Review: Knott's Halloween Haunt focuses on quality over quantity

The reinvigorated 41-year-old beast known as Knott's Scary Farm has shaken off the shackles of entitlement and cobwebs of advancing age to reassert itself as a contender in the heavyweight battle for halloween skeleton props supremacy in Southern California.

PHOTOS: Halloween Haunt 2013 at Knott's Berry Farm

The granddaddy of all Halloween theme park events had gotten soft and lazy in recent years as cross-town rival Halloween Horror Nights at Universal Studios Hollywood rose to prominence and threatened to steal its bloodied crown.

This year's emphatic rebuttal finds Halloween Haunt at Knott's Berry Farm improving by leaps and bounds with a conscious effort to reduce the emphasis on quantity in favor of a focus on quality.

Gone are the woeful paint-on-plywood mazes with monsters wearing store-bought rubber masks, replaced by new and returning mazes featuring improved set dressings, props and lighting with more monsters in full makeup.

What the Buena Park theme park needs to focus on next is talent. Far too many of the maze monsters during my opening weekend visit were passive, distant and lifeless. They need an injection of the type of energy demonstrated by the Haunt's scare zone monsters, who consistently stalked after their prey with relentless zeal.

Also lacking inside the mazes were repeatable scenes with living victims and choreographed scare sequences. Far too many of the rooms were filled with lifeless dummies and monsters aimlessly milling around. Now that the rooms look like movie sets, the "scareactors" need a script.

Here's my review of the Halloween Haunt 2013 mazes from best to worst:

1) Trapped: The New Experiment

The completely revamped reservation-only up-charge maze sold out every night last year and significantly raised the bar for quality at Knott's. This year, Haunt's maze makers have introduced a whole new set of doorless rooms you have to puzzle your way out of.

While I won't give anything away, I will say that this year's Trapped maze does appear to have multiple alternate routes.

Unfortunately the 2013 version of Trapped is only half as good as the 2012 original. That said, Trapped is still the head-and-shoulders best maze in the park. It's just that the new rooms aren't as creative, intense or difficult to escape from as last year.

2) Black Magic

The experience begins outside the maze with a spectacular digital paint job on the facade that intermittently builds brick by brick, catches on fire and flows with blood. It was the most impressive special effect of night and the exact level of detail Knott's should bring to all its mazes.

New this year are the Skeleton Key rooms, intimate explanations of the back stories for select mazes that are offered to visitors who opt to pay extra for the Fright Lane front-of-line upgrade.

Black Magic offered the best Skeleton Room of the night with a handful of visitors sitting around a séance table as the spirit of Harry Houdini is summoned. Without spoiling the surprise, the maze recounts a number of the famed magician's escapes that quite naturally go awry.

With straitjacketed magicians hanging upside down and madmen trapped in prison cells, the first few rooms of Black Magic should serve as a blueprint for the attention to detail that Knott's needs to bring to every maze going forward.

From the water tank escape to the knife-throwing gag to the manic room full of rabbits, Black Magic was a disturbing delight throughout.

My biggest jolt of the night: A sliding mirror that revealed a monster who leaped right at me. Knott's needs more of these effective types of repeatable scares.

3) Forevermore

Source: Latimes

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Though Liam Hemsworth's new flame has admitted to getting some work done on her nose, multiple doctors tell HollywoodLife.com EXCLUSIVELY that the extent of her plastic surgery goes way further than that.

Liam Hemsworth's new love interest Eiza Gonzalez has not been afraid to admit that her looks are not all-natural, but she may still be hiding some things. HollywoodLife.com has all the EXCLUSIVE details!

Eiza Gonzalez's Plastic Surgery: Way More Than Just A Nose Job?

Comparing pictures of Eiza at 16 and at 23 years old, it's clear that a lot of things have changed - and not just her nose, which Eiza admitted to getting augmented on the Spanish talk show in 2011. Though the facial differences may have been caused by simple maturing and weight loss, both Yael Halaas, MD and Fellow of the American College of Surgeons, and Dr. Marina Peredo of Spatique Medical Spa believe the changes may be artificial.

"Her jawline seems less square and wide," Dr. Halaas told HollywoodLife.com exclusively. "This can be achieved by using Botox in the muscle there." Dr. Peredo also questioned Eiza's jaw area:

It seems she may have had fillers injected into her cheeks as they are noticeably higher and more pronounced in the recent picture compared to the first one. Cheek augmentation also makes the whole face appear thinner and longer which is definitely apparent in the after photo.

Both doctors pointed to other features that seem to have been altered as well, like her eyebrows and even her lips. "Her upper lids seem more visible which can be achieved by upper lid blepharoplasty," Dr. Halaas said, while Dr. Peredo added, "Another area of question would be her lips. Her lips look a lot fuller now which could mean she may have gotten injections to plumpen them."

The consensus is definitely that Eiza has likely put a lot of work - and money - into the sexy face she has now.

Miley Cyrus Devastated By Liam Hemsworth Hooking Up With Eiza Gonzalez

Which in some sense has to make Miley Cyrus feel good. Seeing her ex jump straight from their breakup to kissing the sexy Mexican actress/singer hasn't been easy for her. "It's very hurtful that Liam's moved on and isn't even trying to hide it," a source close to Miley told HollywoodLife.com exclusively. "Miley's putting up a good front and trying to play it off like she doesn't care but she's really f'ed up over this."

Eiza's laundry list of possible plastic surgeries at the very least will give Miley something to help forget her Liam woes.

What do you think, HollywoodLifers? Has Eiza had more than a nose job? Let us know!

- Andrew Gruttadaro Follow @AndrewGrutt

More Eiza Gonzalez News:

1. Eiza Gonzalez Says She & Liam Hemsworth Are 'In Love'
2. Miley Cyrus Is Thrilled Eiza González Is Embarrassing Liam Hemsworth
3. Liam Hemsworth: Eiza González Reminds Him Of 'Old Miley Cyrus'

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Source: Hollywood Life

Jessica Sherman Photgraphy

This was a week marked by enthusiasm by our various critics: Bill Raden praised Sacred Fools' production of Edward Einhorn's 2010 adaptation of Philip K. Dick sci-fi book Do Androids Dream of Sleep?, which is this week's Pick. Pauline Adamek was smitten with Hayworth Theatre's production of the musical bare. Jenny Lower had very positive things to say about Breath and Imagination: The Story of Roland Hayes, about the first internationally lauded African-American classical singer, being performed at Burbank's Colony Theatre. Deborah Klugman praised Joyce Carol Oates' Tone Clusters at Theatricum Botanicum. And Paul Birchall found the 2010 musical The Burnt Part Boys, now at Third Street Theater, to be captivating. For all the latest new theater reviews, and comprehensive theater listings, see below.

Annoyance with capricious authority has been around for a while -- at least since Prometheus Bound, a 5th century B.C. play that may or may not have been written by Aeschylus. There's some dispute about that. There's no dispute that Joel Agee wrote the translation currently at Getty Villa and presented by CalArts Center for New Performance. The same theme of authority on the rocks shows up in comedic form in Eugene O'Neill's Ah, Wilderness! at Actors' Co-op in Hollywood. Both plays are reviewed in this week's theater feature.

Also of note: L.A. Stage Alliance's 2013 Ovation Awards nominees have been announced.

NEW REVIEWS, scheduled for publication September 19, 2013:

Eugene O'Neill's idyllic American comedy, about a young man, his young love, and his coming-of-age. Fridays, Saturdays, 8 p.m.; Sundays, 2:30 p.m. Continues through Oct. 13. Actors Co-op, 1760 N. Gower St., Los Angeles, 323-462-8460, www.actorsco-op.org. See theater feature.

GO: BARE A closeted gay couple in a Catholic boarding school struggle with their secret love affair. Peter (a superb Payson Lewis) wants to come out to his mom and the world, but Jason (an equally outstanding Jonah Platt) refuses, dreading the fallout. Jon Hartmere and Damon Intrabartolo's contemporary rock opera is uplifting despite its sorrowful elements, and the courage of the writers -- and the talented cast -- to plumb the complexities of adolescence, including bullying, cutting, teen pregnancy and burgeoning sexuality, grants us a fantastic musical journey. The writers also forge an intricate, effective parallel between our heroes' clandestine love affair and the star-crossed lovers of Romeo and Juliet by having the school kids rehearse the play throughout. Lindsay Pearce as Ivy, the girl who comes between the guys, is a standout, her pure, strong voice conveying her vulnerability. The songs vary in style from rock anthems to wistful ballads, powerfully performed by a top-notch cast and band, including Alex Seller, who alternates effortlessly between shredding on electric guitar and plucking delicate melodies on acoustic guitar. A muddy sound mix sometimes obscures the incisive lyrics, but this is an affecting show that is not to be missed. Hayworth Theatre, 2511 Wilshire Blvd., Westlake; Fri.-Sat., 8:30 p.m.; Sat., 2:30 p.m.; Sun., 7:30 p.m.; through Sept. 22. (310) 213-6955, ¬ thehayworth.com. (Pauline Adamek)

Daniel Beaty's West Coast premiere revives the lost-to-history account of Roland Hayes, a son of former slaves and the first internationally lauded African-American classical singer. Raised in the South on hard work and spirituals, Hayes (Elijah Rock) overcomes early tragedy to perform in Chattanooga's black churches. When an instructor intervenes to provide professional training, Hayes confronts the objections of his sassily beatific mother, Angel Mo (Karan Kendrick), who believes her son is destined for life as a preacher. Condensing Hayes' life story inevitably leads to some whiplash plot twists and hurried catharsis, but Rock and Kendrick's chemistry under Saundra McClain's direction sustains and clarifies the play's themes. Accompanist Kevin Ashworth tackles a grab-bag of supporting roles, perhaps most jarringly as Hayes' father, when his pale skin imbues the endearment "boy" with inadvertent menace. But his presence offers a pleasing, if farcical, dimension. Shaun Motley's handsome, sweeping wooden set stands in for Georgia fields and concert halls alike. Most stirring is Rock's lustrous timbre as the mature Hayes: Harmonizing with Kendrick through earthy spirituals, he soars through von Gluck's "O Del Mio Dolce Ardor" before dipping into a soul-trembling version of "Were You There?" The superb music direction is by Rahn Coleman. Colony Theatre Company, 555 N. Third St., Burbank; Thurs.-Sat., 8 p.m.; Sat., 3 p.m.; Sun., 2 p.m.; through Oct. 13. (818) 558-7000, colonytheatre.org. (Jenny Lower)

With a hardscrabble Appalachian setting and a score that engagingly echoes the melodies of Copland, Bernstein and Sondheim, this captivating 2010 musical (book by Mariana Elder, music by Chris Miller, and lyrics by Nathan Tysen) is both a sensitive meditation on grief and a heartfelt coming-of-age tale. Ten years after their dads perished in an accident at an isolated mine, a group of teenagers embark on a pilgrimage to visit the spot. Along the way, they are forced to confront their own mortality, their memories of their family and their goals for the future. Director Richard Israel's intimate and beautifully atmospheric production crackles with youthful energy, and, as the characters embark on their rural journey, the piece takes on the feel of a ghost story of loss and redemption. Under Gregory Nabours' crisp musical direction, the bluegrassy songs are executed with heart and gusto. The ensemble is populated by a cast of mostly young performers with unexpectedly subtle vocal chops and strong emotional range. A powerful turn is offered by Daniel David Stewart as Pete, the angry teen whose impulsive actions force his older brother (an equally powerful Aaron Scheff) to pursue him into the wild. Third Street Theatre, 8115 W. Third St., Beverly Grove; Fri.- Sat., 8 p.m.; Sun., 2 p.m.; through Oct. 20. (323) 655-9232, thirdstreettheatre.com. (Paul Birchall)

PICK OF THE WEEK: DO ANDROIDS DREAM OF ELECTRIC SHEEP?

Jessica Sherman Photgraphy

Any adaptation of a novel is a compromise of approximation whose objective should be to faithfully capture the spirit and ideas of the prose in a dramatically compelling way. Which is why Philip K. Dick fans, who have repeatedly suffered the indignity of having their favorite sci-fi author plundered by dumbed-down Hollywood blockbusters, will cheer adapter Edward Einhorn's 2010, high-fidelity transliteration of Dick's wryly ironic, psychedelic, 1968 hall of mirrors. The time is a war-ravaged future in which the question of what it means to be human has been vastly complicated by a band of renegade androids passing themselves off as flesh-and-blood (it's the source material for Blade Runner). Freelance assassin Rick Deckard (Eric Curtis Johnson), a man who relies on a mood device to feel anything at all, is charged with weeding the imposters from the populace via administering "empathy tests" and summary execution. Suffice it to say that nothing is what it seems. Jaime Robledo's inventively cinematic staging (on DeAnne Millais' computer-detritus set) and an unusually fine ensemble (including Lynn Odell, Corey Klemow, Marz Richards and Rafael Goldstein) capture all the nuanced terms of Dick's allegory. But the real discovery of the evening is Kimberly Atkinson and her subtly delineated dual turn as the doppelgangers Rachael Rosen and Pris Stratton. Sacred Fools Theatre, 660 N. Heliotrope Drive, E. Hlywd.; Thurs.-Sat., 8 p.m., through Oct. 19. (310) 281-8337, sacredfools.org (Bill Raden)

THE DREAM OF THE BURNING BOY

It's to scenic designer Erin Walley's credit that she festoons the guidance counselor's office at the high school where David West Read's play is set with a poster that reads, "Face Your Problems, Don't Facebook Them!!" In the wake of the sudden death of popular student Dane (Matthias Chrans), the decoration's tone perfectly captures not only the characters' reaction to Dane's passing--slightly flip with an underlying sincerity--but also what each of them must ultimately do. This starts with Dane's English teacher Larry (Jeff Hayenga), who was the last to speak with him, and includes Dane's sister Rachel (a manically intense Jayne McLendon), his girlfriend Chelsea (Joslyn Kramer), his friend Kyle (Zach Palmer), and his mother Andrea (a scene-stealing Melissa Kite). As the characters come to terms with the tragedy, the hidden ways in which they are connected slowly come to light, nudged along by Steve (Tyler Ritter), the young guidance counselor who was Larry's student not so long ago. Director Edward Edwards deftly balances the comedy and tragedy in the piece, playing its emotional intensity palpably and engagingly.Hayenga and Ritter play well off each other with an odd-couple vibe,and Palmer's high school boyishness is eminently believable. But while cast and director give it their all, the script, despite clever jokes and a tonally spot-on rendition of the high school experience, feels thin, with a number of storylines and characters that could stand to be fleshed out and further explored. Malibu Playhouse, 29243 Pacific Coast Hwy, Malibu; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through Oct. 13.(310) 589-1998, malibuplayhouse.org (Mayank Keshaviah)

THE END OF IT

Breaking up is hard to do, particularly if you're embedded in a 20-year marriage. That's the not terribly surprising message of Paul Coates' play, illustrated by three couples: one straight (Kelly Coffield Park and playwright Coates), one gay (David Youse and William Franklin Barker) and one lesbian (Ferrell Marshall and Wendy Radford). The three couples appear sometimes separately, sometimes simultaneously, suggesting that they are almost interchangeable as they deal with such issues as anger, grief, blame, resentment, loss of desire, fear of aging and abandonment. Coates' script is intelligent, perceptive and sometimes funny, but almost fatally restrained. Only Park is given the opportunity to tap into the raw emotions inherent in the situation. Director Nick DeGruccio marshals his fine actors through a nearly impeccable production, on François-Pierre Couture's blandly elegant set, but no amount of direction can provide the excitement the text fails to supply. End L.A. and Scott Disharoon at Matrix Theatre, 7657 Melrose Ave., Fairfax; Thurs.-Sat., 8 p.m.; Sun., 5 p.m.; through Oct. 20. (323) 960-4418, plays411.com/theend. (Neal Weaver)

A new production of the classic Greek tragedy by the CalArts Center for New Performance. The set features the use of a twenty-three-foot, five-ton revolving metal wheel, to which the protagonist, Prometheus, is permanently bound. Mondays, Wednesdays-Sundays. Continues through Sept. 28. Getty Villa, 17985 Pacific Coast Highway, Malibu, 310-440-7300, www.getty.edu. See theater feature.

As a storyteller, Joyce Carol Oates frequently traverses aberrant corridors of the human psyche. That's readily apparent in this 1990 (since updated to 2003) one-act, about a middle-aged couple, Frank and Emily Gulick (Alan Blumenfeld and Katherine James), whose son has been accused of the brutal rape and murder of a 14-year-old neighbor. The couple's nightmare compounds a thousandfold as they are interviewed live on TV and interrogated about an event too horrendous for them to accept. They're bombarded with questions as they squirm, deny basic facts and search desperately within themselves for an alternative explanation for the obvious. Some of the queries mimic the sensationalized reporting of tabloid TV, while others are stultifyingly theoretical and pedantic and humiliatingly above their heads. Oates intended the piece as a cacophonous expression of a society out of sync with humanity rather than a realistic portrait of two tormented people, but the production's strength is in fact the wonderful craftsmanship of both performers (James is particularly spot-on), and the nuanced complexity of the emotions they depict. As the offstage inquisitor, Jeff Wiesen's voice sounded canned rather than live, perhaps an effort by director Mike Peebler to conform to Oates' original concept. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga; Thurs., Sept. 19 & 26, 8 p.m.; Fri., Oct. 4, 8 p.m.; Sat., Oct. 12, 8 p.m. (310) 455-3723, theatricum.com/index.htm. (Deborah Klugman)

WHAT KIND OF GOD?

Ted Augustyn

A life spent immersed in Catholic school and culture erupts into crippling disillusionment for 17-year-old Aaron (Brett Donaldson) when he can no longer deny his homosexuality. Unable to cope, and wracked with doubts about the faith and his calling to the priesthood, he turns to his mentor, Father Bart (Robert Keasler), who reveals that he is gay. As it turns out, the loathsome Bishop Michael (playwright Steve Julian) has returned to the parish where ghosts of his past sexual predations lurk, and has picked Father Bart to chair a committee looking into sexual abuse. The resultant events inexorably expose secrets and unravel the lives of those involved. This could have been an engaging drama about a topical subject had Julian gone beyond the superficial. Offered instead is an unwieldy, melodramatic tale about homosexuality in the priesthood, teen sexuality, family bonds and the underbelly of church life and politics, which is neither surprising nor of much interest. Aaron's progressive, shrill meltdown approaches parody after a while, and cast performances are only satisfactory under Aaron Lyons' direction. Lillian Theatre, 1076 Lillian Way, Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; through Oct. 20. (323) 960-7787, whatkindofgodtheplay.com. (Lovell Estell III)

ONGOING SHOWS REGION-WIDE

Adults, Keep Out: A Merry Musical for Adults Only: This musical comedy by Evelyn Rudie and Chris DeCarlo (with music by Matthew Wrather) comes with its own warning, right in the title -- and, unfortunately, discerning theatergoers would be well advised to heed the admonition. The show purports to take place in a land of make-believe, where several kids embark on a quest to an enchanted lake of wisdom. The issues here are not related to the execution -- DeCarlo's staging is lively and spirited, while the unusually likable ensemble of extremely fresh-faced and appealing young performers assay their parts with enthusiasm and genuine vocal talent. However, the play itself, a schematic and derivative fantasy tale couched in flatfooted dialogue and tinny musical numbers, is disappointing. The message of Rudie's play -- that young folks grow out of their childlike imaginative worlds -- is by no means dismissable, but the clunkiness of the writing never allows the piece to succeed as either a genuine children's myth or an ironic adult tale. (Paul Birchall). Saturdays, 7 p.m.; Sundays, 3 p.m. Continues through Sept. 29. The Other Space at Santa Monica Playhouse, 1211 Fourth St., Santa Monica, 310-394-9779, www.santamonicaplayhouse.com.

Ah, Wilderness!: Eugene O'Neill's idyllic American comedy, about a young man, his young love, and his coming-of-age. Fridays, Saturdays, 8 p.m.; Sundays, 2:30 p.m. Continues through Oct. 13. Actors Co-op, 1760 N. Gower St., Los Angeles, 323-462-8460, www.actorsco-op.org.

Auto Parts: Writer-director Steve Sajich's play consists of four tenuously interrelated scenes, centering on the murder of a hooker. For reasons best known to Sajich, the four scenes are juggled in performance, with the audience deciding what their order will be. But this seems like a mere gimmick, designed to keep us from realizing just how thin and unsubstantial the play is. Two of the scenes, involving a randy, unfaithful husband (Frank Noon), his jealous and frustrated wife (Kate Kelly) and a prostitute (Angela Stern) carry the plot. The other two peripheral scenes concern a father-son team of thieves (John J. Malone and jack David Frank) who discover the murdered woman's body but can't report it lest it reveal their crime, and a couple of police detectives (Ben Sharples and Deanna Watkins) on a stakeout as part of the murder investigation. The actors acquit themselves well but can't overcome inept dramaturgy. (Neal Weaver). Fri., Sept. 20, 8 p.m. Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena, 626-441-5977, www.fremontcentretheatre.com.

Awake and Sing: Clifford Odets' drama, set in 1930s Bronx, about the Berger family's first generation clashing with the younger generation's desire for independence and freedom. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 3. Lonny Chapman Group Repertory Theatre, 10900 Burbank Blvd., North Hollywood, 818-700-4878, www.thegrouprep.com.

bare: A Los Angeles revival of Jon Hartmere's pop opera about a Catholic school relationship between two roommates, Jason and Peter. Fridays, Saturdays, 8:30 p.m.; Saturdays, 2:30 p.m.; Sundays, 7:30 p.m. Continues through Sept. 22. Hayworth Theatre, 2511 Wilshire Blvd., Los Angeles, 310-213-6955, www.thehayworth.com.

GO: : Bob Baker's It's a Musical World!: Nearly three decades ago, this reviewer attended a production of The Nutcracker with his daughter, and was surprised how thoroughly enjoyable this "children's show" was. Similarly, while It's a Musical World reveals no surprises, the production at the Bob Baker Marionette Theater is a kick from start to finish, and there's even free ice cream after the performance. It's essentially a musical variety show staged in a large carpeted room with chandeliers, immense red curtains and lots of space for the kiddies to take a front-row seat. The musical selections are culled from country, pop, classical, R&B, rock and familiar musicals, and there's even a marionette from Azusa who sings an enchanting aria. Here is a universe of puppets of all shapes, sizes and artful imaginings. The costuming is an eye-catching panorama of colors and styles, and the puppeteers dazzle with their skills. On display are a troupe of clowns, some ice skaters outfitted in turn-of-the-century garb, a garrulous Eskimo, a burlesque chorus, a disco duet featuring "Turn the Beat Around" and a grand American finale performed with the Statue of Liberty as a backdrop. (Lovell Estell III). Saturdays, Sundays, 2:30 p.m.; Tuesdays-Fridays, 10:30 a.m. Continues through Sept. 29, $15. Bob Baker Marionette Theater, 1345 W. First St., Los Angeles, 213-250-9995, www.bobbakermarionettes.com.

Live Arts Exchange (LAX): Local artists perform interdisciplinary dance, theater, art, and music pieces. Visit liveartsexchange.org for a complete schedule of events. Through Sept. 22; Through Oct. 6, liveartsexchange.org. Bootleg Theater, 2200 Beverly Blvd., Los Angeles, 213-389-3856, www.bootlegtheater.org.

Breath and Imagination: The Story of Roland Hayes: The story of Roland Hayes, the son of slaves, who grew up to be the first world-renowned African American classical singer. Written by Daniel Beaty. Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m.; Saturdays, 3 p.m. Continues through Oct. 13. Colony Theatre, 555 N. Third St., Burbank, 818-558-7000, www.colonytheatre.org.

Broadway Bound: Neil Simon's autobiographical Pulitzer Prize-winning play about Eugene and his older brother Stanley, who are trying to break into the world of show business as professional comedy writers while coping with their parents' divorce. Starting Sept. 21, Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Wednesdays, Thursdays, 7:30 p.m.; Saturdays, 2 p.m. Continues through Oct. 13. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada, 562-944-9801, www.lamiradatheatre.com.

The Burnt Part Boys: A coming-of-age musical about a group of teenagers in a West Virginia coal mining town, featuring an Appalachian-inspired score. Book by Mariana Elder, music by Chris Miller, lyrics by Nathan Tysen, directed by Richard Israel. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Third Street Theatre, 8115 W. Third St., Los Angeles, 323-655-9232.

GO: : Dancing on the Edge: Presented on Zombie Joe's Underground's tiny, bare stage, Dancing on the Edge borrows from the company's long-running spectacle of disgustingly funny horror tableaux, Urban Death, in that it consists of almost two dozen dancelets, all in under an hour. And though one ballerina gets shot in the stomach midleap, such glibness is tempered by a more mature investment in themes ranging from despondency -- "Hurt," choreographed by Carrie Nedrow and performed with spasmic rigor by JJ Dubon -- to jealousy to redemption. The recorded musical selections range from Nine Inch Nails to Debussy. The dancing styles are all over the map, from ballet to hip-hop, and the execution by the dancers is superb. (Steven Leigh Morris). Saturdays, 11 p.m.; Sun., Sept. 22, 7 p.m. Continues through Sept. 21. Zombie Joe's Underground Theatre, 4850 Lankershim Blvd., North Hollywood, 818-202-4120, zombiejoes.homestead.com.

Death of a Salesman: Arthur Miller's 1949 play about father and salesman Willy Loman, and his struggle to hold on to the American dream. Thursdays-Saturdays, 8 p.m.; Saturdays, Sundays, 2:30 p.m.; Tuesdays, Wednesdays, Sundays, 7:30 p.m. Continues through Sept. 29. South Coast Repertory, 655 Town Center Drive, Costa Mesa, 714-708-5555, www.scr.org.

Do Androids Dream of Electric Sheep: An adaptation of Philip K. Dick's 1968 science-noir totem about the bounty hunter Rick Deckard and his task of hunting down rogue androids. Written by Edward Einhorn, directed by Jaime Robledo. Thursdays-Saturdays, 8 p.m. Continues through Oct. 19, bit.ly/ElectricSheepLATix. Sacred Fools Theater, 660 N. Heliotrope Drive, Los Angeles, 310-281-8337, www.sacredfools.org.

The Dream of the Burning Boy: A mystery unfolds when Dane, a popular high school students, dies unexpectedly following a meeting with his English teacher. Written by David West Read. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 13. Malibu Playhouse, 29243 Pacific Coast Highway, Malibu, 310-589-1998, www.malibuplayhouse.org.

The End Of It: A new play by Paul Coates, about three couples who simultaneously confront the possible dissolution of their twenty-year relationships. Thursdays-Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Oct. 20. Matrix Theatre, 7657 Melrose Ave., Los Angeles, 323-852-1445, www.matrixtheatre.com.

Fool For Love: Sam Shepard's drama about Eddie, a rodeo stuntman, and May, his lost love, whom he has found living at a motel in the Mojave Desert. Directed by Gloria Gifford. Saturdays, 8 p.m.; Sundays, 7:30 p.m. Continues through Sept. 29. T.U. Studios, 10943 Camarillo St., North Hollywood, 818-205-1680.

Frank and Ava: It's hard to imagine at this late date what new light a stage play could shed on the tumultuous, six-year, 1950s tabloid marriage of Hollywood icons Frank Sinatra (Rico Simonini) and Ava Gardner (Stefany Northcutt). And if playwright Willard Manus' two-character drama is any indication, the answer turns out to be very little. That's not to say that Manus' straightforward biographical survey isn't thorough in its chronicle of the pair's fierce ambitions, insecurities and appetites for both alcohol and marital infidelity, or what inevitably happens when that combustive combination is subjected to the unforgiving accelerant of wealth and celebrity. To that end, Simonini (who bears a passable physical resemblance to a 40-something Sinatra) and Northcutt capably trace the eventful outlines of the story, but neither Manus nor director Kelly Galindo's staging ultimately convinces in illuminating the mysterious charisma of the evidently rather venial couple or why we still care. (Bill Raden). Sundays, 5 p.m. Continues through Sept. 29, hollywoodfringe.org/projects/1371. Three Clubs Cocktail Lounge, 1123 Vine St., Los Angeles, 323-462-6441, www.threeclubs.com.

Gallery Secrets: 4 Plays, 4 Exhibit Halls, 4 Time Periods: Four short plays by four Los Angeles playwrights, performed after hours at the Natural History Museum of Los Angeles County: 1913: A Vast Hoard, written by Tom Jacobson, performed in the Rotunda; 1929: Skins and Bones, written by Ruth McKee, performed in the African Mammal Hall; 1978: Under the Glass, written by Zakiyyah Alexander, performed in the Gem and Mineral Hall; 2013: Prom Season, written by Boni B. Alvarez, performed in the Dinosaur Hall. A production of Chalk Repertory Theatre in conjunction with the Natural History Museum of L.A. County's 100th Anniversary. Sat., Sept. 21, 7 p.m.; Sun., Sept. 22, 7 p.m.; Fri., Sept. 27, 7 p.m.; Sun., Sept. 29, 7 p.m.; Sat., Oct. 5, 7 p.m.; Sun., Oct. 6, 7 p.m.; Fri., Oct. 11, 7 p.m.; Sun., Oct. 13, 7 p.m. Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles, 213-763-3466, www.nhm.org.

Prometheus Bound: A new production of the classic Greek tragedy by The CalArts Center for New Performance. The set features the use of a twenty-three foot, five ton revolving metal wheel, to which the protagonist, Prometheus, is permanently bound. Mondays, Wednesdays-Sundays. Continues through Sept. 28. Getty Villa, 17985 Pacific Coast Highway, Malibu, 310-440-7300, www.getty.edu.

Hamlet: An all-female production of Hamlet -- why?! The gender-bending (and multicultural) casting permits this motley cast of women to tackle the tragedy's meaty classic roles but adds nothing to the production. Rather, it distracts and detracts. Lisa Wolpe and Natsuko Ohama co-direct and star (as Hamlet and Polonius, respectively) in a lively rendition that gallops toward its (implied) bloody finale. Yet this tragedy could have used a firmer hand on the reins. Some perfs are good, others woeful. Emphatic gestures and shouted delivery, as well as the random sound design, rob the text of its subtleties, making this Hamlet for Dummies. Wolpe's interpretation of the gloomy Dane is bitter, sarcastic, playful and energetic as she roughs up both Ophelia and Gertrude in tempestuous scenes. Unfortunately, Wolpe also sometimes rushes her delivery of the scintillating text. Ophelia (Chastity Dotson) is excellent in her descent from confusion into insanity, while the majestic set of faux stone, with its trapdoor for the grave scene, is superb, including its upstairs realm for the lumbering, un-wraithlike ghost of Old King Hamlet (Elizabeth Swain). The swordplay is excellent; the rest is -- silence. (Pauline Adamek). Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Thu., Sept. 26, 8 p.m.; Wed., Oct. 2, 8 p.m.; Thu., Oct. 10, 8 p.m.; Wed., Oct. 16, 8 p.m.; Thu., Oct. 24, 8 p.m. Continues through Oct. 27. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

Humor Abuse: Lorenzo Pisoni's tender homage to his circus ringleader father, the art and the discipline of comedy, and the magic of the circus. Starting Sept. 21, Tuesdays-Saturdays, 8 p.m.; Sundays, 1 & 6:30 p.m.; Saturdays, 2:30 p.m. Continues through Nov. 3. Mark Taper Forum, 135 N. Grand Ave., Los Angeles, 213-628-2772.

In My Corner: The theme of fathers and sons occupies well-trodden ground in the theater, but Joe Orrach's exploration of his relationship with his Puerto Rican father is unique in its presentation. Having been a professional boxer and tap dancer, Mr. Orrach is hardly an average Joe, and he and co-writer Lizbeth Hasse infuse this solo show with elements of his former lives, cleverly employing choreography, a jump rope and a speed bag in the storytelling ... not to mention a live jazz trio. Headed by nimble pianist and musical director Matthew Clark, the musicians provide a rich rhythmic and melodic undercurrent to the show, with a sound that's at times reminiscent of another Bay Area jazz virtuoso, Vince Guaraldi. Director Jeremiah Chechik helps Orrach combine the storytelling with the physicality of the show (such as using the speed bag as a dance partner) and, with lighting designer Briana Pattillo, creates some solid visuals onstage (especially the boxing ring). However, this former pugilist doesn't land as many punches as he ought to; despite his fascinating source material, the show meanders between episodes, lacking a strong enough dramatic throughline to build emotional momentum. Also, other than his father's character, none of the rest of Orrach's family is as well developed in the piece. Still, with some reworking, Orrach and Hasse could potentially turn Joe's multifaceted life experience and talents into a knockout of a show. (Mayank Keshaviah). Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 3. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

Ise Lyfe: Pistols & Prayers: A spoken word hip-hop theater piece, written and performed by artist and educator Ise Lyfe of HBO's Def Poetry Jam. The production is a sociopolitical commentary, blended with a glimpse into Lyfe's coming of age as a man, artist, and advocate for social change. Wednesdays, 8 p.m. Continues through Nov. 27. Greenway Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, www.greenwayarts.org.

Just Imagine: Although the wow factor is missing, aficionados of John Lennon probably will appreciate this tribute to the iconic musician, which juxtaposes renditions of his most famous songs with a narrative of his life. Lennon impersonator and lead singer Tim Piper addresses the audience in a confiding manner as he relates events in Lennon's life -- his troubled boyhood in Liverpool culminating in the death of his mother, up through The Beatles, his marriage to Yoko Ono and his transformation into a family man and spokesman for the counterculture antiwar movement. There are no surprises in writer-director Steve Altman's script, and watching and listening to Piper, an American donning a Liverpool accent, failed to persuade me that I was hearing the real McCoy. That said, Piper's backup band, Working Class Hero, performs well and provides an opportunity for those who wish to reimagine the legend to do so. (Deborah Klugman). Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Dec. 29. Hayworth Theatre, 2511 Wilshire Blvd., Los Angeles, 310-213-6955, www.thehayworth.com.

Kamikaze!: Zombie Joe directs Vanessa Cate in her one-woman theatrical odyssey, conquering her darkest fears, challenges, and limitations with her spirit of truth and triumph. Fridays, Saturdays, 8:30 p.m. Continues through Oct. 30. Zombie Joe's Underground Theatre, 4850 Lankershim Blvd., North Hollywood, 818-202-4120, zombiejoes.homestead.com.

Kin: A romantic comedy-drama, written by Bathsheba Doran and directed by Jules Aaron, about the relationship between a Columbia poetry professor and a personal trainer from Ireland. Starting Sept. 26, Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 27. Theatre 40 at the Reuben Cordova Theater, 241 Moreno, Beverly Hills, 310-364-0535, www.theatre40.org.

Klepto-MANIA: A Night of Time-Travel, Bullfighting, and Love: Opening this bill of one-acts is Samantha Macher's "Brechtian comedy," The Arctic Circle *and a Recipe for Swedish Pancakes. Unfortunately, it's a dreadfully unwieldy affair parceled out in 28- plus scenes that chronicle the amorous life and exploits of Elin (Katie Apicella). Narrated by Amy Scribner, it constantly shifts back and forth in time and place, which makes for a theatrical experience that quickly goes from annoying to mind numbing. There are way too many scenes that are nothing more than trifles, and McKerrin Kelly's direction is consistently labored. If there is any redemption, it's in the acting, which isn't bad. Robert Plowman's The Matador manages to be entertaining, in spite of hanging around too long. Directed by Todd Ristau, and spiced with an engaging pinch of camp, it tells the story of a much heralded matador (played with ticklish panache by Mark Ostrander) who gets more than he can handle when he encounters an unusual bull (choreographer Susanna Young) and an admiring female (Emma Sperka). Studio/Stage, 520 N. Western Ave., L.A., Fri.-Sat., 8 p.m.; Sun., 7 p.m.; through Sept. 22. (Lovell Estell III). Tickets & info: www.kleptotheatreworkshop.com. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Sept. 22. Studio Stage, 520 N. Western Ave., Los Angeles, 323-463-3900, www.studio-stage.com.

L.A. Theatre Works: Reasons To Be Pretty: Thomas Sadoski reprises his Tony-nominated role in Neil LaBute's drama about the modern obsession with physical beauty. The lives of two couples are disrupted when Greg's offhand remark that his girlfriend is not pretty gets back to her. Performed radio theater-style. Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 3 & 8 p.m.; Sun., Sept. 22, 4 p.m. James Bridges Theater, 1409 Melnitz Hall, Westwood, 310-206-8365.

Lake Anne: A New York actress disrupts the peace among a former prima ballerina teetering on the edge, her damaged son, and a mother with her own agenda. Written by Marthe Rachel Gold, directed by John Frank Levey. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 9. NoHo Senior Arts Colony, 10747 Magnolia Blvd., Los Angeles.

The Laramie Project: Ten Years Later: A project that investigates how the town of Laramie, Wyoming has been affected by the 1998 murder of Matthew Shepard and the media frenzy that followed. Written by Moisés Kaufman, Leigh Fondakowski, Greg Pierotti, Andy Paris and Stephen Belber, and directed by Ken Sawyer. Presented by the L.A. Gay & Lesbian Center's Lily Tomlin/Jane Wagner Cultural Arts Center. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Nov. 16. Davidson Valentini Theatre, 1125 N. McCadden Place, Los Angeles, 323-860-7300, www.lagaycenter.org.

Light in the Darkness: Adapter and director Ramon Monxi Flores weaves Mayan mythology into this otherwise predictable message drama about a gangbanger and his uncertain journey toward redemption. Originating from a 1992 script by Victor Tamayo, which focused primarily on drug abuse, the familiar plot revolves around Carlos (Johnny Ortiz), a parentless youth living an empty, violent existence. Street life and drug dealing leave him little time for his girlfriend, Liz (Sara Aceves); that changes when she becomes pregnant and opts, to his dismay, for an abortion. Under Flores' direction, lighting (Sohail Najafi), sound (Andrew Graves) and set design (Marco Deleon) easily eclipse both the boilerplate dialogue and the nonprofessional performances. (Exceptions include Joshua Duron as a twitchy addict, Wali Habib as a shooting victim and Xolo Mariduena as Carlos' younger self.) The production's most striking element is Victor Yerba's fabulous Maya dancing; it, along with other production elements, ties the narrative to an ancient means of salvation. (Deborah Klugman). Fridays, Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Sept. 29. Casa 0101, 2102 E. 1st St., Los Angeles, 323-263-7684, www.casa0101.org.

Lily Ann's LOVE YOU!: Some shows somehow succeed in being fun or entertaining in spite of an overload of faults. Such is the case -- sort of -- with this cabaret- style musical comedy by Beyonde Productions, with book, music and lyrics by Lily Ann. Brimming with groan-inducing shtick, it takes place in a Hollywood nightclub owned by Nicolas Caged (Austin Springer), a red-bedizened Elvis impersonator, whose singing and cache of antics are bad in a laughable sort of way. The star of the evening is the ultra-sexy Mary Lynn (Yvette Nii), who does sing a bit better, and whose desperately stretched sequined dresses garner sympathy from the audience. Mary Lynn is being courted by the "other" Elvis impersonator, Charles Love (Jamie Lane) and country-boy hunk Toby Kiss (Jesse Welch, who actually can sing). In addition to a slew of mediocre songs and music, the evening includes a return-to-the-'60s dance routine, some nifty conga playing by Bob Hardly (Jah-Amen Mobley) and a cheeky murder mystery. (Lovell Estell III). Saturdays, 8 p.m. Continues through Oct. 12. The Black Box Theater, 12420 Santa Monica Blvd., Los Angeles, 310-979-7078.

Little Shop of Horrors: A comedy-horror rock opera based on the 1960 movie. Book and lyrics by Howard Ashman, music by Alan Menken. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 19. Westchester Playhouse, 8301 Hindry Ave., Los Angeles, 310-645-5156, www.kentwoodplayers.org.

Lost Girls: Award-winning playwright John Pollono's new drama about a working class couple, struggling to redefine family. When their seventeen-year-old daughter goes missing during a winter blizzard, former high school lovers are forced to confront their tragic history. Saturdays, 5 p.m.; Sundays, 7 p.m.; Mondays, 8 p.m.; Mon., Oct. 28, 8 p.m.; Mon., Nov. 4, 8 p.m. Continues through Oct. 14. Rogue Machine Theatre, 5041 W. Pico Blvd., Los Angeles, 855-585-5185, www.roguemachinetheatre.com.

Marilyn ... MADNESS & Me: A tale of unrequited love, focused on the last month's of Marilyn Monroe's life as told in first-person by the man who lived it, and confirmed by excerpts from Marilyn's diary. Written by Frank V. Furino, from an original concept by Didier Bloch. Starting Sept. 26, Thursdays-Saturdays, 8 p.m.; Saturdays, Sundays, 3 p.m. Continues through Oct. 20. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood, 818-508-4200, www.elportaltheatre.com.

A Midsummer Night's Dream: Shakespeare's classic summer tale about foolish humans, blind love, and the magic of the forest. Saturdays, 8 p.m.; Sundays, 2 p.m.; Fri., Sept. 27, 8 p.m. Continues through Sept. 29. Studio Theatre at Cal Poly Pomona, 3801 W. Temple Ave., Building 25, Pomona, 909-869-3900.

The New Situation: In playwright-director Carlo Allen's comedy, when schoolteacher Francisco (Joshua M. Bott) gets pink-slipped, he and his agoraphobic sister, Antonia (Susan M. Flynn), are forced to take out a Craigslist ad looking for boarders. Fortunately, their new lodgers -- gay, middle-aged museum docent Constantine (Jordan Preston) and womanizing restaurant manager Rudy (author Allen) -- join the siblings to become a close-knit family unit. They all celebrate their friendship by going off to get colonoscopies. And that's the play. Allen is to be commended for crafting a comedy whose characters face issues of reaching middle age. Sadly, though, the play is a dramatically maladroit work -- and the halting line readings, unfocused blocking and weird pacing jags of Allen's staging benefit the piece little. Although Flynn's comic timing provides a few moments of artistic craftsmanship, the plodding writing and other cast members' onstage awkwardness doom the piece. (Paul Birchall). Saturdays, 8 p.m.; Fri., Sept. 20, 8 p.m.; Fri., Sept. 27, 8 p.m. Continues through Sept. 28. Promenade Playhouse, 1404 Third Street Promenade, Santa Monica, 310-656-8070, www.promenadeplayhouse.com.

The Normal Heart: A revival of Larry Kramer's iconic American play about a nation in denial during the AIDS crisis. Starting Sept. 21, Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Thursdays, 8 p.m. Continues through Oct. 24. Fountain Theatre, 5060 Fountain Ave., Los Angeles, 323-663-1525, www.fountaintheatre.com.

Open House: An audacious real estate salesman needs to sell an overpriced house during an off season. Enter a seductive, mysterious woman new to California who senses that something wrong has happened in the house, in writer Shem Bitterman's third dramatic production at the Skylight Theater. See Stage feature: http://www.laweekly.com/2013-08-01/stage/shem-bitterman-open-house/full/. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Sept. 22. Skylight Theater, 1816 1/2 N. Vermont Ave., Los Angeles, 323-666-2202.

Ordinary Days: A comedic musical by Adam Gwon, directed by Angel Creeks. Four young New Yorkers' lives intersect as they search for fulfillment, happiness, love and cabs. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Sept. 29. Victory Theatre Center, 3326 W. Victory Blvd., Burbank, 818-841-4404, www.thevictorytheatrecenter.org.

Oy!: The story of two German Jewish sisters, Selma and Jenny, who in 1995 return to their home in Paris after a trip to the German city of their youth and try to investigate the swirl of emotions, opinions and memories that surfaced during their trip. This play questions forgiveness, the work of memory, and the state of modern racism in the world. Written by Hélène Cixous, directed by Georges Bigot. Starting Sept. 21, Thursdays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Actors' Gang at the Ivy Substation Theater, 9070 Venice Blvd., Culver City, 310-838-4264, www.theactorsgang.com.

Pericles, Prince of Tyre: William Shakespeare's adventurous tale of Pericles, King Antiochus, and Dionyza, the King's daughter. Directed by Julia Rodriguez-Elliott. See Stage feature: http://www.laweekly.com/2013-09-12/stage/miss-julie-dream-project-pericles/full/. Saturdays, 8 p.m.; Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 2 p.m.; Sun., Sept. 22, 2 p.m.; Fri., Oct. 11, 8 p.m.; Sat., Oct. 12, 2 & 8 p.m.; Wed., Oct. 30, 8 p.m.; Thu., Nov. 7, 7:30 p.m.; Sun., Nov. 24, 2 & 7 p.m. Continues through Sept. 28. A Noise Within, 3352 E. Foothill Blvd., Pasadena, 626-356-3100, www.anoisewithin.org.

Pieces (of ass): A series of original "Pieces," delivered by a cast of twelve of the country's most dynamic and beautiful performers, exploring what defines an attractive woman, from the perks and privileges to the problems and pressures. Fri., Sept. 20, 11 p.m. Beacher's Madhouse at The Roosevelt Hotel, 7000 Hollywood Blvd., Los Angeles, 323-785-3036, www.thompsonhotels.com.

The Pokémusical: Winner of the 2013 Hollywood Fringe Festival's "Best Fringe Festival Musical Award," this original satire follows the first journey of Ash, Misty, Brock, Pikachu and the rest of the crew from the original games as they traverse Kanto, this time with added song and dance. Book and Lyrics by Alex Syiek. Fridays, 8 p.m.; Saturdays, 11:59 p.m. Continues through Sept. 28. Elephant Stages, 6322 Santa Monica Blvd., Los Angeles.

R II: A new production of Shakespeare's Richard II, conceived, adapted and directed by Jessica Kubzansky to be bare and raw, performed by only three actors. Saturdays, 8 p.m.; Sundays, 2 p.m.; Wed., Oct. 2, 8 p.m.; Wed., Oct. 9, 8 p.m. Continues through Oct. 13. Boston Court, 70 N. Mentor Ave., Pasadena, 626-683-6883, www.bostoncourt.com.

Rapture, Blister, Burn: The West Coast premiere of this new comedy, in which feminism's foibles are challenged among three generations of women. The ladies share their raucous and refreshing approaches to navigating work, love and family. Written by Gina Gionfriddo, directed by Peter DuBois. See Stage feature: http://www.laweekly.com/2013-08-29/stage/rapture-blister-burn-feminism/full/. Tuesdays-Fridays, 8 p.m.; Saturdays, 3 & 8 p.m.; Sundays, 2 & 7 p.m. Continues through Sept. 22. Geffen Playhouse, 10886 Le Conte Ave., Los Angeles, 310-208-5454, www.geffenplayhouse.com.

REDCAT's Radar L.A. Festival: An international festival of contemporary theater. REDCAT gathers the some of the most influential theater companies from around the globe to perform alongside innovative Los Angeles artists. Visionary works of theater from Latin America, the Pacific Rim, and Los Angeles in 18 productions performed in downtown's historic theaters and throughout the city. A professional symposium will highlight interdisciplinary approaches and new theatrical forms. REDCAT will be the late night festival hub with a line-up of DJs and informal performances. Visit redcat.org/festival/radar-la-festival-2013 for a complete schedule. Sept. 20-29, 8 p.m.; Oct. 1-6, www.redcat.org/festival/radar-la-festival-2013. REDCAT: Roy and Edna Disney/CalArts Theater, 631 W. Second St., Los Angeles, 213-237-2800, www.redcat.org.

Robert E. Lee: Shades of Gray: A one-man dramatic portrait of one of U.S. history's most enigmatic figures. Written by and starring Los Angeles Drama Critics' Circle Award-winner Tom Dugan. Sundays, 2 p.m.; Wednesdays, 2 & 7 p.m.; Thursdays-Saturdays, 8 p.m.; Saturdays, 2 p.m. Continues through Sept. 29. Rubicon Theatre Company, 1006 E. Main St., Ventura, 805-667-2900.

Rockstar: A new musical featuring the music of the great pianist Franz Liszt and others, written and performed by Hershey Felder and directed by Trevor Hay. Tuesdays-Saturdays, 7:30 p.m.; Saturdays, 2 p.m.; Sundays, 2 & 7 p.m.; Thu., Sept. 26, 2 p.m. Continues through Sept. 29. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach, 949-497-2787, www.lagunaplayhouse.com.

Rodney King: New light is shed on the man whose famous question "Can we all get along?" continues to resonate 21 years after it was first posed to a riot-torn Los Angeles in 1992. Created and performed by Roger Guenveur Smith. Sat., Sept. 21, 7 p.m.; Sun., Sept. 22, 6:30 p.m.; Thu., Sept. 26, 7:30 p.m.; Sat., Sept. 28, 7 p.m.; Sun., Sept. 29, 4 p.m.; Thu., Oct. 3, 8 p.m.; Fri., Oct. 4, 7:30 p.m.; Sat., Oct. 5, 7 p.m.; Sun., Oct. 6, 1 p.m. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, 213-628-2772, www.centertheatregroup.org.

The Royal Family: The work's the thing in George S. Kaufman and Edna Ferber's gentle 1927 spoof of the Barrymore dynasty, which forms the centerpiece of Theatricum Botanicum's 40th-anniversary season. The venerable, oak-nestled venue's own founding family fills in as the board-treading Cavendish clan. Artistic director Ellen Geer slings Downton Abbey-worthy zingers as dowager Fanny, while sister Melora Marshall and daughter Willow Geer carry the torch as the next generations of theatrical luminaries. All three women nail the benign entitlement and cozy security that comes from knowing you're an institution, but the dated material may be more thrilling for its cast than the audience. More compelling than the distant Barrymores is the play's exploration of pursuing the creative life at the cost of domestic and personal stability. Director Susan Angelo wisely avoids interfering with her cast's marvelous instincts, but a tighter rein would keep us from sharing Marshall's bewilderment when the madcap pace proves too frenetic. (Jenny Lower). Sat., Sept. 21, 4 p.m.; Sat., Sept. 28, 4 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com/index.html.

Sheet Cake Sliding: A black comedy about a self-made business executive who tries to mold his family to conform to his plans, only to find that his family is a creation as complex and dangerous as Frankenstein's monster. Written by Stacia Saint Owens, directed by Nicholas Newell. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Oct. 19. Theatre of NOTE, 1517 N. Cahuenga Blvd., Los Angeles, 323-856-8611, www.theatreofnote.com.

Silent Witnesses: Written and performed by Stephanie Satie. Decades after World War II, a group of women who survived the Holocaust as children meet in a group moderated by a therapist and begin to tell their stories for the first time. Based on true events. Directed by Anita Khanzadian. Starting Sept. 22, Sundays, 7:30 p.m. Continues through Oct. 27. Whitefire Theater, 13500 Ventura Blvd., Sherman Oaks, 818-990-2324, www.whitefiretheatre.com.

Smokey Joe's Cafe: This Tony Award-nominated and Grammy Award-winning tribute to legendary songwriters Leiber and Stoller is a song-and-dance celebration of thirty-nine of rock 'n' roll's greatest hits, from "Stand by Me" and "Fools Fall in Love," to "Jailhouse Rock," "Spanish Harlem," and "Yakety Yak." Book by Stephen Helper and Jack Viertel, music by Jerry Leiber and Mike Stoller. Starting Sept. 24, Tuesdays-Saturdays, 8 p.m.; Saturdays, 4 p.m.; Sundays, 2 & 7 p.m. Continues through Oct. 13. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena, 626-356-PLAY, www.pasadenaplayhouse.org.

Something to Crow About: The Bob Baker Marionettes' musical "Day on the Farm." Saturdays, Sundays, 2:30 p.m.; Tuesdays-Fridays, 10:30 a.m. Bob Baker Marionette Theater, 1345 W. First St., Los Angeles, 213-250-9995, www.bobbakermarionettes.com.

St. Jude: Written and performed by Luis Alfaro and directed by Robert Egan, Alfaro faces his father's stroke and a flood of family memories with poignant clarity and gentle humor. Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 4 p.m.; Tue., Sept. 24, 8 p.m.; Thu., Sept. 26, 9 p.m.; Sat., Sept. 28, 8:30 p.m.; Sun., Sept. 29, 1 p.m.; Tue., Oct. 1, 8 p.m.; Fri., Oct. 4, 9 p.m.; Sat., Oct. 5, 4 p.m.; Sun., Oct. 6, 7 p.m. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, 213-628-2772, www.centertheatregroup.org.

Stand-Off at Hwy #37: A staged reading of a new play by Vickie Ramirez, about political, environmental and spiritual convictions. Clashes erupt when plans to build a highway through a Native American reservation in upstate New York prompts protests and clashes between the protestors and law enforcement. Part of Native Voices' First Look Series: Plays In Progress. Thu., Sept. 26, 7:30 p.m. Autry National Center, 4700 Western Heritage Way, Los Angeles, 323-667-2000, www.theautry.org.

Steel Magnolias: Robert Harling's classic southern comedy-drama about Truvy's beauty parlor and the women who regularly gather there. Wednesdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 6. East West Players, 120 N. Judge John Aiso St., Los Angeles, 213-625-7000, www.eastwestplayers.org.

Surviving Grace: Benefiting USAgainstAlzheimer's: USAgainstAlzheimer's co-founder and comedy writer Trish Vradenburg has a star-studded cast perform a staged reading of her critically acclaimed play, Surviving Grace. Fantastic cast includes Carol Burnett, Elliott Gould, Marilu Henner, Lou Gossett, Jr., Loni Anderson, Brian McNamara and Helen Reddy. Wed., Sept. 25, 6:30 p.m., survivinggrace.org/show/la. Warner Bros. Studios, 3400 W. Riverside Dr, Burbank, 877-492-8687, vipstudiotour.warnerbros.com.

Tone Clusters: A drama by Pulitzer Prize-winning author Joyce Carol Oates, about an ordinary husband and wife who find themselves trapped under nightmarish attention when their son is arrested as the alleged killer of a neighborhood girl. The playwright will be present on opening night for a panel discussion after the performance. Thu., Sept. 26, 8 p.m.; Fri., Oct. 4, 8 p.m.; Sat., Oct. 12, 8 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com/index.html.

Twilight Zone Unscripted: There is good reason for live improv's reputation as the high-wire balancing act of comedy. But even the Flying Wallendas can have an off night. And in the case of Impro Theatre's long-form send-up of Rod Serling's 1960s sci-fi anthology classic, "off" can prove very deadly indeed. Directed by Jo McGinley and Stephen Kearin, the Impro troupers (who on this evening included Lisa Fredrickson, Brian Michael Jones, Brian Lohmann, Nick Massouh, Michele Spears, Floyd VanBuskirk and director McGinley) ad-lib four half-hour episodes from audience suggestions, replete with spot-on riffs of the series' signature Serling monologues. MVPs VanBuskirk, Fredrickson and Lohman each managed to knock at least one of their teammates' uninspired curves high into the stands. In between, however, the proceedings were a pointed reminder of why the outer limits of an improvised sketch remains four minutes: In live comedy, laughless seconds can seem like dog years to an uncaptivated audience. (Bill Raden). Wednesdays-Saturdays, 8 p.m.; Sundays, 4 p.m. Continues through Sept. 29, falcontheatre.com/twilight_zone_unscripted.html. Falcon Theatre, 4252 Riverside Drive, Burbank, 818-955-8101, www.falcontheatre.com.

Uncle Ho to Uncle Sam: PlaywrightTrieu Tran recalls the harrowing journey he took from Vietnam to Canada to the United States, and his quest to find some place to belong. Written by Tran with Robert Egan and directed by Egan. Sat., Sept. 21, 8:30 p.m.; Sun., Sept. 22, 8 p.m.; Wed., Sept. 25, 8 p.m.; Fri., Sept. 27, 8 p.m.; Sat., Sept. 28, 4 p.m.; Sun., Sept. 29, 7 p.m.; Wed., Oct. 2, 8 p.m.; Sat., Oct. 5, 8:30 p.m.; Sun., Oct. 6, 4 p.m. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City, 213-628-2772, www.centertheatregroup.org.

A View From the Bridge: Many consider Arthur Miller's dramas moral tragedies, but you also can think of them as mysteries, as their narratives contain events whose true meaning only becomes clear at the end. Longshoreman Eddie (Vince Melocchi) is a salt-of-the-earth type who thinks he's doing a good deed when he lets a pair of his wife's distant cousins, both illegal immigrants from the old country, move in with his family. He soon has reason to rue this decision, though, as his lovely niece, Catherine (Lisa Cirincione), falls in love with the more handsome of the two cousins, Rodolpho (Jeff Lorch) -- and Eddie is destroyed by his own inexplicably over-the-top jealousy. This is a mostly powerful, admirably straightforward production by co-directors Marilyn Fox and Dana Jackson, which stumbles slightly during the clumsy, frenetically staged final sequence. The production is anchored by Melocchi's nicely gruff Eddie, whose turn suggests a character swept along by passions he lacks the articulacy to express. (Paul Birchall). Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Sept. 22. Pacific Resident Theatre, 703 Venice Blvd., Venice, 310-822-8392, www.pacificresidenttheatre.com.

WaveFest: A theater festival comprised of three "waves" of short plays over six weekends, centered on the theme "Go West." The plays will explore stories of the Westside and Southern California through the lens of history, neighborhood, culture, myths, and the entertainment industry. For a complete schedule and line up visit SantaMonicaRep.org. Sat., Sept. 21; Sun., Sept. 22; Sat., Sept. 28; Sun., Sept. 29; Fri., Oct. 4; Sun., Oct. 6; Sat., Oct. 12; Sun., Oct. 13, www.SantaMonicaRep.org. Church in Ocean Park, 235 Hill St., Santa Monica, 310-399-1631, www.churchop.org.

The Weir: A spooky play of supernatural tales, expertly told by country folk in an Irish pub setting. Written by Conor McPherson. Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 8 p.m.; Fri., Sept. 27, 8 p.m.; Sat., Sept. 28, 8 p.m.; Wed., Oct. 2, 8 p.m.; Thu., Oct. 3, 8 p.m.; Fri., Oct. 11, 8 p.m.; Sat., Oct. 12, 8 p.m.; Sun., Oct. 13, 2 p.m.; Thu., Oct. 17, 8 p.m.; Fri., Oct. 18, 8 p.m.; Sat., Oct. 19, 8 p.m. Little Fish Theatre, 777 Centre St., San Pedro, 310-512-6030, www.littlefishtheatre.org.

What Kind of God?: The world premiere of a new play by KPCC morning radio host Steve Julian, which explores the price paid by victims of the Catholic Church sex abuse scandal. Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 20. Elephant Stages, Lillian Theatre, 1076 Lillian Way, Los Angeles.

The Wizard of Oz: Follow the yellow brick road to the Pantages for this fun, timeless classic. This new production includes all the original songs plus new music by Tim Rice and Andrew Lloyd Webber. Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 2 & 8 p.m.; Sun., Sept. 22, 1 & 6:30 p.m.; Tue., Sept. 24, 7:30 p.m.; Wed., Sept. 25, 7:30 p.m.; Thu., Sept. 26, 7:30 p.m.; Fri., Sept. 27, 8 p.m.; Sat., Sept. 28, 2 & 8 p.m.; Sun., Sept. 29, 1 & 6:30 p.m.; Tue., Oct. 1, 7:30 p.m.; Wed., Oct. 2, 7:30 p.m.; Thu., Oct. 3, 7:30 p.m.; Fri., Oct. 4, 8 p.m.; Sat., Oct. 5, 2 & 8 p.m.; Sun., Oct. 6, 1 & 6:30 p.m. Pantages Theater, 6233 Hollywood Blvd., Los Angeles, 800-982-2787, www.hollywoodpantages.com.

Public Spectacle, L.A. Weekly's arts & culture blog, on Twitter: Follow @laweeklyarts

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Source: Laweekly

Details are emerging about some of those who died in the attack on a Nairobi shopping centre by suspected al-Shabab militants. The standoff is ongoing. This page will be updated as new information comes to light.

Ruhila Adatia-Sood, a popular Radio Africa host, was in the car park of the Westgate shopping centre where she was hosting a cooking competition, according to reports.

She was pregnant.

The 78-year-old was a Ghanaian poet and former professor at the University of Ghana. He was also the former chairman of the Council of State. He was in Nairobi to take part in a literary event.

President Uhuru Kenyatta's nephew Mbugua and his fiancee Rosemary Wahito are among the many Kenyans killed in the attack on the Westgate shopping centre.

Addressing the nation on Friday, Uhuru Kenyatta said:

"I ask God to give you comfort as you confront this tragedy, and I know what you feel having also lost very close family members in this deadly attack."

A 29-year-old Canadian diplomat who served at the country's high commission in kenya as a liaison officer with the Canada Border Services Agency.

Her husband, Robert Munk, was injured in the attack but has since been released from hospital, officials said.

France said two of its citizens were killed, and Canada said a second national had died in the attacks. Three Britons and an Australian have been confirmed dead.

China's official news agency reported that a Chinese woman had also been killed.

Source: Bbc

- What started out as a good night for Stephen Morris ended with the quarterback having to leave Miami's game against Savannah State with what appeared to be an injured right ankle Saturday.

Morris, a senior, was injured on the Hurricanes' third possession of the game with Miami facing a 2nd-and-8. He was hurried on the play by Tigers' defensive end Alex Wierzbicki, came up limping and was tended to by trainers on Miami's sideline before eventually going into the locker room.

Late in the second quarter, Miami officially announced that Morris would not return after sustaining a lower extremity injury, although the radio broadcast on WQAM-560 reported that x-rays on Morris ankle came back negative and the injury was being treated as a sprain by Miami's medical staff.

"After the game, when Miami coach Al Golden was asked about Morris' injury, he said his it would have been a tough call to sit Morris that early in the game. He also added that Miami would be cautious with Morris in the coming days.

"It's so difficult because I always get the questions going into a game 'Are you going to sit so-and-so.' The reality is these guys work so hard. Try and go tell Stephen he's not going to play after a bye week," Golden said. "It was an unfortunate circumstance. We're blessed and grateful that he's healthy and that he's going to be okay."

Morris, a South Florida native out of Miami's Monsignor Pace High, has dealt with ankle injuries before during his Miami career.

Last season, he injured his ankle in the Hurricanes' 18-14 loss to North Carolina on Oct. 13.

He didn't practice much in the days after the injury, but returned in time for Miami's 33-20 loss to Florida State a week later.

Before leaving Saturday's game, Morris moved past Hall of Famer Jim Kelly on the Hurricanes' all-time career passing list.

Morris entered the game needing just 39 yards to move past Kelly into the No. 10 spot on the list, and he got those yards on his second attempt of the night, an 80-yard touchdown pass to Allen Hurns on Miami's second possession.

Morris finished the night completing 3-of-4 passes for 82 yards.

Backup Ryan Williams, a former Miramar High standout, came into the game and played the remainder of the first half completing 11 of 13 passes for 176 yards with two touchdowns.

Third-string quarterback Gray Crow also saw action in the first half for Miami.

Savannah State's Wilson a fan of Golden

While preparing his team to face Miami on Saturday night, Savannah State coach Earnest Wilson III spent time doing more than watching the Hurricanes on film.

Wilson, the Tigers' first-year coach, watched plenty of Golden's media interviews.

What he saw was a coach he wants to emulate in more than one way.

"We're such a young program, I'm actually mimicking a lot of what he's done at Miami," Wilson said earlier this week. "I've been at Penn State, and coach [Golden] was there. I'm mimicking everything he's saying. I watched his press conference last night, and how he said it was all about us and not them. I'm telling my team the same thing."

Wilson understands the challenge he undertook when he accepted Savannah State's coaching job this past June. The Tigers were 1-10 last season and started this year with a pair of blowout losses.

But Wilson isn't deterred. He sees the potential for growth, the same way, he says, Golden saw potential when he took over as Miami's coach three years ago.

"There were some problems before [Golden] got there, there were problems before I got here. He has guys fighting for jobs, that's what I want," Wilson said. "I want to see our guys improve. I want them to feel confident. I don't care what the line says. I want you to improve and play every play like it's your last."

ccabrera@tribune.com. Follow her on Twitter @ChristyChirinos.

Source: Sun-sentinel

The start of NCIS: LA season 5 is just a few days away, but EW has your first look at their new title credits right now.

It's the least we can do to provide fans with this little treat. We know the wait for the new season was a long one. Luckily, all the questions that have plagued us during the summer - like how bad will the lasting effects of Deeks and Sam's torture trauma will be and how the team tracks down the nuclear weapons that are still in dangerous hands - will all be answered 9 p.m. ET on Sept. 24. Meanwhile, enjoy the video below.

Source: Inside TV

Warehouse-distribution space for lease was tight even before the May tornadoes, and nearly four months later landlords and tenants are still in repair mode.

Roofing crews and displaced lessees still are common, especially in southwest Oklahoma City, which has most of the city's multitenant, investment-grade industrial property and bore the brunt of the May 31 tornado and storms.

An unknown number of industrial tenants had to move to previously vacant space, according to Price Edwards & Co. Relocations and the use of space by disaster relief agencies "combined to push the vacancy numbers to unprecedented lows," the firm said in its midyear industrial market summary.

"Many of the displaced tenants will revert to their original space once repairs or rebuilding is completed and most if not all of the relief agencies will vacate their temporary space with time," Price Edwards said.

In the meantime, the disaster has scrambled the statistics.

"Calculation of the long-term vacancy in multitenant industrial buildings is just not possible at this time. We publish this report with the acknowledgment that some vacancies were reported before the storms, and some after," Price Edwards said. "In discussing the calculated vacancy, we will try to arrive at a likely range for long-term vacancy, essentially the vacancy after the emergency relocations return to their original facilities.

"Whether or not the actual numbers reported here are correct, the overreaching conclusion is that this market is at very low vacancies, and is likely to remain so for the foreseeable future."

Recovery is similar to that in residential neighborhoods despite the huge roof sizes, which come in tens or hundreds of thousands of square feet.

"We're moving along, but these things take time, especially in the commercial arena where you have large buildings involved. It takes time to work through the insurance claims, and then it takes time to schedule the roofers because they're all very busy," said Bob Puckett, industrial property broker with Price Edwards.

Bulk warehouse space, especially, was sucked up after the storms, he said.

Source: Newsok

Sticking with 100% Design, I also wanted to share Textile Futures - a two year Masters course based at Central Saint Martins where they aim to explore the intersection of craft, science and technology and push beyond boundaries to anticipate future needs, desires and challenges. So, as you can imagine, there was some pretty interesting stuff on display at their stand. Those that caught my eye included Guinan An and her 'Latex Exposed' project which asks the question 'How can experimentation with microwaves allow the unexplored properties of latex to be uncovered?' The answer is uncovered in the following images, unveiling some unique designs in multi-textured forms.

What about some Extraterrestrial Acoustics by Lea Spanke. This poses the question - 'How can acoustic discoveries in the exploration of planet Mars inform sonic understanding on Earth?' This collection is a set of interactive analogue models which explain sound propagation on Mars.

I then enjoyed getting up, close and personal with Moe Nagata and her From Creatures collection. On display were stunning jewellery pieces inspired by ancient tribal craft based on the faith of animism and the use of nature... i.e. traditional tribes hunted animals for food, then used every last piece of the animal to make products. Moe explored the use of natural materials discarded from the food industry, including fish bones, fish skins, fish shells and crustaceans, to create contemporary wearable objects.

Whilst taking snaps of Moe's work, a super confident Helene Combal-Weiss beckoned me over to learn more about Textile Futures and also to chat about her own project - Industrial Animism, exploring the question 'In a post-industrial era, can craft instil a sense of aura within mass-produced materials?'. Her work shows how industrially manufactured products and materials could potentially become icons of our time.

To find out more about Textile Futures, visit www.textilefutures.co.uk.

Tagged with: 100% Design, London, Textile Futures, central saint martins, Design

Hola! I'm Katy and Creative Boom is my blog - something that started out as a little hobby in 2009 and has since grown to attract a huge audience, reaching 20 million people every month.

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Source: Creativeboom

Houston Texans running back atimes.com/topic/sports/football/arian-foster-PESPT000008974.topic">Arian Foster says in an upcoming documentary he accepted money his senior year at Tennessee.

"Honestly, I don't know if this will throw us into an NCAA investigation, but my senior year I was getting money on the side," Foster says in the EPIX documentary. "I really didn't have any money. I had to either pay the rent or buy some food. I remember the feeling, like, 'Man, be careful,' but there's nothing wrong with it. You're not going to convince me that there is something wrong with it."

Sports Illustrated first reported Foster's comments in the documentary, "Schooled: The Price of College Sports."

Foster, who played for the Volunteers from 2005 to 2008, expanded on his comments Friday after the Texans' practice.

"I feel very strong about the injustice the NCAA has been doing for years," Foster said. That's why I said what I said. I'm not trying to throw anyone under the bus or anything like that. ... I feel like I shouldn't have to run from the NCAA anymore. They're like these big bullies. I'm not scared of them."

Andrew Muscato, a producer of the documentary, said Foster didn't specify how much money he received or who paid him during the four-hour interview in February.

Tennessee Athletic Director Dave Hart said in a statement released by the university, "We can't speak to something that allegedly happened a long time ago."

A phone call Friday to Phillip Fulmer, the Tennessee coach during Foster's college career, wasn't immediately returned.

Foster said Friday the money he received didn't come from a coach.

ETC. Ryan Newman wins New Hampshire pole

Ryan Newman used a track-record lap to fuel his run at a NASCAR championship.

Newman set the New Hampshire Motor Speedway qualifying record with a lap of 136.497 mph to win the pole and headline a top 12 loaded with Chase drivers for Sunday's race at Loudon, N.H.

Chase for the Sprint Cup championship drivers filled 10 of the top 12 spots Friday. Kasey Kahne was second and joins Newman on the front row, Jeff Gordon was third and Kurt Busch fourth for what will be the second Chase race.

Joey Logano qualified sixth, Kevin Harvick was eighth, series points leader and last week's winner Matt Kenseth was ninth, and Greg Biffle starts 10th. Jimmie Johnson is 11th and Kyle Busch 12th.

Martin Truex Jr. starts fifth the same week he found out NAPA was dumping sponsorship of his Michael Waltrip Racing No. 56 car after the race-fixing attempts at Richmond earlier this month.

::

Francesco Molinari shot a five-under 67 to share the lead after the second round of the Italian Open at Turin. Molinari tied Felipe Aguilar of Chile and Simon Thornton of Ireland at nine-under 135 at the Golf Club Torino.

::

Nearly three months after he was selected by the Lakers with the 48th pick of the NBA draft, Duke forward Ryan Kelly signed a one-year, non-guaranteed deal contract with the team valued at $490,180.

Kelly, who spent most of the summer rehabbing his foot after April surgery, will miss the start of training camp. He is now running at 70% of his body weight on a weight-reducing treadmill.

-Eric Pincus

France ended Spain's reign as European basketball champion Friday with a 75-72 overtime victory behind 32 points from Tony Parker and set up a final against Lithuania at Ljubljana, Slovenia.

Spain's Marc Gasol missed a three-point attempt at the buzzer.

Lithuania advanced by beating Croatia, 77-62.

::

El Salvador's soccer federation has banned 14 national-team players for life for their role in alleged match-fixing, including games against the United States and Mexico.

Among those banned Friday from all soccer activities Friday were goalkeepers Miguel Montes and Dagoberto Portillo, Christian Castillo - a former DC United player - and William Osael Romero, who played for Chivas USA.

The bans are connected with suspected match-fixing in four matches involving the national team, including a 2-1 loss in an exhibition against the U.S. in 2010 and a 5-0 loss to Mexico in the 2011 Gold Cup.

Source: Latimes

This time last year, Neil took a look at the strong results from Darden Restaurants, the parent company of such middle-class standbys as Olive Garden, Red Lobster and the slightly more aspirational Capital Grille. The healthy financials hid a sad truth about the economy: Darden had been able to reduce labor costs because workers, desperate for jobs, didn't have the leverage to ask for better pay.

Well, the next year didn't go so well. Darden's stock took a dive, and is still looking a little anemic. Despite in-store remodels, in yesterday's quarterly earnings report the company disclosed that Red Lobster, Olive Garden and LongHorn Steakhouse sales were down 3.3 percent, and the chief operating officer was leaving (always a suspicious sign). So what does the bottomless pasta bowl indicator tell us about the economy now?

First of all, the days of bottomless pasta bowls might be numbered. Both Red Lobster and Olive Garden have lost market share to cheaper and arguably more delicious fast casual chains such as Chipotle and Panera. They've started introducing cheaper and healthier options, like Olive Garden's " Taste of Italy" small plates menu, priced at $4-$5 apiece (which horrifies some wonks among us).

Second of all, though, it looks like along with commodity costs - which almost always rise - labor costs are increasing, too. That may mean the chain is having a harder time finding people to sling linguine, because fewer unemployed people are looking for work. What it definitely means is that they're cutting back on jobs, dulling that bright spot in a workforce that's otherwise suffering from offshoring and robots.

So Darden's fate could be the result of two stories: Either an American population that doesn't feel like splurging on dinner, or one that just finds fresh fast food is a better bet. Or, more likely, some of both.

Source: Washingtonpost

PASADENA, Calif. An overnight campout for the new iPhone turned chaotic Friday morning when two men were arrested for fighting outside an Apple Store and a man's plan to hire homeless people to wait in line for the coveted devices backfired, authorities said.

The two men were arrested after getting into a fistfight while in line along Colorado Boulevard.

George Westbrook, 23, of Compton, and Lamar Mitchell, 43, of Pasadena, were cited for fighting in public, a misdemeanor, Clawson said.

No significant injuries were reported.

Police estimated that at least 200 people were on the sidewalk outside the store overnight. Some had been there for several days. The store hired two Pasadena police officers to control the crowd, Clawson said.

The Southern California store wasn't the only one selling iPhones that had an incident involving police Friday.

In Houston, several people waiting in an early morning line for the new phone were robbed at gunpoint, CBS affiliate KHOU-TV reports.

Police told KHOU-TV that people were camped outside an AT&T store when they were approached by two armed men at around here 5 a.m.

One of the victims told the station the suspects walked up and started making demands. One of the suspects said, "Gimme everything you've got," one of the victims said. The victim said the thieves made off with several iPhones and an iPad.

At the Pasadena store, in a separate incident, dozens of people recruited at a downtown Los Angeles homeless shelter to buy iPhones in bulk at a Pasadena store were left unpaid, and they mobbed the man who had hired them, Pasadena police Lt. Jason Clawson said.

One of the homeless men was placed on a 72-hour mental health hold after running into the street in an enraged state, Clawson said. Television news footage showed police breaking up several scuffles and calming down furious customers.

Dominoe Moody, 43, told the Los Angeles Times he was driven the 10 miles or so to Pasadena from Los Angeles with several vanloads of people to wait in line overnight.

Moody was promised $40 but said he wasn't paid because after handing the man an iPhone. The man was escorted away by police when people became angry with him.

"It didn't go right. I stood out here all night," Moody told the newspaper, adding that he had no way to get back to Los Angeles.

The man who organized the effort told CBS Los Angeles he sells the purchased iPhones overseas for approximately $1,000 each.

"The phones are for me, and I have a company that resells them," the man, who wouldn't give his name, told reporters.

The would-be entrepreneur was clutching a single bag stuffed with iPhones when he was escorted into a police cruiser and driven away at around 9:30 a.m.

The man was not cited because he did nothing illegal, Clawson said. Police were not investigating the incident, he said.

Most of the people recruited to wait in line weren't paid by the man, Moody said, estimating that the man brought 70 to 80 people to the store.

Apple's new iPhone models, the 5S and 5C, were released worldwide Friday.

Source: Cbsnews

Lionel Shriver, an American novelist who lives in England, told a reporter recently that she was considering applying for citizenship here in her adopted country, in part to be eligible for the Man Booker Prize, which historically has been limited to citizens of the Commonwealth. She may be relieved to learn that she needn't take the trouble.

The Booker Prize Foundation announced on Wednesday that it would open the contest in 2014 to all authors writing in English, regardless of nationality. Jonathan Taylor, the chairman of the foundation, said in a statement that he expected the move to enhance the Man Booker's "prestige and reputation," adding that barring Americans and other English-language writers was "rather as if the Chinese were excluded from the Olympics."

As rumors trickled out before the announcement, some in the literary world warned that the expansion would dilute the character of the prestigious award. Jim Crace, who's on the 2013 Man Booker shortlist of finalists for his novel "Harvest," said the new parameters would offer a greater overview of English-language literature but would also result in a less focused prize. "I'm very fond of the sense of the Commonwealth," he said. "There's something in there that you would lose if you open it up to American authors." And Susan Hill, shortlisted in 1972, asked, "Why can't we have a prize of our own?"

But the Man Booker wasn't actually well focused before the shift in policy. It allowed writers from all 54 countries in the Commonwealth as well as Ireland and Zimbabwe - in other words, English-speaking nations plus some non-English-speaking nations (Cyprus, for example), minus the United States.

Three of this year's six shortlisted authors live and work in America. A fourth, Jhumpa Lahiri, resides in Rome but is an Indian-American who moved to Rhode Island from London as a child. It's silly that Ms. Lahiri was eligible for consideration but Ms. Shriver, who published a new novel this summer, was not. It's perfectly reasonable for Ms. Shriver to be allowed to compete in the future.

Meet The New York Times's Editorial Board "

Source: Nytimes