Showmag.com

  • Increase font size
  • Default font size
  • Decrease font size

Antaeus's Three Days in the Country Stays Close to the Source

E-mail Print

First let me get this straight: Anton Chekhov was 12 years old when Ivan Turgenev’s A Month in the Country debuted. But by the time he began writing plays in 1887, Turgenev’s play had become a staple in Russian Theater repertoire. I say this because there is a bit of confusion now that Three Days in the Country made its West Coast Debut last weekend at the Antaeus Theatre Company’s new digs in Glendale. Patrick Marber, the British playwright, revised and edited Turgenev’s original to create his own version that sits well in the 21st century. But in doing so, he incorporated more of the flavor of what we know of Russian drama from Anton Chekhov. The lines between Turgenev’s proto-Chekhovian play and Chekhov’s influence on Marber bring the piece full circle.

Read more...
 

La Gazetta

E-mail Print

Gioachino Rossini wrote 39  operas by the time he was 40. Perhaps exhausted by his compositional pace, the composer retired at the peak of his powers and popularity. His undisputed masterpiece, The Barber of Seville has remained a staple in the opera house over the intervening centuries, but few of his other operas come anywhere near Barber’s acclaim.

Read more...
 

Shakespeare is Bustin' Out All Over

E-mail Print

Every summer, the Southland is studded with productions of the Bard’s 37 plays. They can be seen from Griffith Park’s Independent Theatre Company to Shakespeare by the Sea’s tour from Pasadena, down to Mission Viejo and from Will Geer’s Theatricum Botanicum in Topanga Canyon to the Shakespeare Festival in Santa Clarita. I guarantee you, you will have a great time watching some great performances, from seasoned veterans to budding artists. In my book, this summer you will not find a better, more intelligent production than Shakespeare By The Sea’s The Winter’s Tale.

Read more...
 

The Humans

E-mail Print

The Humans is, quite remarkably, a surprising theatrical achievement in this era of escalating spectacle. There are no special effects, no dazzling lights, no soaring music, nor any explosions (unless you count loud thumping from an apartment above Richard (Nick Mills) and Brigid’s (Sarah Steele) New York two-story flat). The play concerns simply the interactions among an Irish-Catholic family from Scranton who have come to spend Thanksgiving together in the couples’s new apartment. It is so new, in fact, that they are not fully unpacked and are missing some necessities. Lights go off and on, and no light bulbs are in evidence foreshadowing things to come.

Read more...
 

Cabaret

E-mail Print

From the first potent image of the Emcee (Alex Nee) rising out of a smoky, Stygian darkness, director Michael Matthews announces his intention of challenging our thoughts about Kander and Ebb’s classic musical Cabaret. This does not mean that Matthews is disrespectful of the material. He’s too good a director to make arbitrary or perverse decisions just to be different. It means that he has studied the script and score in such detail that he is able to find a concept that is personal, provocative, and original.

Read more...
 

Why Should Theatricum Botanicum Revive the Chalk Garden?

E-mail Print

Why, indeed, revive The Chalk Garden? Even today this comedy/drama skewering English society after World War II seems at odds with our times. But there is a very definite reason to pursue its take on British stuffiness. Directed by Susan Angelo, the Geer extended family finds ample opportunity to play together. Ellen Geer stars, along with  sister Melora Marshall, and daughter Willow Geer.

 

Read more...
 

Long Day's Journey Into Night

E-mail Print

The Mad Tyrones are at it again. Drinking, fighting, shooting up, and tearing into each other with the expert ferocity that can only come from a family’s twisted intimacy. Eugene O’Neill’s Long Day’s Journey Into Night has long fascinated audiences with its brutal honesty and barely concealed autobiography.

Read more...
 

TAR Begins and Ends Tom Jacobson's Tryptich on Bimini Baths

E-mail Print

Tom Jacobson’s trilogy of productions concludes with Playwright Arena’s TAR, the most straightforward of his three plays. Situated in the middle of the trajectory of stories (1915, 1939 and 1948), if given the opportunity, this may be the first play you should see.

Read more...
 

Rogue Machine Contributes to Jacobson Trilogy with Mexican Day

E-mail Print

If I was confused and intrigued by Tom Jacobson’s Plunge at Son of Semele Theatre (closing this weekend), Mexican Day brings clarity and perspective to an unspeakable crime, while rehearsing the perpetuation of another at the famous Bimini Baths.

Read more...
 

A Tale of Two One-Acts

E-mail Print

With the Fringe Festival now in full swing, the one-act form is getting a workout from one end of Hollywood to another.  Flying beneath the radar, though, I discovered one excellent one-act quite by accident. The Obit turns out to be an even-handed, engrossing debate about the passing of old forms and our obligations to treat one another with honor despite the turmoil caused in their wake.

Read more...
 


Page 2 of 27

Spotlight

Hollywood Fringe Awarded 10K from National Endowment for the Arts

Hollywood, CA -- The Hollywood Fringe Festival is proud to announce that it has been awarded a National Endowment for the Arts Art Works grant of $10,000 to support the Fringe Scholarships program. This grant stems from more than $82 million approved by NEA Chairman Jane Chu to fund local arts projects and partnerships. The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

“Hollywood Fringe began only seven years ago and has grown into a festival reaching tens of thousands of people,” says Festival Director Ben Hill. “This funding allows us to sustain that growth by supporting artists and programming that is diverse, inclusive, and relevant to the local community. We are truly honored to have been selected a recipient."

The Fringe Scholarships program strives to provide a platform for artists to exhibit the most diverse and cutting-edge points-of-view, by offering unique and underserved artists scholarships to participate in the 2016 Hollywood Fringe Festival. Scholarships will be awarded to artists whose festival participation will increase festival attendance and participation by local Hollywood residents, increase arts participation of ethnically diverse and/or low-income artists, and enrich audience experience through the presentation of unique, underrepresented themes and/or narratives.

“The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA Chairman Jane Chu. “Supporting projects like the one from Hollywood Fringe Festival offers more opportunities to engage in the arts every day.”

ABOUT HOLLYWOOD FRINGE

The Hollywood Fringe Festival is an annual, open-access, community-derived event celebrating freedom of expression and collaboration in the performing arts community. Each June during the Hollywood Fringe, the arts infiltrates the Hollywood neighborhood: Fully equipped theaters, parks, clubs, churches, restaurants and other unexpected places host hundreds of productions by local, national, and international arts companies and independent performers. The 2016 festival runs June 9th - 26th and offers over 1,400 performances in over 30 venues.

Participation in the Hollywood Fringe is completely open and uncensored. This free-for-all approach underlines the festival’s mission to be a platform for artists without the barrier of a curative body. By opening the gates to anyone with a vision, the festival is able to exhibit the most diverse and cutting-edge points-of-view the world has to offer. Additionally, by creating an environment where artists must self-produce their work, the Fringe motivates its participants to cultivate a spirit of entrepreneurialism in the arts. 

Want more information? Contact us at press@hollywoodfringe.org or by visiting the website at www.HollywoodFringe.org/press.

 
Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”

ABOUT ELLEN RICHARD

Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.