Art heals, and in writer-performers Steve Connell and Sekou Andrews' raucous hip-hop spoken-word performance piece, the healing begins the moment the wildly in-your-face pair hits the stage running.
LA Theater Review
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- Review
Like Chekhov, Lanford Wilson weighs character more heavily than plot. In a staging that has heart and very few missteps, Phyllis B. Gitlin's cast allows Wilson's text about the Talley family (circa 1977) to unfold at its own natural pace—which is to say, leisurely.
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By the play's midpoint, we don't care about any of the characters. By the three-quarter mark, it's still hard to discern the play's viewpoint.
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Dirty Dancing: The Classic Story on Stage
The time of your life? Though ad slogans promise that possibility, this bizarre screen-to-stage transplant offers only intermittent flashes of down-and-dirty fun. Add to that a by-the-numbers rehash of the film’s soapy story, and the victory of crass commercialism over creativity is complete.
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Now in its 10th and final year, Lodestone Theatre Ensemble has never been afraid of taking chances. In the company's latest outing, four playwrights find interesting ways to take us to extremes in individual works that make terrific use of an impressive pool of talent.
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Ooooogy Green and Other Fables
Playwright Page Hearn, with a little help from Brooke Pacy's original story, has created a weird and wonderful world centered on, of all things, a caterpillar-boy named Ooooogy.
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This fluffy musical confection, based on Hans Christian Anderson's 'The Princess and the Pea' and celebrating its golden anniversary, opened on Broadway in 1959.
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An evening of two one-hour one-acts by writer-director Matt Morillo swings wildly from pointed, realistic, and interesting debate to pointless, ludicrous, and unfunny.
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Given that the whole high-school experience lasts only a few years, it's amazing how long the effects resonate in our collective consciousness. And because these years are so crucial to the development of permanent self-esteem, do we ever really get over them?
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Librettist-songwriter S. Claus' tuner is billed as "a groovy '70s musical."
