Konstantine Stanislavski Love art in yourself and not yourself in art.
Harold Clurman The stage is life, music, beautiful girls, legs, breasts, not talk or intellectualism or dried-up academics.
by Joel Elkins
“Let me tell you something my friend. Hope is a dangerous thing. Hope can drive a man insane.” Morgan Freeman as “Red” in Shawshank Redemption.The Unseen, now playing at the Road Theatre, depicts two prisoners in adjoining cells in some nondescript prison at some time either in the past, present or future. All [...]
by David Jette
The world premiere of Mutiny at Port Chicago at the Ruskin Group Theatre is a lopsided courtroom drama hybrid that features some very fine performances. Playwright Paul Leaf directs the production himself and draws upon some of the Ruskin Group’s fine company of actors to bring the story of a war-time tragedy and [...]
by David Jette
There was a time when citizens of other industrialized nations looked at the United States as an impoverished, derelict sinkhole where industry ran roughshod over the rights and well being of the everyday man. When Bertolt Brecht adapted his musical Happy End into his signature epic-style drama, he used the stockyards of [...]
by Geoff Hoff
I have been a fan of Culture Clash since I first encountered them at the Los Angeles Theatre Center in their production of The Mission some time in the eighties. I have admired every show of theirs that I’ve seen since. It was, then, in great anticipation when I saw on [...]
by Joel Elkins
The best way to describe Altar Boyz is a 90-minute “Saturday Night Live” skit. The irreverent high-voltage non-stop musical depicts the final performance in a national “Raise the Praise” tour of the “Altar Boyz,” a hip-hopping Catholic soul-saving boy band. The characters are stereotypical and one-dimensional. There isn’t much of [...]
by Joel Elkins
Athol Fugard is a South African-born playwright who now makes his home in Southern California. He chose the Fountain Theatre for the West Coast debut of his latest play, Coming Home. It, like most of his other works, takes place in South Africa and deals with issues that are unique to that country, [...]
by Geoff Hoff
Itamar Moses’s play, Bach at Leipzig, is an exquisite spider web of a fugue, the fustiest and most rule laden musical form, he tells us in the beginning of the second act. But also, as he also tells us through his noble, stalwart character Johann Friedrich Fasch (played by the noble, stalwart [...]
by Geoff Hoff
Film noir is an easy target for parody. It’s cliches are so ingrained in our subconscious we often don’t realize that many of them came from other parodies of film noir rather than from the actual original movies themselves. According to many critics (and what do critics know?) noir is not [...]
An Interview with Robert
Moskowitz
by Geoff Hoff
Robert Moskowitz
Robert Moskowitz hates to see empty seats in any theatre and wants to do something about it. He has thought about it a lot and the idea he has come up with is a theatre co-op, an organization designed, in theory, to relieve individual small theatres in Los [...]
by Robin Galen Kilrain
A History of Hispanic Theatre in the
United States: Origins to 1940
Nicolás Kanellos
Zarzuela. Cuadro. Revista. If you already know what these words mean, you will doubtlessly find this book intriguing. If you don’t yet know, you’ll probably enjoy finding out. For though Nicolás Kanellos’ seminal title A History of Hispanic Theatre in the [...]
