With seven characters all determined to have the last word, the slanging matches go on interminably, and what might have been amusing as a one-hour comedy comes in as a two-and-a-half-hour editorial rant.
LA Theater Review
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The performers here are quite operatic in voice, some more marvelously than others. But modern audiences increasingly expect a little acting with their opera.
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Trepidations that Paul Oakley Stovall's comedy might be a thinly veiled rehash of Stanley Kramer's oft-imitated 1967 film classicGuess Who's Coming to Dinnerquickly vanish as this warm-hearted family dramedy gets under way.
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A scrappy mixture of slightly tarnished commedia, pantomime slapstick, collegiate high jinks, opéra bouffe, nightly television, shtick, and scurrilous improvisation raises the rafters in Theatre/Theater's new space to a new high, or stoops to a new low, depending on the perceived angle of the dangle.
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Neil Simon has created a sadly flat excursion into the lives and afterlives of fairly unexceptional people in this 2003 play.
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It takes temerity to write a sequel toHamlet, and the risks are tripled if you cast it as a fantastic satirical farce, but writer Lee Blessing pulls it off hilariously.
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Patricia Highsmith¿s 1950 novel, adapted by Alfred Hitchcock for his 1951 film, starring Farley Granger and Robert Walker, has now been adapted for the stage by playwright Craig Warner. With its psychological intimacy and dark subtext, the theatrical adaptation works surprisingly well, especially in this nuanced production, directed by ...
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Playwright Mark Kemble's mostly overwrought and overwritten melodrama about a star-crossed Irish-American family is partly redeemed by an exquisite cast and outstanding direction by Salome Jens. But even this stellar group of performers and a gifted, experienced director do not rescue Kemble's play from long stretches of tedious ...
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An amiably protean quartet of actors perform with panache and loony style, under the direction of Kiff Scholl. None of the show makes much sense, but there's a lot of fun to be had if you enjoy unadulterated whimsy and freeform nonsense.
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With most writers, certain thematic elements persist and recur frequently, but Tennessee Williams seems to have been the ultimate recycler.
