While I find Beckett's plays often too intensely intellectual for my comprehension, this was not the case with Irwin's seemingly effortless way of donning a bowler hat (or 2 or 3), juggling them until the perfect one is atop his head, and then going on to flop around the stage in his baggy pants and oversize shoes as a quintessential clown while explaining his interpretation of passages reflecting a?oethe noise of lifea?? in Beckett's a?oeText for Noting,a?? a?oeWatt,a?? a?oeWaiting for Godot,a?? a?oeEndgame,a?? and a?oeThe Unnamable.a?? It was an extraordinary evening of watching a master of the stage interpret the life and brilliance of a theatre legend.
a?oeOn Becketta?? will open at Center Theatre Group's Kirk Douglas Theatre on Wednesday, September 18 at 8 p.m. Conceived and performed by Bill Irwin, a?oeOn Becketta?? is currently in previews and continues through October 27, 2019.
The California Premiere of Nick Dear's adaptation of Frankenstein features a heartbreaking performance by Michael Manuel as a creature born innocent but ugly, taught to hate and rebel against humanity. Manuel carries the production on his hulking shoulders, which becomes crippling due to a confounding script and unusually lifeless direction from Los Angeles star director Michael Michetti.
Theater Close-Up, a unique collaboration between THIRTEEN and New York City-area Off-Broadway and regional theaters, returns with three new episodes Fridays, August 16 and 23 at 9 p.m. on THIRTEEN and thirteen.org/theatercloseup, featuring a diverse selection of groundbreaking, entertaining plays recorded live on stage, including the broadcast premieres of Jocelyn Bioh's School Girls; Or, The African Mean Girls Play (August 16 at 9 p.m.) from MCC Theater, Martín Zimmerman's On the Exhale(August 16 at 10:15 p.m.) from Roundabout Theatre Company, and Anton Chekhov'sUncle Vanya (August 23 at 9 p.m.) from Hunter Theater Project.
The World Premiere of Lucas Hnath's DANA H. at the Kirk Douglas Theatre recounts the real-life story of the playwright's own mother, adapted from interviews with Dana Higginbotham which were conducted by Steve Cosson. Directed by Les Waters, the entire play is told in voiceovers from the real-life interviews, perfectly mimicked and emotionally heartfelt by Deirdre O'Connell in the title role. But be forewarned: this insider's look at a kidnapping and its repercussions is not for the faint of heart.
Theatre of the Absurd is offbeat and terribly entertaining, but you must have the right actors and skilled direction. Fine director James Bundy has dynamic actress Dianne Wiest in the role of Winnie in Samuel Beckett's Happy Days. With her consistently optimistic outlook crashing up against a cloudy world, laughs are guaranteed. Currently onstage at the MTF through June 30, the play will have audiences mesmerized by the dandy work of Miss Wiest and her partner Michael Rudko playing her husband Willie.
The Yale Repertory Theatre production of Samuel Beckett's classic 'Happy Days' has begun performances at Center Theatre Group/Mark Taper Forum. Directed by James Bundy, the production features Academy Award winner Dianne Wiest('Hannah and Her Sisters,' 'Bullets Over Broadway') as Winnie and Michael Rudko as Willie. Currently in previews, 'Happy Days' will play at the Mark Taper Forum through June 30, 2019, with the opening set for May 22 at 8 p.m.
NATIVE SON, a novel written in 1940 by Richard Wright, tells the story of 20-year of Bigger Thomas, an African American youth living in utter poverty in a poor area on Chicago's South Side in 1939. While not apologizing for Bigger's crimes, Wright portrays a systemic inevitability behind them, making the case that there is no escape from his destiny since he is the inevitable product of the society in which he has lived since birth, faced by expectations imposed upon him by others tasked to teach him the proper way for a Black man to live in society. It is often said that those who do not learn from history are doomed to repeat it. This is certainly the case in Wright's original story which could have been written today, given the similar news stories filling the airwaves right now involving police beatings of Black men and gun violence leading to senseless murders.
Antaeus Theatre Company's production of "Native Son," which Center Theatre Group is remounting at the Kirk Douglas Theatre as part of the third annual Block Party: Celebrating Los Angeles Theatre, will open Saturday, April 20 at 8 p.m. Written by Nambi E. Kelley, based on the novel by Richard Wright and directed by Andi Chapman, "Native Son" is currently in previews and will close April 28.
As I walked into the Kirk Douglas Theatre in Culver City to see ROTTERDAM, the second play of Center Theatre Group's 2019 Block Party, I was drawn to a display asking audience members questions about relationship deal breakers. A few of the questions about relationship deal breakers included if one person in a couple changes into a religious zealot for beliefs you do not share or takes a job requiring a cross country move to a small town where you know no one, would that end the relationship for you. What I realized in answering the questions is that real and abiding love of who a person really is down to their soul, not their superficial appearance or belief system, is what is necessary for a relationship to survive real challenges. But what if one person in a couple decides he/she is transgender and decides to transition to the opposite sex? Is that a deal breaker, especially if you are no longer physically attracted to that person?
Center Theatre Group invites current high school students to attend Celebrating Our Stories, a teen youth summit inspired by Ruben Santiago-Hudson's one-man show "Lackawanna Blues." The free youth summit will take place on Thursday, April 11, 2019, from 4:30 to 9:30 p.m. (includes performance time for "Lackawanna Blues") at The Music Center Annex (601 West Temple St) and the Mark Taper Forum (135 N Grand Ave) in Downtown L.A.
There is something special about the magic which is created during a live theater performance that cannot be duplicated on television or film as the interaction with an audience allows well-written and directed stories, starring incredibly talented actors, to soar into the history books as an event not to miss. Such is the case in LACKAWANNA BLUES, Tony Award-winning actor and talented stage director Ruben Santiago-Hudson's theatrical memoir in which he returns to his roots in a tour-de-force performance accompanied throughout by Grammy-winning blues guitarist, composer and actor Chris Thomas King.
Theatre of NOTE's production of 'For The Love Of (or, the roller derby play)' written by Gina Femia, which Center Theatre Group has remounted at the Kirk Douglas Theatre as part of their third annual Block Party: Celebrating Los Angeles Theatre, blasted into Culver City with a barrage of brilliant direction, choreography, artistic style and acting. And after seeing the original production in its super-small space, I can tell you the new production soars by encompassing ever possible inch of space, thanks to scenic designer Eli Smith, with enough impressive roller derby action to make you forget not one pair of skates ever touches the floor!
That marvel of perfect direction and choreography can be credited to Rhonda Kohl who has created almost constant roller derby action utilizing the movement and acting skills of her talented cast
Theatre of NOTE's production of 'For The Love Of (or, the roller derby play),' which Center Theatre Group is remounting at the Kirk Douglas Theatre as part of the third annual Block Party: Celebrating Los Angeles Theatre, will open this Saturday, March 9 at 8 p.m. Written by Gina Femia and directed by Rhonda Kohl, 'For The Love Of' is currently in previews and will close March 17.
Never has the relationship between Iago and Roderigo in Shakespeare's OTHELLO stolen the show like it does in the current A Noise Within production, directed by Jessica Kubzansky. With an outwardly nonchalant Michael Manuel as the revenge seeking villain, and Jeremy Rabb, an actor who knows comedy like the back of his hand, as his unsuspecting lackey, the situational humor in Shakespeare's tragedy comes front and center. That's right, humor.
Now being presented by Center Theatre Group at the Mark Taper Forum, directed by Dexter Bullard who also helmed the Steppenwolf production, LINDA VISTA features actor Ian Barford who has originated four roles in Letts' canon of plays, and has remained friends with the playwright for 30 years. But no doubt Letts' very contemporary and biting social commentary on the immaturity of men when it comes to dealing with women and adult life will no doubt upset many in the audience when it becomes apparent Wheeler will never be ready to grow up. After all, it seems the older he gets, the younger he wants to become even when his body won't go along with the idea. It's comically unsettling and all too real when it comes to the contemporary dating scene.
A Noise Within (ANW), the acclaimed classical repertory theatre company, continues the cherished holiday tradition of presenting its well-loved production of Charles Dickens' A Christmas Carol this year, onstage for the seventh holiday season. This time-honored tale of forgiveness plays 17 performances only, Saturday, December 1 through Sunday, December 23, 2018. After the show, audience members are invited to enjoy a cup of cider and take photos with the cast.
As the grand finale of their fourteen year residency at Christopher Street's Lucille Lortel Theatre, before moving to their brand new Hell's Kitchen digs, Manhattan Class Company brings in an encore engagement of Jocelyn Bioh's Lortel and Outer Critics Circle Award-winning drama from last season, the endearing and poignant School Girls; or, the African Mean Girls Play.
They say a picture paints a thousand words. In director Michael Michetti's compelling stage adaptation of Oscar Wilde's A PICTURE OF DORIAN GRAY, it does more than that. It captures a lifetime.
Any teenage girl enrolled in any secondary school around the world can tell you how they were tormented or teased by other girls for some reason, be it their weight, height, hair, or lack of the latest hip clothing to wear. Based only on physical appearance, little regard was paid by the most popular Queen Bee to the real circumstances of others' lives which prevented others from living up to her unrealistic expectations of those she was willing to call 'friends' in her inner circle. I can certainly remember being excluded from the more popular groups of friends in high school, not only for my weight but for my lack of interest in boys and obsession with The Beatles. Think back and I bet you can remember similar experiences you lived through or how you made fun of others you perceived as not being worthy of your inner circle friendship.
