Christine Deitner

Christine Deitner
regional managing editor - United States - Los Angeles

Christine Deitner received her B.F.A. in Theatre Directing/Acting from New York University [Playwrights Horizons].  She has directed versions of established works [Macbeth, The Three Sisters, Tis Pitty Shee's A Whore, Hills Like White Elephants], originals by others [Can't Catch Me Little Man, Watered Down] and originals [Anus Mundi, Entropy] along with numerous musicals at the high school level.  She traveled as a stage and company manager with musicals and dance shows in North America and Europe before moving to Los Angeles where her short film The Space Between played at LA Shorts Fest in 2009 and at AFI.  Christine has worked for Warner Bros. [Tom and Jerry, Right Now Kapow, Looney Tunes], The Simpsons [the movie, the ride, the EA game], Rob Zombie [The Haunted World of El Superbeasto], on the 2009 Sundance documentary Dirt! The Movie, on Disney’s Hannah Montana: The Movie, as a Reader and Story Analyst for Sundance, Exclusive Media and National Geographic and as a screener for Sundance Film Festival’s feature documentaries.  Her screenplays have reached the Semi or Quarter Finals with Gotham, Creative Screenwriting, Zoetrope, and the Nicholl but she is most proud to be able to say she was selected to attend Director’s Lab West this past May 2017 at Pasadena Playhouse.

Molière’s “The School For Wives” At The City Garage Theatre, Santa Monica

Los Angeles can be a tricky theatre city to pin down.  Though we do have a theatre district it is not necessarily centrally located nor conveniently grouped into one clearly defined area. The Music Center, Center Theatre Group, and the Pantages can offer up some visually stunning and emotionally engaging work with large stages, large houses, large casts and operating large budgets, but one of the more enjoyable aspects of the theatre-going experience for this reviewer in this sprawling city is the fact that this spatial reality has motivated companies to carve out niches in sometimes unexpected places and the City...

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“Water By The Spoonful” At The Mark Taper Forum

From the moment the play begins, it doesn’t take long for anyone to understand why playwright Quiara Alegría Hudes’ work has received such praise. She manages to infuse each exchange with a poetry that never diminishes the individual voice of a character–even when that character is delivering a curse-infused rant about a disappointing exchange with a relative. Hudes’ Elliot Trilogy is undergoing a historic simultaneous run at three theatres in Los Angeles with Elliot, A Soldier’s Fugue playing through February 25th, 2018 at the Kirk Douglas Theatre in Culver City, Water By The Spoonful playing now through March 11th, 2018 at the Mark...

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“Bright Star” Shines It’s Light on The Ahmanson, Los Angeles

With the opening of Bright Star at The Ahmanson Theatre at The Music Center in Downtown Los Angeles, our City of Angels has gotten a little brighter thanks to the multi-Tony Award-nominated musical with music lyrics and story by Grammy, Emmy, and Oscar winner Steve Martin and Grammy winner Edie Brickell.  The cast includes Tony Award nominee Carmen Cusak as Alice Murphy, who is nothing short of a pure delight to watch as she navigates North Carolina in the early 1920s and the mid-1940s as an older and more severe version of herself.  The physical choices she makes are...

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“The Dance Of Death” At The Odyssey Theatre Ensemble

Trapped in an atmosphere rife with the air of past punishment and with no concrete tasks to take up their time, Alice [Lizzy Kimball] and The Captain [Darrell Larson] play cards, say they will allow themselves one drink then pour three or more over the course of an evening, and argue with an off-stage cook about a dinner that never arrives.  They wonder whether they should take on another lover and recall how the last threesome went.  If this doesn’t sound like Strindberg to you, you’ve been missing out for not only is the play as sexually explicit as one could get in its time, it is also brutally funny and Ms. Kimball and Mr. Larson know exactly how to use both elements to their most effective ends as they engage in a slowly building battle for supremacy over the other. 

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West Coast Premiere – “Please Excuse My Dear Aunt Sally” At The Odyssey Theatre

Founded in 1969 by Artistic Director Ron Sossi, The Odyssey Theatre Ensemble is Los Angeles’ oldest 99-seat theater complex and is recognized nationally and internationally as “Los Angeles’ flagship innovation-oriented theatre and presenter of international work.”  In 1973 the Odyssey moved to West Los Angeles into a converted warehouse that hosts three theater spaces where three shows often run concurrently.  A visiting production, presented by Working Barn Productions, features the West Coast premiere of New York Times critic’s pick Please Excuse My Dear Aunt Sally.  Written by Kevin Armento and directed by Peter Richards the play tells the story...

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“Heisenberg” at the Mark Taper Forum Brings Uncertainty to New Heights

As Los Angeles’ leading non-profit theatre company, The Centre Theatre Group is known for hosting productions that sometimes move to New York and bringing productions from New York to the LA stage through their relationship with institutions like the Manhattan Theatre Club.  The Mark Taper Forum benefits from these efforts with Tony Award and two-time Olivier Award winner Simon Stephens’ play Heisenberg.  The play first premiered at Manhattan Theatre Club in 2015, went on to a Broadway run in 2016 and now plays at the Mark Taper through August 6, 2017.  Directed by Drama Desk Award winner Mark Brokaw...

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A Question of Comedy in Rajiv Joseph’s “Archduke” at the Mark Taper Forum

The first image we were greeted with as audience members arriving to experience Rajiv Joseph’s Archduke at the Mark Taper Forum in Los Angeles was a bare wooden stage in front of a proscenium that was closed off to us via imposing floor to ceiling doors. When the doors opened, they revealed a doctor’s office complete with a hanging skeleton that appeared on a platform, which rolled, jerkily, into position.  Downstage stood Gavrilo [Stephen Stocking] – the central character in this semi-ensemble-driven piece.  He coughed, his breathing hindered by the blood in his lungs visible on a white handkerchief he...

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