LA Theater Review

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  • Reviews

    Hello and Goodbye

    Fugard's play about more domestic concerns.

  • Reviews

    She Always Told Me

    Actor-playwright Annie Mebane has written 12 vignettes for herself and three performers on the wide-ranging subject of "the societal role of women in American culture."

  • Reviews

    Open Window

    "Open Window," presented by Deaf West Theatre in association with and at Pasadena Playhouse, 39 S. El Molino Ave., Pasadena. Tue.-Fri. 8 p.m., Sat. 5 & 9 p.m., Sun. 2 & 7 p.m. (Also Wed. 10:30 a.m. Nov. 2; 2 p.m. Nov. 9.) Oct. 21-Nov. 20. $37-53. (626) 356-7529.

  • Reviews

    1985

    Presented by David Fofi and Don Cesario at the Elephant Theatre, 6322 Santa Monica Blvd., Hollywood. Thu.-Sat. 8 p.m., Sun. 7 p.m. Oct. 28-Dec. 4. (323) 960-7822.

  • Reviews

    Careless Love

    To call Len Jenkin's comedy surreal is not only to understate the point but also to, in a way, excuse flights of fancy on the part of the playwright as part of a grander scheme rather than chalk it up to something as prosaic as carelessness, laziness, inattention to ...

  • Reviews

    No Man's Land

    Working-class Brits turned poets in Harold Pinter's 1950s plays give way to characters lost in a world of affluent privilege in this 1974 play.

  • Reviews

    Love & Sex in the Earth's Spin Cycle

    One of the keys to successful dating, explains writer-performer Lambeth Sterling, is to look for "the less fucked."

  • Reviews

    Lady K is on the Mic

    What gives this solo performance its engaging quality is author-actor Kim Blackwell's equal-opportunity honesty. For audiences of all ethnicities, her comments make for an enlighteningly enjoyable evening.

  • Reviews

    Black Watch

    The play is in itself a contradiction in terms: It's an anti-war -- or at any rate anti-Iraq War -- play, but it's rooted in love for the military and regimental pride, lifting it out of cliché and anchoring it in ambiguity.

  • Reviews

    Otello

    The performers here are quite operatic in voice, some more marvelously than others. But modern audiences increasingly expect a little acting with their opera.