Ernest Kearney, an award-winning L.A. playwright and rabble-rouser of note, has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist three times in the Julie Harris Playwriting Competition. His play Peddle was selected by the Midwest Theatre Network as one of the best plays of 1997. His most recent work 'The Salt Prince' was awarded honors from the Nathan Miller History Play Contest as well as the Fremont Center Theatre Play Contest. A passionate theatre and history buff, Mr. Kearney's reviews can be found on workingauthor.com and TheTVolution.com. Hang with him on Facebook. Comments welcome.

TWO FISTED LOVE review

50%

There is a great deal of talent involved in "Two Fisted Love," currently running at the Odyssey Theatre. On stage and off, the production is saturated with film and television professionals whose program notes would prime the salivation glands of about 87 percent of the actors in this town. Playwright Sessions, who has re-booted Grant Wood’s "American Gothic," has worked the surface details nicely but has not attended to the interior demands of the piece. This limits what director Jules Aaron can accomplish, since a director’s work is 90 percent beneath the surface.

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WATER BY THE SPOONFUL review

50%

The 2014 Pulitzer prize-winning, “Water by the Spoonful,” now at the Mark Taper Forum through March 11, is Act II of the “Elliot” trilogy by “In the Heights” coauthor, Quiara Alegría Hudes. And while I admire the ambition of Hudes’ undertaking, sadly, if the parts are unable to stand independently as in Alan Ayckbourn’s "The Norman Conquests," Horton Foote’s "The Orphans' Home Cycle" and of course Will’s "Henry IV," Parts 1 and 2 and "Henry V," then the effort is moot. The characters of Elliot and Yazmin who are bridges to the preceding ("Elliot, A Soldier's Fugue") and proceeding ("The Happiest Song Plays Last") plays—in this middle work, are, “dangling flanks” with all of their inherent weaknesses.

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GREAT EXPECTATIONS review

100%

The audience has come to The Lovelace Studio Theatre at the Wallis Center for the Performing Arts, in expectation of a theatrical interpretation of one of the great classics of English literature; that 183,349-word bildungsroman boasting six principal characters, 33 secondary characters and scores of supernumeraries - Charles Dickens’ "Great Expectations"— said adaptation being accomplished by playwright Andrew McPherson. They will not leave disappointed.

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THE HOUSE IS BLACK review

100%

That Sussan Deyhim’s The House is Black Media Project had such a limited engagement at the Wallis Annenberg Center for the Performing Arts is unfortunate. In Deyhim’s homage to the feminist movement in her native Iran and Forough Farrokhzad, we are reminded that underneath the atavistic fundamentalism of their ruling government, lies an ancient and noble culture of 81 million souls who have been stifled but not extinguished.

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THE CHOSEN review

100%

The Fountain Theatre’s West Coast Premiere of “The Chosen,” adapted for the stage Aaron Posner and Chaim Potok—author of the original work—is a well-deserved celebration of the novel’s 50 year anniversary. An evening of theatre at its finest, Director Simon Levy succeeds in that rarest of feats, making two hours fly by only to leave his audience wishing for a third.

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REDLINE AND SINNER'S LAUNDRY review

100%

by Ernest Kearney — Forgiveness seems to be the theme of “Redline,” now playing in rep with “Sinner’s Laundry” at the Lounge Theatre in Hollywood. The Christian Durso two-character drama is premiering as part of IAMA Theatre Company’s tenth anniversary season celebration.

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THIS LAND review

100%

In "This Land," at The Company of Angels, playwright Evangeline Ordaz, uses a parcel of earth to structure a breathtakingly ambitious history of this city and its people that stretches over a century and a half.

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RUNAWAY HOME review

100%

"Runaway Home" by playwright Jeremy J. Kamps, is a cannonade of language that comes at the audience like canister shot. It also asks one of the great questions in life, “Can all the king’s horses and all the king’s men…?” If you see the play as a “cannonade of language” then Camille Spirlin in the pivotal role of Kali, is definitely the fuse who whips through this piece with a force only slightly less formidable than Katrina.

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GREY NOMAD review

100%

An evening full of simple humanity and simple humor which will gobsmack you with a simple fairdinkum about life, if you play by all the rules, you’ll miss all the fun.

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