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 — There’s a great deal that is familiar about The Wolfe & the Bird, Rachel Parker’s one-woman show at the Matrix.
By Ernest Kearney — “Sugar and Sh*t,” at the Hollywood Fringe Festival '21, is full of moments that clash and tumble and deprive both the actresses and their audience of the show that could have been. Which is a pity because
By Ernest Kearney — With “(It's Been 76 Years and We're) Still Waiting For Lefty,” presented during Hollywood Fringe '21, Playwright Gregory Crafts has taken up the challenge of rekindling the 1935 theatrical fire set by Clifford Odets’s Depression Era drama.
By Ernest Kearney — A time warped backyard BBQ where the hot dogs and burgers come with extra strangeness and squirt of inanity to go along with the mustard and pickles, in "Welcome to the Neighborhood."
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 — "Vice" is a futuristic, dystopian drama, chock full of revolution, the dominance of virtual reality to keep populations docile, a matriarchal dictatorship, families torn apart, techno-enforced totalitarianism, and an ever-present “Big Sister” to assure compliance.
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.
