Erin developed a love for theater growing up in upstate New York, just a couple hours from Broadway. A resident of Los Angeles since 2011, she began reviewing theater in 2014 and founded On Stage & Screen. In addition, she is a Los Angeles critic for OnStage and a 2017 member of the Los Angeles Drama Critics Circle.

RUNAWAY HOME review

Set in the Lower 9th Ward neighborhood of New Orleans three years after Hurricane Katrina, this beautifully written, powerful play explores different perspectives in the wake of devastation and the cataclysmic effects when those journeys result in a collision course.

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A TALE OF TWO CITIES review

The condensed nature of this adaptation assumes a base knowledge of the source material—certain characters and dynamics feel a bit skimmed over...Overall, this is an interesting, politically-charged take on a classic story that should entertain both fans of the source material and casual viewers alike.

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HAMILTON review

Hamilton somehow not only lives up to the hype, but exceeds it. Directed by Thomas Kail, it is simply a masterpiece on every level. It is the kind of show that raises the bar for the entire art form of musical theater and the kind of show you feel lucky to be experiencing, somehow aware that because it exists, everything that comes after it will be different. You only wonder how Miranda will ever be able to follow up a project he and the rest of the creative team spent many years perfecting, resulting in a finished product that never puts a foot wrong.

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AS YOU LIKE IT review

As a play, As You Like It is charming yet wise, and Antaeus’s cast does a splendid job. Generally, the many strengths of the production keep the action moving along nicely no matter how convoluted the plot gets. Act two meanders a bit too much between inconsequential storylines and feels about 20 minutes too long, but that is ultimately Shakespeare’s fault.

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NOCTURNE review

Nocturne is a truly beautiful piece of playwriting, the type of work you want to crawl inside in hopes of absorbing its secrets. The writing is so stunning, in fact, that you cannot help but wonder if it may be more enjoyable to read than to watch. As a performance, there are parts that feel overwritten, where you could do without almost excessive description, regardless of how pretty the language may be.

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KING OF THE YEES review

Towards the end, Lauren tells the audience the story she ended up telling was not the one she set out to tell. While the character’s identity crisis works well, the play’s does not. It wants to be so many things, ultimately feeling unfocused and about 30 minutes too long. That’s not to say any of its myriad parts are bad or unenjoyable.

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LOVE IS A DIRTY WORD review

You can tell how meaningful this piece is to Adams, and he delivers not only a fine piece of writing that is funny and heartbreaking all at the same time, but also a career-making performance that oozes with passion. Ultimately, Love is a Dirty Word is a smartly conceived, effective solo show that provides a familiar yet refreshing window to the soul of the artist behind it.

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HEISENBERG review

Perhaps it’s because there is so much to love in this play and this production that I could not help but want more. The most jarring choice is the exaggerated and rather baffling accent Parker uses for her character, a lisping, almost drunken-sounding slur that makes Georgie seem, to put it mildly, ditzy.

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