By Ernest Kearney — There’s an old joke. My wife loves it. A judge in a divorce hearing informs Mickey, “I’m sorry, Mister Mouse, but mental illness is not acceptable grounds for divorcing your wife Minnie.”
By Ernest Kearney — It goes without saying to those in the know, that The Fountain Theatre is one of the preeminent producing venues in Los Angeles or, even the state, perhaps the nation and, arguably, in its “weight class,” the world.
By Ernest Kearney — It was both a pleasure and an honor to take my seat for the world premiere of "Rapunzel Alone" at the 24th Street Theatre; in association with the Wallis Annenberg Center for the Performing Arts.
By Ernest Kearney — John Fleck is an imposing figure in the history of Los Angeles theatre and beyond. His shows have shocked, enticed and entertained audiences across the nation and the world.
By Ernest Kearney — In many ways, “Marry Me a Little,” in its final weeks at Long Beach’s International City Theatre is, perhaps, the most bittersweet of all Stephen Sondheim’s shows.
By Ernest Kearney — "Singing Revolution the Musical," at the Broadwater Main Stage, has so very much going for it that one is somewhat in awe of Director Tony Spinosa – who also composed the music and, in partnership with James Bearhart, provided the lyrics
By Ernest Kearney — The service held at the Washington National Cathedral this past December 10, for the late Senator Bob Dole, wielded a near hypnotic sway over me. Watching President Biden eulogize his long time senate colleague, the dignity of the ceremony emanated tranquility.
By Ernest Kearney — "My (Unauthorized) Hallmark Movie Musical," currently onstage at The Broadwater in Hollywood, has all the signposts of a truly disastrous evening in the theatre.
By Ernest Kearney — There is an old saw that annoys the hell out of me whenever I hear it: “History repeats itself.” Wrong. History never repeats itself. It only seems that it does because humanity keeps making the same mistakes over
By Ernest Kearney — "The Children," running at The Fountain Theatre, opens with trickling blood. Just a nose bleed. A still, silent, rather empty moment, for all to see the red droplets. It’s the Iast stillness and silence Playwright Lucy Kirkwood permits
