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 — Saba takes us down the rabbit hole of the American dream in her HFF21 presentation of “Lies, Anger and Forgiveness,” and it is a thoroughly enjoyable trip.
By Ernest Kearney — Paige Fockler sets up an interesting reality in her Hollywood Fringe one-woman show. She has barged into her therapist’s office without an appointment, hoping she’ll be able to squeeze-in between those in the waiting room with appointments.
By Ernest Kearney — At the 2017 Hollywood Fringe Festival, "The Girl Who Jumped Off the Hollywood Sign" —written and performed by Jenne Hartstone— earned a number of honors, including the Tvolution Award for Best Solo Show (female,) and left no doubts about
By Ernest Kearney — “Tomb” borrows from Stephen King’s The Shining and George Lukas’ classic THX 1138. There’s nothing wrong with that, except they haven’t borrowed the interesting parts.
By Ernest Kearney — "Black Woman in Deep Water" written and performed by Makena Hammond, under Jane Fleiss Brogger’s, direction is a pearl whose value is reflected not in its size but in its perfection.
By Ernest Kearney — Joyce Lee’s "The Dean’s Office" approaches a number of vital issues involving the propagation of systemic racism in the learning institutes of America.
By Ernest Kearney — Ruchi Kishore, creator and star of "Dirty Chai – a hip-hop bollywood musical" which recently played during the Hollywood Fringe Festival, has staged a rather flat, staggeringly uninspired girl meets girl romance that is strictly by the numbers.