Sunday, April 21, 2013
Don't miss "Slipping" @RattlestickLA
Don't miss "Slipping" @RattlestickLA, a well written and produced look at dysfunctional relationships and their corrosive nature. @WyattFenner took over the lead role tonight and is simply terrific. He is one of the finest young actors in the country. Macleod Andrews was also excellent. Great to have Rattlestick Playwrights Theater providing LA with such great work.
Sunday, April 14, 2013
Saturday, April 13, 2013
Sunday, April 07, 2013
Sunday, March 31, 2013
Saturday, March 30, 2013
Friday, March 29, 2013
Wednesday, March 27, 2013
Monday, March 25, 2013
Off Broadway Gems Shine In LA
Two of last year's best off-Broadway plays have made their way to Los Angeles and have lost little of their considerable impact in their move westward. Indeed, both are highly recommended current LA area theater offerings if you like your theater probing and unafraid to tackle darker hues.
The David Cromer directed "TRIBES" at the Mark Taper Forum features many of the same cast members as the New York off Broadway production. The play focuses upon a highly dysfunctional British family whose seemingly most functional member is a son who was deaf from birth. That son enters into a romatic relationship with a woman who is hearing but going deaf, and was raised by deaf parents. The play raises a host of weighty themes and issues and features a terrific cast and the same expert direction as its NY predecessor. As much as I enjoyed this show at the cozy Barrow Street Theater in New York, I liked the Taper production even more, as the more elaborate set at the Taper meshed well with the play's inherent rhythms.
"TRIBES" is certain to be one of the best plays and productions Los Angeles will see this year, and I encourage you to see it before it closes on April 14.
The other recent outstanding off Broadway play that I just revisited is the entirely new production of Samuel D. Hunter's "THE WHALE" at South Coast Rep. The play features a grossly overweight man who is essentially eating himself to death. The play repeatedly subverts expectations and challenges common assumptions, in ways that are moving and illuminating. The play demands an incredible commitment and emotional investment by the actor playing Charlie, the larger than life lead character. If Matthew Arkin does not quite reach the heights of Shuler Hensley's performance at NY's Playwrights Horizons, he brings a softer, gentler take to the role that is highly effective.
"THE WHALE" may not be for everyone (the Orange Country matron sitting next to me in the theater exclaimed out loud mid-performance that this was the worst play she has ever seen), but for theatergoers who like layered and challenging works that do not shy away from the darker elements of the human condition, this play is likely a good one for you.
Two well produced, nuanced and engaging plays in major regional theaters that are simultaneously playing in the LA area and are highly recommended. How refreshing. I hope it is a trend.
The David Cromer directed "TRIBES" at the Mark Taper Forum features many of the same cast members as the New York off Broadway production. The play focuses upon a highly dysfunctional British family whose seemingly most functional member is a son who was deaf from birth. That son enters into a romatic relationship with a woman who is hearing but going deaf, and was raised by deaf parents. The play raises a host of weighty themes and issues and features a terrific cast and the same expert direction as its NY predecessor. As much as I enjoyed this show at the cozy Barrow Street Theater in New York, I liked the Taper production even more, as the more elaborate set at the Taper meshed well with the play's inherent rhythms.
"TRIBES" is certain to be one of the best plays and productions Los Angeles will see this year, and I encourage you to see it before it closes on April 14.
The other recent outstanding off Broadway play that I just revisited is the entirely new production of Samuel D. Hunter's "THE WHALE" at South Coast Rep. The play features a grossly overweight man who is essentially eating himself to death. The play repeatedly subverts expectations and challenges common assumptions, in ways that are moving and illuminating. The play demands an incredible commitment and emotional investment by the actor playing Charlie, the larger than life lead character. If Matthew Arkin does not quite reach the heights of Shuler Hensley's performance at NY's Playwrights Horizons, he brings a softer, gentler take to the role that is highly effective.
"THE WHALE" may not be for everyone (the Orange Country matron sitting next to me in the theater exclaimed out loud mid-performance that this was the worst play she has ever seen), but for theatergoers who like layered and challenging works that do not shy away from the darker elements of the human condition, this play is likely a good one for you.
Two well produced, nuanced and engaging plays in major regional theaters that are simultaneously playing in the LA area and are highly recommended. How refreshing. I hope it is a trend.
Sunday, December 16, 2012
2012 TOP 10 THEATER
1. WHO'S AFRAID OF VIRGINIA WOOLF? (NY/ Broadway)
2. THE PIANO LESSON (NY/ Signature)
3. BIG MEAL (NY/ Playwrights Horizons)
4. THE WHALE (NY/ Playwrights Horizons)
5. THE WHITE SNAKE (SF/ Berkeley Rep)
6. PETER & THE STARCATCHER (NY/ Broadway)
7. TRIBES (NY/ Off Broadway)
8. THE CONVERT (LA/ Center Theater Group)
9. INTO THE WOODS (NY/ Public)
10. GOOD PEOPLE (LA/ Geffen Playhouse)
Honorable Mention: IN THE RED AND BROWN WATER (LA/ Fountain Theater); AS YOU LIKE IT (NY/ Public)
Remarkable Returns to Shows First Viewed In Prior Years: ONCE (NY/ Broadway); RED (LA/ Center Theater Group)
Number of shows attended: 74
Top 10 breakdown: 0 new musicals, 7 new plays, 3 revivals
2011's Top Acting Performances
Shuler Hensley in THE WHALE; Tracy Letts & Amy Morton in WHO'S AFRAID OF VIRGINIA WOOLF?; Chuck Cooper in "THE PIANO LESSON"; John Hurt in KRAPP'S LAST TAPE
2. THE PIANO LESSON (NY/ Signature)
3. BIG MEAL (NY/ Playwrights Horizons)
4. THE WHALE (NY/ Playwrights Horizons)
5. THE WHITE SNAKE (SF/ Berkeley Rep)
6. PETER & THE STARCATCHER (NY/ Broadway)
7. TRIBES (NY/ Off Broadway)
8. THE CONVERT (LA/ Center Theater Group)
9. INTO THE WOODS (NY/ Public)
10. GOOD PEOPLE (LA/ Geffen Playhouse)
Honorable Mention: IN THE RED AND BROWN WATER (LA/ Fountain Theater); AS YOU LIKE IT (NY/ Public)
Remarkable Returns to Shows First Viewed In Prior Years: ONCE (NY/ Broadway); RED (LA/ Center Theater Group)
Number of shows attended: 74
Top 10 breakdown: 0 new musicals, 7 new plays, 3 revivals
2011's Top Acting Performances
Shuler Hensley in THE WHALE; Tracy Letts & Amy Morton in WHO'S AFRAID OF VIRGINIA WOOLF?; Chuck Cooper in "THE PIANO LESSON"; John Hurt in KRAPP'S LAST TAPE
Sunday, November 18, 2012
Fall 2012 Theater: Diamonds in the Rough
Thus far, the fall theater season has been fairly lackluster, with just one bright spot on Broadway, a few gems off-Broadway, and several notable winners in Los Angeles.
First, the only new production on Broadway that I can highly recommend is the fresh, invigorating Steppenwolf Theater production of "Who's Afraid of Virginia Woolf?" starring the perfectly matched Tracy Letts and Amy Morton. This is by far the best production of this play I have seen, and it makes Albee's masterpiece feel like something written just yesterday. Letts and Morton, guided by Pam Mackinnon's pitch-perfect direction, reveal a psychological subtext to George and Martha that I had never before witnessed. This is by far the best new production on Broadway, and nothing else I have seen thus far on Broadway this fall comes even close.
New York's off-Broadway scene offers two more excellent productions, one a new work and the other a revival. The new work is the dark and challenging "The Whale" at Playwrights Horizons. Playwright Samuel Hunter shows a knack for finding humor and compassion amidst dark circumstances, and instills his viewer with compassion for the main character who is essentially overeating himself to death. It sounds odd, but great writing combined with a stunning performance by Shuler Hensley in the lead role make it all work. At the end of the performance I saw, the audience was visibly and audibly stunned.
Signature Theatre has another winner in its touching and perfectly cast revival of August Wilson's "The Piano Lesson," expertly directed by Ruben Santiago Hudson. This production mines the humor and poetry abundant in this play, which I had always liked, but had never found to be one of Wilson's finest until I saw this revival. While the entire ensemble cast is outstanding, the work of Brandon Dirden as Boy Willie and Chuck Cooper as Wining Boy are worthy of special note. Both give deeply moving portrayals of two of Wilson's most interesting characters, and both give a special lift to this sterling revival.
The best of fall theater in Los Angeles was evident in two works from the two current playwrights who are my favorite contemporary play writers - Lynn Nottage and Tarell Alvin McCraney. Ms. Nottage was well represented by the Geffen Playhouse's production of the funny and moving "By The Way Meet Vera Stark." I found this production to be even better than its Second Stage premiere in New York, although both mountings featured the luminous Sanaa Lathan in the title role. Mr. McCraney's bold and poetic "In The Red And Brown Water," one of the Brother/Sister trilogy plays, is being given a spirited and musical spin at the Fountain Theater. Anchoring the fine cast is Diarra Kilpatrick in the lead role. I have seen three actresses play this role to date, and Ms. Kilpatrick has been the best of the three. She breathes a unique spirit into this fantastic and incisive play from this young and talented playwright who has not hit a false note to date.
Finally, a quite note to recommend the finest movies I have seen this fall - "the perks of being a wallflower," "Argo," and "Silver Linings Playbook." Three very different films, and all three well worth a viewing.
First, the only new production on Broadway that I can highly recommend is the fresh, invigorating Steppenwolf Theater production of "Who's Afraid of Virginia Woolf?" starring the perfectly matched Tracy Letts and Amy Morton. This is by far the best production of this play I have seen, and it makes Albee's masterpiece feel like something written just yesterday. Letts and Morton, guided by Pam Mackinnon's pitch-perfect direction, reveal a psychological subtext to George and Martha that I had never before witnessed. This is by far the best new production on Broadway, and nothing else I have seen thus far on Broadway this fall comes even close.
New York's off-Broadway scene offers two more excellent productions, one a new work and the other a revival. The new work is the dark and challenging "The Whale" at Playwrights Horizons. Playwright Samuel Hunter shows a knack for finding humor and compassion amidst dark circumstances, and instills his viewer with compassion for the main character who is essentially overeating himself to death. It sounds odd, but great writing combined with a stunning performance by Shuler Hensley in the lead role make it all work. At the end of the performance I saw, the audience was visibly and audibly stunned.
Signature Theatre has another winner in its touching and perfectly cast revival of August Wilson's "The Piano Lesson," expertly directed by Ruben Santiago Hudson. This production mines the humor and poetry abundant in this play, which I had always liked, but had never found to be one of Wilson's finest until I saw this revival. While the entire ensemble cast is outstanding, the work of Brandon Dirden as Boy Willie and Chuck Cooper as Wining Boy are worthy of special note. Both give deeply moving portrayals of two of Wilson's most interesting characters, and both give a special lift to this sterling revival.
The best of fall theater in Los Angeles was evident in two works from the two current playwrights who are my favorite contemporary play writers - Lynn Nottage and Tarell Alvin McCraney. Ms. Nottage was well represented by the Geffen Playhouse's production of the funny and moving "By The Way Meet Vera Stark." I found this production to be even better than its Second Stage premiere in New York, although both mountings featured the luminous Sanaa Lathan in the title role. Mr. McCraney's bold and poetic "In The Red And Brown Water," one of the Brother/Sister trilogy plays, is being given a spirited and musical spin at the Fountain Theater. Anchoring the fine cast is Diarra Kilpatrick in the lead role. I have seen three actresses play this role to date, and Ms. Kilpatrick has been the best of the three. She breathes a unique spirit into this fantastic and incisive play from this young and talented playwright who has not hit a false note to date.
Finally, a quite note to recommend the finest movies I have seen this fall - "the perks of being a wallflower," "Argo," and "Silver Linings Playbook." Three very different films, and all three well worth a viewing.
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