An insecure Tennessee Williams, “suffering from the disaster of success” after the overwhelmingly rapturous response to his first major play, “The Glass Menagerie,” worries about the reception that will greet his next work, “A Streetcar Named Desire.
In the 1980s, the South African government considered HIV/AIDS a “gay disease,” and so they ignored it. In the 1990s, they saw it as a gigantic conspiracy, with political and racial motivations, and so they ignored it.
“I’ve told you everything and now you know too much, so I’m going to have to kill you.” This, in a nutshell, is the plot of Shem Bitterman’s new play, “A Death in Colombia.
Playwright James M. Barrie is most famous for his familiar and much-loved fantasy “Peter Pan.” However, he also produced a large body of other literary works that include two quaintly delicate playlets: “Rosalind” and “The Old Lady Shows Her Medals.
It’s James’ 29th birthday and his three closest friends have come to take him on a journey to his favorite place on earth: a secluded cove on Barafundle Bay, on the western coast of Wales.
“In Our Name” is a hauntingly beautiful film, the second in the series of new independent films that comes to us as part of the From Britain With Love film festival playing in Santa Monica.
“A Memory of Two Mondays” is not one of Arthur Miller’s more recognizable plays, but it should be. Especially at a time like this, when the American economy is going through a Great Recession.
DOWNTOWN — “Toast” is the first film to come to America in a new independent series called From Britain with Love. Presented by the Film Society of Lincoln Center, the UK Film Council, and Emerging Pictures, the six-film series will be screened one a weekend from June 18 to July 24 at the Laemmle Th
SEX! SEX! SEX! OK, now that I’ve got your attention, let’s talk about English. That’s Maria Gobetti’s message in playwright Lissa Levin’s “Sex and Education,” now having its West Coast premiere at the Victory Theatre Center.
In A.R. Gurney’s shaggy dog story, “Sylvia,” Tanna Frederick plays a pampered pooch dressed in tutus and tiaras. You might call her a woof in chic clothing.
If Ernest Hemingway saw Paris in the 1920s as a movable feast, Woody Allen, nearly a century later, sees it as a great big bowl of jellybeans: colorful, sweet, and totally addicting.
“Memory is the only thing that grief can call its own,” Sean O’Casey wrote, and there is grief and memory enough to go around in his classic play “Juno and the Paycock,” now being performed at the Odyssey Theatre in West Los Angeles.
