March 26, 2000 |
For years, occasional grumbles have been heard that the Mark Taper Forum, L.A.'s flagship theater company, and its parent Center Theatre Group weren't sufficiently receptive to L.A. talent. Certainly the Taper has, over the years, drawn its plays and talent from a wide, international pool, without giving locals preferential access to the Taper main stage.
October 23, 1997 |
Gods and goddesses are congregating outside Robinsons-May. A grim reaper--wearing a pinstriped shroud and carrying a briefcase--is lurking by the elevator. And Everyman just suffered heart failure in the middle of Topanga Plaza. It's not going to be your average night in the mall. "Everyman," a 15th century morality play, gets its latest retelling as "Everyman in the Mall" this weekend in the very 20th-century setting of the indoor shopping mall.
June 23, 1996 |
If your birthday happens to fall on next Sunday, Cornerstone Theater Company has a very unusual present in mind for you. June 30 is the hook on which is hung the 20th century history of Los Angeles in Cornerstone's latest production, "Birthday of the Century," playing Wednesday through next Sunday at the outdoor Watercourt Stage in downtown Los Angeles. You don't have to be a June 30 baby to attend or participate in this free show.
June 25, 2006 |
FOR 20 years, Cornerstone Theater Company has made a mark living up to its name and not being afraid to gather some moss. The L.A. ensemble goes into a community, tries to learn all about it, painstakingly builds foundations of trust and understanding, then uses people encountered and insights gleaned to make plays out of the street-level realities confronting L.A.'s multifarious neighborhoods and identity groups.
August 1, 2004 |
It's Sunday. As I drive north on Interstate 5, I can't stop thinking about where I'm headed. I co-founded Cornerstone Theater Company with Alison Carey in 1986. For the last 18 years, we've collaborated with communities all over the country to make theater that involves dozens of local people, usually first-time artists, in plays that examine and celebrate the local community.
June 9, 1998 |
Often the term "composer-in-residence" means "composer-in-ivory-tower," with the artist safely ensconced in a mainstream cultural palace or academic institution. But composer Michael Abels has taken up working residence in an altogether different sort of tower--the soaring concrete-and-tile whimsies of Simon Rodia in Watts. Abels has been selected to participate in the New Residencies program of Meet the Composer, a national, musical evangelism organization headquartered in New York.
June 8, 1997 |
High on the walls, a mural depicts people of different ages, races and occupations standing shoulder to shoulder. On the ground below, a similar vision of unity is taking shape as Cornerstone Theater Company stages a play in which employees of the Los Angeles Police Department, the U.S. Postal Service, the Metropolitan Transportation Authority and the Los Angeles Public Library constitute most of the cast.
December 10, 2000 |
In 1967, the Mark Taper Forum was launched with a considerable dose of renegade spirit. It was to be the experimental wing of what was then called the Music Center. Over the decades, however, the Taper became the cornerstone of L.A. theater--the one company, for example, that most guidebooks are sure to mention in their few lines about the L.A. stage. The Taper produces new plays and tries to serve a staggering variety of constituencies, but no one doubts that in L.A.
August 18, 1991 |
The Walker River Indian Reservation is huge, the largest in Nevada, 36,000 acres as arid and empty as any foisted upon this continent's native people. Schurz (pop. 850), the only town on the reservation, is disproportionately tiny, so small that at least two Nevada directory-assistance operators had never heard of it. If you're blowing along Route 95 on a dark night, you'd miss the town entirely if it wasn't for the sudden drop to a 25 m.p.h. limit.
March 29, 1998 |
Cinderella didn't have it so bad. Granted, her stepmother was mean, but at least she was no murderer. Cinderella should be grateful that her stepmother wasn't Medea. Or that Macbeth wasn't a friend of her father's. Thoughts like these are likely to skitter through the brains of theatergoers who see "Medea/Macbeth/Cinderella," a collaboration between the Actors' Gang and Cornerstone Theater, at the Gang's theater in Hollywood. The production offers three plays for the price of one.