dramatic dive into the life of a violinist whose celebrated waltz got him mistaken for Strauss.
MONSTERS OF THE AMERICAN CINEMA, a whip smart and heartfelt play by Christian St.
KING HEDLEY II is the eighth and quite possibly bleakest play of August Wilson’s Century Cycle.
Huzzah James Ijames’ FAT HAM.
A second cousin once removed to William Rose’s GUESS WHO’S COMING TO DINNER, ONE OF THE GOOD ONES finds the highly assimilated, upper middle class Gomez family losing their collective sanity when their daughter, Yoli, brings home Marcos, a man who, to her parents’ minds at least, qualifies as
Whether or not he has personally ever put himself through this, Evan Marshall has imagined life from the floor of a big box store and infused it – literally – with poetry.
In REDWOOD, a new musical by Kate Diaz, and Tina Landau partially conceived by Idina Menzel and enjoying a visually arresting if somewhat simplistic world premiere at the La Jolla Playhouse in San Diego, Menzell confronts something even more formidable than encroaching yuppie cyber cafes, enraged Oz
Part mystery, part cathartic family drama ruminating on legacies of evil and forgiveness, director Tiffany Nichole Greene’s production grips us tightly from the outset and does not easily let us go.
John Ross Bowie’s Cold War comedy BRUSHSTROKE considers the role of 'art' from a bunch of different angles and fashions a very nifty play around it.
The high wire act that is Tony Meneses’ play LA COCINCA is a feat that companies of greater capabilities than Loft Ensemble might not pull off.
Nestled uneasily in a space between comedy and misery, SUKKOT makes shoddy use of a good cast to serve up a banquet of familial angst and misery.
Lenz’s production is solid family stuff, a little bit cock-eyed, and easy on the treacle.
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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