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.

ROTTERDAM review

Rotterdam has no heroes and no villains, just people doing their best in a difficult situation. It is a play that will not only make you think, but teach you about life experiences and identities you may not share, at a time in the world when understanding others and showing compassion feels so critical. Don’t miss it.

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BRIGHT STAR review

Just as Alice’s life is an ongoing combination of happiness and trouble, if the aesthetic and strong production elements are the happiness of Bright Star, the story is most certainly the trouble. With the exception of Alice, none of the characters are more than one-note, and the tone, dictated by turns in the plot that are at once predictable and perplexing, is wildly inconsistent.

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LES LIAISONS DANGEREUSES review

As usual, Antaeus is doing fine work here. The actors are strong, the design elements solid, and efforts were certainly made in the production to bring the story into the 21st century and keep things interesting throughout the rather lengthy running time of two hours and 30 minutes. But there is ultimately much about the story that cannot help but feel dated.

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OUR TOWN review

Aside from the fact that it is performed simultaneously in two languages, nothing else in the staging felt particularly innovative or different...in a world that feels more fractured and more damaged by the day, the reminder about the importance of appreciating every minute and living life to the fullest is perhaps more crucial than ever.

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HEAD OF PASSES review

Rashad is good enough that you wonder if there’s a simpler version of this play that’s just an extraordinary solo performance, since that is what it may as well be anyway. If you set the theatrics aside and focus on only the meat of the story, this would probably be a 20 minute play, which is to be expected given that parables are defined by their simplicity.

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BIG NIGHT review

I don’t know about you, but when I think back to June 12, 2016, I don’t experience a desire to see a blatant dramatization of it. The creators of Big Night, now in its world premiere at Center Theatre Group’s Kirk Douglas Theatre, clearly disagree, and the result is a frustrating play that has plenty to say and yet manages to say nothing at all.

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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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