Review: THE ALLSTORE at Theatre Of NOTE
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.
Evan Henerson - Page 5
Review: REDWOOD at La Jolla Playhouse
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
Review: BLACK CYPRESS BAYOU at Geffen Playhouse
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.
Review: BRUSHSTROKE at Odyssey Theatre Ensemble
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.
Review: LA COCINA at Loft Ensemble
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.
Review: SUKKOT at Skylight Theatre
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.
Review: A CHRISTMAS STORY at Ahmanson
Lenz’s production is solid family stuff, a little bit cock-eyed, and easy on the treacle.
Review: A PERMANENT IMAGE at Pacific Resident Theatre
The production directed by Andy Weyman for Pacific Resident Theatre taps the bile and makes use of Hunter’s scabrous humor.
Review: FREIGHT at Fountain Theatre
Per playwright Howard L.
Review: RADICAL OR, ARE YOU GONNA MISS ME? at IAMA At Atwater Village Theatre
hot through with equal parts rancor and compassion, Jess McLeod’s production of this, IAMA’s first commissioned play, is effective despite some narrative speedbumps.
Review: INHERIT THE WIND at Pasadena Playhouse
Director Michael Michetti has put thought and heart into his production and peopled it with a strong cast whose characters opt for playing the strength of their convictions over histrionics.
Review: ROMEO AND JULIE: LOVE IS A FIRE at Santa Monica Playhouse
Neno Pervan’s production takes no risks and provides not a shred of insight - within the text or outside it - why this tale unfolds as it does.
Review: A MIDSUMMER NIGHT'S DREAM at A Noise Within
Visually and acoustically, from performances to pacing, this DREAM directed by Julia Rodriguez-Elliott and Geoff Elliott is so beautifully thought out and rendered that the Noise Within brain-trust should consider filming it for posterity.
Review: BISEXUAL SADNESS at Road Theatre
By its very title, BISEXUAL SADNESS plays and feels like it should be the topic of a seminar or an article in a clinical journal, maybe even the theme of a discussion group.
Review: TACOS LA BROOKLYN at Latino Theatre Company At LATC
A co-production with East West Players, Ulloa’s play makes the case for deeper investigation and against the kind of snap judgments that its hero, Chino, endures and fuels.
Review: THE UNTITLED UNAUTHORIZED HUNTER S. THOMPSON MUSICAL at La Jolla Playhouse
As the singing, dancing, attention-whoring engine of THE UNTITLED UNAUTHORIZED HUNTER S.
Review: THE ANGEL NEXT DOOR at North Coast Repertory
Two of Smith’s previous plays have been mounted at the Solana Beach company, and the company commissioned Smith to create a new work to kick off NCR’s 42nd season.
Review: THE SOUND INSIDE at Pasadena Playhouse
when you’ve got a guy like Adam Rapp writing a cerebral two-handed dance between a Yale creative writing professor and her enigmatic new student, and you pepper it with scribes ranging from Dostoevsky to Anne Tyler, and you give the whole shebang to the Pasadena Playhouse and cast Amy Brenneman
Review: KILL SHELTER At Theatre of NOTE
A mother-daughter tale that traffics in regrets, dreams deferred, selfishness and the value of all lives human and animal, KILL SHELTER barely elevates the contrivances of its plotting.
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