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July 5, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
"Blackbird," Scottish playwright David Harrower's daring two-hander about a young woman who confronts the older man who sexually abused her as a girl, gave Rogue Machine one of its most memorable hits last summer. Would you believe that it was something of a miracle that this highly respected little company was even allowed to produce the play, especially after it became a succès d'estime off-Broadway in a Manhattan Theatre Club production starring Jeff Daniels and Alison Pill?
December 8, 2006 | Lynne Heffley, Times Staff Writer
The eye-rolling. The heavy sighs. The reaction of dance, music and theater companies facing their umpteenth "Nutcracker," "Messiah" or "A Christmas Carol"? The answer might be surprising: not necessarily. Audience enthusiasm helps companies keep it real -- and fresh. So does the challenge of reinvigorating what is bread-and-butter fare for many. Not that such a positive attitude is unanimous, said David Wilcox, artistic director of Long Beach Ballet.
Shopping center developers won't be pinning their hopes on new movie theaters in 2001--as they have done for the last few years--and many owners of centers will face a daunting task trying to fill former theater space with new users. Although a few theaters will be built next year, continuing troubles in the industry have already caused some developers to abandon plans for new theaters and to be ready to spend a lot more money if they want to include theaters in a new development.
June 29, 1986 | JUDY PASTERNAK, Times Staff Writer
Technically, the movie projectionists' union is still on strike against West Los Angeles-based Landmark Theatre Corp. But as the walkout stretches into its second year, the visible signs of a labor dispute have virtually disappeared. It has been more than a month since Landmark won a National Labor Relations Board ruling that prohibits the projectionists from picketing the Goldwyn Pavilion Cinemas at the Westside Pavilion.
July 4, 1999 | DON SHIRLEY, Don Shirley is The Times' theater writer
Three years ago, when August Wilson created a sensation by condemning colorblind casting, he did it within a speech to the national conference of the Theatre Communications Group, the primary service and advocacy organization for nonprofit theaters. So theater observers wondered if the organization's next conference, held here in late June, might stir up a similar storm. It didn't.
October 26, 1987
Bringing the excitement of live opera performance into the classroom is a little like trying to give the full flavor of a circus with only a pair of clowns and a bag of peanuts. Scaling down this extravagant, sophisticated art form, yet retaining its essence, is the primary challenge to stage director and actor, William Roesch. Roesch, San Diego Opera's education director, wants to erase the usual operatic stereotypes.
Quiet Zone Theatre, an amateur troupe catering to the deaf and hard of hearing, will present magic acts, mime, skits and lip-synced songs on its seventh annual benefit program tonight at Irvine Barclay Theatre. Everything will be presented in sign language, but charter member Joshua Vecchione assures that a "voice interpreter" will translate for those who don't understand the hand signals.
February 5, 1995 | Lawrence Christon, Lawrence Christon is a Times staff writer
One of Antonin Artaud's more enduring legacies to the modern actor was his urging, in effect, to reach through fire for a performance. For the deaf actor, the reverse is true: A performance has to be sculpted out of the ice of silence. Up until relatively recently, it was impossible for any deaf actor to navigate a major stage role without benefit of a hearing aid or some other translating device for a medium that is, after all, based on words.
September 8, 1991 | DAVID GRITTEN, David Gritten is a free-lance writer based in London. and
Until about 30 years ago, a score of traveling theater troupes toured small Irish towns and villages. Typically headed up by a flamboyant actor-manager, these troupes would stop in a particular village--like this one hard by the Ulster border--for a week at a time, pitch a tent on the edge of town and perform their repertoire. The actors might have seen a new film in a larger town or city, and would re-enact it for the villagers who lived in areas too remote for moviegoing.
February 12, 1995 | MARY F. POLS, TIMES STAFF WRITER
Like a troupe of wandering players, Thousand Oaks performing arts groups roam the Conejo Valley looking for places to hang up their costumes and instruments. But this bohemian lifestyle is not by choice. With the new $64-million Civic Arts Plaza and Performing Arts Center looming in the middle of town, some of these groups are wondering why they have not been given even a sliver of its beige splendor.
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