By Ernest Kearney — Howard Zinn, the socialist academic, is most familiar as the author of the 1980 revisionist A People’s History of the United States, which managed and still manages to rattle the cages of historians on both sides of the political
By Ernest Kearney — "Too Much Sun" by Playwright Nicky Silver, presently a guest production at the Odyssey Theatre, is a clever and witty work whose cleverness and wit is severely hamstrung by the looseness of its own first act.
By Ernest Kearney — Playwright Lauren Gunderson is the current “flavor of the month” of the American theatre scene, with her works the most often produced of any living American playwright.
By Ernest Kearney — As I’ve been proclaiming for as long as I’ve been reviewing theatre in L.A., the hottest ticket in this town, as well as one of its best-kept secrets, are the monthly Juergas overseen and promoted by Deborah Culver at Hollywood’s Fountain
Playwright Laura Maria Censabella's "Paradise," having closed a successful run at the Odyssey Theatre has now moved to the Matrix Theatre on Melrose Boulevard for a limited extension thru the end of the month.
By Ernest Kearney — There are particular products, —merchandise, institutions and other…stuff— exports from the U.K., which the rest of the world sometimes finds difficulty to appreciate.
By Ernest Kearney — At its best, theatre spans vast separations of time and culture revealing how shared struggles makes a community of all humanity. And this is what Idris Goodwin’s "Hype Man" at The Fountain Theatre, strives to do with its story of a
By Ernest Kearney — The Old Man and the Old Moon is an assemblage of all the elements that made theatre the earliest and most essential of humanity’s creative expressions:The making of myth and spinning of stories to explain the inexplicable, and
By Ernest Kearney — " Miss America’s Ugly Daughter" written and performed by Barra Grant, the daughter of Bess Myerson, the first Jewish Miss America, was once, possibly, an entertaining evening.
By Ernest Kearney — There is an adage in the creative pursuit of playwriting: “It’s easier to set them up than knock them down.” How this translates, in actuality, is that there exists an awful lot of plays with very strong first acts which then
