January 18, 1991 |
Frog, Lizard and Field Mouse are planning a surprise birthday party for their friend, Toad. But that unhappy amphibian, made aware by his friends' laughter that he looks like "a large, lumpy, foolish toad" in his swimsuit, goes off alone to sulk. "Frog and Toad," Arnold Lobel's whimsical children's book, has been smoothly adapted for stage by Belinda Acosta, but the Serendipity Theatre Company's uneven production at the Coronet Theatre makes it a bumpy ride. Problems abound.
April 6, 1991 |
After a recent Serendipity Theatre Company production of "Doors," exhalations of relief were heard from adults in the audience. The subject matter is that strong and that personal. Suzan Zeder's play is a serious look at a disintegrating marriage and divorce, as seen through the eyes of a 12-year-old boy. (The work is probably best suited to ages 7 and older.) It's a gutsy offering for a commercial theater--this is not the usual children's theater fare.
June 15, 1991 |
When a Chinese dragon parades down the aisle, lured by a flower dangling from a bamboo pole, audiences are alerted that this may not be the usual children's theater fare. It's the opening of the Serendipity Theatre Company's "Nightingale" at the Coronet Theatre. The play, based on Hans Christian Andersen's classic, is performed with a nod to the Peking Opera, using stylized movement, masks and onstage gongs, drums and flute.
April 2, 1994
I write with sadness on the upcoming loss of Los Angeles theater: Serendipity Theatre Company, in the Coronet Theatre, is about to close. Actors should take heed, this was an Equity company. Parents should take heed, this was legitimately thoughtful, honest, family entertainment. Schools should take heed, this was a bastion of learning, making its productions available to thousands of students every year. And Los Angeles corporations should take heed, this theater company built itself over four seasons on the wings of its own ticket sales by sacrificing salaries for any, and I mean all, of its management.