Showmag.com

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

deLEARious

E-mail Print

deLEARious was originally produced by the Open Fist nearly a decade ago, when it garnered numerous awards and nominations. The company’s revival of the show features an energetic cast of nearly 20 in a crazy quilt burlesque of Shakespeare’s King Lear, modeled on the antic spirit of Monty Python and Mel Brooks at his best. But the show, despite its intentions, never manages the inspired lunacy of those masters.

Read more...
 

Les Liaison Dangereuses

E-mail Print

Pierre Choderlos de Laclos' novel Les Liaison Dangereuses was not originally written as a political treatise, but it became one within a decade of its publication when the French Revolution swept away its world and the decadent lifestyle it portrayed. The numerous play, film. and operatic adaptations of the story have rarely been overtly political, preferring to concentrate on the voyeuristic thrill of watching the monstrous Marquise de Merteuil’s expert manipulations, and her fellow monster, the Vicomte de Valmont’s fatal discovery that he has a heart.

 

Read more...
 

A Cacophony of Conversations on Institutional Fear

E-mail Print

What a wealth of international theatre can be experienced in Los Angeles right now. With the help of Pacific Standard LA/LA, DTLA bristles with activity (November 2- 19)  brought by Encuentro de las Americas with three weeks of theatre, cinema, music, scholarly presentations, and late night improvisations at The Los Angeles Theatre Center (phone 866-811-4111) or www.thelatc.org.

Read more...
 

Bright Star

E-mail Print

Steve Martin and Edie Brickell have carefully nurtured their musical Bright Star from its initial production at the Old Globe Theatre to its short Broadway run and, now, a national tour. The revised production playing at the Ahmanson boasts an enjoyable score, smart direction, and terrific performances. Unfortunately, the book remains problematic.

Read more...
 

The Pearl Fishers

E-mail Print

With the LA Opera opening production of Carmen followed closely by The Pearl Fishers (Les pêcheurs de perles), it seems that everything is coming up Bizet. Pearl Fishers doesn’t have the sustained genius of Carmen, but it was written by a 24-year-old Bizet over a decade before composing his masterpiece. The opera is an example of “Orientalism,” which is basically 19th Century Europe’s self-congratulatory fascination with the exotic cultures existing in their colonies.

Read more...
 

A Styne Romance

E-mail Print

Bruce Kimmel’s 82nd cabaret performance was a joyous tribute to composer Jule Styne. The felicitously titled A Styne Romance, apologies to Dorothy Fields, featured songs from Styne’s work on Broadway shows as well as his Hollywood films. With a career spanning more than 40 years, Styne’s musical longevity remains astounding. Granted, the later shows weren’t as successful, either commercially or artistically, but they all contain musical gems.

Read more...
 

Watts Proves to be Fertile Ground to Dig for LA's History

E-mail Print

Those who have lived in LA for any period of time may think of Watts as the home of Samuel Rodia’s Watts Towers, or perhaps remember the 1992 Watts Riots (which were really city-wide).  If so, they will be in for a treat at Company of Angel’s This Land, dramatizing the changing diorama of Los Angeles history. Playwright Evangeline Ordáz has crafted a story that is both intimate and panoramic, beginning with the inhabitants of a long-ago Tongva native village right on the spot where, 100 years later, two families of their descendants intertwine.

 

Read more...
 

Hedda Makes Perfect Fodder for a Remake

E-mail Print

Anyone who has taken a modern drama survey class in school is bound to encounter the frustrated and unhappy character, Hedda Gabler.  She is the subject of a trenchant play by Henrik Ibsen about the power of women to destroy themselves and, sometimes, everyone around them.

Read more...
 

Kaidan Project: Walls Grow Thin

E-mail Print

 

Immersive Theater has existed on the fringes of more traditional plays and musicals for many years. But the number of successful and truly inventive productions has greatly increased in the last quarter century. I certainly enjoyed watching the actors cooks a frittata during the local production of Tamara at the American Legion Hall, but I was underwhelmed by New York’s long-running production of Sleep No More. (Somehow, I always seemed to round the corner just as a juicy scene finished and everyone was moving on.)

Read more...
 

Resolving Hedda

E-mail Print

The character of Hedda Gabler is one of the most famous female roles in dramatic literature. She is headstrong, self-centered, casually dismissive of others, and really quite exasperating.

Read more...
 


Page 10 of 28

Spotlight

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.