TRAVIS MICHAEL HOLDER is Opinionatedasswipe-in-Chief for the new handydandy arts-oriented website TicketHoldersLA.com. He has been a LA theatre critic since 1987 and has taught acting at the New York Film Academy’s west coast campus since 2010. He was Theatre Editor for Entertainment Today for 21 years, reviewed for BackStage for 12 years, and is also currently a contributor to ArtsInLA.com. As a writer, five of his plays have been produced in LA and his first, "Surprise Surprise," became a feature film in 2010, for which Travis wrote the screenplay and appeared in a leading role. An actor since childhood who originally came to LA under contract to Paramount Pictures, he has appeared in six Broadway productions and has traveled extensively in everything from "Bye Bye Birdie," "Hair," and throughout Europe and Asia in "Hello Dolly" to touring as Amos (Mr. Cellophane) Hart in "Chicago." Locally, Travis received the LA Drama Critics’ Circle Award as Kenneth Halliwell in the west coast premiere of "Nasty Little Secrets," a Drama-Logue Award as Lennie in "Of Mice and Men," and he has also received six acting nominations from LA Weekly; a Sage Award; Ovation, GLAAD, NAACP, and five Garland Award nominations. Regionally, he was given the Inland Theatre League Award as Ken Talley in "Fifth of July," three awards for direction and performance as Dr. Dysart in "Equus," and he was up for Washington, DC’s Helen Hayes honors as Oscar Wilde in the premiere of "Oscar & Speranza." His first novel "Waiting for Walk," a memoir of growing up as a child actor, has been sitting in a desk drawer since its completion in 2005, proving there is often a deep divide between talent and functionality. www.travismichaelholder.coms

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME review

Simon Stephen's adaptation of Mark Haddon's best-selling novel examines, through incredibly imaginative visual devices, the inside of someone’s brain living precariously with an unnamed condition falling within the crowded autism spectrum. I am often impressed with the ingenuity, imagination, and determination needed to bring a story like this to fruition as a performance piece, but this five-time Tony winner goes far, far beyond that. This is the stuff that keeps me waking up every morning, switching on the coffee, and facing another day in a world rapidly going to shit around us.

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THE LOST CHILD review

The true elephant in the room chockfull of puzzling and off-the-wall developments is when Angelica admits she is something of a fairy person, living underground with her mystical supernatural guru, if I wasn’t too confused and uninterested by then to get it right. There’s so much to still explore—and eliminate—here. Rowland's dialogue is beautifully written and the characters are potentially intriguing, but even considering all that and the knockout performance by Addie Daddio that will tear at your heart, little Angelica needs to have Ann sew her shadow back on, put her hands on her hips as she often does and sing a chorus or two of “I Won’t Grow Up,” then head back underground just a wee bit longer.

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HERSHEY FELDER'S "OUR GREAT TCHAIKOVSKY" review

Hershey Felder returns to LA and, unlike his previous efforts, this time out has a political and social message that elevates it to an even higher status than all the others. As fame and notoriety grew for Piotr Ilyich during the last half of the 19th century, so did his fearful trepidation that he would be exposed as a homosexual. “Nature is not perfect,” Felder as Tchaikovsky prophetically drops, something he then illustrates, bravely energizing the great man’s rule-breaking compositions while showing how his proclivities haunted his troubled and unfulfilled personal life. Under the wise directorial hand of his frequent contributor Trevor Hay, Felder presents Tchaikovsky as a sweet but tortured man unable to live the life which was endemic to him and, with extremely evocative expertise, he clearly elucidates this malady with his onstage artistry, arrestingly playing some of the master’s most enduringly beautiful compositions with worldclass results.

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THE DEVIL'S WIFE review

For whatever might be lacking, the Skylight’s impressive production values and Tom Jacobson’s unique capacity to entertain is not among the considerations. It’s actually a kinda perfect choice for a mostly mindless night out of summer fun, something desperately needed as our beloved country spirals down into the crapper around us. If I wasn’t such an avid devotee of Jacobson’s work and had no previous reference leading to a prevailing sense of disappointment since I probably was expecting so much, I’ll bet it would have provided a much better time.

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JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS review

The production serves as proof that the haunting lyricism of Jacques Brel’s music and the insightful nature of his evocative, poetic lyrics can make this classic revue survive just about anything--and even eventually inspire director Dan Fishbach’s less accomplished, initially less magnetic cast to eventually soar to unexpected heights.

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HEISENBERG review

Simon Stephens has created a unique play from a predictable situation, delicately peeling away the layers of the 40-something Georgie’s ditsy dysfunctionality and the 75-year-old Alex’ intense emptiness and disappointment with life as their improbable love affair intensifies. Still, a large part of this problem with this production might be the venue itself. The sound at the 739-seat Taper is challenging enough, but when the space is opened to having even more audience on the opposite side while recreating director Mark Brokaw’s original staging from the far more intimate Manhattan Theatre Club, the result is problematic. Regardless, Brokaw’s staging must have been dazzling in better physical conditions and what Stephens’ gives us could easily become a modern classic.

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LES BLANCS review

The spectre of playwright Lorraine Hansberry, who tragically died of pancreatic cancer in 1965 at age 34 before this play was finished, permeates this long, long overdue mounting of "Les Blancs," the ultimate masterpiece capping her brief but brilliant career. It is long and gritty and epic, which is surely why it has been so long ignored despite its continuing importance, but Rogue Machine and director Gregg T. Daniel have taken it on in its difficult uncut state and, adding a dynamic cast and brilliant production designs, have simply made it the highlight of the season for LA theatre.

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THE CAKE review

As the U.S. Supreme Court prepares to take on the case of the Colorado baker who refused to create a wedding cake for a gay couple, Bekah Brunstetter introduces us to a similarly burdened Della (Debra Jo Rupp), a sweetly dutiful god-fearin’ housewife who has found fulfilment in her own small storefront baking business. Director Jennifer Chambers’ cast is uniformly golden and it’s especially glorious to see Rupp onstage playing a darker, naked-er version of Kitty Forman, but the incredibly funny and promising Brunstetter still needs to go back to the drawing board to tie everything up with a bit less episodic television-like ease. As is, The Cake is hilarious, potentially moving, but... well... slightly undercooked.

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THE PRIDE review

Though seemingly simple, under the surface The Pride is a stinging indictment that we, as a species, should live the lives we feel is right for us, without care of what anyone else thinks about our choices. Both in 1958 and 2008, Oliver’s world, which should be rewarding him for his essential gentleness and obvious talents, has turned on him, mainly due to what he has been told all his life was right and what was wrong, leading him into sad, ugly, risky behavior. If we choose to live truthfully, with genuine regard for one another and with our heads held high, nobody can tell us who we should be or what bastardized and antiquated religious-based edicts we must follow.

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BLACKBIRD review

To the credit of director Anna Stromberg and her exceptional performers, what this courageously brazen playwright, unfettered by societal mores that might make him a target for our current conservative “leadership,” eventually manages to accomplish is to make us feel a tremendous well of sympathy for both Una and Peter despite the nature of a crime that, in our culture, is considered abhorrent in every regard. What this leaves us wondering, if we’re really willing to listen, is how much human behavior, all those things that should be allowed to be decided on a private and individual basis, turns twisted because we are told it is twisted. Do such things destroy lives because they’re inherently evil—or is it because our accepted and religiously-spawned heritage demands it must be?

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