RSSAll Entries Tagged With: "dany margolies"

THE SEXUAL LIFE OF SAVAGES: 74% - BITTERSWEET

THE SEXUAL LIFE OF SAVAGES: 74% – BITTERSWEET

SWEET Still, “Savages” is a ribald, intelligent and promising new work. Adventurous playgoers and/or fans of premium cable fare will likely embrace it. David C. Nichols – LA Times BITTERSWEET All in all, this is a play that wants to tell us to “relax, it’s just sex,” but seems to have forgotten to tell most […]

A MIDSUMMER NIGHT'S DREAM (BROAD STAGE): 82% - SWEET

A MIDSUMMER NIGHT’S DREAM (BROAD STAGE): 82% – SWEET

BITTERSWEET Still, the production, by War Horse director Tom Morris, is surprisingly uninvolving. The main quartet of lovers and their foibles feel too separate from the puppet business, a big reason that the puppets’ theatricality doesn’t translate into emotional heft. Zachary Pincus-Roth – LA Weekly SWEET Nonetheless, this inventive production will send you home with […]

SLOWGIRL (GEFFEN): 85% - SWEET

SLOWGIRL (GEFFEN): 85% – SWEET

SWEET But Pierce has caught the rhythms of teenage girl-speak, and Gray, a credentialed actress and University of Chicago student (no relation to this reviewer) revels in them. Her wonderfully gravelly voice and quirky delivery make Becky thoroughly entertaining. And the characters’ developing bond despite their differences is touching and persuasive. Margaret Gray – LA […]

WHITE (THE WALLIS): 100% - SWEET

WHITE (THE WALLIS): 100% – SWEET

SWEET The space, and its cute set, is entirely white. Audience members perch on low, white, wooden benches and there are little mats on the floor for kids to lounge on. The show is only 30 or so minutes long—perfect for short attention spans. The little ones who attended the show were completely enchanted by […]

A STEADY RAIN: 100% - SWEET

A STEADY RAIN: 100% – SWEET

SWEET The Odyssey has done a terrific job with this production. Adam Flemming’s set, consisting simply of two chairs and three screens upon which evocative images are projected, places the focus on the intensity of the subject matter. It’s expertly directed by Steppenwolf Theatre Company co-founder Jeff Perry, and kudos must also go to the […]

VILLON: 70% - BITTERSWEET

VILLON: 70% – BITTERSWEET

BITTER A play about a murderous French poet, told by a troupe of vaudevillian-style actors, seems it would be enough to spark some interest in an audience, but unfortunately Murray Mednick’s “Villon” falls seriously flat in its execution. Savannah L. Barker – Neon Tommy SWEET Like Villon’s troupe, these actors make sturdy, faithful companions to […]

THE WHIPPING MAN (PICO PLAYHOUSE): 91% - SWEET

THE WHIPPING MAN (PICO PLAYHOUSE): 91% – SWEET

SWEET Buoyed by an excellent production design, particularly Bill Froggatt’s haunting sound, director Howard Teichman and a crackling cast render a near-optimum staging. F. Kathleen Foley – LA Times SWEET This Matthew Lopez play would have made a fascinating two-hander. But the playwright added a third character and ratcheted up the intrigue, conflict, and shaping, […]

THE 39 STEPS (NORRIS CENTER): 100% - SWEET

THE 39 STEPS (NORRIS CENTER): 100% – SWEET

SWEET The Tony award-winning Broadway stage adaptation of Alfred Hitchcock’s famous film, THE 39 STEPS, is being presented as a slapstick romp through film noir at the Norris Center for the Performing Arts for nine performances, January 24 – February 9, directed with skillful comedic insight by Ken Parks. Combining a suspenseful spy thriller with […]

SE LLAMA CRISTINA: 78% - SWEET

SE LLAMA CRISTINA: 78% – SWEET

BITTER The performers submit to the emotional demands of Solis’ relentlessly boisterous 80-minute script, but the sound and fury are more exhausting than edifying. The experience is akin to having a front row seat at the presentation of a stranger’s nonsensical bad dream. Charles McNulty – LA Times SWEET We humans are a mess, often […]

PASSION PLAY (ODYSSEY/EVIDENCE ROOM): 79% - SWEET

PASSION PLAY (ODYSSEY/EVIDENCE ROOM): 79% – SWEET

BITTERSWEET If, like me, you’re a fan of the Evidence Room, go to enjoy the familiar faces. Otherwise enjoy the small stuff and forgive the production for not tying everything up. Anthony Byrnes – KCRW BITTERSWEET Despite their many strengths, I found parts one and two curiously uninvolving. It wasn’t until Ruhl came closer to […]

BECKY'S NEW CAR (KENTWOOD PLAYERS): 100% - SWEET

BECKY’S NEW CAR (KENTWOOD PLAYERS): 100% – SWEET

SWEET The repartee is scintillating but down to earth and the story keeps us guessing. Ingrid Wilmot – Will Call SWEET Written by Steven Dietz, this mid-life crisis adult comedy is sure to have you laughing during the two-hour performance. Nadine Wright – LifeInLA SWEET Having met the Staadeckers at Becky’s Los Angeles premiere a […]

THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS AND COUNT LEO TOLSTOY: DISCORD: 94% - SWEET

THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS AND COUNT LEO TOLSTOY: DISCORD: 94% – SWEET

SWEET Carefully compiled references and biographical details whiz by in Matt August’s finely tuned staging, with superb performances illuminating the clashing personalities that drive three discordant takes on Christianity. Philip Brandes – LA Times SWEET Strong acting, design, and writing enliven NoHo Arts’ Center’s entertaining, thought-provoking world premiere production of The Gospel According to Thomas […]

JASON AND THE ARGONAUTS (WALLIS ANNENBERG CENTER): 100% - SWEET

JASON AND THE ARGONAUTS (WALLIS ANNENBERG CENTER): 100% – SWEET

SWEET Visible Fictions obviously believes in trusting its youthful audience; it speaks up to kids, rather than down. Consequently, the sheer energy, intelligence and fun of Jason had all its onlookers responding with whoops of laughter and joy. Daniel Padden’s evocative musical score also helped set appropriate moods. Willard Manus – Total Theater SWEET Two […]

FOXFINDER: 85% - SWEET

FOXFINDER: 85% – SWEET

SWEET Picture the witch-hunting of “The Crucible” at the hands of a modern Orwellian state and you have the broad contours of Dawn King’s “Foxfinder,” which receives an atmospheric, take-no-prisoners co-production from Furious Theatre Company in association with Oregon-based Artists Repertory Theatre. Philip Brandes – LA Times BITTERSWEET Under Dámaso Rodriguez’s direction, when the inspector […]

WAIT UNTIL DARK (GEFFEN PLAYHOUSE): 92% - SWEET

WAIT UNTIL DARK (GEFFEN PLAYHOUSE): 92% – SWEET

BITTERSWEET The dramatic premise, of a vulnerable woman discovering unexpected resources that allow her to turn the tables on her assailants, is still the main draw. The road to the goosepimply climax, even with Hatcher’s streamlining, is cumbersome, the dramaturgy as outdated as when the work was first written. But what a gripping finish. If […]

HENRY VIII (ENRIQUE VIII) (BROAD STAGE): 75% - BITTERSWEET

HENRY VIII (ENRIQUE VIII) (BROAD STAGE): 75% – BITTERSWEET

SWEET Quality commitment begets quality work, and that is very evident here. Ellen Dostal – BroadwayWorld BITTERSWEET For those who do not speak said language, however, there are a few joys in sitting in on this two-hour conversation and not understanding a word. Dany Margolies – ArtsInLA BITTERSWEET In the “What Were They Thinking?” Department, […]

LITTLE SHOP OF HORRORS (KENTWOOD PLAYERS): 100% - SWEET

LITTLE SHOP OF HORRORS (KENTWOOD PLAYERS): 100% – SWEET

SWEET Kentwood Players provides rich soil for this musical, turning over the direction to Michael-Anthony Nozzi, who certainly shows a green thumb. With book and lyrics by Howard Ashman, music by Alan Menken (based on the original film written by Charles Griffith, directed by Roger Corman), the storytelling is lively, fun, and very metaphoric. Dany […]

THE END OF IT: 86% - SWEET

THE END OF IT: 86% – SWEET

BITTER I just felt like I was in a group therapy session in 1965. The dialog was tedious; it got old after ten minutes. Rose Desena – The Los Angeles Post SWEET Coates is aided immeasurably by the sure-handed, inventive direction of Nick DeGruccio. He stages the overlapping couples fluidly, fully utilizing François-Pierre Couture’s wonderful, […]

IN MY CORNER: 72% - BITTERSWEET

IN MY CORNER: 72% – BITTERSWEET

SWEET Although I am sure the steps are difficult, Orrach’s ease with his body and athletic movements make his work seem effortless and so engrossing I could have watched him dance all night! And major kudos go to his amazing band, Matthew Clark (piano), Ronnie Gutierrez (percussion), and Eugene Warren (bass), who keep the pace […]

COYOTE ON A FENCE (THEATRE ARTS): 100% - SWEET

COYOTE ON A FENCE (THEATRE ARTS): 100% – SWEET

SWEET Solid performances by Rob Nagle and Cody Kearsley as death-row inmates in side-by-side cells distinguish Theatre Arts’ production of Bruce Graham’s 2000 social-issue drama. Steven Leigh Morris – LA Weekly SWEET Director James Warwick cast well, and character work has laid a solid foundation for the unlikely friendship between John and Bobby. Dany Margolies […]

HAMLET (ODYSSEY THEATRE): 75% - BITTERSWEET

HAMLET (ODYSSEY THEATRE): 75% – BITTERSWEET

SWEET The Los Angeles Women’s Shakespeare Company has given us one of the most exciting, sexually provocative and brilliantly acted productions of ‘Hamlet’ that (forgive my repetition) would make, William Shakespeare, proud. Joan Alperin-Schwartz – LA Examiner BITTERSWEET If this would be your first experience of Hamlet, I’m not sure I would recommend this version. […]

A SHORT STAY AT CARRANOR: 56% - BITTERSWEET

A SHORT STAY AT CARRANOR: 56% – BITTERSWEET

BITTER In a love story, the overly used device of having a character dying of a fatal disease has been done to death (no pun intended), and in order for any story to overcome such a barrier, it should include fresh, innovative, or at least satirical set of subplots to surround it. This play, however, […]

A MIDSUMMER NIGHT'S DREAM (ACTOR'S GANG): 87% - SWEET

A MIDSUMMER NIGHT’S DREAM (ACTOR’S GANG): 87% – SWEET

BITTERSWEET The holiday humor of the play wears thin in the final stages of Robbins’ production, which could use a stronger shaping hand. The pacing stalls, and the scenes get a bit smudgy as the logistical challenges mount in a shoestring staging that requires many of its actors to take on multiple roles. Charles McNulty […]

A PARALLELOGRAM: 82% - SWEET

A PARALLELOGRAM: 82% – SWEET

BITTERSWEET Like the play as a whole, the talk is more intellectually tantalizing than dramatically meaningful. “A Parallelogram” has the distinction of making us think, but the fruits of this contemplation weren’t for me all that bountiful. Charles McNulty – LA Times SWEET A Parallelogram is a brilliantly mind-boggling play by Bruce Norris that asks […]

THE JUDY SHOW: MY LIFE AS A SITCOM: 67% - BITTERSWEET

THE JUDY SHOW: MY LIFE AS A SITCOM: 67% – BITTERSWEET

SWEET Gold, 50, is an enormously likable performer — except for her flawless comic timing, she could be a mom straight from the carpool line. She plays piano and sings real and made-up sitcom theme songs in an unpretentious bray. She’s sarcastic but not bitter. She doesn’t want to subvert either sitcoms or families — […]

A VIEW FROM THE BRIDGE (PACIFIC RESIDENT THEATRE): 82% - SWEET

A VIEW FROM THE BRIDGE (PACIFIC RESIDENT THEATRE): 82% – SWEET

SWEET The miracle of Miller is that his characters are so eloquently inarticulate. Co-directors Marilyn Fox and Dana Jackson get the blend of working class and Italian dialects just right — the first but necessary step in their wrenchingly truthful staging that, while larger-than-life, never lapses into overstatement. As for the actors, from Melocchi’s towering […]

THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) (SANTA MONICA REP): 90% - SWEET

THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) (SANTA MONICA REP): 90% – SWEET

SWEET It’s almost, but not impossible, to believe that just three actors compact all 37 plays into a two act, riotously funny 97-minute take that manages to capture the Bard’s essence. Sarah A. Spitz – Santa Monica Daily Press SWEET You’ll have to see it to appreciate how they do it at breakneck speed. It’s […]

YES, PRIME MINISTER (GEFFEN PLAYHOUSE): 81% - SWEET

YES, PRIME MINISTER (GEFFEN PLAYHOUSE): 81% – SWEET

BITTERSWEET As a species of farce, this one is unusually wordy, with mouthfuls of exposition laboriously setting up each and every joke. The cast, which includes Michael McKean as the prime minister and Dakin Matthews, Jefferson Mays and Tara Summers as key advisors, is top notch. But the acting takes place almost entirely from the […]

SLEEPLESS IN SEATTLE (PASADENA PLAYHOUSE): 62% - BITTERSWEET

SLEEPLESS IN SEATTLE (PASADENA PLAYHOUSE): 62% – BITTERSWEET

BITTER The 1993 romantic comedy “Sleepless in Seattle” has been turned into a stage musical that can best be described as pointless in Pasadena. Robert Hofler – Variety SWEET Artistic director of the Playhouse, Sheldon Epps, directs his cast adroitly around John Iacovelli’s multilevel set populated with projections and moving wagons. It’s a Broadway musical, […]

THE SCOTTSBORO BOYS (AHMANSON): 90% - SWEET

THE SCOTTSBORO BOYS (AHMANSON): 90% – SWEET

BITTER With “Scottsboro,” it doesn’t help that Stroman has pushed her actors, as she did on Broadway, to perform minstrel as if they were in a high-school production, as if egregiously over-the-top bad acting would indicate the genre’s inherent awfulness. It’s curious how a director could make us laugh at the soulless gay characters in […]