IN ARABIA WE'D ALL BE KINGS Winter 2007

Backstage West critic’s choice
“ it’s hard to imagine a finer realization of the play’s profound human truths…magnificently acted and impeccably mounted…”

“…superbly nuanced interpretation, raucous hilarity segues to heartbreak and fear in a heartbeat…aided enormously by a seamless ensemble…Joel Daavid’s marvelously authentic scenic and lighting design.”

Los Angeles Times Critic’s Pick
“David Fofi, one of L.A.’s best directors, keeps his exceptional cast grounded in each moment; their comedy and heartbreak feels equally earned and the artistic discipline on view here finds strong chemistry…”

“Arabia” carries an undeniably cumulative power.”

Variety
“…a perfectly cast 12- member ensemble that embodies the woebegone urbanites whose shaky sense of stability has been totally disrupted.”

“ This synergistic partnering of scripter, helmer and thesps emphatically underscores the tragic truth that the human psyche yearns for stability and will eventually accept any remnant of it that can be found.”

LA Weekly
“ director David Fofi plays the personal conflicts like a pinball wizard and has assembled standouts including Tim Starks as a self-motivated wheeler and dealer named Greer, and George Russo as the bar’s misanthropic owner, Jake.”

ONE FELL SWOOP July 2007

Backstage West Critic’s Choice
"...Playwright Robert J. Litz does to politics what Joe Orton did to morality.  His satire floats on cynicism and offers both solace and humor for those, armed with spit wads, who have given up on our national political system."
"...marks a high point for new political dramas."

Variety
"...Christopher Game, complemented by Joel Daavid's expressionistic TV monitor -laden set, fluidly guides a talented 15 member ensemble through the self serving agendas of Litz's menagerie of D.C. gamers and media hacks."

… deliciously cynical, if predictable, perusal of Beltway political machinations affecting a controversial Supreme Court confirmation…
"...a comically rich portrayal...with noteworthy attention to characterization by the ensemble"

LA Weekly
ONE FELL SWOOP... Playwright Robert J. Litz does to politics what Joe Orton did to morality. His satire floats on cynicism and offers both solace and humor for those, armed with spit wads, who have given up on our national political system

7 REDNECK CHEERLEADERS

Los Angeles Times  Critics Pick
Reviewed by David C. Nichols
“… Politically incorrect satire… Raucous… Hysterically ambitious…”  “A terrific rotating roster of hambones… Fearless.”
 
Los Angeles Alternative
Reviewed by Andria Regan
“This is a rare one… I’d strongly advise seeing it while you can, it’s easily the best production I’ve seen all year.”

Reviewplays.com
Reviewed by Travis Michael Holder
“…Gloriously revived right back at home…”  “…outrageous dialogue… …truly provides a refreshing,  deliriously funny night out at the theatre.”
 
 
LOVE BITES Winter 2006

Metro LA Recommended
Reviewed by Bruce Schaaf
“…Love Bites demonstrates that the Elephant Company can produce original material with depth and quality.  The level of writing, acting and direction is a little above many of the company’s peers.”

“…this collection of short plays is much deeper…than and evening of simple comedy sketches.”
               
ReviewPlays.com
Reviewed by Jose Ruiz
“The actors are excellent and believable…the ensemble is up to the task as they offer many comic moments and a few serious and introspective scenes that balance out an evening of plays providing a satisfying theatrical experience.”
 
Entertainment Today
Reviewed by Carol Kaufman Segal
“…these short plays are strange in their dysfunctional, comedic aura; and definitely funny.”
 
LOS MUERTOS Fall/Winter 2005/2006

Backstage West Critic’s Pick
Reviewed by Terri Roberts
“ …mixes dark comedy with unsettling drama and fearsome images…”

“The outstanding cast mesmerizes in its willingness to travel to uncomfortable, vulnerable places…””

 “Addiction in all of its crazy, active excesses is not easy stuff to watch, but this tremendous production makes the journey worth it.”
 
Variety
Reviewed by Julio Martinez
“David Fofi guides a committed ensemble through the complicated mire of McNeil’s dramatically powerful treatise on death and redemption…”

“(performances are)…hauntingly innocent and fragile…painfully endearing…exude a fierce moral strength…”
 
LA Times Critic’s Choice
Reviewed by David C. Nichols
“Showing more audacious humor and unsparing insight into behavior than ever…”

”At times the graphic hilarity and poetic tension almost implode…”

“David Fofi keeps the quirks at bay, the stakes honest, and his vivid committed players are superb”

“McNeil gives one of the year’s finest performances, and Blasor’s Amina meets him.

“Los Muertos isn’t pretty, but just try and look away.”
 
SEVEN REDNECK CHEERLEADERS Summer 2005

LA Weekly Recommended
Reviewed by Amy Nicholson
“Outsize parodies rise like theatrical souffle…actors are grounded in reality for the outlandish humor to fell fresh. . .”

“Amy French’s direction perfectly illustrates this fragile balance, and her phenomenal cast is spot on.”  

“It’s a hell of a great ride.”
 
Metro LA Recommended
Reviewed by Milla Goldenberg
“It’s Ambitious and so refreshing”  

“ Not a weak link in this chain and nary a weak moment in this       production.”

“The Directing was spot on and the acting was flawless.”
 
LA SPLASH Magazine
Reviewed by Jane Emery
“Lots of fun and wickedly sexy…”

“ people lept to their feet in uproarious applause…it was simply delicious.”

NEVER TELL Summer 2005

LA Weekly
Reviewed by Steven Mikulan
“...one of the more challenging works in town…this is a sincere, skillful production...”

“Never Tell is a play that lingers in the mind, partly because of its unrelentingly Manichaean view of relationships and its jaundiced look at art voyeurism, and partly because of some strong performances ...”

“Game’s Manny is a likable, Jack Lemmony portrayal....a vulnerable intelligence...”

LA Times
Reviewed by Rob Kendt
“sharp and searching...and the actors dig in with relish”

“The play’s demolition genius is the loquacious, eerily magnetic slacker Hoover, in a born-to-play-him performance by Tito Ortiz.”

“Allbaugh handles the play’s abundant scene changes across Joel Daavid’s versatile, gallery-worthy set with telling bursts of alt-rock-yet another well-place element in this promising effort”

Backstage West
Reviewed by Brad Schreiber
“incendiary work…wonderfully sly”

“Director Lindsay Allbaugh shows an impressive command of the stage”

“Foster and Ortiz have a field day here as the work’s slickly reprehensible characters

UNDERWEAR FOR CHRISTMAS Winter 2004

Back Stage West
Reviewed by Travis Michael Holder
“This contemporary holiday tale is not a Walton’s Christmas reunion by any means, but then these people are a lot more fun.”

“The cast, under Daniel McCoy’s sprightly direction, is unvaryingly committed to Tony Foster’s outlandish material…”

ONE WORLD Summer 2004

LA Weekly Recommended
Reviewed by Martin Hernandez
“The stories and characters intertwined in a compelling fashion, while a chorus of Third World denizens renders heartbreaking and hopeful tales between scenes…:

“Expert Casting…smart staging…humorous and provocative dialogue”

LA Times
Reviewed by David Nichols
“Director David Fofi controls a smart execution, the ensemble responds in kind, rendering the playwright’s overbroad strokes to mounting intrigue and nuance…”

American Radio Network
Reviewed by Gerri Garner
“At the Elephant theatre, they have a sharp, scorching satire on globalization, brilliantly written by Robert J. Litz…”

“This exquisite ensemble cast is outstanding.”

“Dave Fofi’s tight focused direction elicits impeccable performances.”

Back Stage West
Reviewed by Jeff Favre
“(Robert) Litz successfully filters global economy diatribe through a trio of interesting couples, each well acted…If “big issues” are not what you’re looking for in theatre, World will rub you the wrong way”

Review Plays.com
Reviewed by Elizabeth Lopez
“Mr. IMF, Played by Brendan Connor, narrates the story with biting humor.”

“The issue of globalization portrayed in a brutally honest light…”

“I highly recommend it for its solid performances and extremely informative and moving essence courageous for addressing many of today’s issues.”

SOME STRINGS ATTACHED Summer 2003

LA Weekly Recommended
Reviewed by Deborah Klugman
“The play shimmers when the deftly comedic (Amy) French – who portrays gawkiness with infinite grace- commands the stage”

“Hoover’s delivery as a deluded love addict never falters, yielding up many wildly comic moments.”

JESUS' KID BROTHER Fall 2003

LA Times Critic’s Choice
Reviewed by David C. Nichols
“…an irreverent romp…their pun- filled pop score counts several show stoppers. …a marvelous ensemble. .Jesus’ Kid Brother is Delirious…an ineluctable cult hit.

Variety
Reviewed by Julio Martinez
“Brothers Brian and Mark Karmelich, have funneled their skilled melodic sense and irreverent sensibilities into a highly inventive if jaundiced perusal of life in Galilee. …ambitious , amazingly energetic rock tuner…a power-house performance juggernaut.”

Backstage West
Reviewed by Les Spindle
“Grease meets Jesus Christ Superstar meets A Funny thing happened on the way to the Forum…with Motown-style doo-wop tunes in a prodigious pop/rock score by the Karmelich brothers ( Brian and Mark), there’s scarcely a second to come up for air between laughs.”

KING OF CLUBS Spring 2003

LA Weekly Recommended
Reviewed by Martin Hernandez
“The exchanges between (Dave) Fofi’s male characters are well developed…(the ensemble) deliver appealing performances as well as an understated commentary on the deeply toxic effects on
alcohol upon the shallow LA bar scene”

Variety
Reviewed by Julio Martinez
“Curtis Brooks exudes an attractive, boyish charm as conflicted Marine vet-turned bartender Nate”

“Anthony Roman’s Jay is quite likable as the most emotionally transcendent member…”

“the most interesting in this nocturnal menagerie is Don Cesario’s L.K., a twenty year veteran of the shot glass wars”

SERENADING LOUIE Summer/Fall 2002

LA Weekly Recommended
Reviewed by Martin Hernandez
“Superb performances are headed by Fofi and Dolan”

LOVE BITES Spring 2002

LA Weekly Recommended
Reviewed by Neal Weaver
“Tony Foster’s The Maltese Pineapple, in a hilarious parody of The Maltese Falcon”

Back Stage West
Reviewed by Hoyt Hillsman
“The strong performances, fine writing and versatile direction of these pieces reinforce the originality and talent of this fine theatre group. The pieces project an artistic vision and voice that can contribute much to the Los Angeles theatre scene.”

RED CROSS & 4-H CLUB Fall 2001

Back Stage West Critic’s Pick
Reviewed by Bari Newport
“ …the Elephant attacks both boldly and with love, taking delight in every quirky nuance”

“ What a thrill it is to behold such dangerous theatricality”

“ …production design by Elephant Stageworks is masterful”

LA Weekly
Reviewed by Lovell Estell III
“…engaging is 4-H Club because of David Fofi’s intelligent staging”

“Don Cesario, Jim Hiser and David Whitton (are) quite funny at times and add luster…”

DEARBOY’S WAR Summer 2001

LA Weekly Recommended
Reviewed by Martin Hernandez
“Elephant delivers a taut and excellently performed production”

ShowMag.com
Reviewed by Rob Stevens
“…director Danny Leclair ratchets up the tension with his precise direction”

“The performances are top notch”

IN Los Angeles
Reviewed by David Nichols
“there are many opportunities for fire works, which the actors uniformly deliver – compelling, and performed to the hilt by an excellent cast”

THE INSANITY OF MARY GIRARD Fall 2000

Backstage West
Reviewed by Paul Birchall
“An elegant portrait of a proud woman ground to splinters by a brutal and cruel society”

“Quite effective at depicting a horrifying universe of disturbed nightmares”

LA Weekly
Reviewed by Deborah Klugman
“…an intensity here realized with pat McLoy and David Brown’s insightful co-direction, and a strong title performance”

SEARCH & DESTROY Fall 1999

LA Weekly Recommended
Reviewed by Deborah Klugman
“bizarre scenarios are happily balanced by co-directors Anthony Roman and Dave Fofi’s artful staging and well-finessed performances from a youthful ensemble.”

Downtown News
Reviewed by Victoria Looseleaf
“…Elephant Off Main theatre Company’s Search & Destroy is top-notch offering.”

“The company, itself is ambitious with Fofi also providing the spare scenic design…”

“…Curtis Brooks makes an icy psychotic.”

HALFWAY THERE Summer 1998

Back Stage West/Drama Logue
Reviewed by Richard Scaffidi
“It takes guts, friends, and talent (probably in that order) to successfully stage a new play in this town. That blend definitely applies to the Elephant Off Main Theatre Company, which has mounted an audacious, harmonious and often skilled production of Halfway There, written by Michael Vaez with director Chris Game.

“particularly provocative… director Game and this spirited company make it work”

PRINCESS AND THE PEON Summer 1997

Drama Logue Critic’s Pick
Reviewed by Joe Morris
“(Jimmie D.) “Hudson’s script is funny and well thought out… this is a terrific twist on an old tale, full of deft and clever bits”

“(Dave) “Fofi’s sets and lighting do wonders”

“Anthony Roman’s Chamber Maid is one of the funniest performances I’ve seen in quite some time.”

LA Weekly
“a conniving, self-obsessed Princess (portrayed with devilish delight by Andrea Robinson)”

“Director Christopher Game does a good job of keeping the slapstick-filled action moving”

CRIMINAL Fall 1996

LA Weekly
“socially relevant freedom of speech material”

“Jimmie D. Hudson III is wonderfully flamboyant”

(Director, Jeff Walsh’s) stylish use of music to segue between scenes…”

“Erin Toth’s goofy, love struck female newspaper printer named inky is also inspired”

HOLDING CELL Fall 1996

Drama Logue
Reviewed by Amy Schaumburg
“… these performers are uniformly good and, in most cases, even better than their material.”

“… Anthony Roman as Henry, charming, volatile and completely believable.”

“David Fofi as Scott and Erick Nathan as Vincie are explosive together”

LA Weekly Recommended
Reviewed by Lovell Estell III
“Mike Vaez’s raw sense of humor and his flair for gritty dialogue are just part of the story here. The real kick is in his colorful, beautifully scripted and detailed characters”

“Vaez is riotously funny playing Fernando”