A man brings his guitar and a cooler out to the beach, and as he faces the setting sun tries to decide whether he can make peace with the ghost of his abusive mother or if his memories of her need to sink beneath the
Panos Vlahos, making his U.S. debut at Hollywood Fringe (2017) in “Mistero Buffo,” combed three pieces from the last half of author Dario Fo’s work in order to fashion his show and, in doing so, has chosen the most scandalous of the text.
Conceived, written and produced by Linden Waddell — who also performs, with Miller directing — Hello Again! The Songs of Allan Sherman is exactly what it states itself to be, “a musical romp featuring the genius of Allan Sherman’s parody lyrics.”
As the nerdiest kid this side of the Rockies, I lived for the cheesy Sci-Fi that oozed out of the fifties like the blob outa a whiffle ball: "It Came from Outer Space," "This Island Earth," "The Crawling Eye." "Robot Monster," a musical at this
"Ascent" features the talents of dancer Adam Kerbel and Taiko drummer Shih-Wei Willie Wu in a fusion piece that displays more ambition than articulation. Its intention is to illuminate “the threats that aggressive masculinity plays on the psyche”; a noble goal
The Hollywood Fringe Festival is a premier example of a thriving Los Angelean creative arts scene. Modeled after the famed Edinburgh Festival imprint, Fringe founder, Ben Hill spent a few years gathering support to mount such an event in this city. The launch happened summer of
For those of you unaware of the fire storm unleashed on Colin Mitchell, former editor of Bitter Lemons, L.A.’s ground zero for theatre criticism—and perhaps the city’s best scratching post for its artistic Kilkenny’s cats—here, briefly, is the tale. The Chicago Reader, the Windy City’s equivalent
