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Notes from Arden
Slave Play at the Taper
Though it streaks across the theatrical firmament like a comet, its tail is more luminous than the substance of the object itself — an object that rattles and prattles along its trajectory, unsure of whether it wishes to be regarded as an object of insight, of provocation, of titillation or of mystification. It can be seen as any or all of those descriptions. Such ambiguity is not necessarily a virtue.
Featured Column
Murray Mednick on the Primacy of Words and Language in the Theater
“Mednick is perhaps L.A.’S most entrenched playwright, having resided in Southern California since 1975 and writing singularly poetical-spiritual works saturated in wry, existential and sometimes morbid wit. Mednick was the the driving force behind the Padua Playwrights Festival, founded in 1978 and home to the likes of Sam Shepard and Maria Irene Fornes – a festival performed outdoors in the foothills of Claremont. It was at this festival the Mednick premiered is epic The Coyote Cycle.” — BY GRAY PALMER
Got It Covered
“One thing folks love at the end of the year is a nice end-of-the-year list, and I am perfectly delighted to look through my “Desk Calendar of Fun” to recall the several comparatively most important stories in Los Angeles in 2015. ” — By PAUL BIRCHALL
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Around Town
“However, the secret weapon that truly elevates the Cirque beyond mere jaw-dropping extravaganza remains its resolutely ingenious showmanship, anchored by an unstinting commitment to create a meaningful context for all its dexterous derring-do through a fully realized and consistent theatrical vision.” — BY MYRON MEISEL