Terry Morgan

Audience identification is an interesting phenomenon. It's the fact that audiences will have sympathy for a possibly repellent character simply because he or she is the protagonist in a story—perhaps it's an artistic variant of Stockholm Syndrome?

Having seen a couple of plays written by Bruce Norris, (Clybourne Park and The Parallelogram) I'm beginning to detect a theme in his writing. He seems to find the purportedly liberal beliefs of certain rich white people worthy of ridicule, specifically convictions of a "politically correct" strain.

Knott's plot is a well-oiled tension machine, and the revival at the Geffen Playhouse (in a new adaptation by Jeffrey Hatcher) demonstrates that the machine still functions proficiently. Alison Pill is marvelous in the lead role, but unfortunately there are a couple of problems in this generally strong production that keeps it from firing on all cylinders.

The L.A. premiere of David Greig's adaptation of August Strindberg's 'Creditors' feels like something freshly written by Neil LaBute.

Nicholas D'Agosto, Kate Maher and Gigi Bermingham in the Antaeus Company's production of "The Liar." Photo - Geoffrey Wade The Antaeus Company has delivered a sparkling production of Pierre Corneille's 17th-century play The Liar. It's a brilliant modern adaptation by David Ives and is one of the wittiest things I've seen in years. The downside of being a theatre company that specializes in the classics, such as the Antaeus Company, is that, rightly or...

Scary plays are a rarity in the American theatrical landscape, but thankfully Los Angeles has several theatre companies that offer something macabre for horror aficionados.

The primary joy of the Fountain Theatre's current revival of "The Normal Heart" is the demonstration of what a strong, smart, character-driven play it is. The production is excellent on all levels, from Simon Levy's dynamic direction to the outstanding ensemble, with Tim Cummings delivering an electrifying, career-best lead performance.

I've seen any number of plays about alcoholism and broken relationships and the beginning of young romance (albeit perhaps not all themes together in one show), and this one regrettably doesn't seem to have anything new to say on any of those subjects.

Kimberly Atkinson and Eric Curtis Johnson in the Sacred Fools production of "Do Androids Dream of Electric Sheep?" Photo - Jessica Sherman Photography Late great science fiction author Philip K. Dick's two thematic questions that ran through almost all of his work were "What is reality" and "What does it mean to be human?" While his novel The Three Stigmata of Palmer Eldritch is an example of the former question, a nightmarish tale of...

em>Rapture, Blister, Burn is a show that blends its discussion of changing views of feminism over the last several decades with a compelling story.