Ashley Steed weighs in on some of her top picks for The Hollywood Fringe Festival 2017.
Notes from Arden
“Because when the world seems upside down and inside out, when reliable sources are no longer reliable, when reason starts to sound like babble, and babble like reason, when the Russian Duma applauds the outcome of a U.S. election (as they did with Donald Trump, literally), there are places where actual truth can be told, little halls off back alleys, where poems are read, where songs are sung, where plays are put on, places like in the tiny theaters all across Los Angeles, and Moscow and St. Petersburg, Russia. This is what happened in Soviet Russia. In secret. In defiance.” — by Steven Leigh Morris
Got It Covered
“This is, obviously, quite bad news for the local theater scene and we will need to take some time to absorb just what all this means and how we will react to it. Already, we are seeing several Facebook posts from Equity actors who are vowing to go rogue and act secretly (and, yes, illegally) on 99 seat stages. Others are seriously discussing the notion of going FiCore, a topic discussed at length in journalist Myron Meisel’s excellent earlier Stage Raw article.” –BY PAUL BIRCHALL
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“For so steeped has our culture become in Beckett’s brand of nihilist vaudeville, that his once forbidding obscurity has flowered into ironic delight as we embrace the ironies of forlorn despair with enthused empathy.” — by MYRON MEISEL
The Summer of our (Dis)Content
“‘They say theater never dies. But that’s not true, it really does die,’ Morris warned. ‘Our theater audiences are aging Caucasians, and they’re dying.’ Morris reaffirmed the importance of cultivating diversity on L.A. stages to acknowledge and reflect a more diverse audience, as well as being proactive in bringing in new generations.” — By VANESSA CATE