Non-Registered Critics: Darlene Donloe
VOLTA
To be honest, it was hard to follow. The storyline was missing in action, but it really didn’t matter because of the razzle-dazzle happening on stage. I actually lost the story of Waz and just focused on the performances.
THE LAST SHIP
There’s a lot going on in the show buoyed by incredible musical and worthy performances, which is why it’s so puzzling why the show doesn’t glow.
First things first –it was difficult to decipher a lot of the dialogue that was spoken or sung due to the thick English dialogue. Second, the show took too long to get started in terms of the meat of the story – and once it had, interest had waned. The second act didn’t advance the narrative any more than the first act.
That being said, the singing/songs are spectacular. Such powerhouse voices...
The Stanley Clarke Band
No one does it better than Clarke who gives a master class every time he performs. A musical innovator Clarke, who is known for his dexterous runs manipulates the bass in such a way that he leaves his fans in awe.
Key Largo
The direction works, the acting is OK, but the scenic design nearly steals the show with its expansive shuttered lobby. The sound design is also impressive and effective, although the sound of the buoy’s clang is a bit annoying.
Garcia’s performance holds this show together. There are some delicious moments in the show. Joely Fisher shines as she leaves herself on the stage – as does Plana who delivers an authentic blind portrayal.
Skintight
Harmon’s script is incredibly authentic. He writes from a base of realism. His writing is solid – yet fluid, hilarious, and engaging.
Aukin’s direction couldn’t be better. It’s crisp and has forward movement. It moves the story along at just the right pace. It’s on point, emotional and rings of genuineness. There isn’t a wasted move in the show.
LATIN HISTORY FOR MORONS
John Leguizamo: Latin History for Morons is entertaining, clever, educational, informative, hysterical, and touching.
Kudos to John Leguizamo!
THE PLAY THAT GOES WRONG
The cast is in constant motion. They have to be athletic, have great timing, and of course, be able to deliver the comedy.
Everyone in the show brings their A-game!
DANA H.
O’Connell is mesmerizing. She has spot-on gestures, pauses, laughs, shuffles, and giggles as she conducts this kind of lip-synch dance with the dialogue. We hear the interviewer ask the questions and we hear Dana’s replies. The audience feels the terror that Dana endured as every suspenseful and shocking moment of this true story unfolds...
The show is riveting. It’s full of terror, violence, and suspense.
NATIVE SON
Chapman's vision for Wright's work is brilliant. Her specific direction is fluid and on point.
The cast is exceptional and gels comfortably undoubtedly due to having done the play together a year prior at the Antaeus Theatre Company. - Native Son gets an E (excellent)
FALSETTOS
Director James Lapine, who also co-wrote the book has assembled an incredibly talented cast. While singing their hearts out and staying in character, they effortlessly maneuver the set for various scenes. It's like a set of children's blocks being assembled in various shapes for whatever the scene needs. It's like watching a beautiful dance choreographed by Spencer Liff.
Birdland Blue
While watching Marcus Clark-Oliver work the club as Davis, the audience has to suspend disbelief. Davis was a short, dark, skinny man with a raspy voice. Clark-Oliver is a tall, light-skinned, handsome man with a healthy voice. He doesn't really display the essence of a Davis – but rather gives the audience insight into this legendary performer. Clark-Oliver gives a stellar performance. The supporting cast all give enjoyable performances. The actors who are pretending to play the various instruments are adept at feigning actually playing.
ROTTERDAM
Englishman Brittain's superb writing ensures that the audience becomes fully invested in the lives of these four characters. Whether you want to or not. Whether you agree or disagree with a character's choice – you care.
Shepperd's tight, yet fluid direction moves the story forward and keeps this dynamic cast in motion. Scene transitions are literally a choreographed dance. Scene changes are made by cast members who effortlessly move the one piece of multifunctional, multifaceted furniture on set.
Black Super Hero Magic Mama
Although at times Black Super Hero Magic Mama plays like two separate plays (a drama and a comedy) fortunately - by the time the show ends, Inda Craig-Galván wraps it up nicely...
This is an emotional journey presented with moments of levity - probably to lessen the blow surrounding a young black man being killed at the hands of the police. It's a recurring story that, unfortunately, has become our reality far too often.
LACKAWANNA BLUES
This autobiographical narrative is a funny, emotional, intense and authentic look at Santiago-Hudson's life starting with his 1950s childhood in a small town on the banks of Lake Erie...
While his acting, writing and directing skills are on display – his harmonica playing can't be ignored. Santiago-Hudson plays it with finesse as if it's another character. He and King together bring depth and emotion to the show.
Two Trains Running at Matrix
This cast is wrought with talent and more talent. Everyone involved is a vet of the stage and it shows with their chemistry and effortless movement about the stage...
Kudos to Michele Shay for a fluid and crisp directorial triumph!
Two Trains Running is a theatrical feast. Stop by and try the beans and cornbread!
Matthew Bourne's 'Cinderella'
Matthew Bourne's Cinderella, currently playing at the Ahmanson Theater in Los Angeles, will leave you breathless.
It can only be described as a fulfilling, visual spectacle.
Paradise
This complex show is set to present day in the science lab of a large inner-city Bronx high school. At times the dialogue is a bit tedious and heady – giving the feel of actually being in an advanced science class. That being said, pay close attention to the words or you could get lost in the science mishmash...
Paradise gets an O (oh, yeah)
DR. DU BOIS AND MISS OVINGON
Under the direction of Ben Guillory, Dr. Du Bois and Miss Ovington flows freely. Thomas Meleck's impressive set, Michael David Ricks' lighting, Ivan Robles' sound and Naila A. Sanders' costumes makes for a full and convincing production.