City Garage Theatre

"Art is not a mirror held up to reality, but a hammer with which to shape it" – Bertolt Brecht

“...an uncanniness that feels friendly and welcoming, suggesting a place where we can all be mad together...”
—Amanda Andrei, Stage Raw
“... sometimes scorching, sometimes hilarious, always intriguing exploration of human relations…what really grabs our attention and hearts are the performances.”
—Zahir Blue, Night Tinted Glasses
“Contemporary theater at its most informative and impactful … stunning, gut-punching”
—Steven Stanley, StageSceneLA
“it hits like thunderclap…”
—David MacDowell Blue, The World Through Night-Tinted Glasses
“Stellar performances from the cast under Frédérique Michel’s direction”
—Stage Raw
“Approaches the “hallelujah” level!”
—Don Shirley, Angeles Stage
“...startlingly compelling as well as rather surprisingly funny...”
—Zahir Blue, Night Tinted Glasses
“eerie, atmospheric ... well suited to the stylish City Garage aesthetic”
—Philip Brandes, Los Angeles Times
“... a Greek myth scaled down to human proportions ... It’s simple, it’s quiet, it’s deeply personal”
—Anthony Byrnes, “Opening The Curtain” KCRW
“THE BOURGEOIS GENTLEMAN had the audience laughing from start to finish.”
—Ilana Lifshitz
“Superb acting….Frederique Michel’s clockwork-like direction of Schimmelpfennig’s tricky, provocative play and Charles Duncombe’s atmospheric stage design also deserve the highest praise possible.”
—Will Manus, Total Theater
“City Garage, known for daring, highly stylized sociopolitical theater, is the ideal local company to revive this infrequently done, disturbingly timely play.”
—Margaret Grey, The Los Angeles Times
Andrew Loviska
“Crowd-pleasing and consistently funny!”
—Stage Raw
Claire Pida, Bo Roberts, and Buddy Brown in Moliere’s “School For Wives”
“The piece is fascinating to watch... handsome and visually stunning production, stylized and ritualized.”
—Neal Weaver, Stage RAW
Kimshelley Lessard
“The writing and the performances crackle...”
—Paul Birchall, Stage RAW
Andrew Loviska, Johanny Paulino
Yukiko Hadena, David E. Frank, Megan Kim
“A marvelous evening of theater... a distinctive, individual form of dance-theater, using a movement vocabulary that... communicates immediately with gestures sometimes like seductive cabaret performance... ”
—Gray Palmer, Stage RAW
Lindsay Plake, Alexa Yeames

Ghost Land

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City Garage Theatre

“...an uncanniness that feels friendly and welcoming, suggesting a place where we can all be mad together...”

“... sometimes scorching, sometimes hilarious, always intriguing exploration of human relations…what really grabs our attention and hearts are the performances.”

“Contemporary theater at its most informative and impactful … stunning, gut-punching”

“it hits like thunderclap…”

“Stellar performances from the cast under Frédérique Michel’s direction”

“Approaches the “hallelujah” level!”

“...startlingly compelling as well as rather surprisingly funny...”

“eerie, atmospheric ... well suited to the stylish City Garage aesthetic”

“... a Greek myth scaled down to human proportions ... It’s simple, it’s quiet, it’s deeply personal”

“THE BOURGEOIS GENTLEMAN had the audience laughing from start to finish.”

“Superb acting….Frederique Michel’s clockwork-like direction of Schimmelpfennig’s tricky, provocative play and Charles Duncombe’s atmospheric stage design also deserve the highest praise possible.”

“City Garage, known for daring, highly stylized sociopolitical theater, is the ideal local company to revive this infrequently done, disturbingly timely play.”

“Crowd-pleasing and consistently funny!”

“The piece is fascinating to watch... handsome and visually stunning production, stylized and ritualized.”

“The writing and the performances crackle...”

“A marvelous evening of theater... a distinctive, individual form of dance-theater, using a movement vocabulary that... communicates immediately with gestures sometimes like seductive cabaret performance... ”

Ghost Land

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