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ENTERTAINMENT
January 11, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Before Quentin Tarantino, Martin McDonagh and all the other sadistic bad boys of film and theater, there was the 17th century dramatist John Ford testing his audience's tolerance for perverse blood sport. In his most popular play, " 'Tis Pity She's a Whore," now at Freud Playhouse through Saturday in an international touring production by the acclaimed London-based company Cheek by Jowl, Ford does his best to out-Jacobean the Jacobean playwrights he was weaned on. Revenge isn't just the main dish - it's the theme of his entire buffet.
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ENTERTAINMENT
April 26, 2012 | By Chris Willman, Special to the Los Angeles Times
You'd be hard-pressed to find a musical with less dramatic tension than "Million Dollar Quartet" anywhere this side of a "My Little Pony" touring show. The production that opened Tuesday at the Segerstrom Center for the Arts really just wants to let the good times roll, so you can be glad it devotes only about 10 minutes of its 105-minute running time to drumming up token conflicts between Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash and their visionary producer, Sam Phillips.
ENTERTAINMENT
June 20, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
Enda Walsh's "The New Electric Ballroom" has returned to Los Angeles in a Rogue Machine production directed by John Perrin Flynn at Theatre/Theater. The play is rather hermetic in a neo-Beckettian fashion, and I don't think I fully appreciated it when the beautifully acted Druid Ireland production was presented by UCLA Live in 2009 along with its companion piece "The Walworth Farce," which I liked a good deal more. Some plays require repeated exposures before their secret music can be discerned.
ENTERTAINMENT
September 13, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
No need to bone up on the Mormon prophet Joseph Smith before attending "The Book of Mormon" at the Pantages Theatre. Just know that this exceedingly naughty, though in the end disarmingly nice, show is devised by the minds behind "South Park" and that risqué "Sesame Street" for theater-loving adults, "Avenue Q. " In other words, leave the kids at home with a baby-sitter, or child-protective services might be knocking at your door. Built for the irreverent Gen X faithful, all those aging slackers (myself among them)
ENTERTAINMENT
August 26, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
At 80, South African playwright Athol Fugard is still turning out plays at a rate that would be daunting for a dramatist half his age. A crucial witness to the warping effect of apartheid on his country's soul, Fugard has continued in the post-apartheid era to track the difficult moral journey of characters heeding and resisting the national imperative of reconciliation. His latest play, "The Blue Iris," receiving its U.S. premiere at the Fountain Theatre, is in keeping with the distilled, backward-looking, frankly mournful style that has dominated his late works.
ENTERTAINMENT
September 7, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
Just a few years after writing his antiwar masterpiece, "The Trojan Women," Euripides was even more despondent about the reckless imperialist course of Athenian foreign policy. His response wasn't a louder shriek of lament but a rollicking romantic melodrama - escapist fare, really, but with a radical Euripidean twist. Conceived of during a low point in the long and costly Peloponnesian War, "Helen," a sentimental adventure tale with a biting undercurrent of social criticism, dares to debunk the rationale for the Trojan War by imagining an alternative narrative about the faithless beauty who infamously launched a thousand Greek ships.
ENTERTAINMENT
October 8, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
Charles Smith is just your average, bumbling occupant of the Oval Office. Up for reelection, he doesn't stand much of a chance of gaining a second term. His wife is already asking whether she can take one of the White House couches she had reupholstered when they leave. Even those seeking favors are apt to remind him that his poll numbers are "lower than Gandhi's cholesterol. " From this desperate political situation, David Mamet, playwriting's graying enfant terrible, spins a retro farce that will have many wondering whether the ghost of Sid Caesar has taken possession of the author of such foul-mouthed dramatic landmarks as "American Buffalo" and "Glengarry Glen Ross.
ENTERTAINMENT
January 16, 2013 | By Lewis Segal, Special to the Los Angeles Times
Any show created by or with the late Jerome Robbins invariably retains its magic through decades of restagings. The scruffy-looking but endearing production of "Peter Pan" that opened Tuesday at the Pantages Theatre for a two-week run is no exception. His first show as both director and choreographer, "Peter Pan" found Robbins putting together the script from previous stage adaptations and author James Barrie's various editions and afterthoughts. He also invited Betty Comden, Adolph Green and Jule Styne to supplement the songs by Carolyn Leigh and Moose Charlap, and gave this patchwork of words and music the sense of a complete, living world that audiences soon came to recognize as a Robbins trademark.
ENTERTAINMENT
January 3, 1996 | PHILIP BRANDES
Agatha Christie's talent for ingenious twists was never sharper than in "Witness for the Prosecution," and for devotees of the mystery genre, the surprise ending is probably worth wading through her stage adaptation. But in dramatic terms, the play's creaky construction and endless exposition make for very slow going, and Robert Craig's staging for Pasadena's Knightsbridge Theatre is further hampered by uneven casting and awkward blocking.
ENTERTAINMENT
August 22, 2012 | By Charles McNulty, Los Angeles Times Theater Critic
Enigmatic anecdote is the currency of Martin Crimp's "The City," having its U.S. premiere at Son of Semele Theater in a production directed by artistic director Matthew McCray. The characters don't so much engage in dialogue as indulge in a cryptic form of storytelling, in which puzzling incidents are set against a background of warfare, brutality and personal desolation. A foreboding air of menace invokes the work of Harold Pinter, though Crimp, a playwright better known in the States for his springy translations of French dramatic classics, is more abstract and diffuse.
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