By Ernest Kearney — “Why?” Whether one is leaving an exhibit of Banksy’s stenciled, naked, nine-year-old Phan Thi Kim Phúc fleeing her napalmed Vietnamese village or a Diamanda Galás “Scream Opera,” or a screening of the Jordan Peele film US; the sentient audiences are
By Ernest Kearney — The story of Chiara Offreduccio, AKA Clare, is one of the most beloved “ripping yarns” of the Catholic Church.
By Ernest Kearney — Carla Delaney is a talent to luxuriate in, with a lovely voice, sharp comedic skills, and a persona that can fill a small auditorium. These praise worthy qualities are very evident in her one-woman-show "Worth It!"
By Ernest Kearney - Since its Broadway opening in 1982 it’s doubtful a year has passed without there being at least two dozen (likely more) revivals of the Tony nominated musical, "Blues of the Night," all across the nation.
By Ernest Kearney - "In Our Man in Santiago," Playwright Mark Wilding forgoes those subtle, silken threads from which history spins its webs, which is entirely acceptable since he’s penning a farcical romp and not a historical recounting.
By Ernest Kearney — There’s a great deal that is familiar about The Wolfe & the Bird, Rachel Parker’s one-woman show at the Matrix.
By Ernest Kearney — Well, 2021 was strange in every way: The UN declared it the International Year of Fruits and Vegetables, a mob of goose-stepping “Americans” cretinized political lunkheads and MAGA sophomoraniacs, who congressional Republicans mistook for “your average tourists,” and who attacked the
By Ernest Kearney — “Sugar and Sh*t,” at the Hollywood Fringe Festival '21, is full of moments that clash and tumble and deprive both the actresses and their audience of the show that could have been. Which is a pity because
By Ernest Kearney — With “(It's Been 76 Years and We're) Still Waiting For Lefty,” presented during Hollywood Fringe '21, Playwright Gregory Crafts has taken up the challenge of rekindling the 1935 theatrical fire set by Clifford Odets’s Depression Era drama.
