Based on a 2007 movie and a premise that you wish actually happened (even though it didn’t), the musical, directed by David Cromer, is a gentle ode to open minds, tolerance, wrong turns and – sure – faith.
PARADISE BLUE, a play that contains music, begins with the sound of a sublime note issued by a trumpet and concludes, a couple of riveting hours later with an equally beautiful strain…followed by a far more discordant sound.
If you are a person who enjoys a good “out of sync,” then you belong in the turbulence-riddled realm of Arcadia by way of the Pasadena Playhouse where kings are queens, handmaids love above their station and amazons are…well, lots of things to a lot of people.
Music and musicality run through the works of August Wilson like a sweet and impenetrable blues lick.
Sixty minutes spent in the company of an individual this thirsty for a human connection can be a bit exhausting, but it's well worth the investment.
While there are laughs to be had, nostalgia to be indulged and charm aplenty in Christian Lebano’s production of YaGM Charlie Brown for the Sierra Madre Playhouse, there is also a certain quotient of angst that no bright costumes or cutesy set pieces can disguise.
'A lean an hungry look,' Julius Caesar’s oft-quoted descriptor for Cassius, is an apt metaphor for the season-opening production of JULIUS CAESAR at the Will Geer Theatricum Botanicum, and not always in a good way.
Judith Moreland’s cunning production for the Fountain Theatre sneaks up behind you, gooses, tickles, sings, brays and pretty much does everything but give everyone in the audience a wedgie.
Figuring out whodunit feels like a bonus of this diverting if light slice of drama rather than its primary aim.
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.
Feats of magic are at an end, resolutions have been made and Ferdinand and Miranda are bound for a world far braver and newer than what they've experienced on this magical island.
The throw-everything-against-the-wall-and-pray-for-laughs approach to low comedy is a staple of live theater, and certainly, of William Shakespeare's plays.
