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Notes from Arden
Classical Gas: Henry VIII in NoHo
The structure of “Henry VIII” aside, if these aren’t themes singularly pertinent to our times, I don’t know what are.
Featured Column
FRINGE RAW: “Name This Magic Show”, “Jon Armstrong: Comic Amazement”, “The Motherfucker with the Hat”, and “Secret Honor – The Last Testament of Richard M. Nixon”
Ashley Steed weighs in on some of her top picks for The Hollywood Fringe Festival 2017.
Got It Covered
“It is interesting — indeed, startling — that the union and Pro99 could not come to some agreement over months of negotiation and discreet discussion, particularly given that the plaintiffs clearly went the extra mile in not serving the suit. It’s fascinated to contemplate what must have been going on behind doors during the talks — and whether it was the union’s intransigence or some other issue that prevented a calm and rational settlement.” — BY PAUL BIRCHALL
Ask Corbett
Ask Corbett a Question!
Have a question about Los Angeles theater and don’t know who to ask? We are now accepting submissions for an upcoming new section aimed to answer you most burning theater-related questions.
Around Town
“The Assembly’s production of ‘Home/Sick,’ a reimagining of the Weather Underground experience from 1969 to 1978, now running at the Odyssey Theatre, may play for different audiences as a cautionary tale, an exasperating inspirational example, or even (sentimentality be damned) nostalgia. How could I help but smile when the activists chant Mao’s “Dare to Struggle! Dare to Win!” the identical year we used the same axiom as our college football cheer.”–BY MYRON MEISEL
The Summer of our (Dis)Content
Our Town
On Kharms and Wilson in L.A.
Myron Meisel has been tracking the work of enfant terrible Robert Wilson in L.A. since the late 1970s. Says Meisel, Wilson’s recent staging of “The Old Woman” — adapted from the writings of Soviet dissident Daniil Kharms, and starring Willem Dafoe and Mikhail Baryshnikov, presented by UCLA’s Center for the Art of Performance — was Wilson at his best. Meisel explains why.