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Notes from Arden
Dream Weavers: Puck and The Sandman
Fowler’s strikingly cogent concept is to endow slaves with cosmic powers (which become comic powers) over their mortal Athenian overseers — not unlike the way in which the slaves outwit their masters in their quest for freedom, in the ancient Roman comedies of Plautus and Terence.
Featured Column
FRINGE RAW: “The Amity Code”, “In the Valley of the Shadow”, and “Fire and Light”
Ashley Steed weighs in on some of her top picks for The Hollywood Fringe Festival 2017.
Got It Covered
“Two 16 year-old students, performing in the Kentigern College production of Sweeney Todd, had to be rushed to the hospital on opening night with neck wounds, which they received during the show. There’s not much else to be said here, though I suspect we can safely assume the incident occurred when evil Sweeney, The Demon Barber of Fleet Street, “swung his razor high” on a couple of his victims.” — 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
“Class warfare has surged and ebbed in the U.S. public consciousness during harder or more prosperous times throughout the past century, but the distorted perversion that it is something waged by the poor upon privileged victims gets exposed as a disingenuous lie by Eugene O’Neill’s 1922 The Hairy Ape – an anguished cry on behalf the exploited and dismissed.” — by MYRON MEISEL
The Summer of our (Dis)Content
Our Town
Moving Stoneface from Sacred Fools Theater to the Pasadena Playhouse
In his first-person account, director JAIME ROBLEDO describes the excitement and challenges of moving his production of Vanessa Claire Stewart’s bioplay about Buster Keaton, “Stoneface,” from its birthplace at the 99-seat Sacred Fools Theater Company in east Hollywood to the mid-size Pasadena Playhouse.