People Magazine Accidentally Publishes Kirk Douglas Obit

--Huffington Post, December 1, 2014

Hollywood legend Kirk Douglas turns 98 next week, but reports of his death began circulating online over the weekend after People accidentally posted his obit on the magazine's website.

"DO NOT PUB Kirk Douglas Dies" the headline read.

"Kirk Douglas, one of the few genuine box-office names to emerge just as TV was overtaking American culture in the years right after World War II, died TK TK TK," the article said, with the "TK" referring to copy "to come."

"He was 97 (DOB 12/9/1916) and had been in good health despite having suffered a debilitating 1996 stroke that rendered his speech difficult," the article continued.

The Hollywood Reporter said the People obit had a Sept. 29 timestamp on it, although it's not clear if that's when the article was published.

The obit was removed after links to it began circulating on social media.

It should be noted that most news organizations, including The Huffington Post, work on obituaries for notable people in advance.

Douglas has written extensively about his career for The Huffington Post. Earlier this year, he wrote about his friend Elaine Stritch after her death at the age of 89.

He's also written about the Popestroke awareness and technology.

And last year, Douglas reflected on life as he turned 97.

"I won't pretend that getting older is easy," he wrote. "But I find that it's given me a perspective that I lacked when I was younger."

Douglas said that when he was younger, he was always busy making movies and traveling for his role as a Goodwill Ambassador.

Now, I treasure the quiet times: reading books that make me think about new ideas; watching my roses bloom; gazing at the palm trees shimmering against the afternoon sky; seeing the simple path of a cloud across the sky; and especially sitting with Anne in front of the fire at sunset -- the Golden Hour.

Douglas will celebrate his 98th birthday on Dec. 9. Last week, he told Entertainment Tonight that he wanted to live to 100. See the clip below.


His 11th book, "Life Could Be Verse," goes on sale tomorrow.

Through poetry, Kirk Douglas reflects on 'Life'

AFP 509195890 E ENT USA CA

--USA Today December 2, 2014

BEVERLY HILLS — With almost 100 film credits to his name, Kirk Douglas recently caught sight himself on television in a movie he couldn't place. "I said, 'What picture was that?' I kept looking. … Then the camera came up for a close-up, and it was (his son) Michael!" the legendary star says with a chuckle, that famous cleft marking a face known to all since he hit the ring in 1949's Champion.

Douglas, who turns 98 on Dec. 9, sits in his home in Beverly Hills, just a few blocks from the infamous watering hole the Beverly Hills Hotel. He's charming as ever and dressed in blue, long white hair neatly tied behind his head, hands folded neatly around a copy of Life Could Be Verse, a new collection of poems and stories from his life (HCI, out Tuesday).

"This was the first time I was looking over things in my life, and I was surprised at how many poems I've written. So I sort of … put all the poems in a book," says Douglas, who dedicated the collection to his wife of 60 years, Anne.

With a title borrowed from the Yiddish phrase, Douglas traces his journey from adolescence to retirement through simple, vivid prose: His ascent to stardom is rooted in a poem called "Luck," his marriage is sketched in "Romance Begins at 80," his failings as a father are explored in "Michael." ("I became a 'good father', /It took me too long to see ,/When I needed him/More than he needed me.")

Father and son had lunch just before this interview; their relationship today is "very good," says Kirk, who speaks with clarity and zest despite slowed speech he regained with difficulty after a severe stroke in 1996. "I am very proud of him because I think he's a brilliant actor. Really brilliant."

But "I always tried to keep him from being an actor. When Michael went to college, I thought he was going to be a lawyer. Every Jewish father wants a lawyer or a doctor." When Michael had his first role in a play, Douglas turned up to see him. "He had a little part with a few words in a Shakespeare play. And when it was over he said 'How was I, dad?' And I said, 'Michael, you were awful.' I thought that would discourage him and he would become a lawyer."

Douglas is quick to remind there are several more in his brood ("You know, I have four kids"), and Life Could Be Verse includes stories of sons Joel (like Michael, his mother is actress Diana Dill) and Peter (son of Anne), who are both producers in Hollywood.

Heartbreak is there, too. A poem titled "For Eric" chronicles his sorrow over his youngest son's death in 2004 at age 46 from an overdose.

Douglas is equally forthright about the effects of his stroke at age 80, which he writes left him considering suicide. "I lost my voice. I couldn't speak. What can an actor do who can't speak? I still struggle with speaking, but at least I can talk. And I'm grateful for that. But that was the darkest moment in my life: An actor who can't talk."

Today he and Anne spend weekdays in their Beverly Hills home and weekends in Montecito. The holidays will be spent in California, with the family gathering.

Life Could Be Verse is filled with family photographs, including recent shots of Michael and Catherine Zeta-Jones, who separated briefly last year. "They are happy," says Douglas, marveling at Skyping with Zeta-Jones just that morning while lunching with his son. "Catherine is doing a picture in England. And there she was. She could see us. I could see her. I couldn't believe that. It's beyond my comprehension."

Douglas calls Michael's cancer battle "awful" but says, "I told him today, I said, 'Mike, you look better than ever.' He said, 'I feel great.' So I'm pleased by that, because I was very, very concerned."

And the Douglas Hollywood dynasty will continue. "They will be actors, I know it," he predicts of Michael and Catherine's kids. "Dylan is already an actor. He has played in all the school plays. And Carys is a beautiful dancer."

No Kirk Douglas memoir would be complete without mention of Spartacus, and in his new book he recounts how he fought to credit blacklisted writer Dalton Trumbo (who was blacklisted during McCarthyism) onscreen for Spartacus in 1960. "It became a big thing that I put Trumbo's name on the screen," he says in response to those who have questioned whether he overstated his role in his 2012 memoir I Am Spartacus: Making a Film, Breaking the Blacklist. "I'm glad that that period is over and now we can talk about love," he says simply.

Ask him about living through McCarthyism (and 16 presidents) and he's resolute: "Everything can be improved, but I think now we have the best (political) process in the world." And yes, he'd like to see a woman in the White House. "I hope so. I think, who is the boss in my house?" He chuckles. "My wife! She's the boss. And I think there are so many companies now where the CEO is a woman. Why not?"

With a foreword from Don Rickles, the memoir is ultimately dedicated to Anne, 84, who comes up frequently. The biggest lesson of his marriage? "The thing is, when you first fall in love, sex is the dominant factor. But as it dwindles, you should begin to see really what your wife is like. And then you'll find the person that either you love or you don't. In my case," he smiles, "I fell in love."

Spartacus' outlook in 2014? "I wake up in the morning and I say, 'Gee, why do I feel well? I'm 98 years old!'"

Jessica Lange Accepts Kirk Douglas Award at Santa Barbara Film Festival Benefit November 16, 2014

Jessica Lange, the ninth recipient of the Santa Barbara International Film Festival Kirk Douglas Award, at Sunday's fundraiser held at Bacara Resort & Spa. (Melissa Walker / Noozhawk photo)

A festive crowd of elegantly dressed guests turned out to support the 2015 Santa Barbara International Film Festival on Sunday night at a benefit that also honored Jessica Lange with the ninth annual Kirk Douglas Award for Excellence in Film.

More than 300 people clad in formal attire gathered at Bacara Resort & Spa for the award presentation, which was expected to raise $60,000 for the 30th year of the film festival, scheduled to run Jan. 27 through Feb. 7.

“This year’s special because Kirk always wanted to honor a woman,” SBIFF executive director Roger Durling said. “And it’s the first time in the history of the award that we’re honoring a woman, and no one better than Jessica Lange — two-time Academy Award-winner and someone who’s triumphed in theater, in film, as well as TV.”

Lange follows an impressive list of male recipients of the Kirk Douglas Award, including last year’s winner, Forest Whitaker, as well as Robert De Niro, Michael Douglas, Harrison Ford, Quentin Tarantino, Ed Harris, John Travolta and the award’s namesake, Kirk Douglas.

“It’s wonderful to be singled out by Mr. Douglas to receive this, so I’m thrilled,” Lange said.

Durling praised Lange for her passion and skill as it relates to Douglas.

“If there’s one word that I think unites her with Kirk it’s the fact that she’s been uncompromising, and that’s one of the things that Kirk said to me, is that I have been an uncompromising actor and Jessica has been, too,” he said.

A red-carpet entrance kicked off the event with Lange, who was joined by actress Demi Moore, who will co-star in an upcoming movie Wild Oats; Ryan Murphy, writer, producer and co-creator of Lange’s current TV show, American Horror Story; and actress Kathy Bates, who has worked with Lange at various times, including on American Horror Story.

Lange has a recurring role on American Horror Story, which hits the reset button each season for a new theme with the same central cast. This year’s “Freak Show” has Lange stretching her limits as the ringleader of a traveling circus show.

“I haven’t played a character like this before that has this kind of history and this drama to her — the many, many layers,” Lange said. “She’s a very complex character, and they write big scenes for me and I like big scenes.

“And there’s nothing kind of ordinary about her — not in the way she thinks, not in the way she acts, not in the way she looks. It’s dramatic, it’s a big dramatic part.”

Moore — of Ghost, A Few Good Men, St. Elmo’s Fire, G.I. Jane and Indecent Proposal fame — was enthusiastic about her opportunity to work with Lange on the 2015 comedy, Wild Oats, which is now in post-production.

“We just finished shooting that in July,” Lange said. “It’s a wonderful kind of bittersweet comedy. It was lovely to work with her and, of course, Shirley MacLaine. We had a great time.”

Well known for his work in television, Murphy has also been involved with Nip/Tuck and Glee, and, in addition to writing, has produced and gone behind the camera as director for episodes in each series.

Also attending the event was Bates, who has worked with Lange for the past two seasons on American Horror Story. Bates shared how she became involved in the series.

“I saw Jessica in the first season, and she was so wonderful, and I said the writing was so great, can you put in a word for me with Ryan Murphy?” Bates recalled.

“And so she did, and he pitched me a great part, and I will be eternally grateful to him for that because he’s created great parts for women. It’s been delightful to play with Jessica.”

Bates’ movie work includes Misery, Fried Green Tomatoes and the epic hit film, Titanic.

Sunday’s presentation began with Durling welcoming the crowd as he introduced this year’s Kirk Douglas Award winner, who was handpicked by Douglas for her film skills and charm.

“Jessica Lange possesses the three key elements in making it in this crazy business: talent, beauty and intelligence ... all of which have served her well and continue to do so,” Douglas said. “It is my honor to give her my award.”

A montage of clips showcased more than three decades of Lange’s work, with films such as King Kong with Montecito resident Jeff Bridges; Tootsie, for which she won a Best Supporting Actress Award opposite Dustin Hoffman; and Blue Sky, for which she won a Best Actress Award working with Tommy Lee Jones.

Lange’s work has included a vast array of big budget and independent films, includingCape Fear with De Niro and Nick Nolte in the Martin Scorsese adaptation; independent filmmaker Jim Jarmusch’s Broken Flowers with Bill Murray; and Tim Burton’s Big Fish, joined by Ewan McGregor and Albert Finney.

And in theaters in December, Lange stars in a crime thriller with Mark Wahlberg, The Gambler, about a college professor who runs into trouble with loan sharks from gambling debts.

In addition to Oscar awards, Lange has won Emmy Awards for her work in FX’sAmerican Horror Story and American Horror Story: Coven series, as well as HBO’sGrey Gardens, which is about two charming eccentrics who were relatives of former first lady Jacqueline Bouvier Kennedy.

The Santa Barbara International Film Festival spans 11 days with more than 200 films, symposiums and panels for producers, women, directors and writers.

An impressive set of eagerly anticipated tributes and awards will be hosted again at the Arlington Theatre with another year of inspiring and legendary names.

Announced in October, Montecito’s Michael Keaton will receive the Modern Master Award on Jan. 31 for his work in Beetlejuice, Batman and Jackie Brown, along with his role in a film that’s in theaters now, Birdman: or (The Unexpected Virtue of Ignorance).

Also, for the first time in five years, The Attenborough Award for Excellence in Nature Filmmaking on Jan. 28 will honor the Cousteau family — Jean Michel with his son and daughter, Fabien and Céline — for their commitment to educating the public about the ocean.

SBIFF’s commitment to local cultural diversity includes a variety of programs benefiting local youth with a variety of free children’s education and community outreach programs, including Mike’s Field Trip to the Movies, AppleBox, 10-10-10 Student Screenwriting and Filmmaking Competitions, 3rd Weekend and SBIFF College Internships.


Check back with Noozhawk for more on the film festival and special coverage of the tributes and awards.

Original Cast of LUNA GALE to Lead CTG Production in Los Angeles

--October 29, 2014

Original Cast of LUNA GALE to Lead CTG Production in Los Angeles; Runs 11/23-12/21


The world premiere production of Rebecca Gilman's powerful and arresting "Luna Gale" begins previews November 23, opens December 2 and continues through December 21, 2014, at the Center Theatre Group/Kirk Douglas Theatre.

Directed by Robert Falls, the complete original cast continues with the production, including Jordan Baker, Reyna de Courcy, Melissa Duprey, Mary Beth Fisher, Erik Hellman, Colin Sphar and Richard Thieriot.

Set design for "Luna Gale" is by Todd Rosenthal, costumes by Kaye Voce, lighting by Robert Wierzel and original music and sound design by Richard Woodbury. The production stage manager is Kirsten Parker.

Gilman explores with profound humanity the issues of faith, family and one child's uncertain future.

A veteran social worker, Caroline, thinks she has a typical case on her hands when she meets Peter and Karlie, two teenage drug addicts accused of neglecting their baby, Luna Gale. But when Caroline places their daughter in the care of Karlie's very religious mother, she sparks a family conflict that exposes a shadowy past and forces her to make a risky decision with potentially life-altering consequences.

Rebecca Gilman's plays include "A True History of the Johnston Flood," "Boy Gets Girl," "Spinning Into Butter," "Blue Surge" (all of which were commissioned and originally produced by the Goodman Theatre, where she is an artistic associate), "The Story of Living," "The Sweetest Thing in Baseball," "The Heart is a Lonely Hunter," "Dollhouse," "The Crowd You're in With," and most recently, "Soups, Stews and Casseroles: 1976." She is the recipient of a Guggenheim Fellowship, the Harper Lee Award, the Scott McPherson Award, the Theater Masters Visionary Award and an Illinois Arts Council playwriting fellowship, among others.


The Kirk Douglas Theatre is located at 9820 Washington Blvd. in Culver City, 90232. Tickets are available at, by calling 213-628-2772, in person at the Center Theatre Group box office or at the Kirk Douglas Theatre box office two hours prior to curtain.

Kirk Douglas Helps Celebrate 10th Birthday of Kirk Douglas Theatre

--Variety October 15, 2014

Gordon Davidson, Kirk Douglas, Anne Douglas

Kirk Douglas gave career tips to up-and-coming actors at Tuesday’s celebration of the 10th anniversary of his eponymous theater in Culver City.

When Douglas was starting out in his career he made his way to Broadway, but soon after Hollywood came calling (“They made an offer I couldn’t refuse”) and he headed west. “I gave up my dream of being a big star on Broadway, but in Hollywood I made a lot of money,” he told the rapt crowd. “I learned a lot of things and one of the things I learned was how to get your name on the theater” — dramatic pause — “buy the theater.”

Although he told Variety that he makes it to the Kirk Douglas Theatre “every chance I get,” Michael Ritchie, artistic director of Center Theatre Group, said Douglas is “a constant presence in the lobby and backstage. To watch actors come out of the dressing room after a performance and see Kirk and (his wife) Anne is a treat.”

Ritchie and Douglas thanked Gordon Davidson, the founding artistic director of CTG, for his vision in creating the nonprofit theaters.

Ritchie said the CTG’s plans are to continue using the Kirk Douglas as a space for experimental theater. “More people hear about Culver City and the theater, there is a real sense of life going on here,” he said, adding that he’s planning “more programming for children and families. The three theaters (Ahmanson, Mark Taper and KDT) are unified in what we do and market them.”

The event was billed as the 10th birthday of KDT rather than an anniversary and Douglas invited the audience to return to its 20th with him. Perfs from past stagings including “13” and “Stoop Stories” followed and the control booth was named for Anne Douglas.


(Pictured: Gordon Davidson, Kirk Douglas, Anne Douglas and Michael Ritchie at the 10th birthday party for the Kirk Douglas Theatre)

'Forever,' a harrowing memoir with no Hollywood ending

--Los Angeles Times October 14, 2014

Dael Orlandersmith in the world premiere of her play "Forever" at the KIrk Douglas Theatre

Oe of the few laugh lines in Dael Orlandersmith’s harrowing new solo show, “Forever,” in its world premiere at the Kirk Douglas Theatre, comes in an exchange she describes with an attendant at the morgue after her mother’s death.

She asks him if he’s afraid. His laconic reply: “The dead can’t do nothing to you. It’s the living you’ve got to look out for.”

The wisdom of this risk assessment may appear self-evident. But for Orlandersmith — or for the version of herself she plays in these searching, brutally honest monologues — he’s got it completely backward.

An award-winning playwright, poet and actress, Orlandersmith doesn’t have a lot of trouble with the living these days. In “Forever,” she talks of being warmly welcomed at a recent party, where an attractive man approached her and discussed Chopin.

No, the one she’s got to look out for is her mother, who died in 1989 but who nonetheless retains the power to loom up out of the grave, still stinking of scotch, and make this accomplished, powerful, beautiful woman feel inadequate, ugly and dirty.

“Forever” opens in Paris. Orlandersmith is on a pilgrimage to the Père Lachaise cemetery, the final resting place of many of the artists who gave her hope during her Harlem coming-of-age: Balzac, Chopin, Colette, Modigliani, Edith Piaf and — not least — Jim Morrison.

Takeshi Kata’s bare wooden stage features podium and a chair from which Orlandersmith reads from a script and a table with a record player where she occasionally stops to spin an LP. (Adam Phalen’s sound cues are never too loud, and they fade away at exactly the right moment.)

These artists, Orlandersmith says, are the family she chose for herself, instead of the alcoholic mother who taught her about art but also abused and manipulated her. They replaced the friends she couldn’t find or keep in the ghetto.

She describes walking home from the record store with her first Doors album when a man jeered at her for listening to “white-boy … .” She persevered, rebelliously cultivating her own tastes.

This arc is familiar from Orlandersmith’s earlier solo pieces, “Beauty’s Daughter,” “Monster” and “Gimmick,” all about young black women determined to rise above bleak circumstances, who find salvation in art. But whereas in those works Orlandersmith assumed other personae, here she performs as herself, slipping only briefly into other voices during conversations she reports.

“I have not been gut-honest,” she says. “I have never spoken my mother’s name onstage: Beula.”

Is such gut-honesty necessary? Her mother has been dead more than 20 years. Hasn’t Orlandersmith, after winning an Obie (for “Beauty’s Daughter”) and being nominated for a Pulitzer Prize (for “Yellowman”), exorcised the demons of her past?

And if we, the audience, must revisit her painful history, can’t we be kidded through the hardest incidents? Is there a part where mother and daughter cry and forgive, like in the movies?


Neither Orlandersmith nor her director here, Neel Keller, is interested in moving past or making light of pain, or sparing their audience the discomfort of witnessing it. “Forever” derives much of its power from the anger Orlandersmith carries and unflinchingly expresses.

And as her story makes clear, she has every reason to be angry. She was cruelly victimized, not only by her mother but by a man who broke into their house in the middle of the night and raped her — an incident she recounts in unstinting detail.

Her anger can be powerful, electrifying and cathartic. Her capacity for it may even be, as much as her love of art, what enabled her to survive.

But it can be constricting too, blinkering her to other emotions. When Beula is dying in the hospital surrounded by doting nurses (“surrogate daughters,” Orlandersmith bitterly describes them), the vengeful daughter tells her off with pitiless hatred, like a figure out of Greek tragedy.

From a theatrical perspective, unmodulated rage works best in small doses; too much of it stuns the senses. Subtler moments, as when she confesses her dreams of marrying the Irish cop who was kind to her after her rape, can be more effective.

If Orlandersmith refuses to pander to us, denying us our pat Hollywood closure, she herself embodies the hope implicit in her story. The area around the raised set has been turned into a gallery for her family photos — the originals, it looks like, with curled corners and faded color. In a few of them she’s mugging for the camera, like any kid.

With any luck, after “Forever” Beula will stay peacefully in her grave from now on and let her daughter’s spirit shine.

“Forever,” Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. 8 p.m. Thursdays-Saturdays; 6:30 p.m. Sundays. Call for exceptions. Ends Oct. 26. $20-$30. (213) 628-2772 or Running time: 1 hour, 30 minutes.



Dael Orlandersmith's Forever Is a Love-Hate Letter to Her Abusive Mother (GO!)

--LA Weekly October 14, 2014

Dael Orlandersmith in Forever - PHOTO BY CRAIG SCHWARTZ

There are many parents present in poet-playwright-performer Dael Orlandersmith’s searing solo stage memoir. They include Chopin and Proust, Oscar Wilde and Sarah Bernhardt, Édith Piaf and Richard Wright — all cited as Orlandersmith’s spiritual forebears and all buried in Paris’ Père Lachaise cemetery. A pilgrimage there bookends Forever, directed by Neel Keller in its world premiere at the Kirk Douglas Theatre.

The two most responsible for creating Orlandersmith the artist, however, turn out to include Père Lachaise’s Jim Morrison, whose poetically inflected music first provided her entrée to New York’s burgeoning downtown music scene of the 1970s and led her to a surrogate family of kindred writers and performers.

But most of all there is Beulah, her berating, belittling, pathologically possessive and ego-smothering, alcoholic mother.

In a portrait at once elegiac and angry, lyrical and recriminatory and rife with the kind of love-hate paradoxes that define any filial relationship but are here represented in extremis, Orlandersmith reconstructs Beulah’s life from South Carolina to a Harlem tenement. That's where she gave birth to the future playwright, who promptly became both emotional crutch and the object of blame for all of the tortured woman’s life disappointments. 

Orlandersmith’s intention, she says at one point, was to finally write something with the “naked, gut-honest” candor of an author like Wright. And in the harrowing, very personal and unflinchingly courageous journey described in Forever, she achieves it.

Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; through Oct. 26. (213) 628-2772,



Dael Orlandersmith's FOREVER Celebrates Opening Night at Douglas Theatre

The world premiere of Dael Orlandersmith's "Forever," directed by Center Theatre Group Associate Artistic Director Neel Keller, opened this Sunday, October 12 at 6:30 p.m. at the CTG/Kirk Douglas Theatre. A DouglasPlus presentation, "Forever" was commissioned and developed by CTG. Performances continue through October 26, 2014. BroadwayWorld has photos from the opening festivities below!

In "Forever," writer/performer Orlandersmith investigates the complex legacy she received from her mother and their difficult life in New York. A riveting and powerful memoir about family - the ones we are born into, and the strange way powerful bonds are formed with people who are "kin" through shared experience and perspective, is inspired in part by Orlandermith's experiences in Paris at the famed Père Lachaise Cemetery where strangers from around the world make pilgrimages to the graves of such legendary artists as Jim Morrison, Marcel Proust and Richard Wright.

Set design for "Forever" is by Takeshi Kata, costume design by Kaye Voyce, lighting design is by Mary Louise Geiger and sound design is by Adam Phalen. The production stage manager is Young Ji.

The Kirk Douglas Theatre is located at 9820 Washington Blvd. in Culver City, 90232. For tickets and information, visit, by calling (213) 628-2772 in person at the Center Theatre Group box office or at the Kirk Douglas Theatre box office two hours prior to curtain.

David Mamet's Controversial Play 'Race' Gets L.A. Premiere At The Kirk Douglas

race_mamet.jpg September 11, 2014

Shortly before David Mamet's "Race" opened on Broadway, the playwright himself took the unusual step of contributing an explanatory essay to the New York Times about his potentially controversial new work. "I have never spent much time thinking about the themes of my plays," Mamet asserted, "as I have noticed [that] when an audience begins to talk about the play's theme, it means the plot was no good. But my current play does have a theme, and that theme is race and the lies we tell each other on the subject."

Almost exactly five years after the publication date of that NYT article, "Race" is finally getting its Los Angeles premiere at the Kirk Douglas Theatre in Culver City, and as Mamet perhaps implied, its plot is not among his strongest. Still, in addressing what one of the play's characters describes as "the most incendiary topic in our history," the play comprehensively fulfills what Mamet has elsewhere described as theater's essential mission to address "a seemingly unresolvable social problem," a societal "unconscious confusion," in a way that we could not rationally consider anywhere else.

The entire play takes place in the conference room of a three-attorney criminal defense law firm where we initially see the two middle-aged partners grilling potential client Charles Strickland (Jonno Roberts), a publicly-prominent Wall Street one-percenter type whom the DA has charged with raping a young black woman in a hotel room. One of the partners, Jack Dawson (Chris Bauer) is white; the other, Henry Brown (Dominic Hoffman), is black. The third lawyer, Susan (DeWanda Wise), also black, is a novice associate with Ivy League law review credentials, who starts out quietly taking notes on the discussion, but soon becomes critically involved in the firm's strategic disposition of Strickland's case.

The overt (and obviously questionable) premise of the play and the partners' understanding of Strickland's prospects before a jury is that the deck is stacked against the accused because no one wants to let a white man off the hook for a crime against a black victim. "We're thrilled you're guilty," explains Brown. "Because of the calendar. Fifty years ago, you're white? Same case, same facts, you're innocent. This is the situation in which you discover yourself."

Dawson believes Strickland is innocent, while Susan is convinced he's guilty but still recognizes his right to a defense. It is not long, though, before Dawson's professional cockiness, in classic Mametian fashion, prevents him from even noticing a few boneheaded statements he makes about the racial politics of the case, racial politics in general and Susan's own status as a young black woman in his employment. Inevitably, then, her own agenda shifts from cooperation to confrontation.

The conflict between a young woman protégée who turns the tables on her older male professional mentors may bring to mind Mamet's earlier plays "Speed-the-Plow" and "Oleanna," even if our sympathies are far less one-sided here than in that latter play. The basic problem with "Race," though, is that for all the firepower generated by the accusations, recriminations, apologies and betrayals flying back and forth between the attorneys, the real consequences of their decisions are borne not by themselves, but by their client Strickland, who's not even onstage that much and strikes us as little more than a helpless dud when he is. In Mamet's better plays, the characters claw at each other's souls and fates to save themselves; in "Race" the characters' arguments are their own, but the stakes pile up largely outside of their arena.

Veteran Mamet director Scott Zigler grants the intricacies of the characters' respective grievances a clear airing, and all four cast members successfully maintain the intensity that Mamet's dialogue ratchets up for them. The floor to ceiling shelves lined with law books which subtly dominate set designer Jeffery Eisenman's spacious conference room leave no doubt that we are all at the mercy of these officers of the court and their manipulations of the rules.

For David Mamet's NY Times essay, go to: "We Can't Stop Talking About Race in America"

"Race" plays every evening except Monday, plus matinees Saturday and Sunday, through September 28. Tickets $25 through $55 (plus a 10% service charge) on the CTG  website.

Chris Bauer, Dominic Hoffman, Jonno Roberts and DeWanda Wise to Star in RACE at CTG's Kirk Douglas Theatre This Fall

Chris Bauer, Dominic Hoffman, Jonno Roberts and DeWanda Wise to Star in RACE at CTG's Kirk Douglas Theatre This Fall

--August 6, 2014

Casting is set for Pulitzer Prize-winning playwright David Mamet's "Race," which opens September 7, 2014, at the Center Theatre Group/Kirk Douglas Theatre in Culver City. Previews begin August 31, and performances run through September 28.

Directed by longtime Mamet collaborator Scott Zigler, "Race" features acclaimed stage and screen actors Chris Bauer("True Blood," "The Wire," Broadway's "A Streetcar Named Desire"), Dominic Hoffman, (Mamet's world premiere of "Faustus"), Jonno Roberts (Broadway's "Take Me Out") and DeWanda Wise (ABC's "Firelight").

"Race" has set design by Jeffery P. Eisenmann, costume design by Leah Piehl and lighting design by Josh Epstein. Casting is by Mark B. Simon, CSA, and the production stage manager is Kirsten Parker.

In "Race," Mamet tackles America's most controversial subject in his provocative tale of sex, guilt and bold accusations. In "Race," two lawyers find themselves defending a wealthy white executive charged with sexually assaulting a black woman. When a new legal assistant gets involved in the case, the opinions that boil beneath explode to the surface.

David Mamet is the author of the plays "The Anarchist," "Race," "Keep Your Pantheon," "School," "November," "Romance," "Boston Marriage," "Faustus," "Oleanna," "Glengarry Glen Ross" (1984 Pulitzer Prize and New York Drama Critics Circle Award), "American Buffalo," "The Old Neighborhood," "A Life in the Theatre," "Speed-the-Plow," "Edmond," "Lakeboat," "The Water Engine," "The Woods" "Sexual Perversity in Chicago," "Reunion" and "The Cryptogram" (1995 Obie Award). His translations and adaptations include "Faustus" and "Red River" by Pierre Laville, and "The Cherry Orchard," "Three Sisters" and "Uncle Vanya" by Anton Chekov. His films include "The Postman Always Rings Twice," "The Verdict," "The Untouchables," "House of Games" (writer/director), "Oleanna" (writer/director), "Homicide" (writer/director), "The Spanish Prisoner" (writer/director), "Heist" (writer/director), "Spartan" (writer/director), "Redbelt" (writer/director), "Phil Spector" (writer/director). Mr. Mamet is also the author of "Warm and Cold," a book for children with drawings by Donald Sultan, and two other children's books, "Passover" and "The Duck and the Goat; Writing in Restaurants," "Some Freaks," and "Make-Believe Town," three volumes of essays; "The Hero Pony" and "The Chinaman," two books of poems; "Three Children's Plays," "On Directing Film," "The Cabin," and the novels "The Village," "The Old Religion" and "Wilson." His most recent books include the acting books, "True & False," "Three Uses of the Knife," "Bambi Vs. Godzilla," "Three War Stories," and "The Secret Knowledge." "Glengarry Glen Ross" was awarded the Tony Award for Best Revival of a Play in 2005.

Tickets for "Race" are available at, the CTG box office located at the Ahmanson Theatre, at the Kirk Douglas Theatre box office starting two hours before curtain or by calling (213) 628-2772.

Pictured: L-R (back row): cast members Chris Bauer and Dominic Hoffman and L-R (front row): cast members DeWanda Wise and Jonno Roberts during the first rehearsal forDavid Mamet's "Race." Photo by Craig Schwartz.