“Raised by Wolves” — A Merry, Murderous, Marvelous Modern Myth

By Ernest Kearney — The power of story is in its journey, it matters little whether that journey is Odysseus’s, Luke Skywalker’s or Billie Dawn’s. And a journey is at its core and essence, defined in its destination, its goal or its consequence whether those be home, the destruction of the Death Star or standing up to Eddie Brock.


Marla Black, in a weird and wonderful way, manages to amalgamate all three of those in her superbly entertaining and jaw dropping unpredictable Raised By Wolves.

Ms. Black’s tale is full of humor and hope, and spiced with the startling, unexpected intrusion of the most primal horror. Raised By Wolves combines a fusion of elements both ancient and modern that individually strike one as relentlessly remote: the threat of Cronus, the pack’s ferocity, the fads of modernity and the dazzle of Hollywood, but Ms. Black fuses these distinct elements seamlessly.

The greatest surprise of Ms. Black’s story is twofold.

The first is that a tale that should have the audience recoiling in horror instead invites them to celebrate the human spirit’s ability to survive whenever we are able to express the faintest spark of that love within us.

The second is Ms. Black herself. Sadly, many could relate the dark journeys of their lives, but few could illuminate that path for others with the warmth, humor and spirit (hmmmmm, there’s that word again) as Ms. Black. She has earned her Hollywood ending.

Major kudos to Director John Flynn and Producer Elizabeth Alan for crafting their sleek, smart staging, and Platinum Medalproducing one of the top shows of HFF2019.


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For Information about the artist and her work go to:  marla-black.com


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An award-winning L.A. playwright and rabble-rouser of note who has hoisted glasses with Orson Welles, been arrested on three continents and once beat up Charlie Manson. His first play, "Among the Vipers" was a semi-finalist in the Julie Harris Playwriting Competition and was featured in the Carnegie-Mellon Showcase of New Plays. It was produced at the NPT Theater in Ashland, Oregon and Los Angeles’ celebrated Odyssey Ensemble Theatre. His following play, “The Little Boy Who Loved Monsters” was produced at The Hollywood Actors Theater, where he earned praise from the Los Angeles Times for his “…inordinately creative writing.” The play went on to numerous other productions including Berlin’s The Black Theatre under the direction of Rainer Fassbinder who wrote in his program notes of Kearney, “He is a skilled playwright, but more importantly he is a dangerous one.” Ernest Kearney has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist, three times, in the Julie Harris Playwriting Competition. His work has been performed by Michael Dunn, Sandra Tsing Loh, Jack Colvin and Billy Bob Thornton, and to date, either as playwright or director, he has upwards of a hundred and thirty productions under his belt, including a few at the Bob Baker Marionette Theater as puppeteer. Kearney remains focused on his writing, as well as living happily ever after with his lovely wife Marlene. His stage reviews and social essays can be found at TheTVolution.com and workingauthor.com. Follow him on Facebook.

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