Hollywood Fringe 2016 is bubbling over with choices. Here we have two shows that share common ground and perhaps even a common philosophy. And represent an element that needs more representation in this festival of ours
Henry Mayhew, in 1841, named his pioneering humor magazine after the gleeful little murdering bastard. Neil Gaiman sought him out to use in one of his best graphic novels. Him and the Missus are clues in the 2014 thriller Gone Girl, and in the Marx
Well we’re off to the races, Hollywood Fringe 2016 has opened, and here is the first handful of reviews for your consideration. I will be employing the rating scale that should be familiar to my readers: GOLD: These are the “Oh my God!” shows. Leave your rich
The Hollywood Fringe Festival's Week One Diary—Part III is all about the Bard who is nicely represented this year with a number of works, these are a few that just struck my interest: MACDETH! From Great Britain, or as it’s known nowadays Britain, Ryan J-W Smith brings this
Hollywood Fringe, Week One —Part IV The main stays of any Fringe are the solo performances; one-man shows, one-woman, one-whatever shows. There are a whole slew of them, so I’ve divided them into categories. HISTORICAL/BIO SOLO SHOWS BLOODY BEAUTIFUL Another presentation of the Proboscis Company, featuring Erica Flor as
Well, the ninth of June, the official kick off for Hollywood Fringe 2016, is quickly approaching. Like some huge lumbering forest troll who will stride right over me and not even notice that glob of mashed playwright between its toes. I can best describe the sensation
The Fringe Week One Continued
The surest way to appreciate Steven Berkoff’s Hairy Ape now playing at the Odyssey Theatre Ensemble is to have acquaintance with Eugene O’Neill’s play of the same name. O’Neill’s Hairy Ape was first staged in 1922. It falls in what critics and scholars have designated his “second
The most disappointing feature of Lee Blessing’s succinct if a tad “lite” A Walk in the Woods now gracing the stage of Long Beach’s International City Theatre is its stubborn and annoying relevance. Blessing has a Master’s Eye of seeing the potential of theatrical success in
Next Fall by Geoffrey Nauffts is a stunningly sincere and heartfelt drama that is sure to move any audience. That may be an odd way to kick off a review, but when one leaves the Macha Theatre after the final bows are taken, what they will
