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Sophie Haviland

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ENTERTAINMENT
October 17, 2000 | DON SHIRLEY, TIMES THEATER WRITER
As the creator of a long list of unconventional stage productions spanning more than three decades, Richard Foreman looks like one of the American theater's foremost control freaks. He not only writes, directs and designs the productions of his Ontological-Hysteric Theater in New York, but he also personally manipulates the dial that governs the volume of the soundtrack at most of the performances. "It's very difficult for others to know exactly how loud to make it," he explained.
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ENTERTAINMENT
October 17, 2000 | DON SHIRLEY, TIMES THEATER WRITER
As the creator of a long list of unconventional stage productions spanning more than three decades, Richard Foreman looks like one of the American theater's foremost control freaks. He not only writes, directs and designs the productions of his Ontological-Hysteric Theater in New York, but he also personally manipulates the dial that governs the volume of the soundtrack at most of the performances. "It's very difficult for others to know exactly how loud to make it," he explained.
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ENTERTAINMENT
October 18, 2000 | MICHAEL PHILLIPS, TIMES THEATER CRITIC
To whatever lame financial extent, we pay our theatermakers to create visions for themselves and, depending on who "us" is, for us. Most paying customers prefer those visions neat and comforting. But in the hands of an artist such as Richard Foreman, founder of the Ontological-Hysteric Theatre in New York, we're happily plunged headlong into darker, dreamlike brain waves--a sea of anxiety, murky but bracing.
ENTERTAINMENT
December 24, 2000 | MICHAEL PHILLIPS, Michael Phillips is The Times' theater critic
Here we are, closing out a year dominated by a rather dispiriting series of political vaudeville turns. Get the hook. We have many L.A. and Southern California theater stories in the wings, spoiling for an encore. Among them: * The arrival of two Chicago Steppenwolf Theatre alums, Randall Arney and Stephen Eich, at the Geffen Playhouse. Question for 2001: Can the duo, in concert with producing director Gilbert Cates, take the Geffen to the next level?
ENTERTAINMENT
June 9, 2002 | JAN BRESLAUER
Young women wearing coveralls take their places in front of a vast white wall that will, when it comes time for performance, become an apocalyptic video montage. This may be a theater rehearsal, but electronics are everywhere: Projectors occupy niches in the wall, cords thread over the ground like so many Medusa's snakes, and 10 tiny TV monitors rest on the floor. Director Travis Preston picks up a handheld microphone and narrates the sequence of events for his body-miked actors.
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