Gil Kaan - Page 47

The world premiere of playwright Terry Ray's ELECTRICITY's perfect for those rarefied romantics out there who still believe true love can be found, whatever the obstacles. With a three-decade time span, audiences must check their need for plausibility at the theatre front door in order to accept two actors aging thirty years within the ninety-minute performance.

For those adverse to sitting through cult orientation lectures, the world premiere of playwright Jesse Mu-En Shao's THE END TIMES might be ninety minutes to avoid. Shao vividly recreates the militaristic recitation of a cult's teachings which all members continuously repeat, either to re-enforce the lessons to each other or to convince themselves they're doing the right way.

The Los Angeles premiere of playwright Elizabeth Irwin's MY MAñANA COMES receives a very detailed mounting at the Fountain Theatre. Armando Molina quite ably directs his very talented cast at a quick clip with Irwin's very words-heavy dialogue flowing non-stop from the quartet. Ingenious scene changes advancing time progression - So innovative. So effective.

Above the Curve Theatre successfully mounts Francisco Castro's ANYTHING SERIOUS. Its two perfectly cast leads, and the five strong players supporting them, winningly perform Castro's smart, witty script. Joe Lorenzo sure-handedly directs his talented troupe at a fast clip, making sure all receive their deserved moments on stage to shine.

Momed, serving up plentiful portions of modern Eastern Mediterranean cuisine in a comfy, casual atmosphere, makes a perfect 'Dinner' for a 'Show' at the just steps-away Atwater Village Theatres. Momed, (pronounced mo-med.) short for Modern Mediterranean, creates healthy fare incorporating locally produced ingredients, both seasonal and organic.

The Echo Theatre Company's west coast premiere of playwright Ruby Rae Spiegel's DRY LAND needs to come with an advisory warning. Those partial to the sight of profuse bleeding, as in an induced abortion, might think twice about seeing DRY LAND. This particular scene contains graphic bleeding and convulsions heightened by the most convincing screamings of Teagan Rose as the wayward teen Amy.

Idly Bent's world premiere of playwright Reed Arnold's ALL IS FAIR (OR OBLIVION WROUGHT) presents an intriguing perspective of a love triangle wrong on so many levels. With some judicious editing and a stronger directorial hand, this two-and-a-half-hour two-act would make a sleek, entertaining 90-minute one-act.

Tim Robbins truly relishes the value and reach of theatre; and he persistently works to disseminate it throughout the world. We got a chance to talk with Tim, co-founder of The Actors' Gang and its current Artistic Director, the day after his latest directorial project ORWELL'S 1984 opened. See any of the productions Tim has directed and be challenged only not to be entertained, but thinking about what the play is saying.

Indie Chi Productions presents the world premiere of playwright Andrea Lepcio's DINNER AT HOME BETWEEN DEATHS a bit undercooked; with lighting cues missed, the stumbling over lines, and an integral plot incident causing unintentional laughter. Stuart Ross does smartly direct his committed, obliging cast at a fast clip in this 90-minute black comedy.

?VARLA JEAN MERMAN'S BIG BLACK HOLE triumphantly returns to The Los Angeles LGBT Center's Renberg Theatre with her sci-fi homage to Star Wars as only Varla Jean can do. Varla Jean emits an almost continuous stream of consciousness of observations (some double-entendre, most risque) on some current celebrities, a few running political candidates, and just the state of the world, er, universe.

The Actors' Gang's Artistic Director Tim Robbins deftly directs his extremely talented cast as they fluidly impart the Orwellian tale of total Big Brother domination in ORWELL'S 1984. Originally viewed as sci-fi when written back in 1949, ORWELL'S 1984 complements as a fitting addition to The Actors' Gang's current Season of Justice. Michael Gene Sullivan has ever so smartly adapted George Orwell's novel into the present 21st century.

After Hours Theatre has produced a kick-ass production of Jonathan Larson's TICK, TICK... BOOM!. Rebecca Kenigsberg astutely directs her ultra-talented cast of three at a quick, proficient pace wringing out all possible laughs and pathos out of Larson's autobiographical piece. Any theatre lover with an affinity to Larson's RENT will thoroughly enjoy the gone-too-soon skills of Larson's sharp lyrics, book and hummable tunes.

The Blank Theatre's world premiere of Aliza Goldstein's A SINGULAR THEY successfully pulls off a mesmerizing mash-up of uncomfortable situations teenagers have to deal with. Christopher J. Raymond smoothly directs this engrossing seventy-five minute one-act eliciting fully-formed performances from his talented cast of three.

The Rogue Machine Theatre's West Coast premiere of Bryony Lavery's DIRT, a precautionary dissertation of the lethal hazards of commonplace chemicals humans come in contact with, benefits from its strong talented cast. Bravo to all the actors for their commitment to their respective roles, some requiring the tackling of reiterating endless laundry lists of chemical terminology. 

Cynthia Ettinger has been a member The Actors' Gang for over 30 years  and currently serves as the company's Co-Artistic Director and Master Teacher. Cynthia managed to squeeze some spare moments amidst her directing duties of THE EXONERATED to speak to us.

Within a  ten-minute walk from The Ivy Substation, home base of The Actors' Gang (www.theactorsgang.com), theatre goers can dine at The Culver Hotel in the company of the ghosts of movie legends who frequented this Historical National Landmark (Clark Gable, Greta Garbo, Joan Crawford, Buster Keaton; to drop a few names.)

Playwright Theresa Rebeck's smart and witty THE UNDERSTUDY provides an intriguing vehicle for a most unsympathetic barely working actor to vent. Fortunately, two other much more congenial characters interrupt his incessant kvetching. Laura Henry ably directs her talented cast at a fast clip making the intermission-less 90 minutes fly by.

Caryl Churchill's 1982 Obie Award-winning CLOUD 9 receives a hilarious, yet heartstring-tugging revitalization from the always reliable Antaeus Theatre Company. Casey Stangl expertly directs her very talented cast as they skillfully navigate the complexities of each undertaking dual roles. What an incredible showcase for these actors to display their diverse acting ranges.

The world premiere of Robert Allan Ackerman's BLOOD receives a sturdy full-on, large theatre mounting by The Garage in the tiny space of The Complex. Ackerman's smart, in-depth script has adapted the actual 1980s events of a government conspiracy to sell HIV-contaminated blood products into an involving, totally wrenching two hours that will tear out the hearts of anyone with any inkling or experiences with the beginnings of AIDS.

Spitfire Grill serves quite substantial portions of tasty comfort cuisine in an unrushed, efficient and friendly atmosphere.  Located literally just five minutes east of the Ruskin Group Theatre and right across the roadway from the Santa Monica Airport, Spitfire makes the perfect pre-show or post-show culinary complement to some good theatre at the Ruskin Group (www.ruskingrouptheatre.com).