Canadian playwright Suzanne Lebeau's metaphorical parable, written in French but presented in this production in Spanish with English supertitles, is full of rich and provocative allegory, but short on theatrical power.
LA Theater Review
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In racking up two parallel casts for David Mamet's bristling, funny-sad drama about beleaguered real estate salesmen, director Gary Krinke puts a twist on the play's dynamics by using an all-female cast for half the performances.
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Playwright Stefan Marks is clearly trying to tell a coming-of-age story, but that's all that's clear about this work. Marks hasn't decided what his core theme is or what kind of play he's writing.
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Lillian Hellman's consummately crafted 1939 drama can be viewed as a distinguished forerunner to latter-day portraits of fierce familial warfare, such as 'The Lion in Winter' and 'Dallas'.
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The one-person show is an unrivaled form for impressing a live audience with one's skills. It is also, alas, unparalleled as a vehicle for self-indulgence in front of a live audience. John Fortson is a handsome, earnest young man who loves surfing and his wife.
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It's difficult to tell where, exactly, the playwright wants to take us in 'Eve's Rapture'. For the most part it feels uncomfortably like stylish Christian doctrine.
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A Chicago-bred 2007 dramedy making its West Coast debut, Lisa Dillman's 'Half of Plenty' brims with promise at the outset. Its theme of death in suburbia is timely.
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Screenwriters Jim Abrahams, Jerry Zucker, and David Zucker devised what felt like a new generation of zany spoofs with their 1980 hit film 'Airplane!', shamelessly elevating corny humor to new heights.
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According to Laura Richardson, "Say the word 'mother' and it brings up so much material" that one might be able to compose a play around it, which is exactly what she has done in this play.
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This troupe, under John DeMita's less-is-more direction, delivers a sensitive, intimate revival of Bernard Pomerance's 1979 exploration of the world of the social outcast–turned-celebrity John Merrick.
