July obituaries and announcements in the Bloomington–Normal area. View obituaries any time at posavski-obzor.info takes a probing look at religious zealotry and is this week's Pick of the Week. For all our new theater reviews, see below. The works of six black. It was the first time the public had an opportunity to see reefs, various types of marine life and . The film took home Academy Awards for best picture, best director (Joseph L. . by George C. Scott as the prosecuting attorney, and Eve Arden and Arthur O'Connell. Expanded essay by Andrew Utterson (PDF, KB).
What's more impressive is how they have dug deeper and gotten to the root of our struggle with religion. The age-old question of "why do bad things happen to good people? They know which buttons to push, but underlying all the ribbing is a tenderness that prevents the show from being bitter and angry. So, sure, they might occasionally want to tell God to fuck off -- and hey, haven't we all? The opposite of love isn't hate, it's indifference. Pantages Theater, Hollywood Blvd.
A Bright New Boise: Michael Golamaco's world premiere, directed by Will Frears. Geffen Playhouse, Le Conte Ave. Presented by Impro Theatre.
- Find Cabins in Los Angeles on Airbnb
Long Beach Arena, E. Suspension of disbelief comes easy to theatregoers. Who else would buy a bunch of cats who sing or, as in Joe Musso's world premiere, a watch whose hands spin wildly because the owner entered a room where "all time runs together; the past is the present is the future"? Setting this play in Louisiana was smart, as magical realism flourishes a little better in the South than anywhere else.
If you grew up in the country, you learned to conjure up imaginary characters to keep you company; if you're an outsider, "down there" is shrouded in mystery. But if you use a good chunk of the script to set up a scenario -- two bumbling dudes prep a room for Death the cast's one bright spot, Paul Vroom to do his dirty work -- it has to result in an excellent payoff.
Unfortunately, Musso doesn't offer enough of the dudes' backstory to impress upon us the depth of their bond, and using a historical figure as a metaphor for their relationship just isn't enough. Myers' nuanced sound design, on the other hand, takes us right back to the inky nights loud with whispering wind, insect symphonies and the unknown noises that made us so likely to believe in ghosts in the first place.
Pasadena Playhouse, 39 S. World premiere by Kathryn Walat, directed by Michael Michetti. Boston Court, 70 N. See stage feature for our review.
Cabins in Los Angeles
Shakespeare's underperformed romance is a mishmash of familial ties tested, lighthearted foppery, dark betrayals and supernatural interventions. In the hands of director Bart DeLorenzo and a talented ensemble, the sometimes convoluted proceedings ultimately feel like a satisfyingly complex journey, a romp of sorts in which boys become men and childish love matures.
DeLorenzo uses doubling to excellent effect, giving several actors both "good guy" and "bad guy" roles. Andrew Elvis Miller drips with treachery as the snakelike Iachimo, and shifts into stoicism as Caius Lucius. Keith Mitchell's scenic design captures the play's ever-shifting tone and terrain, as does Ken Booth's lighting.
A Noise Within, E. Crown City Theatre, Camarillo St. GO David Mamet's November: We won the first time," he pleads to his chief of staff Rod McLachlan.
Find Guesthouses in Carpinteria on Airbnb
Bush, whose approval ratings then were in the cellar, and what might have transpired if not for term limits: Inthe play contains only the faintest echoes of topical parody; rather, it works as a more general satire of a political system for sale. The play's high points are in some of the details. Comedically combining plot elements of Glengarry Glen Ross and Oleanna, the desperate president of the United States who wants mainly to walk away with enough funds for a legacy library finds himself bartering and betraying: Scott Zigler's staging on Takeshi Kata's scrumptious Oval Office set has a weird psychological credence, thanks largely to Begley's silky, very funny performance, flush with emotion yet bereft of histrionics.
His Smith is a walking moral vacuum, struggling to find something noble within or beyond him. Mamet's dialogue sparkles with P. Turkeys explode in the anteroom, and a livid, violent Native American the fine Gregory Cruz bursts in while the Secret Service is on a coffee break. Huffman is a terrific foil for Begley, while McLachlan's chief of staff and Todd Weeks' poultry rep also sail through seamlessly.
Mark Taper Forum, N. Dirty Filthy Love Story: Written by Rob Mersola. George Bernard Shaw's turn-of-the-century play is a platform for his diatribe against doctors. Shaw's passionate distrust and satirical takedown of the medical profession is wrapped up in a slightly dull, five-act drama that's enlivened by mildly comedic undercurrents and interesting discussions on contemporary morality.
Sir Colenso Ridgeon Geoff Elliott has just been knighted for developing a revolutionary new cure for tuberculosis. As he celebrates with several colleagues, including some who practice questionable methods for their own gain, Sir Colenso is petitioned by a ravishing beauty Jules Willcoxwho begs him to cure her ailing husband, Louis Dubedat Jason Dechert. The lovestruck Colenso faces a series of moral dilemmas that prove his undoing. Dechert is good as the smoothly charming artist with sublime talents, blithely grifting everyone he meets without a qualm.
Freddy Douglas, however, overplays his pompous Walpole, giving him a boisterous and shrill tenor that undermines the comedy. This warm, sweet-tempered sophomore effort from new collective Artists at Play occasionally lapses into sentimentality. Tomboy Edith Amielynn Abellera and tightly wound big brother Kenny Rodney To fend for themselves in a Midwestern farmhouse, with parental supervision coming via sporadic bank deposits from their absentee father.
They don't mind, until Edith's penchant for arrows and BB guns upsets their makeshift family. Abellera captures a year-old's physicality beautifully, but her Edith occupies a less central position than the title suggests. The evening's most authentic and delightful moments actually arise from the secondary plot: Kenny's tentative romance with pre-calculus study buddy Benji Brian Hostenskewho steals the show with his shy humor and unaffected style.
Abandonment themes dovetail when Benji's homophobic mother kicks him out. Rey Pamatmat spells out some revelations better left unsaid, but his affection for his characters is palpable. Jennifer Chang directs the L. Empanada for a Dream: GO The Fainting Couch: A love quadrangle among a ballerina, two fools and their evil boss, the Magician, lies at the heart of playwright Robert Riemer's twisted revisiting of the Stravinsky ballet Petrushka.
With themes like manipulation and doubling, the play shares much with the original, and direct references to the Russian ballet abound, from props to set design to its meta-underpinnings. But the play's most stylish riff emerges in the way director Zombie Joe choreographs the proceedings as one demented pas de deux after another. It's a challenging approach, which his small cast matches note for note. Rehyan Rivera's Magician stalks the stage with the right edge of unhinged menace, and Natalie Hyde puts the broken-toy physicality of her deceptively fragile Ballerina to disconcerting use.
The story really belongs to the two fools, however, as Ricky Lacorte's dim Large Fool embodies the dark, absurdist soul of the play, while Donna Noelle Ibale brings an existential flavor to the comedic terror of her vaudevillian Small Fool.
Part One of a Mexican Trilogy: The Feast Of Spook Show: El Cid, W. The Fifty Year Sword: Working Stage Theater, N.
GO Focus Group Play: But things don't go quite as planned. The group's pretty blonde moderator Jen Drohan desperately tries to keep chaos at bay and gather meaningful reactions from the obstreperous members of the group: Mandy Celia Finkelstein is a garrulous, needy young woman, who wants to be a stand-up comic, and whose talent for digression disrupts any reasonable discussion.
Marta Caro Zeller is a no-nonsense Latina with an unexpected knowledge of geometry. Debbie Darcy Shean is a model who specializes in demonstrating household appliances. Jim Brian Hamillthe only male in the group, is a family man with a touch of paranoia. Pamela Alissa Ford is an opinionated firebrand, who spearheads a rebellion against the company's hypocrisy and preposterous advertising claims. Though Barrett's mostly funny script bogs down occasionally, director Eric Hunicutt keeps the pace brisk and the laughs coming.
In a top-notch cast, Drohan shines as a young woman trying to maintain her dignity despite impossible odds. GO The Full Monty: This crowd-pleasing musical, with book by Terrence McNally and music and lyrics by David Yazbek, and the movie on which it's based, pull off a seemingly impossible feat -- making a sweet, heartwarming, nonthreatening show about a band of male strippers.
To outdo the Chippendales, they promise to deliver "the full Monty" -- total nudity. Inevitably, this small-theater rendition isn't as slick as the Broadway version, but director Richard Israel provides enough ingenuity and humanity to make it work on its own terms. John Todd provides the inventive and athletic choreography, and Johanna Kent supplies crisp, energetic musical direction.
There are terrific performances by Collyer, O'Connor, Reynolds, White, Wilcox, Wendy Rosoff, and Jan Sheldrick, as a tough, show-business broad who comes out of retirement to serve as the strip show's accompanist. Third Street Theatre, W. Admirers of Samuel Beckett's work will find a few moments of humor and some answers, of a sort in Steve Gough's riff on the absurdist classic Waiting for Godot. Here, the enigmatic Mr.
Godot good performance by Nicolaus Mackie is a bewhiskered, elderly Brit with a quirky disposition, inclined to obtuse philosophical musings, outbursts over the fate of tramps Vladimir and Estragon, and pacing about in his windowless "office. Time is reduced to a painful abstraction here, where the only challenge is to find meaning to it all. Unfortunately, Gough's plodding script doesn't offer much in the way of engagement.
Like the original tramps, this pair also is waiting, but for what isn't really clear. Ilmar Taska directs, and Max Ruether rounds out the cast as the messenger. The Met Theatre, N. Fridays, Saturdays, 7 p. All-new sketch and improv, directed by Deanna Oliver. Groundling Theater, Melrose Ave. Yard Sale This Sunday!: Lounge Theatre, Santa Monica Blvd. Presented by 3-D Theatricals. Book by Lloyd J. Schwartz, music and lyrics by Hope and Laurence Juber.
Continues through March 2, Theatre West, Cahuenga Blvd. The popularity of Shakespeare's history plays have long lagged behind that of his tragedies and comedies, and Henry VI, Part 1 is one reason why. Shakespeare's earnestly patriotic first play lacks the poetry and moral brilliance of his later work, instead laying the groundwork for England's War of the Roses with a cast of basic villains and heroes.
Chief among them might be a demonically inclined Joan of Arc, whose dark arts have suddenly empowered the subjugated French. Meanwhile, back in England, enmity is sowed between the royal houses of Lancaster and York, the former symbolized by a red rose, the latter white. The Production Company has handsomely staged this production, making room for an impressive amount of pageantry and choreography within the constraints of the space.
Eerily stylized at times, it is also crisply paced under Christopher William Johnson's direction. Some strange choices emerge, however -- for instance, heavily accenting the French faction only points up the fact that the Brits are all played with American accents. And without any standout performances, the production's aggressive tone might underscore some of the play's humor, but the few quieter moments mainly fall flat rather than wringing some emotional balance from the text.
Lex Theatre, Lexington Ave. Secret Rose Theater, Magnolia Blvd. How to Survive a Zombie Apocalypse: Theatre Asylum, Santa Monica Blvd. The title concept invokes Cain's theory that the Bible is not a rule book but a story of a family, and that each family today must be an extension of that story.Andy and Hannah: Home and Away, 6th September, 2014
Cain refers to his family as a highly functional one, over protests of his Vietnam vet brother, Paul Aaron Blakeleybut he's supported by evidence provided by the specter of long-dead father Pete Jeff Biehl. The play deftly moves between homespun comedy and heartbreak under the lithe supervision of director Kent Nicholson, who strips the stage bare of everything but a few essential pieces of furniture, a door, an all-important multifunctional crate and hanging pieces of glass representing the fragmented life story -- all realized skillfully by scenic designer Scott Bradley.
The acting throughout is superb, including several nonfamily characters played without confusion by Blakeley and Biehl. I Ought to Be in Pictures: Neil Simon's comedy relies on two familiar tropes: Herb Robert Wulfa failing screenwriter in W. But, of course, they develop a bond of affection and mutual respect. Meanwhile, his long-suffering girlfriend Steffy Kelly Hare is trying to elevate their one-night-a-week relationship to something more satisfying.
The play is sweet, modest and predictable, which seems acceptable to the Falcon Theatre's usual clientele, but audiences looking for freshness and excitement may be less pleased. Brevoort gives the piece a respectable production, but that's not enough to rejuvenate this bland and dated little confection.
Falcon Theatre, Riverside, Burbank,falcontheatre. Playwright Tarell Alvin McCraney sets this music- dance- and myth-infused work in the "distant present," weaving his story around talented young athlete Oya Diarra Kilpatrickwho risks her future to care for her ailing mother.
The play charts a downhill course for this lovely, open-hearted person: Her mother dies, the prized scholarship goes to someone else and Oya is trapped in the barrio, plagued with passion for an unfaithful lover Gilbert Glenn Brown and for the same fulfillment as every other woman in her circumscribed community -- a child. It's no accident that Oya's barrenness parallels the predicament in Federico Garcia Lorca's Yerma, or that she bears the name of a Yoruba goddess.
McCraney pulls together a confluence of elements -- although predominantly Yoruba -- to present a visceral fable that rises up from the underbelly of America. Kilpatrick's portrayal embraces every bit of her feisty, soulful character, made more compelling by the intimate performance space. Brown's slick, calibrated womanizer is an aptly fashioned foil and the remaining ensemble is strong. But designer Frederica Nascimento's set, with its pale walls and light wood backdrop, is too tidy and sterile to reflect the play's darkness.
Shirley Jo Finney directs. Fountain Theatre, Fountain Ave.
There were a handful of other Elizabethan dramas written about Julius Caesar, but Shakespeare's offers a more entertaining dramatization of Rome's political climate which was as nasty and cutthroat as our own and the aftermath of the emperor's murder.
Principal among the assassins are Brutus Jack Stehlin and Cassius Tom Groenwaldwho are the head and talons of the conspiratorial mob. The curious thing about this play is that the focus is really Brutus, not Caesar, and Stehlin who also directs renders a superb performance, investing the character with equal parts cunning, glacial detachment and simple human fragility.
Equally commanding are Groenwald's voluble, emotionally intense Cassius and Scott Sheldon's dignified and loyal Marc Antony.
Guesthouses in Carpinteria
This is a lean, well managed production with the rest of the large cast turning in good performances in multiple roles. Stehlin's contemporary staging -- which includes some attractive choreography by Jade Sealey -- sacrifices none of the play's on-the-edge intensity.
Kitty Rose's smattering of props gets the job done effectively, and her present-day costumes mostly dark suits are strangely appropriate and attractive. Noah Silverstein's faux panels of statuary and sculpture are subtly evocative of the period.
Connect. Discover. Share.
McCadden Place Theatre, N. McCadden Place, Los Angeles, mccaddentheatre. The tiny Celebration Theater can barely contain the energy and talent bursting from every aspect of this world-premiere musical that both blasts and lionizes Hollywood through through the tale of an action-movie superstar coming out of the closet. Structurally the piece follows the classic 20th-century Broadway musical form, with the book by David Elzer who, full disclosure, is a publicist with whom the Weekly works often and Patricia Cotter skillfully recounting the story of fresh-faced Midwestern newbie Chris Tyler Ledon whose apprenticeship with Cruella-like publicist Buck Alet Taylor leads him to a secret affair with super-hot star Justin Adam Huss.
Sharp performances by these stars, along with an equally fine ensemble -- every one of whom can really sing and act -- make Michael Matthews' expert direction even stronger. But what makes this truly special is an extremely smart not just clever package of music and lyrics by Lori Scarlett and David Manning beautifully realized by music director John Ballinger that recalls the style of William Finn's Falsettos series of musicals from the s.
There is still some trimming and tuning in store for this piece as it grows from its present digs to a larger space, as it is likely to do.
Even within the limits of this theater, the multi-use set by Stephen Gifford, with inventive use of projections by Jason H. Thompson, give the production its sense of largeness.
GO Krapp's Last Tape: John Hurt performs Samuel Beckett's play. Presented by Gate Theatre Dublin. Kirk Douglas Theatre, Washington Blvd. For our review see our stage feature. The Long Way Home: Reflections on the Tracers Journey: Rogue Machine presents John DiFusco's world premiere. There's a reason Ralph Harris' solo show is returning to L. After earlier incarnations at the Stella Adler in and the former under the title North Phillythis hugely entertaining, autobiographical account of a something ladies' man facing possible fatherhood opens its longest run yet at Stage Harris made his name in stand-up, and he skillfully delivers belly laughs throughout.
Julia was very responsive to any questions and had a little book in the cottage with lots of useful information. Snacks, water, etc were all provided, I would definitely stay here again on upcoming trips to LA! Parking on the street was also super easy. It is walking distance to great restaurants, shops, and local attractions. Julia answered all of our questions very promptly, and made sure we felt welcome.
She went out of her way to stock the fridge with cold water and the pantry with coffee. Her dog Lily is adorable and made the bungalow feel that much more like home. Looking forward to returning soon! It was super easy getting into the cottage for check in and check out and both she and her husband were really nice and friendly. We felt completely at home here, they even provide you with organic juices and every kind of toiletry you probably wanted to bring but forgot.
Pretty much the place went above and beyond any regular hotel room and the monarch garden in the back while drinking a freshly brewed cup of tea from the kurig that comes in the room was awesome. It was so easy getting in and out of the cottage and also felt really safe and at home. Her dog is also really cute! We a had a wonderful time: It is clean, well-equipped, and private. Easy access to public transportation is an added bonus.
A wide array of restaurants, shops, and beach access are all within walking distance. The California native garden outside the bungalow with chairs and a large umbrella provides a wonderful outdoor space to relax and enjoy the ocean breezes. I felt very welcomed, safe, and at home here. And all reports about Lily the Boston terrier are absolutely true--she is a super sweet little dog, and you can count yourself lucky if she comes out to ask you to 'play ball' with her!
The hosts provided the right balance of friendliness and privacy. Looking forward to future visits the next time I pass through LA. The bungalow is nice and cozy with all amenities.