Because critics love to, um, criticize, let's leap right in. This production offers so much to its audience that it's impossible to catch everything.
LA Theater Review
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Writer-director Daisuke Tsuji's exegesis on life in the monkey world features wonderful choreography, inspired costumes and makeup, upbeat music, and terrific actors who have mastered every detail of primate behavior, from body language to verbal expression.
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Heavy Like the Weight of a Flame
Actor-writer R. Ernie Silva has led a peripatetic and wildly varied life, as revealed in this semiautobiographic solo drama, with a script by Silva and novelist James Gabriel.
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Remember the one about the man believed to be crazy and the associated themes—pondering the questions of who is truly "crazy" among us and whether passion and individuality can be mistaken for derangement?
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Playwright Bill Robens, who previously focused his satiric lens on classic Charles Dickens ("A Mulholland Christmas Carol") and Irwin Allen disaster flicks ("The Poseidon Adventure: The Musical" and "The Towering Inferno: The Musical") now goes after film-noir private-eye melodramas, with rib-tickling results.
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Is it possible this Sam Shepard piece deserves the label of "theatrical warhorse?" Considered gritty and cutting edge at the time of its 1980 premiere, this tale of two brothers, complete opposites, who collide head-on, seems somewhat pedestrian in this day and age.
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Saint Joan of the Slaughterhouses
Brecht's play was undoubtedly meant to provoke. Under the direction of Michael Rothhaar, this production of it does so, indeed.
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The story is timely, although it probably always has been. The rich get richer—by their indifference or their scheming—and in this case they also have the babies.
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This "Drag Queen Romantic Comedy Musical," written and directed by David LeBarron, with songs by Abby Travis, was conceived as a tribute to drag divas Misty Cologne and Sabrah Summers, who died in 2004.
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Though the look is contemporary chic and the unspecified time period is clearly the 21st century, there's something old-fashioned—in a good way—about Beau Willimon's juicy political potboiler.
