KCRW's Opening the Curtain

What?s the difference between farce and satire?

If you're looking for a traditional MacBeth look elsewhere. If you want a 50-minute darkly sexual, inappropriately funny, thrill ride, don't miss this one.

Anthony Byrnes on the theater version of "The Exorcist," currently up at the Geffen Playhouse.

Anthony Byrnes on a simple 'boy and his horse' story and the theatrical magic created by the National Theatre of Great Britain and the Handspring Puppet Company.

Anthony Byrnes poses the question, "Does LA really need a fringe festival in the first place?"

Playwright Vanessa Claire Stewart?s new play at Sacred Fools is deeply indebted to silent films in ways that make it both as rich and as frustrating as its source.

Anthony Byrnes reviews 'Los Otros,' which plays at the Mark Taper Forum downtown through July 1.

Anthony Byrnes on Murray Mednick's play within a play, which embodies the wonderful alchemy possible when a lifetime of craft is mixed with a still youthful experimentation with form.

Anthony Byrnes on the production of Boston Court Theatre's production of Michael Elyanow's Medea, as told through the eyes of children...

The Cornerstone Theater's latest production is produced in partnership with Father Greg Boyle and the Home Girl Cafe, which trains former gang members to run a restaurant.

Anthony Byrnes on the Evidence Room's quirky production of Ivanov at the Odyssey Theater.

Anthony Byrnes on the Evidence Room's quirky production of Ivanov at the Odyssey Theater.

Anthony Byrnes recalls Anna Deveare Smith's one-woman show "Twilight: Los Angeles 1992" and the role of theater in the civic dialogue of the city.

Anthony Byrnes on Mikhail Baryshnikov in a chronicle of the painful and awkward moments that precede love.

Anthony Byrnes on the history of the Internet, privacy in the Age of Google, and the mystical thinking of philosopher Martin Buber in Matt McCray's "Eternal Thou."