Archive for LA Weekly – Page 2

“Neverwhere” – Los Angeles theater review for LA Weekly

Photo by Jessica Sherman.

Photo by Jessica Sherman.

Dear readers!

My theater review this week for the LA Weekly is of Neverwhere, now playing at Sacred Fools in East Hollywood.

To read it, click here to go to the LA Weekly’s theater page and scroll down a little bit.

~ OR ~

You can just read it here!!

Happy reading!

 

Neverwhere

After assisting a distraught and injured woman named Door (Paula Rhodes), a milquetoast office worker named Richard (Bryan Bellomo) embarks on a journey that draws him into a fantastical subterranean world that lies beneath London. Neil Gaiman’s Wizard of Oz-esque story promises a magical subculture of strange characters, terrifying beasts and exciting twists and turns, but director Scott Leggett’s disappointing production delivers a meandering fairytale of a series of myth-like quests that lack tension or genuine threat.

The danger set up within each exposition-laden scene gets resolved too quickly, before we amble on to the next mini-quest. Hot on Door’s trail are assassins Mr. Croup (Ezra Buzzington) and Mr. Vandermar (Bryan Krasner) who, despite their dastardly deeds are played too comedically to pose genuine menace. Several cast members are guilty of overacting, while most seem to be concentrating more on reproducing British accents than clarity of expression. Michael James Schneider’s cunning, stitched-together set feels underutilized.

 

Neverwhere

The stage adaptation of Neil Gaiman’s story of an unlikely hero and his journey through the “London Below,” a dark netherworld of fantastic creatures and forgotten humans.

Fridays, Saturdays, 8 p.m.;

Sundays, 7 p.m.

Continues through May 11,

$25.00

Sacred Fools Theater,

660 N. Heliotrope Drive,

East Hollywood,

310-281-8337

 

 

 

 

 

“The Innocence of Father Brown” – review for LA Weekly, Los Angeles theater

Credit: Ellie Roth.

Credit: Ellie Roth.

Gentle readers!

This week my theater review for the LA Weekly is of The Innocence of Father Brown, now playing at Fremont Theatre in South Pasadena.

 

Click here to go to the LA Weekly’s theater page and scroll down a little bit to find it.

~ OR ~

You can just read it here!!

Happy reading!

 

The Innocence of Father Brown

Drawing from G.K. Chesterton’s 51 short stories about a Catholic priest who solves murder mysteries in early 20th-century London, Patrick Rieger has created a two-hour evening of theater that feels like two related one-act plays.

Simply staged by co-directors Allison Darby Gorjian and Betsy Roth, the lightly comedic crime drama unfolds at an unhurried pace; this is old-fashioned storytelling from a gentler, more leisurely era. Unfortunately the presentation is frequently staid, with the action drifting to a halt as Father Brown engages in philosophical and theological debates, only occasionally enlivened by his droll wit and high-flown language.

Several characters clearly echo those in Conan-Doyle’s tales of Sherlock Holmes, in particular the arch-criminal Flambeau (Brandon Parrish), grumpy, exasperated detective Valentin (Adam Daniel Eliott) and smooth and cryptic sleuth Father Brown (Blake Walker), although unlike the more famous fictional detective, the clergyman’s process tends to be introspective and intuitive rather than deductive.

The Innocence of Father Brown

Fremont Centre Theatre

1000 Fremont Ave.,

South Pasadena

Thurs., 7:30 p.m.; Fri.-Sat., 8 p.m.; Sun., 2 p.m.

Runs through April 28. (626) 441-5977

 

 

 

“Eurydice” – review for LA Weekly, Los Angeles theater

Production photo by Craig Schwartz.

Production photo by Craig Schwartz.

Hello dear readers!

This week my theater review for the LA Weekly is of Sarah Ruhl’s surreal take on a Greek myth, Eurydice, now playing at A Noise Within in Pasadena.

 

Click here to go to the LA Weekly’s theater page and scroll down a little bit to find it.

~ OR ~

You can just read it here!!

Happy reading!

 

Eurydice

Playwright Sarah Ruhl’s melancholy and slightly surreal drama is a whimsical take on the classic Greek myth of Orpheus, the divinely inspired musician who defied nature and descended into Hades to retrieve his slain wife.

This exciting modern interpretation shifts the emphasis throughout the story from Orpheus (an impassioned, romantic Graham Sibley) to Eurydice (a beautiful naïf, Jules Wilcox).

Quickly establishing the besotted state of the young betrothed lovers with adoring banter, Ruhl’s dialogue is full of wistful and playful exchanges while permitting the occasional poetic flourish. Jeanine A. Ringer’s dreamy blue underwater set evokes first a beach and then a drippy and damp underworld, while a wandering minstrel on violin (Endre Balogh) approximates the haunting melodies of Orpheus’ lyre that bewitch the denizens of Hades.

Performances are mostly good, with Ryan Vincent Anderson charmingly menacing as the predatory and seductive “Nasty Interesting Man” and, later, Lord of the Underworld. Unfortunately, the trio of women playing the stones (famously moved by the exquisitely mournful music of Orpheus) comes across as shrill and lacking in gravitas. Nevertheless, Geoff Elliott’s direction adroitly realizes his conceptual vision, right down to the presence of water and rain, both real and projected (projections by Brian Gale).

Eurydice

A Noise Within

3352 E. Foothill Blvd.,

Pasadena.

Performances:

Sat.,March 16, 8 p.m.; Sat., March 23, 2 & 8 p.m.;

Sun., April 14, 2 & 7 p.m.; Fri., April 19, 8 p.m.;

Sat., April 27, 2 & 8 p.m.; Sun., April 28, 2 p.m.;

Thu., May 9, 8 p.m.; Fri., May 10, 8 p.m.;

Sat., May 18, 8 p.m.; Sun., May 19, 2 p.m.

Box Office:  626-356-3100

 

 

 

“Company” at Crown City extends – theater review for LA Weekly

Company

Photo by Ed Krieger.

::STOP PRESS::

Company has been extended thru Sunday April 28, 2013, at 3pm.

Previously reviewed:

Hello readers! Last week my theater review for the LA Weekly was of Stephen Sondheim’s 1970s comedy musical Company, now playing at Crown City Theatre in North Hollywood.

Click here to go to the LA Weekly’s theater page and scroll down a little bit to find it.

~ OR ~

You can just read it here!!

Happy reading!

 

Company

Stephen Sondheim composed the lyrics and score to his innovative “concept musical” in 1970, with book by George Furth. For a comedy musical about love, it proves resolutely unromantic and honest. And, surprisingly, its acerbic wit and laserlike scrutiny of marriage, dating and relationships does not feel at all dated.

Director Albert Marr’s incorporation of cellphones and Facebook effortlessly adds a contemporary feel. The loose story centers on Robert (a charismatic Ben Rovner), a handsome, single, mid-30s New Yorker surrounded by well-meaning but smug married friends. Their cheerful efforts to push him toward joining their club are undermined by their conjugal lives, which are fundamentally flawed or dysfunctional.

The ensemble’s vocal skills are good but not stellar, though Julie Black sings brilliantly as funky girlfriend Marta. Also impressive is musical director William A. Reilly’s furious piano and synth live accompaniment. Despite some appealing performances, this company’s average Company barely matches Sondheim’s marvelous material.

Company - Bobby_April_Rain

Photo by Ed Krieger.

 

Company

Crown City Theatre

11031 Camarillo St.,

North Hollywood

Thurs.-Sat., 8 p.m.;

Sun., 3 p.m.

Runs through March 30. (818) 745-8527

 

 

“The Bird House” – theater review for LA Weekly

PHOTO CREDIT: Craig Schwartz.

PHOTO CREDIT: Craig Schwartz.

Dear readers! This week my theater review for the LA Weekly is of The Bird House, a poignant play, now playing at Native Voices at the Autry in Griffith Park.

Click here to go to the LA Weekly’s theater page and scroll down to find it.

~ OR ~

You can just read it here!!

 

Happy reading!

 

The Bird House

Cherokee playwright Diane Glancy offers a sad slice of contemporary country life in a small, dusty town in West Texas.

Struggling with a dwindling congregation in his (almost) ghost town, evangelical preacher Jonathan (aka Reverend Hawk, played by Choctaw actor Randy Reinholz) and his dependent sisters face eviction from their church home.

Glancy crams several related themes into her play, from the bleak fate of the impoverished elderly to the cold-hearted business decisions of the church to the destruction of the environment when government sells out to developers. Glancy compares Reverend Hawk’s imminent eviction with the plight of the Native Americans whose lands were taken over forcibly by white settlers. Ellen Dostal is good as Jon’s older sister, Clovis, who, following a debilitating stroke, speaks to the audience directly, vividly describing her frustration.

Portraying Native American cowboy Rope, Lakota actor Robert Owens-Greygrass gives a passionate and disturbingly vivid speech that illustrates the rape and poisoning of the land and its water by the fracking process.

While Glancy offers few solutions for her beleaguered characters, her play stands as a heartfelt indictment of the deplorable predicament many are facing in today’s tough economic climate. The play is beautifully staged and directed by Robert Caisley.

The Bird House

Native Voices at the Autry National Center,

4700 Western Heritage Way,

Griffith Park

Thurs.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 2 p.m.

Runs through March 17.

(323) 667-2000