Tracey Paleo

What did our critic think of THE RESERVOIR at Geffen Playhouse Gil Cates Theater? “Well, the Geffen sure knows their audience,” remarked my guest at the media preview of, THE RESERVOIR.  And I’d have to agree.  Between the spontaneous audience call backs, guffaws, tears, and chant-alongs that happened much in the second act, it’s probably safe to say, the show’s a hit.

What did our critic think of SCHOOL OF NIGHT'S HELLAS IN A TRIUMPH OF STYLIZED STORYTELLING at The Broadwater MainStage?

In SLEEPING GIANT, it was clear I was witnessing more than a metaphor about the continuing evolution of MAGA. And it was all too frightening.

Before seeing this show, I knew nothing of it besides a quite comedically tantalizing Instagram promo video and a snazzy 60’s referencing sci-fi movie poster.  The script and plot however was as elusive as even the idea of a commonly puerile film executive attempting to write an exploitable and profitable, A-list silver screen-play hit written by a bunch of particularly un-talented and servile lackeys.  And yet, SHPIDER! is as surprising a runaway hit as (spoiler) the comedy’s fantastical ending!

Did I mention that this all takes place in 1726? No? Well, if it weren’t for the popinjays, you would initially think this is a medieval morality play. 

MJ the Musical currently at the Hollywood Pantages may be the most intimate Michael Jackson biopic yet.

“How to Ruin a Relationship in One Easy Step,”  is a definitive alternate title for, THE ENGAGEMENT PARTY, a smart, little 80-minute, light drama written by Samuel Balm, directed by Darko Tresnjak, currently at the Geffen Playhouse, Gil Cates Theater.

While the new changes to this beloved musical are stunning, this iteration of LES MISÉRABLES fails to recognize human pathos.

Ellen Geer’s new compilation of Shakespeare's best-known history plays does nothing to address the misogynistic, xenophobic views that have led to Margaret of Anjou’s historical presentation (or any other woman’s) as a stereotypical villain. But in other ways, it succeeds in illuminating Margaret as what she actually was - a force to be reckoned with.

Ten years after its premiere, EXORCISTIC has made a breathtaking return. And as a nod to the 50th Anniversary of “The Exorcist” (the movie), opening night was nothing less than a perfect display of limelight infused celluloid send-up.

Unlike, many of the rock ballads for stage that have been touring out of Broadway, TINA is singular in that it is based and narratively shaped on a real life. And, for once, it makes sense.

The production values and cast of the Ahmanson Theatre's, A SOLDIER'S PLAY, are absolutely stellar. But, I had to wonder, is this story 'enough' for the younger African-American audiences of today?

AVAAZ is incredibly sweet.  But so much more. The entire 100 minutes with Michael Shayan is joyous.

When you get right down to it, Amanda and Elyot are two people with the enormous blind side of being drawn to one another yet destined to hurt one another; walking a fine line between love and hate, desire and aversion. 

Elizabeth McGovern gets downright gritty in a gutsy, full-blown exploration of one of Hollywood’s most meta-femmes fatales in AVA: THE SECRET CONVERSATIONS.

Notwithstanding that this production falls into many classic Shakespeare traps, Foolish Production Company's 1-hour, high-camp, rendition of TWELFTH NIGHT is very well done.

Love may be real and not science fiction.  But Rogue Machine’s attempt at a first musical is so bubble gum, pop-retro, Flash Gordon-y, it’s almost guaranteed to be a runaway hit.

'Like any of the heroines I could possibly reference, Kristina Wong embodies all of them in her own fierce amalgamation.  The result is considerably hysterical in the most unpredictable ways.'