Evan Henerson - Page 6

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. Learn more about the production!

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. In the revival directed by Mike Donahue at the Pasadena Playhouse, CYRANO bursts with energy and excitement.

In its L.A. premiere at the Geffen Playhouse directed by Andrew Russell, DRAGON LADY is every inch an homage to Maria Sr., who died in 2022, but also to resilience. Watching Porkalob crawl inside the skins these two little boys who are playing the part of super heroes ... is to take a wicked cool journey, the kind that only happens in live theater.

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. It’s an identity quest! It’s a perilous journey to motherhood! It’s a rumination/condemnation on what it means to be Latino! It’s a…circus?

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. ISC free Shakespeare patrons only get one production this summer, but it’s a winner.

In Barry Edelstein, we’ve got an adaptor/director who is guiding these proceedings with a rock and roll brio...The production is big, brash, often overreaching, occasionally pandering and utterly arresting through its nearly six hours (over two evenings) of stage time.

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. Baitz’s play is small with a loud heart. Director Mike Reilly, Morrow and co. do it up proud.

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. Under the musical direction of Darryl Archibald and choreography of Dell Howlett – both of which are first-rate – the evening cooks.

The Bard is back and DURAN DURANTHONY & CLEOPATRA is up to snuff, zanily on point both in its concept and execution. When it comes to pop-Bard hybridization, Walker and his company know exactly what they’re doing.

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...The gods are around for TOPSY TURVY, but they’re contemplative, grouchy and decidedly critical of the poor blighters who have disturbed them

A moody dramatic dive into the life of a violinist whose celebrated waltz got him mistaken for Strauss. As lovely as Alberto Barboza’s production looks on stage at the Los Angeles Theatre Center – and as melodic as it often sounds – GHOST WALTZ’s impact is as fleeting as the spirits who populate it.

MONSTERS OF THE AMERICAN CINEMA, a whip smart and heartfelt play by Christian St. Croix produced in its L.A. premiere by Rogue Machine Theatre, argues that in the present, monsters and human beings aren’t easily distinguishable from each other.  Monsters can take human form and vice versa. I guess that’s the…uh…the Thing?

KING HEDLEY II is the eighth and quite possibly bleakest play of August Wilson’s Century Cycle. Pasadena’s A Noise Within is committed to producing the entire cycle, and ANW’s production, under the direction of frequent Wilson helmsman Gregg T. Daniel, wrestles with it valiantly.

Huzzah James Ijames’ FAT HAM. Bless its softness, its savory juiciness, its wit and its ostentation. And its Juicy! Hooray for the clothes, the music, the unabashed delight that this whacked-out literary homage enjoys in wrestling with Shakespeare’s existential conundrums and deciding, screw it! let’s get down to the food!

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 an “other.” A sweet, occasionally tart new play.

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. Part love story, part workers unite-inspired corporate dramady, ALLSTORE hits some satisfying beats. ALLSTORE – like much of this company’s work – has much to recommend it.

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-ians or life-altering roads not taken….