Tag Archives: Kirk Douglas Theatre

DANIEL MENDELSOHN — ECSTASY AND TERROR

Daniel Mendelsohn’s new collection ECSTASY AND TERROR—FROM THE GREEKS TO GAME OF THRONES brings together his reviews and essays on Cavafy and Sappho, Mary Renault, Evelyn Waugh’s Brideshead Revisited and Hanya Yanagihara’s A Little Life, David Ferry’s Virgil, Helen DeWitt, Henry Roth, and Karl Ove Knausgård.

Join Mendelsohn this week in Culver City for a reading and conversation. A copy of ECSTASY AND TERROR is included with admission.

DANIEL MENDELSOHN

Tuesday, October 29, at 7:30 pm.

Kirk Douglas Theatre

9820 Washington Boulevard, Culver City.

From top: Daniel Mendelsohn, photograph by Matthew Mendelsohn, courtesy and © the author and the photographer; Mary Renault, The Persian Boy cover image courtesy and © Pantheon; Mendelsohn, Ecstasy and Terror cover image courtesy and © New York Review Books; Duane Michals, The Adventures of Constantine Cavafy, 2007, image courtesy and © the photographer and Twin Palms Publishers; Evelyn Waugh, Brideshead Revisited cover image courtesy and © Dell.

PAUL RUDNICK’S BIG NIGHT

During the awards season, Hollywood occasionally likes to pretend that it’s a meritocracy of quality and craft, and not a desperate scrum devoted to the acquisition of shiny statuettes—and the explosive yet temporary prestige and box-office bonanza that follows.

The billboards and trade-paper ads, the stress, the diets, the false humility, the cracked voices and tears at the podium, the world-class ridiculousness that obtains until the last Academy Award is handed out are all grist for satire, and if Paul Rudnick—in spirit and in contract—is too far inside to truly bite the hand that feeds him, the first half of his new play BIG NIGHT (a world premiere at the Kirk Douglas, directed by Walter Bobbie) is a an often-hilarious jab at Oscar-night hijinks in the manner of Noël Coward: slaps, not punches.

A nominated actor, his boyfriend, his agent, his transgender nephew, his mother Esther, and his mother’s lover—all lovable monsters of need, greed, and ego—are thrown together in a Beverly Hills hotel suite before the awards ceremony. Esther (a chic social x-ray smoothly played by Wendie Malick) picks the biggest night of her son’s life to come out of the closet and introduce the assembly to her new partner, the African-American writer, professor, and multiple-Pulitzer Prize winner Eleanor (Kecia Lewis, a exuberant foil).

(In one of the evening’s funniest lines, Eleanor confides that she knew Esther was for her when she came to realize, “There’s a woman who believes cosmetics should be tested on Republicans.”)

Halfway through the play, tragedy strikes. Using a ripped-from-the-headlines catastrophe as a prop to reveal the serious side of a bunch of jokers is a dangerous game—writing to type works better with comedy than tragedy—and if the play doesn’t quite recover from its drastic U-turn, at least Rudnick took a chance. What resonates in BIG NIGHT, what has always been Rudnick’s forte, is his portrayal of the multivalent overlap of bourgeois queer experience—our insights and our blindness, our great ongoing experiment.

BIG NIGHT, through October 8.

KIRK DOUGLAS THEATRE, 9820 Washington Boulevard, Culver City.

centertheatregroup.org/tickets/kirk-douglas-theatre/2017-18-season/big-night/

From top: Kecia Lewis and Wendie MalickBrian Hutchison (nominated star) and Max Jenkins (his agent); Luke Macfarlane (star’s boyfriend) and Hutchison; Lewis, Malick, and Tom Phelan (nephew) in Big Night. Photographs by Craig Schwartz.

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MODERN GIRLS

“How do you defend yourself? Is it what you say or how you say it?” — ACTUALLY, by Anna Ziegler

In two major dramas on two Westside stages, a group of contemporary American girls—17, 18, 19 years old—navigate a minefield of casual sadism and, even worse, insidious apathy, mostly at the hands of their peers.

In Ruby Rae Spiegel’s brutal, brilliant DRY LAND—an Echo Theater production at the Kirk Douglas, directed by Alana Dietze—high-school swimmer Ester (Connor Kelly-Eiding) is so desperate for love and friendship that when her pregnant teammate Amy (Teagan Rose) orders her to repeatedly punch her in the stomach to induce an miscarriage, Ester willingly obliges. Amy—strong, magnetic, self-destructive, and deeply ashamed of her own intelligence—finds her strength by being her worst self, and beneath her confident mask lies a deep well of shame.

“My mom told me I was ‘pretty enough.’ Which probably 100% of shrinks would say explains everything.” — ACTUALLY

Anna Ziegler’s ACTUALLY (directed by Tyne Rafaeli at the Geffen Playhouse) draws on the same theme: the outwardly impressive versus the earnestly impressed.

Princeton freshman Tom (Jerry MacKinnon) is hot, African–American, loves Mozart, and is a self-proclaimed player (all plot points). His classmate Amber (Samantha Ressler) is Jewish, analytical, and a bit of a “mouse” (also plot points). They meet, talk, and go on ice cream dates, but once they partake in their university’s party culture, a disastrous night is quickly followed by Tom being called before an adjudicatory panel, charged with rape.

Both parties were drinking to excess on the night in question. In a shattering monologue near the end of the play, Amber makes clear that what hurt most during their night of rough, blackout sex was not the physical pain she was feeling, but the fact that her partner— unhearing, unseeing, yet right on top of her—had vanished.

 

DRY LAND, the third in a series of three Block Party plays, through May 21.

KIRK DOUGLAS THEATRE, 9820 Washington Boulevard, Culver City.

centertheatregroup.org/tickets/kirk-douglas-theatre/2016-17/block-party/

 

ACTUALLY, through June 11.

AUDREY SKIRBALL KENIS THEATER at the GEFFEN PLAYHOUSE, 10886 Le Conte Avenue, Westwood.

geffenplayhouse.org/actually

Teagan Rose and Connor Kelly-Eiding in The Echo Theater Company production of Dry Land Photograph by Craig Schwartz © 2017 Craig Schwartz Image credit: Kirk Douglas Theatre/CTG Media

Teagan Rose and Connor Kelly-Eiding in The Echo Theater Company production of Dry Land. Photograph by Craig Schwartz
© 2017 Craig Schwartz
Image credit: Kirk Douglas Theatre/CTG Media

 

FAILURE: A LOVE STORY

Founded in 2009 by a dozen graduates from Cal State Fullerton, the Coeurage Theatre Company embodies the spirit of kids-putting-on-a-show with masterful comic timing and lyricism. FAILURE: A LOVE STORY, by Philip Dawkins, was originally produced by the company in 2015, and is now back on the boards in an energetic revival directed by Michael Matthews at the Kirk Douglas Theatre. (The inaugural play in Center Theatre Group’s new “Block Party” series.)

Set in the 1920s, this Theater of the Absurd-meets-vaudeville tells the story of the Fail family, owners of a Chicago watch and clock emporium and all manner of idiosyncratic behaviors. But as is made clear very early in the show, the source of their livelihood—the measurement of time—ends up leaving most of them with very little of it. In the hands of this deft ensemble, the echoes of loss and regret are never drowned out by the audience’s nearly continuous laughter.

(The showstopper “Johnny Weismuller” was written by Coeurage’s resident composer and music director Gregory Nabours, with lyrics by Dawkins.)

 

FAILURE: A LOVE STORY, through April 23.

KIRK DOUGLAS THEATRE, 9820 Washington Boulevard, Culver City.

centertheatregroup.org/tickets/kirk-douglas-theatre/2016-17/block-party/

coeurage.org

gregorynabours.com

Nicole Shalhoub and Denver Milord (foreground); Gina Torrecilla, Cristina Gerla, Brittney S. Wheeler, and Kurt Quinn (left to right, background) in the Coeurage Theatre production of Failure: A Love Story. Photograph by Craig Schwartz. © 2017 Craig Schwartz

Nicole Shalhoub and Denver Milord (foreground), and Gina Torrecilla, Cristina Gerla, Brittney S. Wheeler, and Kurt Quinn (left to right, background) in the Coeurage Theatre production of Failure: A Love Story.
Photograph by Craig Schwartz.
© 2017 Craig Schwartz