• Kill Climate Deniers

    When the Messenger Wants to Shoot You


    (If You’re a Climate Denier)

    By Greggory Moore, Curtain Call Columnist We all know that climate change is happening and that humans have a hand in it. “We all” is an overstatement, of course, but less so than the wronghead

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  • DARK OF THE MOON @ Elysium Conservatory Theatre

    A witch boy from the mountain came, A-pinin' to be human, Fer he had met the fairest gal A gal named Barbara Allen

    The opening stanza of the "The Ballad of Barbara Allen" (more on which anon) sets the scene for Dark of the Moon, an Appalachian gothic tale about a mountain-dwelling witch boy wh

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  • Cowboy versus Samurai

    [vc_row][vc_column][vc_column_text]By Greggory Moore, Curtain Call Contributor   If you’re of Asian descent, there are only two reasons you live among the 1,000 inhabitants of Breakneck, Wyo. — either you were adopted, or you wanted to start a new life after a bad experience in

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  • Jean Genet’s THE BALCONY @ the Garage Theatre

    About halfway through opening night of the Garage Theatre's production of The Balcony, I was put in mind of a bit I particularly like from Being and Nothingness, Jean-Paul Sartre's 1943 philosophical magnum opus. Sartre asks us imagine a waiter at a café, to examine his particular little movements and expressions as he takes orde

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  • MACBETH @ Shakespeare by the Sea

    There's no denying that Macbeth is a tour de force of a treatise on ambition (one of the Bard's strongest subjects), and it has more than its fair share of brilliant lines. But despite its reputation, "the Scottish play" may be the most flawed of Shakespeare's serious (as opposed to trivial) work. "Double, double, toil and trouble"—the w

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  • Dance, Opera, Tall Ships Go Beyond the Waterfront

    [vc_row][vc_column][vc_column_text]By Andrea Serna, Arts and Culture Writer Heidi Duckler Dance Theatre is collaborating with Los Angeles Opera, Los Angeles Maritime Institute and marine research incubator AltaSea to bring an immersive art experience to the Los Angeles Maritime Institute’s twin 

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  • FRIDA @ Long Beach Opera

    When basing a work of art on historical figures or events, you should ask yourself: Would this be interesting if it were pure fiction? This must be an old adage, but it's not popular enough, because too often such works seem to lean on the crutch of audience familiarity, as if the fact that we know/care about real-life such-and-such means the artis

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  • August Wilson’s FENCES @ Long Beach Playhouse

    Fences is a puzzler. It's easy to understand the play itself, a relatively straightforward domestic drama set within the context of huddled masses of Black people still struggling to be free a century after the eradication of slavery. What I don't get is the hoopla, the accolades, the Pulitzer and Tony and Oscar, the renown this sixth inst

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  • AS ONE @ Long Beach Opera

    Growing up as an unambiguously heterosexual cisgender male, I had the luxury of not being compelled to consider how I fit into any of these categories or how they set me up to fit into society. I did, however, wonder what it was like for others. The arts can be especially helpful for such imaginings. Art is an empathy factory, with its products

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    When reviewing a play, I'm generally completely uninterested in knowing anything about the playwright's life. It doesn't really matter whether William Shakespeare or Christopher Marlowe or the Earl of Oxford wrote Hamlet, because the play's the thing. But after seeing Good Boys and True, I was curious about Roberto Aguirre-Sacasa.

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