June 20, 2012 |
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.
September 7, 2012 |
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.
August 26, 2012 |
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.
October 8, 2012 |
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.
August 22, 2012 |
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.
June 14, 2013 |
Six months after her husband's death, Olga Knipper, famed actress and widow of Anton Chekhov, is gearing up to face an audience again. In a dimly lighted rehearsal hall in St. Petersburg, Russia, with two other actors, she prepares to resume her life onstage. Her monologue from "The Cherry Orchard," though, is not coming out right. She fears that grief has destroyed her capacity to feel. Outside a graver crisis is erupting. A march of workers ended in a massacre. Actors from this company may have been killed.
January 3, 1996 |
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.
November 6, 2006 |
HOLD off on the novenas for "Sister Act: The Musical. " The show, which opened Friday at the Pasadena Playhouse, has Broadway blockbuster written all over it. But it's going to need a little divine intervention if it's to become more than just another generically manufactured hit. The whole project has an air of inevitability to it. Putting aside the clumsy lip-synching of its star, the 1992 Whoopi Goldberg movie most vividly came to life during...
March 15, 1995 |
Sometimes a good novel is just that: a good novel. Its tone, plot and characters remain stubbornly resistant to transmutation into a theatrical form. When it comes to F. Scott Fitzgerald novels, this seems particularly true, as evidenced by Hollywood's pathetic string of "Great Gatsbys." None of these past failures intimidated playwright Simon Levy. He bravely adapted Fitzgerald's "Tender Is the Night" for the inaugural production of the American Literature Theatre Lab at the Fountain Theatre.
December 7, 1994 |
Clearly playwright Don L. Freeman doesn't want to hide his intentions in "God and Other Terrorists," at the Laguna Festival of the Arts Forum Theatre through Dec. 17. When you name your central character Emmet Surrey Force, you are putting something more than a character on stage: You're creating a presence as much as a person. Which is all to the good: The best characters are presences who resonate.