Non-Registered Critics: John Lavitt
"The Unseen Hand" and "Killer's Head"
Los Angeles, California (The Hollywood Times) 1/30/20 – After half a century, the late Sam Shephard’s “The Unseen Hand” remains a one-act comedic exploration into science fiction fabulosity that jibes a little too well with today’s world. Written when Shephard was in his late twenties and first produced in December of 1969, the play is a crazed mixture of cowboys and aliens with a big dollop of resurrection and strange ritualistic behaviors. Directed by Darrell Larson as part of the Odyssey Theatre Ensemble’s 50th Anniversary “Circa ’69” Season, the play feels anything but dated. In contrast, it sheds remarkable light on the divided soul of Donald Trump’s country, where the American dream of a real democracy is on the brink of what feels like disaster and devastation.
THE LAST SHIP
If you want to see the singer perform in a new context, this may be the show for you. However, his presence alone does not make this vessel quite as seaworthy as a discerning audience might like.
Eight Nights
Although it’s hard to see innocent family members struggle with the burden of trauma in their lives long after the war is over, we must not turn away. The play is set in a Brooklyn apartment over eight nights of Hanukkah that span several generations from the end of the war to almost the present day. Hence, Jennifer Maisel’s new play performed by the Antaeus Theatre Company in Glendale shows how the legacy of historical trauma affects a single Jewish family over time.
SUMMER - THE DONNA SUMMER MUSICAL
Indeed, this sparkling must-see musical is not to be missed.
As directed by Des McAnuff and choreographed by Sergio Trujillo, “Summer: The Donna Summer Musical” is joyful extravaganza that tells an electrifying story.
JESUS CHRIST SUPERSTAR
As directed by Timothy Sheader and choreographed by Drew McOnie, the 50th Anniversary Revival of the Andrew Lloyd Webber and Tim Rice spectacle of history and music does not disappoint. Indeed, the sweetness of the production is the energy and diversity of a passionate ensemble.
...Perhaps the most resonant note in this day and age is their overall diversity.
The Abuelas
Beyond the clear ability of Stephanie Alison Walker to expose such a storyline without so much as blinking, the play is bolstered by nuanced performances by the entire cast...
From the quality of the writing to the talented dedication of the ensemble, the play manages to tell a storyline that needs to be heard today in America.
Never Is Now
Find the time this weekend and see this powerful production. After all, Never Is Now is more than just a title. Arguably, it’s a phrase that encompasses the scariest reality of the present day.
Beast on the Moon
As deftly directed by caryn desai, who is not a fan of capital letters, the play should not be missed. ...
In the best possible outcome, both perspectives are enrichened by the experience as art nourishes the living and life gives meaning to artistic expression.
Note: I want to thank Lorraine Ghazarian, Alex Brisbin, and Debbie Brisbin Penko for their willingness to take part in this journey. It proved so rewarding.
The Skin of Our Teeth
Ultimately, this apocalyptic extravaganza is strangely exhilarating. It’s fascinating to see how the dark genius of a distant past illuminates the shadows of our time at Will Geer’s Theatricum Botanicum. In a time of crisis, such a play is essential to see and experience firsthand.
THE PLAY THAT GOES WRONG
Directed with precision by Mark Bell, the slapstick comedy written by Henry Lewis, Jonathan Sayer, and Henry Shields provides a temporary escape from the weight of reality. The combined efforts of the talented company transport the audience into an uproarious extravaganza that makes our world seem pretty sane in comparison.
Anne, A New Play
“Anne, A New Play” is a revelation. Beyond the excellence of the direction and the outstanding performance of the cast as a well-polished ensemble, the text breathes new life into an archetypal story.
Moby Dick - Rehearsed
If the final product does not necessarily add up to all of its parts, the fault lies not with the acting company, but with the wild, somewhat indulgent vision of the original text by Orson Welles. In the end, when you combine the undeniable passion of Ellen Geer’s direction with the sweeping choreography of Dane Oliver, the originality and value of the production cannot be denied.