Monday, Jan 23, 2017

Compleat Female Stage Beauty

Compleat Female Stage Beauty

“Under the astute guidance of helmer John Perrin Flynn, an accomplished 18-member ensemble impressively bombards the audience with the hedonistic merriment of these post-Puritan times. Traynor is impressive… Margaret Hughes (a dead-on Tracie Lockwood)… In an ensemble of capable performances, Rachel Avery is comically delicious… Rochelle Greenwood offers an endearing portrayal as lovelorn seamstress Maria. Also impressive are Rick D. Wasserman’s pragmatic theater impresario Thomas Betterton, Gwillim’s deceptively foppish King Charles and Steve Cell’s properly masculine outing as Kynaston’s lover. The musical contributions of Penny Orloff and Catherine Campion add a sumptuous underscore to the proceedings. The production designs of Stephanie Kerley Schwartz (sets and costumes) and Dan Weingarten (lights) greatly contribute to the period veracity of the work.” Variety

“Director John Perrin Flynn deftly captures the play’s epic sweep, and he’s well-served by a large and able cast. Stephanie Kerley Schwartz provides the handsome unit set and the lavish costume designs, which range dizzily from Elizabethan through Restoration to contemporary…… great fun to watch.” Backstage  (Critic’s Pick)

“A compelling take on the issues of sexual identity and artistic freedom now entrenched in our own culture…” LA Weekly

“Dedicated Anglophiles and avid theatergoers will be delighted by this marvelous production.” Campus Circle

“Michael Traynor in the role (Kynaston) is remarkable…John Perrin Flynn’s brilliant production , with this outstanding ensemble and Stephanie Kerley Schwartz designed costumes, is an interesting blend of modern and classical. Our CRITIC’S PICK. A must see!” KCLA/KLAS American Network Radio

“The new Rogue Machine collective stages the story with style …fine work vested.” Los Angeles Times

“Traynor is mesmerizingly poignant. The supporting cast under the lively baton of John Perrin Flynn is excellent. Stephanie Kerley Schwartz designed the elaborate period costumes and multi-layered set, astutely shaded by Dan Weingarten’s lighting design. Actress/singer Penny Orloff opens the show with exquisite 17th-century madrigals that set the tone for the intuitive taste and high standards of this new group in its debut production.” Curtain Up

“Director John Perrin Flynn provides a large, colorful production, fast-moving and frequently funny. Traynor plumbs the depths of the character (Kynaston) with style and a touch of derring-do. Nell Gwynn is portrayed rather like a burlesque queen, but Avery is enough of an actress to catch her flavor, while Tracie Lockwood ably captures the affectations of the untalented Hughes, as well as her more convincing performance when she’s taken apart and put back together by Kynaston. Stephanie Kerley Schwartz provides the huge and handsome unit set.” The Pink Sheet

American Dead

American Dead

“Dado stages the kaleidoscope of scene with meticulous attention to subtext and the language. The ensemble work is finely tuned…while atmospheric platform set and tender lighting design add visual poetry…” LA Weekly (Recommended)

“…a knockout from fast-rising playwright Brett Neveu. This marvelous production is a feather in the cap for Rogue Machine…” Backstage (Critic’s Pick)

“…impressive cohesion of direction, design and performance…excellent company…a story you find yourself investing in.” Los Angeles Times

“Outstanding direction…sterling performances…absolutely superb design team. Well worth seeing…makes one eager to see what’s next for Rogue Machine.” Stage Scene LA

“The Rogue Machine presentation of this West Coast premiere is a moving study..full of subtle character moments from an expert cast….Dado uses every bit of the large stage effectively and excels.” Variety

“Rogue Machine has come up with a dandy of a show for their second presentation…Neveu creates a gripping tale Dado uses moody lighting to accentuate the fluid sets on the broad stage and the actors create the residents with sharp outlined characters. Mark St. Amant delivers an exceptional performance.” (Recommended)

“It’s a startlingly relevant play…beauty is the rare way in which he (the playwright) evokes this time and place, regionally and nationally. Dado (the director) has an instinct for making the play’s fantasy real. In addition to St. Amant’s whacked-out brilliance and Dillon’s ferocity, the excellent cast includes David Paluck, who injects solidity and integrity into Doug, whose character the playwright simply implies…evocative play.” Curtain Up



“As the play that ends its impressive inaugural season, “Razorback” announces Rogue Machine as one of the most ambitious and accomplished new theater companies in L.A. Memorable…Pollono’s dialogue is fresh and his characters feel real, to such an extent that this play almost works better as a family comedy/drama than a thriller.” Variety

“High-quality performances…a trendy new black comedy for a post-Sopranos mind-set….handsomely staged premiere….an intriguing assortment of vivid characters…” Los Angeles Times

“Gripping…actors are extremely good…believable in their various convoluted and complex roles. Director Elina de Santos keeps things moving briskly and Stephen Gifford’s elaborately detailed house design is well-conceived and well-used.” Curtain Up

“Engrossing… subtle family nostalgia, and a confluence of experiences and regrets…the sounds of the forest are so convincing that you can almost smell the trees.” Santa Monica Daily Press

“Phenomenal performances…Don’t miss it.” KCLA/KLAS (Critic’s Pick)

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