They weren’t projecting, they were SHOUTING! And even if they were better actors, the play would still be a lot of frivolous twaddle. It’s “Early and Often,” a play by Barbara Wallace and Thomas R.
Not since Mel Brooks’ outrageous “Springtime for Hitler” has there been a holocaust musical as ill-conceived and badly performed as “No Time to Weep,” now on-stage at L.
Unless you’re an aficionado of the ups and downs of the Russian revolution of the early 20th century, it’s very hard to keep track of the players without a scorecard.
Those of us who voted for John Fitzgerald Kennedy in 1960 were fortunate enough to experience the exhilaration, the hope, and the joyful anticipation that his election brought to the nation.
Medvedenko the schoolteacher is in love with Masha, the daughter of the manager of a country estate. Masha is in love with Konstantin, a would-be playwright.
Two men, one in a suit and the other in a sweater, sit side by side in folding chairs in a small auditorium. They are listening to an unseen speaker introducing a new inductee to the Israel Academy of Sciences and Humanities.
If there is a loaded shotgun hanging on the living room wall just below the crucifix, you sort of get a hint of the kind of household you’ve entered. In Martin McDonagh’s play “The Lonesome West,” currently on-stage at the excellent Ruskin Group Theatre in Santa Monica, the household consists of two
A few days ago, Nobel Laureate and Holocaust historian Elie Wiesel appeared on Lawrence O’Donnell’s TV program “The Last Word” to express his outrage at a practice of the Mormon Church.
The name says it all, so be warned. It’s called “Filthy Talk for Troubled Times,” but the “trouble” comes mostly from the play itself. Playwright Neil LaBute revels in writing long boring monologues: in “Wrecks” Ed Harris stands over his wife’s coffin and bemoans her loss for the full length of the
As Winston Churchill might describe it, Theresa Rebeck’s play “The Water’s Edge” is “a riddle wrapped in a mystery inside an enigma.” There are more mixed emotions, contradictions, outright lies, duplicity, passion and chills in this dramatic masterpiece than in any play you’re likely to see in this
There must be at least half a dozen people in L.A. who have never seen Thornton Wilder’s classic play, “Our Town.” If you are one of them, you couldn’t do better than the production that opened last week at the Broad Stage.
As Gertrude Stein once said about Oakland, “There’s no THERE there.” And you might say the same for the Geffen Playhouse’s production of “Red Hot Patriot, The Kick-Ass Wit of Molly Ivins.
