y Ernest Kearney — The story goes that while giving an interview, many years back, Playwright Edward Albee was asked his opinion as to Sam Shepard. Albee responded with, “He writes good plays – about every third one.”
Described as "A must see play! It captures the true definition of being victorious and overcoming life's tragedies." Healing After The Tragedy follows Creator/Performer Nesha Wonderland's journey revealing the 5 different ages and eras of her life, that nourished her individual journey of healing by
By Ernest Kearney — "Let’s Write a Musical," played the McCadden Theatre at this year’s Hollywood Fringe. It is a show of contradictions, commencing with Director John Coppola’s usage of slender enactments in its staging that makes for a charming presentation of
By Ernest Kearney — Blaze Starr, stripper and paramour of Louisiana Governor Earl Long (brother of Huey), and Wallis Simpson, the Duchess of Windsor who shook the English monarchy to its foundation, shared in common Baltimore as a home town.
By Ernest Kearney — I always say, at least to anyone willing to listen, that the two most common types of failures, theatre-wise, are those shows which are wonderfully produced but have no idea, and those shows that have a solid concept and are poorly
By Ernest Kearney — Readers of my Fringe reviews on TVO are undoubtedly familiar with the rating system I apply to the shows I see. There are five grades. That wasn’t always the case. My first year of reviewing there were only three,
By Ernest Kearney — Fear and the pain we deny are the cancers of the soul. Having been raised in the Solid Rock Ministries, a right wing conservative Christian cult that publicly punished its disciples for offenses in the eyes of the community
By Ernest Kearney — The Drama Theatre Fantazja from Sydney, Australia arrived at the Hollywood Fringe Festival 2019 with an international cast and a beautifully produced staging of "The Trial of Dali" by playwright Andrew Kolo.
By Ernest Kearney — Are we the sum of our parts, or our parts themselves? Can we ever be free to be fully ourselves independent of our features?
By Ernest Kearney — Sam Pasternak’s concept in “Public Domain, The Musical,” while poking fun at Disney Studio’s propensity for squeezing profits out of any literary character for whom it won’t have to pay royalties is simple and straightforward.
