By Ernest Kearney — Sadly, violence is all too often mistaken by the weakest among us as strength. Then, should they turn to violence, they’ll blame the world or fault society for driving them to it.
By Ernest Kearney — In dramatizing the life of Dwight D. Eisenhower, you are faced with two wildly, out of balance acts. The first act is Eisenhower the military man,
By Ernest Kearney — If you’re a fan of Pat Benatar, Invincible is a must see, and if you’re not, see it anyway. The concept is not new, a retelling of "Romeo and Juliet" in a modern setting with music.
By Ernest Kearney — Set in an upscale neighborhood of Philadelphia, Melissa Jane Osborne’s "Smile" (on stage at Atwater Village Theatre) begins with Rachel (Isabella Feliciana) seated in the office of high school counselor, Helen (Andria Kozica).
“Di Lady Di,” a favorite at this year's Hollywood Fringe, is currently playing in rotation with All is True, or Henry VIII at The Whitmore Theatre in North Hollywood, throughout November and early December. Ernest Kearney's Fringe review for “Di Lady Di” has been reposted
By Ernest Kearney — With their opera 'Arkhipov,' Composer Peter Knell and Librettist Stephanie Fleischmann have superbly captured the historical event in their ironic juxtaposition of a tragedy barely avoided
By Ernest Kearney — Doctor Zomba’s Ghost Show, David Lucarelli’s loopy homage to late night television horror hosts, was plainly rooted in his appreciation for the hi-jinks of Jeepers Creepers, Elvira and others. Lucarelli reveals himself as a dedicated “Metalhead” with his new
By Ernest Kearney — Throughout its 30-year history, A Noise Within has demonstrated, for any theatrical company, the strategy for success. A focused concentration on a creative field, an unflagging commitment to artistic integrity, and a distinct structure in place to assure that neither that
By Ernest Kearney -- "Valley Song," at Long Beach’s International City Theatre, is in many ways unique among South African playwright Athol Fugard’s works.
By Ernest Kearney — In selecting a basis for their musical, “A Dream At the End of Time,” Thomas Barrett Blakeley and Duncan C.B. Smith chose one of the oddest of H.P Lovecraft’s short stories, "The Quest of Iranon."
