Harker Jones
Harker Jones has worked in publishing as a writer, editor, and critic for 15 years. He was managing editor of Out magazine for seven years and has written two novels (including the #1 Amazon bestseller Until September) and seven screenplays. His short thriller Cole & Colette won the Get It Made Short-Form Screenplay contest and was subsequently produced and has been accepted into 10 (so far) film festivals. He has a double-major in telecommunications and film and written communication and a minor in literature from Eastern Michigan University, is a member of the Los Angeles Drama Critics Circle, and is a card-carrying member of Mensa.
BWW Review: HAMILTON Is a Handsome Production That Is Undermined by a Lack of Cast Chemistry
BWW Review: LERNER & LOEWE'S MY FAIR LADY at Dolby Theatre
BWW Review: LOVE ACTUALLY LIVE Sparkles Like a Tree Full of Ornaments on Christmas Eve
BWW Review: POOR CLARE at Echo Theater Company
BWW Review: SOMEONE ELSE'S HOUSE Spooks The Geffen Playhouse
BWW Review: THE WAKE OF DICK JOHNSON Is a Tedious and Bewildering Affair
BWW Review: THE LATRELL SHOW Is an Uneven but Ultimately Powerful One-Man ShowBWW Review: LOVE ACTUALLY LIVE Sparkles Like a Tree Full of Ornaments on Christmas Eve
December 7, 2021
The smash hit LOVE ACTUALLY LIVE sparkles like a tree full of ornaments on Christmas Eve at the Wallis Annenberg Center for the Performing Arts.
BWW Review: POOR CLARE at Echo Theater Company
October 27, 2021
Saint Clare of Assisi’s story of devotion, austerity, and understanding, while at first glance not comedic, is brought to vivid and laugh-out-loud life by playwright Chiara Atik.
BWW Review: LERNER & LOEWE'S MY FAIR LADY at Dolby Theatre
October 12, 2021
The show falls somewhat flat despite tight choreography, stunning set design, and some supporting star turns
BWW Review: HAMILTON Is a Handsome Production That Is Undermined by a Lack of Cast Chemistry
September 1, 2021
The costumes are exquisite, the score is as fresh as it was when it first premiered, and the lighting and sound are phenomenal, but there is a muted quality to the production.
BWW Review: THE WAKE OF DICK JOHNSON Is a Tedious and Bewildering Affair
August 11, 2021
The 2021 Hollywood Fringe Festival got spooky with the West Coast premiere of THE WAKE OF DICK JOHNSON, a one-man show written, directed, and performed by Luke H. Walker. The black comedy involves Johnson recounting his life in uneven and often unintelligible soliloquies.
BWW Review: THE LATRELL SHOW Is an Uneven but Ultimately Powerful One-Man Show
June 4, 2021
Just when it reaches the point where it’s almost unbearable, the show takes a hard turn, cutting to a frustrated office worker named Jeremiah, who is in a psychiatric session trying to process his rage at living in an America where Black lives do not matter to everyone and where being gay is considered a “stain” by many in the Black community.
BWW Review: SOMEONE ELSE'S HOUSE Spooks The Geffen Playhouse
May 12, 2021
SOMEONE ELSE’S HOUSE Is Like Paranormal Activity for the Stage
BWW Review: THE FATHER at Pasadena Playhouse Florian Zeller's brilliant play THE FATHER plumbs the idea of how memory makes us who we are.
February 17, 2020
Florian Zeller's brilliant play THE FATHER plumbs the ideas of memory and self, starting off light-hearted and slowly, piece by piece, descending into a harrowing and devastating freefall.
BWW Review: WEST ADAMS at Skylight Theatre WEST ADAMS Smartly Takes on Privilege, Race, and Status
February 11, 2020
Penelope Lowder's WEST ADAMS is a keenly observed look at race, class, and privilege seen through a magnifying glass that elevates it to an over-the-top state, for both better and worse. The timely show focuses on two interracial married couples: pregnant Caucasian Sarah (Allison Blaize) and Latin Edward (Andrés M. Bagg), and Asian Julie (Jenny Soo) and Caucasian Michael (Clayton Farris). They live in the burgeoning West Adams district of Los Angeles, thrilled to be part of the community's gentrification. But when a very wealthy black family moves in across the street, they struggle to even pretend they can keep up with the Jones', and the pressure devolves them into a spiral of resentment, racism, and, ultimately, revenge.
BWW Review: ROCK OF AGES Tries to Rock Hollywood at the Bourbon Room
January 15, 2020
BWW Review: @ROCKOFAGESHollywood Tries to Rock Hollywood at the Bourbon Room
BWW Review: Country Comes to the City in the melancholy-tinged SALVAGE
December 23, 2019
Country music is known (and often ridiculed) for its soap opera-like lyrics. Its storytelling often takes listeners on journeys of sadness and despair, and redemption. Tim Alderson's SALVAGE, playing at the Lounge Theatre in Hollywood through January 19, follows those tropes with mostly effective results and hits viewers with a cathartic and emotional impact.
December 7, 2021
The smash hit LOVE ACTUALLY LIVE sparkles like a tree full of ornaments on Christmas Eve at the Wallis Annenberg Center for the Performing Arts.
BWW Review: POOR CLARE at Echo Theater Company
October 27, 2021
Saint Clare of Assisi’s story of devotion, austerity, and understanding, while at first glance not comedic, is brought to vivid and laugh-out-loud life by playwright Chiara Atik.
BWW Review: LERNER & LOEWE'S MY FAIR LADY at Dolby Theatre
October 12, 2021
The show falls somewhat flat despite tight choreography, stunning set design, and some supporting star turns
BWW Review: HAMILTON Is a Handsome Production That Is Undermined by a Lack of Cast Chemistry
September 1, 2021
The costumes are exquisite, the score is as fresh as it was when it first premiered, and the lighting and sound are phenomenal, but there is a muted quality to the production.
BWW Review: THE WAKE OF DICK JOHNSON Is a Tedious and Bewildering Affair
August 11, 2021
The 2021 Hollywood Fringe Festival got spooky with the West Coast premiere of THE WAKE OF DICK JOHNSON, a one-man show written, directed, and performed by Luke H. Walker. The black comedy involves Johnson recounting his life in uneven and often unintelligible soliloquies.
BWW Review: THE LATRELL SHOW Is an Uneven but Ultimately Powerful One-Man Show
June 4, 2021
Just when it reaches the point where it’s almost unbearable, the show takes a hard turn, cutting to a frustrated office worker named Jeremiah, who is in a psychiatric session trying to process his rage at living in an America where Black lives do not matter to everyone and where being gay is considered a “stain” by many in the Black community.
BWW Review: SOMEONE ELSE'S HOUSE Spooks The Geffen Playhouse
May 12, 2021
SOMEONE ELSE’S HOUSE Is Like Paranormal Activity for the Stage
BWW Review: THE FATHER at Pasadena Playhouse Florian Zeller's brilliant play THE FATHER plumbs the idea of how memory makes us who we are.
February 17, 2020
Florian Zeller's brilliant play THE FATHER plumbs the ideas of memory and self, starting off light-hearted and slowly, piece by piece, descending into a harrowing and devastating freefall.
BWW Review: WEST ADAMS at Skylight Theatre WEST ADAMS Smartly Takes on Privilege, Race, and Status
February 11, 2020
Penelope Lowder's WEST ADAMS is a keenly observed look at race, class, and privilege seen through a magnifying glass that elevates it to an over-the-top state, for both better and worse. The timely show focuses on two interracial married couples: pregnant Caucasian Sarah (Allison Blaize) and Latin Edward (Andrés M. Bagg), and Asian Julie (Jenny Soo) and Caucasian Michael (Clayton Farris). They live in the burgeoning West Adams district of Los Angeles, thrilled to be part of the community's gentrification. But when a very wealthy black family moves in across the street, they struggle to even pretend they can keep up with the Jones', and the pressure devolves them into a spiral of resentment, racism, and, ultimately, revenge.
BWW Review: ROCK OF AGES Tries to Rock Hollywood at the Bourbon Room
January 15, 2020
BWW Review: @ROCKOFAGESHollywood Tries to Rock Hollywood at the Bourbon Room
BWW Review: Country Comes to the City in the melancholy-tinged SALVAGE
December 23, 2019
Country music is known (and often ridiculed) for its soap opera-like lyrics. Its storytelling often takes listeners on journeys of sadness and despair, and redemption. Tim Alderson's SALVAGE, playing at the Lounge Theatre in Hollywood through January 19, follows those tropes with mostly effective results and hits viewers with a cathartic and emotional impact.
