November 19, 2001 |
A $50,000 grant from AT&T will help South Coast Repertory produce "Getting Frankie Married ... and Afterwards," a new play by Horton Foote that will have its world premiere April 5 at the Costa Mesa theater. Foote, the 85-year-old Texan who has two screenwriting Oscars and won the 1995 Pulitzer Prize for his drama "The Young Man From Atlanta," will receive an additional $5,000 under the grant program, an SCR spokesman said.
September 22, 2006 |
Words were Pulitzer Prize finalist Dael Orlandersmith's ticket out of ghetto hopelessness, and she wields them with devastating eloquence in "The Gimmick." Performed by the author in a limited engagement at the Fountain Theatre, this riveting and inspiring solo piece is guaranteed to touch the soul of anyone who's ever aspired to a better life.
January 25, 2008 |
Heather Woodbury has that gift common to all mesmerizing performance artists -- an ability to capture an audience's imagination as much with her story as her singularly flamboyant way of telling it. In her latest piece, "The Last Days of Desmond Nani Reese: A Stripper's History of the World," which runs Saturdays at Bang Studio Theatre, she channels the voices of two women who supposedly speak the same language but have great difficulty understanding each other.
August 20, 1998
Friday 8:30pm: Music John Mauceri conducts the Hollywood Bowl Orchestra and soloists Sylvia McNair, soprano, and Tracey Welborn, tenor, in "The Great American Concert," with fireworks. The program celebrates two of America's most beloved composers, beginning with selections commemorating George Gershwin's 100th birthday: "Gershwins In Hollywood" and "Watch Yor Step."
December 18, 2005
HERE are some notable -- and forgettable -- productions cited by Times reviewers and writers Philip Brandes, F. Kathleen Foley, Lynne Heffley, Daryl H. Miller, David C. Nichols, Don Shirley and James C. Taylor: The true-life controversy at the Barnes Foundation in Philadelphia provided ripe material for Thomas Gibbons' "Permanent Collection." This glimpse into the internal struggles at an art institution took on issues of race and cultural ownership.
January 17, 2002 |
Racism is for white people, says the common wisdom. We are guilty by inheritance. All of us. Each of us corrupted in his normal heart. We are history's prime plunderers, wearing in public discourse the scarlet "R" of cultural remorse. Many of us do so gladly because basking in guilt somehow assuages it. Self-deprecation half cleanses us of the past. African Americans often play a scripted role in this perverse exchange as well by meeting whites' far-flung penance with entitlement.