DAN BERKOWITZ is a member of the Council of The Dramatists Guild of America, the professional association of playwrights, composers, and lyricists; and Co-Chair of The Alliance of Los Angeles Playwrights, the service and support organization for playwrights in Southern California. His writing for the stage has been produced off-Broadway, at major regionals, and in other venues across the US and Canada, and includes the popular revue A… My Name Is Still Alice; There’s No Place Like Hollywood!, nominated for LA’s Ovation Award for Best Musical; and more short plays than he can remember. Dan also produces, directs, and is a script and production consultant. http://danberkowitz.com.

ROTTERDAM review

Rotterdam is funny, it’s sad, it’s wise, it’s absurd, it’s emotional, it’s profound, and yes, it’s topical. But don’t let that scare you off.

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THE VIEW UPSTAIRS review

It’s Celebration Theatre, which, ipso facto, means the actors are good. And the director is Michael A. Shepperd, which means those good actors work hard and give it their all. With the assistance of period-appropriate choreography by Cate Caplin, vibrant music direction by Mr. Anthony, a terrific set by Alex Calle and lighting by Martha Carter, and first-rate costumes by Michael Mullen – a special shout-out for the ghostly-elegant final outfits – Mr. Shepperd has created an energetic and heartfelt production which crackles along and almost manages to overcome the weaknesses of the script and score.

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GREY NOMAD review

All the actors are splendid, terrifically funny but utterly believable, and Mr. Sinclair’s direction keeps things crackling.... Grey Nomad is Dan Lee’s first produced play, and the Australian Theatre Company has done a bang-up job with it. Here’s to hearing much more both from Mr. Lee and the Company!

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ARSENIC AND OLD LACE review

"Arsenic and Old Lace" isn’t “cutting edge” in any way – even the murders are done with poison, not cutlery – but it’s a good, solid, old-fashioned play being given a good, solid, old-fashioned production. Warm and fuzzy is kinda nice, come to think of it.

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THE CAKE review

That [Debra Jo Rupp] is here now in Los Angeles, and appearing onstage in Bekah Brunstetter’s The Cake through August 6, is proof that God indeed loves the world, smiles on California, and wishes our civilization to flourish.

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CRIMES OF THE HEART review

Ms Henley’s delightful play – sharply funny yet profoundly moving – and Mr. Yankee’s fluid direction celebrate women and sisterhood, and make for a fine (and slightly mad) night at the theatre.

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KISS review

The whole thing is all very earnest. But a little bit of earnestness goes a long way, and too much quickly devolves into pretentiousness. And while many plays start obliquely, then clear things up by the end, \"Kiss\" is a play which starts confusingly, then spirals down into aggressive incoherence. It’s full of sound and fury, signifying… well, if you can figure it out, I wish you’d tell me.

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FARRAGUT NORTH review

The characters talk a lot, but we never get a sense of what they’re thinking or feeling underneath the words. It’s “what you see is what you get” – in this case, an engrossing (if nasty) story with some interesting (if nasty) characters, but with no hint of where they came from, or what propels them to do what they do the way they do it. It’s an attractive and polished surface, but I wish we had occasionally gone a little deeper.

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OF MICE AND MEN review

\"Of Mice and Men\" is about dreams, and how difficult – and often impossible – they are to fulfill. In their striving for peace and happiness, for companionship if not love, and for at least a bit of security, these characters are timeless.

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PURE CONFIDENCE review

\"Pure Confidence\" is a dynamic and challenging work by Carlyle Brown, being given a splendid production by the Lower Depth Theatre Ensemble. Like Lower Depth’s previous production \"Dontrell, Who Kissed the Sea,\" \"Pure Confidence\" shows us another facet of the African-American life experience. It does so with confidence, talent, and compassion, and is thoroughly engaging. Go.

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