California

Kelly Miller offers insight on how the South Coast Repertory has supported and engaged with playwrights to develop compelling theatre in Orange County. 

foolsFURY is a theater ensemble from San Francisco that sees advantages in working with playwrights and devisors, and seizes opportunities to become a touring company. As they come up on their fifteenth year, artistic director Ben Yalom sheds some light on their transitions, and lets me in on how they are working toward what is next artistically and financially.

When Joseph Campbell spoke of the power of myth he didn’t have LA stage actors in mind. Yet a powerful and prevailing myth has spread for years in theater centers throughout the country about why actors do theater in Los Angeles. The legend claims that LA actors are somehow less serious and do theater only to be seen by casting directors in “the Industry” and not for the art of the work. This is simply not true.

 looks at how Magic Theatre's initative for young theatre-goes went beyond a discount, and how the premiere of Taylor Mac's Hir at the Magic complemented their earlier production of Buried Child.

Los Angeles Theatre Center Encuentro: A Festival of National Latina/o Theatre will be held October 12-November 10 2014 and will feature ten companies from around the country, presenting their work in repertory over the course of the Festival. During the day, the companies will work together to share artistic practice and methodology which will culminate the final weekend of the Festival with public performance(s) of the co-created new work.

What make theater Jewish? This strikes me as just as complex a query as, “What makes a person Jewish?” or, for that matter, “What makes theater?”

Holly L. Derr writes about how various playwrights have gotten hired from non-TV writing, and the diversity initatives drawing in new talent.

Holly Derr writes about the Latino Theater Company and their role operating the Los Angeles Theatre Center, presenting multi-cultural work through partnerships with other organizaitons, and engaging local communities.

Lily Janiak reviews the Repurposed Theatre production of Rachel Luann Strayer’s Drowning Ophelia.

Holly L. Derr reports from The Society of Stage Directors and Choreographers's panel on diversity, and examines why diversity is such a huge talking point but still so lacking in action

Holly L. Derr writes about The Antaeus Company and the evolution of their "partner casting" practice, where each role is cast with two actors.

Jay Scheib's adaptation of Anton Chekhov’s Platnov titled Platonov, or The Disinherited merges with grunge culture-drugs, sex, and alcohol to take a look at values and viewpoints. 

Acting is a physical function. It starts with the body. The body is the instrument. A theater without actors is not a theater; yet theater without words exists the world over.

Lily Janiak reviews Buried Child at the Magic Theater, and writes about the ways in which living in a world where the nuclear family has imploded sets new stakes for this play about familiar dysfunction.

Holly L. Derr covers Radar L.A. 2013, an interdisciplinary and internationally focused theater festival in Los Angeles theater