Writer/director Tim Robbins’ Harlequino: On to Freedom at the Actors’ Gang is a messy, boisterous show whose message about personal freedom and self-determination comes through simply and clearly.
Building the Wall, billed as an urgent call to action, aims to alert people to the ominous stirrings of fascism in the United States. But its heavy-handed polemics and a flawed production run counter to its purpose.
I Am Not Your Negro is a cinematic poem. A jarring juxtaposition of writing and found footage, it is both an elegant and elegiac tribute to a man whose ideas are as relevant today as they were when he was alive.
A new political drama from Pulitzer Prize-winning playwright Robert Schenkkan imagines a not-too-distant future where Trump’s anti-immigration policies have upended the lives of millions.
New York City photographer Chris Washington has set aside his weekend for a trip to the country, where he must endure an ancient custom: meeting a girlfriend’s parents for the first time.
Dustin Lance Black’s When We Rise presents a unique opportunity to not only entertain, but to also enlighten people. Which makes its failings that much more disappointing.
Somewhere in the middle of Bryonn Bain’s soulful one-of-a-kind show, the playwright/poet/performer recounts an interview between himself and a public defender.
Gay historian, activist and kindhearted bohemian bon vivant, Stuart Timmons passed away peacefully on a recent Saturday morning, not long after recovering from a bout with pneumonia.
The Merriam-Webster dictionary defines fellowship in various ways: as companionship, as a community of interest or experience, as a company of equals or friends, among others. These definitions serve as prologue to Julie Marie Myatt’s immersive stage play, fellowship
Ed Simpson’s play, Periphery, opened in L.A. in honor of Black History Month – but also on the same day that massive crowds of protesters flooded the streets in cities across the nation against the newly inaugurated President Trump.
If you’re interested in cultivating mindfulness, equanimity and loving-kindness, see Jim Jarmusch’s new film, Paterson. The movie is about a bus driver in Paterson, New Jersey.
“I’m not just an autistic kid anymore, I have climbed a freaking mountain,” wrote Colin Eldred-Cohen on the release of his children’s book, The Fire Truck Who Got Lost. Eldred-Cohen is a young author with Asperger’s syndrome. His first children’s work became a reality through a crowdfunding campaign.
For those who missed the Los Angeles County Museum of Art’s Noah Purifoy: Junk Dada exhibit, you can still experience his extraordinary art born of the Watts riots at the Noah Purifoy Outdoor Desert Art Museum, in the town of Joshua Tree.
On the list of society’s most reviled professions, somewhere between tax collector and a member of Congress, sits the lobbyist.
In a culture broadsided by unremitting police violence and a election that could arguably be called a national nervous breakdown, Barry Jenkins’ profoundly moving film came as neither a shout nor a whisper, but as an eloquent statement that indeed, black lives matter.
On his recently released final collection of new music, Cohen blamed God for His benighted creatures’ refusal of light: “You want it darker — we put out the flame.” Like, we’re only following orders, Boss. But in another song, Cohen shifted perspective: “Only one of us was real — and that was me.”
Playwright Rebecca Stahl’s Everything in Between may be a message play, but as such it’s a fundamentally sound one. One of its virtues is the clear picture it furnishes of the kinds of behavior exhibited by sufferers of post-traumatic stress disorder when their illness goes untreated,
When Cesar Chavez led a band of farm workers on their historic 300-mile march from Delano to Sacramento half a century ago, they prominently displayed banners of the Virgin de Guadalupe throughout the line. Why? Because that image held symbolic weight far beyond any other the group could carry.
The 24th Street Theatre has a reputation for producing quality theater suitable for everyone from 8 to 80 years old. Hansel & Gretel Bluegrass, Bryan Davidson’s compelling musical adaptation of the fairy tale about two hungry and imperiled children, is the company’s latest effort.
Beginning October 27, the Latino Theater Company will host a program by the New York-based experimental company, Theater Mitu, entitled Juárez: A Documentary Mythology. The piece is based on raw interviews of the residents of El Paso, Texas and Ciudad Juárez , Mexico, who tell what it’s like to live and work in a city with a reputation as the “murder capital of the world.”
Devin Browne’s short-subject film Hotel Arizona debuted in Los Angeles October 13 at the Highland Theater in Highland Park. The 22-minute story is about a young woman who, with her mother, runs a hotel where migrants stay, and who devises a way to “Yelp” the smugglers who bring people across the border and rip them off—or worse.
After Ava DuVernay burst into the mainstream as director of the acclaimed 2014 film Selma, she did not earn an Academy Award nomination for Direction, despite the film earning a Best Picture nod. Whatever doubts anybody might have had about her skill as a director should now be put to rest after her stunning new documentary 13th, now streaming on Netflix.
Depending on whom you ask, Solly Granatstein and Rick Rowley have spent their careers either causing trouble or exposing truths. As investigative journalist-filmmakers they have been on the front lines of digging up facts and battling the status quo, all to expose injustice. They’ve been pretty damn good at it too.
EPIX’s new documentary series America Divided bravely tackles America’s myriad problems that stem from systemic inequality. Created by acclaimed filmmakers Solly Granatstein, Rick Rowley and Lucian Read, and executive produced by Lear and the singers Shonda Rhimes and Common, the series reveals a tale of two Americas that coexist in a twisted parallel universe.
The theater piece Changing Lives, Changing LA – Hotel Workers Rising was created through many interviews, cut-and-paste pieces of script stuck up on a wall and moved around, lots of serendipity and much heart. It makes its debut Friday at Loyola Marymount University.
Bars and Measures, Idris Goodwin’s moving drama, directed with a sure hand by Weyni Mengesha, can be appreciated on several levels. To begin with, it’s a political work, a disturbing tale involving the questionable prosecution of an American Muslim for abetting a terrorist organization.
Greg Keller’s play is set in 1992, and opens on a subway traveling north from Manhattan to the Bronx. Steve (Josh Zuckerman), middle-class and white, is reading War of the Worlds, and intent on ignoring the obstreperous behavior of a lanky black man, distinctly non-middle-class, who seems to be eyeing him from across the aisle.
One of the wryest moments in Karen Rizzo’s insightful one-act comes when Lee (Mark Carapezza), a sculptor attending a dinner party with his wife, blinks with bewilderment as he clutches a glass of $2,500-a-bottle Scotch in one hand and a goblet of chichi red wine in the other.
Vivian Rothstein reports on a theater program for California inmates.
The premise for Blueprint for Paradise sounds like a punchline: Nazi sympathizers looking for someone to design a secret compound in Southern California decide to hire a leading architect — only to discover that he is African-American. But playwright Laurel Wetzork’s conceit is no joke. It’s based on real-life events.