By Ernest Kearney — "American Conspiracy," playing during the Hollywood Fringe 2018 at The Lounge Theatre, recounts the trials and tribulations individuals face when trying to convince others—and themselves —that everything would be so much better in the world if only people would simply do
by Ernest Kearney - Epics tend to be about champions, giant defeaters, kingdom conquerors, warriors of a thousand battles. But seldom do you find, as the central figure, some poor sod who gets drunk one night and falls asleep on a rooftop, only to
by Ernest Kearney — My Own Private River Phoenix is a smart and funny piece that is just not ready to be staged. Written and performed by Ai Yoshihara she tells how she fell in love with River Phoenix at the age of 9, after watching
By Ernest Kearney — The Bitch is Back: An Elton John Cabaret is exactly that, no more no less. Director James Carey, with Darci Monet serving as vocal director, guides five actress/singers
By Ernest Kearney — "Jack Benny (A Ménage En Train)" is the first perfect Fringe show of 2018. What does that entail? It is superbly performed, excellently staged, intelligently conceived and was so entirely unexpected
By Ernest Kearney - "House of Tales" is bursting with concepts and ideas to the point of avalanching the audience underneath them. Director Changting Lu has an actor wandering the lobby, even before the show commences, all wide-eyed with a lit, ball-shaped lantern searching every
By Ernest Kearney — "A Very Die Hard Christmas" is a rough little laugh-fest and delivers on what it promises quite nicely. Writer Josh Carson and director Gregory Crafts have taken the 1988 Bruce Willis movie blockbuster "Die Hard" and twisted it up very nicely.
By Ernest Kearney — "Henry V" has long been considered one of Shakespeare’s problem plays; called a “stirring piece of drum-beating and flag-waving” by one critic. But "Henry V" offers more buried ore to be mined than nearly any other work of the Bard.
By Ernest Kearney — There is some solid writing in Playwright/Director Travis Snyder-Eaton’s "Glitch," a two-person play about Rachel, a journalist (Gemma Pilar Alfaro), who is interviewing Jonathan, a convicted spree killer (Jordan Klomp).
By Ernest Kearney — Blind Spots by Colette Freedman is political, witty and confounding. Gretchen Baxter (Veronica Wylie) is a liberal journalist who lives with Birdy (Koni McCurdy), — her ʹ60s “Peace Corps” mother— is having an affair with her young, student intern Janna (Tamara
