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Apropos of nothing, here is a list of published plays that I have read recently (in addition to those in which I have performed):

Waiting for Godot by Samuel Beckett
November by David Mamet
Hurlyburly by David Rabe
The Water’s Edge by Theresa Rebeck
‘Art’ by Yasmina Reza
God of Carnage by Yasmina Reza
Travels with My Aunt by Giles Havergal / Graham Greene
On Golden Pond by Ernest Thompson
Uncle Vanya by Anton Chekov

Allow me to recommend a very fun article by French Stewart over at LA Stage Times about theater. About small theater, mostly. Part seriousosity, part tongue-in-cheek.

So why small theater? A couple of years ago I told a friend I was doing another play and she seemed really perplexed. “Why are you still doing this, French? It’s an irrelevant art form. You might as well concentrate on CAVE PAINTING!”

Indeed. For me it’s really simple. It’s a small group of people making something for another small group of people. It’s the same feeling you get when someone sends you an actual letter, prepares a meal for you, or helps you move furniture. It’s personal. Time has been taken, effort expressed. It connects both parties in a very direct way. Plus, you’ve  had an experience that isn’t held hostage on hard drive or film. It’s the sole property of memory. Lovely.

Yup, lovely. This is true and wholesome. But the other side of theater is fun stuff like, “Backstage, we do a pedophile-themed vocal warm up (‘get in the van, I’m a family friend, get in the van, I’m a family friend…’).”

I recommend his current production very much. What’s not covered in this article is that Watson is very inventive in its stagecraft!

In the last seven weeks, I’ve seen seven plays. They span quite a diverse spectrum of good, contemporary American playwriting, including three world premieres. I’m glad I saw all of them! In reverse chronological order, with links to those still running, they were Extraordinary Chambers, No Word in Guyanese for Me, Pursued by Happiness, Re-Animator: The Musical, The Prisoner of 2nd Avenue, Burn This, and A House Not Meant to Stand.

My highest recommendation of the lot goes to No Word in Guyanese for Me because of the strong performance by Anna Khaja in this one-woman show written by Wendy Graf. You want to see good acting? See her. (Disclaimer: I know Anna pretty well.) I’d recommend the performances of Brooks Ashmanskas and Adam Rothenberg, too, but Burn This has closed.

As for the writing, I loved Neil Simon’s comedy as expressed through the spot-on anger of Jason Alexander starring in The Prisoner of 2nd Avenue, but the biggest gut-busting laughter came from a few wonderful moments in the crazy, gory, out-there spectacle that is Re-Animator: The Musical. It needs some small rewrites, if you ask me, but it really knocks home some great laughs — and gross grimaces. I haven’t had such a full-body reaction to theater in a looooong time. On the serious side, I’m glad I got to see Tennessee Williams’s last play, though I didn’t “get” its ending. The chance for reflection on personal tragedies that I got from Keith Huff’s writing in Pursued by Happiness and the reflection I got on personal and global tragedies from David Wiener’s writing in Extraordinary Chambers leads me to recommend these shows and their fine performances and directing wholeheartedly.

Another note. In three of these plays, there’s a role I’m very right for that I tried to audition for or that I actually did audition for. Seeing those actors perform something I’d hoped to perform was interesting. At two of these shows, as I scrutinized, I admired, and that’s that. In one, however, I believe I would have been better, and it was at one of the most prestigious venues on the west coast. What the?

So, with a little luck and a little discrimination, I’ve seen good-to-great performances at a nice little clip lately. You go out and see a good show, too!

From time to time, I feel pangs of missing Boston. Here’s an article that caused a pang! According to Thomas Garvey, a critic I follow online, a critic who is, among other things, very hard to please, “2010 was an extraordinary year.” In fact, 2010 was Boston’s best year for theater in his memory. I read the list of 20 (twenty!) great shows with sadness that I never got to see any of them, but at the same time I’m glad that I can hear about it. It’s great to hear about good work in a good theater scene that I’m glad I got to be a little part of. Go, Bean, go!

An open letter to James C. Taylor, host of Theatre Talk on KCRW:

Dear Mr. Taylor,

Your insight and coverage are commendable. I listen regularly for valuable commentary on the American theater. There is one important thing you should know about the English language, however. The phrase “Theatre Talk” has four syllables when spoken aloud.

Respectfully,

Kevin Ashworth

Upon the recommendation of a fellow Cornellian at a recent alumni gathering, I put 5 small Los Angeles theaters on my list. “See their shows,” that list. I’ve seen about a dozen productions in the smaller theaters around LA, and they always have glaring weaknesses, but I will keep exploring, I promised, with this new list of 5.

First up, The Road Theatre Company. Last night I saw their current production, The Unseen, written and directed by Craig Wright. (I wish he had been there: I’d like to see if I remind him of Peter Krause. But that’s another story.)

My review is short and simple: “This is good theater.” The 3 actors are very good. Nice work, Douglas Dickerman, Matt Kirkwood and Darin Singleton. The direction is tight and compelling, the tech solid. The play itself — intense, dark, disturbing, horribly brutal at one point, but oh so intelligent in most places, particular in the dialog of Wallace — left me sitting there saying only a quiet “Whoa.” But the non-stunned part of me shouts, I found it! I found high-quality theater in Los Angeles. Glory be!

(My only complaint: the special effects are on the loud side a couple of times. Good writing, acting and directing provide the best jolts.)

Congratulations to the Road and their fine team. Congratulations and thank you.