Jordan Harrison explores the fraught subject of memory from a variety of fascinating angles in 'Marjorie Prime' at the Mark Taper Forum. Ultimately, it's more intriguing than dramatically satisfying.
The one thing you can count on with Gob Squad, the always-surprising European performance collective now at REDCAT, is that the audience won't be excluded from the multimedia act.
One day a comprehensive literary biography of Tennessee Williams will be written that won't resemble a psychiatric case study. Until then let's savor John Lahr's "Tennessee Williams: Mad Pilgrimage of the Flesh," a work that is scintillating on the backstage and bedroom dramas and almost...
Don’t look now, but a positive trend seems to be developing: A bumper crop of talented American playwrights more interested in artistic expression than commercial validation is being recognized with the most prestigious awards and lucrative fellowships available.
Logistically I know it's impossible, but I could have sworn that Winnie, the determinedly cheery middle-aged woman who is planted in the earth up to her bosom in Samuel Beckett's "Happy Days," had been ahead of me at the checkout line the other day at Trader Joe's.
The fall season always brings the hope that something new will astonish us. I'm betting that a few old works might fit the bill.
"The law, Mr. Strickland, is not an exercise in metaphysics. But an alley fight."
Extravaganza isn't the word that first springs to mind when thinking of Shakespeare, but in the newfangled version of "The Tempest" at South Coast Repertory the goal is clearly to dazzle.