November 22, 2013 |
Theater leaders in Southern California will convene for a second panel on racial diversity that will serve as a sequel of sorts to last year's discussion hosted by East West Players in downtown Los Angeles. The upcoming panel will be held Dec. 16 at 7:30 p.m. at the Pasadena Playhouse. While last year's event was by invitation only, the upcoming discussion is free and open to the public. Panelists expected to attend include Michael Ritchie, artistic director of Center Theatre Group; Marc Masterson, artistic director of South Coast Repertory; Sheldon Epps, artistic director of the Pasadena Playhouse; Tim Dang, artistic director of East West Players; and Jessica Kubzansky, co-artistic director of the Theatre @ Boston Court. PHOTOS: Arts and culture in pictures by The Times The 2012 panel was convened in response to a production of the Duncan Sheik musical "The Nightingale" at the La Jolla Playhouse earlier that year.
December 20, 2013 |
In this time when news is disseminated ever more quickly, we asked our critics to list the best of culture in 2013 in tweet form: Southern California: David Mamet's "American Buffalo" was revived at the Geffen with its concussive verbal force and fierce con games intact. Christopher Shinn's "Dying City" delicately explored the slipperiness of traumatic memory in a multilayered production at Rogue Machine. John Douglas Thompson and Glynn Turman brought anguish and ecstasy to the searing Mark Taper Forum revival of "Joe Turner's Come and Gone.
October 2, 2003 |
Warning: "Kate Crackernuts" may give you a buzz. I don't mean the Ecstasy high of its club-kid chorus, but something closer to an actual buzzing in your ears -- from John Zalewski's thumping, trickling sound design to the strange, dense, brilliant wordplay of writer Sheila Callaghan. There's an equally high risk of visual and spatial intoxication.
October 29, 2004 |
As celebrity love triangles go, among the most complicated -- and historically significant -- was one that found the 18th century French writer Voltaire caught in an emotional tug of war between his mistress, the brilliant aristocratic Emilie du Chatelet, and his admirer, Frederick the Great, the poet-warrior king of Prussia. Their amorous adventures helped shape the turbulent intellectual, political and religious currents in an age of cultural transition.
October 26, 2002 |
The first moments of "War Music," a new play by Bryan Davidson, are meant to evoke that delicious sense of anticipation before a concert: the swirling cacophony of the instrumentalists' warm-up, followed by the conductor stepping onto the podium, raising his baton and.... Just then, an air-raid siren screams. It's a sobering bit of symbolism, inviting the viewer to think not just about war's disruptions but about all of the lives lost -- all of the music silenced forever. How to endure that?
September 5, 2000 |
Joe Orton's "Loot" fits comfortably into a summer of "Survivor" and "Big Brother," if not quite so comfortably into the Center Theater of the Long Beach Performing Arts Center. In Orton's farce from mid-'60s England, a group of people desperately scheme to win a grand prize. Sometimes they work in teams; at other times individuals don't hesitate to sever previous ties. A shadowy authority figure tells them what they can and cannot do.
April 24, 1999 |
Right up there with the ol' soft shoe, the ol' hard sell is as American a tradition as . . . well, as Eugene O'Neill. No one sold harder than our poet laureate of self-loathing and guilt and foolish, beautiful dreamers. Actors, good ones, often run into trouble when they're trying to energize O'Neill on stage. Their instincts say "Sell! Sell!" when a scene may actually call for something beyond energy--something closer to a sense of trust in themselves, of burrowing inward.
September 11, 2002 |
David Hare's "Amy's View" takes a panoramic look at a 16-year span in the lives of its characters and an indirect glimpse at cultural changes in England between 1979 and 1995. But it feels surprisingly detailed and solid, without the sketchy quality that often afflicts plays that attempt to cover so much in less than three hours.
April 21, 2000 |
Lost opportunities hover like ghosts in "The All Souls Trilogy," a cycle of plays about what people turn to--belief, beauty, one another--when life sends them reeling. AIDS and its opportunistic infections of helplessness and despair weigh heavily upon the stories' gay and lesbian characters, but the other ills that befall them are often of their own making.
April 16, 2014 |
You may have seen your share of makeovers, but nothing like the one Sheila Callaghan inflicts on her heroine in “Everything You Touch,” her lushly written dark comedy world-premiering at Boston Court Performing Arts Center. Three glamorous models descend on Jess (Kirsten Vangsness), shrieking like birds of prey, while Victor, a histrionic fashion designer (Tyler Pierce), shouts insults at her. She staggers out of the fracas in a leopard-print swing coat. CRITICS' PICKS: What to watch, where to go, what to eat This scene laid bare the savagery at the heart of every makeover, and it would have won me over - if Jessica Kubzansky's bold, lucid staging of Callaghan's theatrical vision hadn't already done so. Although at moments the script feels as if it's still evolving, the stunning production values highlight its best features (a bit like a makeover, come to think of it)