By Patrick Hurley The numerous ways in which human beings communicate with each other is fascinating, and even more so when they are deprived of language. Advertisements
Luzia-A Waking Dream of Mexico is the grand and beautifully designed new Cirque du Soleil show that blends beauty and physical finesse into a variegated feast for the eyes.
By Patrick Hurley Tapping into the zeitgeist, and squeezing every penny you can out of it, is just the American dream.
By Patrick Hurley In the years just preceding the French Revolution, an era of aristocratic decadence reigned supreme. Christopher Hampton’s deliciously acerbic Les Liaisons Dangereuses, playing now at Antaeus Theatre Company, resonates quite profoundly against our contemporary concerns of upper-class privilege through its use of biting satire.
By Patrick Hurley The Theater. The invention of this spectacle-fueled construct that revels in artificiality serves as the setting, motif and thematic launching pad for Thornton Wilder’s Pulitzer-Prize Winning masterpiece Our Town, playing now at the Pasadena Playhouse.
By Patrick Hurley In the ever-expanding canon of representational literature, where under-represented voices are, at long last, being heard, the theater scene is bristling with more and more stories about minorities from an internalized perspective. Fixed, the new play by Boni B. Alvarez, is another of these plays.
By Patrick Hurley The new musical The View UpStairs, is making its West Coast premiere at Celebration Theatre. The musical which features book, music and lyrics by Max Vernon is a sort of nostalgic, slightly politicized and gaycentric piece that raises comparisons of violence toward the modern LGBTQ community and the early 1970s, where community … Continue reading
By Patrick Hurley Faith, that ubiquitous and imperfect belief, wherein trust and confidence take the place of facts or proof, is placed into extreme focus in Tarell Alvin McCraney’s new play Head of Passes, playing now at the Mark Taper Forum.
By Patrick Hurley Sophomoric pedantry rises to dizzying new heights in Paul Rudnick’s slog-fest Big Night, which opened last night at The Kirk Douglas Theatre. It is an unfledged, didactic glob of far-left liberal moralizing—fortified with overwrought, yet undeveloped dialogue, spewed by posturing archetypes, so staggeringly far-fetched it’s almost impressive, and then the whole thing … Continue reading