Some of the creatives involved with the projects include Scarlett Johansson (in her first feature), Ben Stiller, Alan Alda, Bob Balaban,  Josh Brolin (“An American Gangster”), Jeremy Davies, Carla Gallo (“Knocked Up”), Paul Guilfoyle (“CSI”), Tea Leoni, Mary Tyler Moore, Adrian Pasdar (“Heroes”), David O. Russell, George Segal, Armin Mueller-Stahl (“Shine”), Maureen Stapleton, Lily Tomlin, and Alberta Watson (“24” and “La Femme Nikita”).

FOR A SAMPLE OF FILM REVIEWS, PLEASE CLICK HERE.

George also worked with Sony television producer Gunnar Wetterberg.  A reality show that he helped developed with Gunnar, “Russian Roulette,” was optioned by Sony and has now been sold to over 35 countries worldwide and plays on the Game Show Network in the U.S.

Endemol, one of the world’s top reality show companies (“Fear Factor,” “Deal or No Deal,” “Extreme Makeover: Home Edition,” and “Big Brother”) optioned a reality show of his called “Gladiator Dating.”

THEATRE WORK

George has a deep seeded passion for theatre.  After moving to LA the long way, taking a six month trip around the world, he served on the Board of Directors at the Met Theatre, one of LA’s longest running theatres, and was Literary Manager there and at Sacred Fools.  He’s also written and produced some award winning plays.

Apart from his full length productions above, Yale University, the Nantucket Theatre, and NYC’s Silverwhale, Love Creek, and End Times produced short plays of his as well.  George also does extensive volunteer art therapy work, teaching writing to and directing the plays written by at-risk and learning disabled kids with programs like the Virginia Avenue Project.  He still dreams of seeing the Cubs win it all, just like his great granddad did in 1908.

SELECT PLAY REVIEWS

GRIMM!

On "Grimm!"

Backstage West – Critic’s Pick!
“Sure, we all know the stories of Hansel and Gretel and Cinderella, but what about Godfather Death and The Jew Among the Thorns?  The stories in Grimm! are not sanitized Disney versions of well-trodden fairy tales.  They are nine delightful, obscure, at times funny, at times disturbing, original Grimms’ tales, unearthed from the archives of the German brothers’ writings and richly adapted to the stage by the Sacred Fools Theater Company.”  “What I must applaud most about the play (although there were many wonderful performances, lyrical writing, and lively choreography) is the original music.  I was struck by how much the scoring, performed by an orchestra of six, enhanced the performances and the overall feeling of the play.  Brenda Varda’s original compositions add dramatic tension, playful comedic tones, and a counterpoint to the action.”  “The charm in this production of lesser-known Grimms’ fairy tales has not only to do with a talented ensemble cast and, as I mentioned, wonderful musical accompaniment, but with stories that are inherently alluring and captivating.”  Angela Phipps Towle

LA Weekly – Recommended!
 “The Sacred Fools company scores points just for mounting a show in which 10 different directors and writers take dramaturgical risks — whether it be working with a story bereft of any clear ending (and for that matter, moral) or taking more traditionally structured stories into new terrain.  But aside from the project’s novelty, the playlets also work well.”  “The evening engages, aided by live music composed and directed by Varda.”  Luis Reyes

Actorsite
“I’m not sure which is more disturbing: Rosenfeld’s portrayal of the Grim Reaper, or the fact that this ultra-macabre story comes from a collection titled Nursery and Household Tales.  The Fools have done it again. Check it out -- and maybe have a nightlight ready for sleeping afterward.”  Kevin Delaney

On”Grimm, Too!”

Backstage West
“Elegantly penned by George Larkin, ‘Infinite Cinderella’ weaves together variants on the happily-ever-after tale of a pure girl and her prince, beloved over ages and cultures, the evening’s lively introduction unfussily directed by Denise Barnard.”  Dany Margolies

LA Weekly – Recommended!
“Like its predecessor last year at the Sacred Fools Theater, this collection of Grimm adaptations contains a range of theatrical styles, all performed with gusto.”  Luis Reyes

Backstage West
“There’s literal, and then there’s literal.  And therein lies a tale‚ or 10 tales in this case.  These reworkings of the Brothers Grimm’s tiny morality tales do nothing so much as reflect the talents of their respective creative teams.  That a hanky gets ‘carried off by a stream’ when actors fold and remove that stream of silky turquoise cloth is literal staging that thrills... Dialogue that clips along as if led by an offstage conductor enlivens the storytelling... an unmitigated joy... ”  Dany Margolies

The Play Review
“A classic popular song’s lyrics declare that ‘Fairy tales can come true, it can happen to you.’  This is one time when you might hope they don’t!  The Met theater has dug up some obscure tales from the Brothers Grimm archives and is bringing the audience face to face with these strange accounts, which have been written and re-written by contemporary writers and by now are probably but a mere shadow of the originals.”  “If there is one thing that is obvious, it’s the exuberant energy the actors display as they literally rush from one version to another, in various accents, dialects, costumes and situations.  After that, it only gets more strange.”  “Some stories are downright gory, others are sad, and still some are outlandish, but they all have the one common element of being done very well with excellent acting, good music and an eye toward stylized presentations.  All in all, this is a fun show, and the huge ensemble did a wonderful job keeping it going.”

Accessibly Live
“There’s a production at The MET Theatre in Hollywood that should not be missed!”  “Conceived by producer George Larkin, and directed by seven directors, written by nine writers, played by twenty actors, and music provided by a live jazz combo to boot, GRIMM TOO is funny, sad, cruel, and still holds its ironic charm.  It’s again one-part Fractured Fairy Tales, one part Saturday Night Live, and all entertaining.  Just remember to leave the kids at home!  (For the evenings, anyway!)”

On “Tres Grimm!”

LA Times – Recommended!
“Grown-up Grimm pulls no punches!”  “George Larkin’s slate of adult takes on tales by folklore’s cautionary brothers is a vivacious volume earmarked by wry designs and spry playing.  A modern storyteller (Lindsay Frame) and her stepdaughter (Angela DiMarco) propel Larkin’s prologue, ‘The Death of the Little Hen.’  This ensemble schoolyard goof is vicious and hysterical.”  “Energy abounds, and the décor suggests Andrei Serban on peyote.”  David C. Nichols

LA Weekly – Recommended!
“The stories in this — producer George Larkin’s third collection of playlets based on the folktales collected by the Brothers Grimm — would be gory Grand Guignol if they were played straight, but here the approach is (mostly) tongue-in-cheek, providing more giggles than gore.  One tale ends with startling finality: ‘Everybody is dead.’”  “Ten writers, eight directors, three musicians and 19 actors have joined forces for this extravaganza, so it’s difficult to single out individual contributions. But the clever and madly eclectic original music, composed and conducted by Brenda Varda, lends rich counterpoint to all the tales.  Overall, this is an exuberant and funny exercise in schadenfreude and gallows humor.”  Neal Weaver

Reviewplays.com
“‘Tres Grimm’ is an entertaining evening of theatre that will probably prompt some to dust off their old fairy-tale books and look up the more controversial variants.”  Lynne Bronstein

The Maestro Entertainment Magazine
“Très Grimm!  Très formidable! In this celebration of the folk tale and live story telling, Trés Grimm! (Grimm III) is the third installment in a series of plays that draw from the original stories by the Brothers Grimm. While quite humorous at times, all of the stories have one thing in common: they reveal dark moral truths about humanity.  Producer George Larkin has assembled a fine cast to bring these stories to life at The Met Theatre in Hollywood.  Containing 13 short ‘vignettes,’ the play ranges from the sublime: a charming ballet sequence, to the ridiculous: a walking sausage and his two best friends.”  “George Larkin has created an edgy and imaginative experience in modern theater.  Remaining true to the vivid Grimm stories of the early 19th century, this entertaining adaptation is not for the whole family.” Michael Upward

Accessibly Live
“In Tres Grimm, some of the lesser known tales are depicted on stage. Some are charming (The Fox And The Geese), others are a bit macabre (The Death Of The Little Hen), while the rest are rather...well, grim!  They are full of horrible death and sorrow, getting rather creepy in nature.  However, the common folks liked their stories 'saucy and meaty', and this is as 'meaty' as one could get!”  “Producer George Larkin, who also conceived two previous shows of Grimm Fairy Tales depicted on stage, takes a dozen of these stories and fables, and thanks to a cast of writers, directors, and of course, the cast -- they all form an anthology of stories that are rather honest, if not ‘politically correct’ to later mass audiences.  Original live score conducted and composed by Brenda Varda adds to the mood to this production.  (The three piece band featuring Michael Johnson on guitar, T. J. Welch on percussion, and Varda on the keyboards can really jam!)  It takes an army of talent to create such as show as this one, and they all can prove that fact!”  Rich Borowy

To read testimonials from participants on his Grimm theatre project, PLEASE click here.

DEAD LAWYERS

LA Weekly
“Playwright George Larkin cannibalizes various genre conventions with mistaken identities, elevating the whodunit spoof to new levels of hilarity.  He keeps the action moving, the jokes zooming and the pratfalls flying at a breathless pace, with the energetic cast delivering uniformly strong comic performances.”  Sandra Ross

Ventura Country Star & San Bernadino Sun
“With this and dozens of other attorney jokes, the play Dead Lawyers is a hysterical send-up of Agatha Christie whodunits and door-slamming farces with more egotistical lawyers than an O.J. trial.”  “A raging storm, a washed-out bridge and a secluded time-share house in the Hamptons provide the ideal setting for this comic mystery.”  Jeff Favre

Backstage West
“Although George Larkin’s script is hardly the Shakespearean bloodfest the title promises (I will admit to nurturing a sweet fantasy wherein an arena of lawyers battle each other until only a few cell phones and a Porsche key chain are left behind), it’s still a fun show based on the Agatha Christie premise of a house, cut off from civilization by a storm, containing a mysterious corpse and a number of terrified occupants.” “Only the addition of deceased IRS auditors could make for a more appealing premise.”  Wenzel Jones

PERVERSE TONGUE

The Play Review
“In the past few weeks there have been several reviews here that deal with the ominous future and the possible change of human values. From Ray Bradbury’s Fahrenheit 451 to George Orwell’s Animal Farm, we see repression, totalitarianism and power hungry regimes that feed on their own corruption. Now we have The Perverse Tongue, about as imaginative and thought provoking as they come.  George Larkin has come up with a premise in this compelling drama that is at once chilling and plausible.”  “Larkin’s story is so gripping and uniquely presented that it’s definitely worth a look, especially since the US has recently had preacher politicians running for President. If they had won, would we eventually have the situation that George Larkin describes?  Many would argue that it could never be, and the electorate would be too sophisticated to let it happen.  But then again, twenty five years ago they also said that there was no way an actor could ever become President!”

Los Angeles Loyolan
“A thought provoking play detailing dark version of the future with religious extremism.  The plot, in all its turmoil and ethical inquiries, continues to roller coaster among love triangles, fist-fights and good-versus-evil obstacles.  The story is, needless to say, completely intriguing and touching, yet sustains a sense of uneasiness with the audience.  As farfetched as it seems, this extreme scenario seems all too possible.”  “The Perverse Tongue is an excellent precursor of a lengthy conversation as well as a great topic for debate.  The play is a warning to be careful who power is delegated to, as society can be easily swayed by good politicians rather than ideas.  It warns of the risks of interpreting a piece of writing literally -- in this case, the Bible.  It’s dangerous territory, as Larkin warns to be cautious upon viewing his play.”

Entertainment Today
“What makes Larkin’s story compelling is its plausibility. Having experienced a presidential election where an ultra-right religious candidate upset at least one state count, the specter is too close for comfort.  As with most ultra- conservative issues, the biggest preoccupation in this tale is sex.  The laws governing female virginity, chastity, rape and marriage are straight out of the Old Testament and usually make the woman the guilty one, regardless of the circumstances.”

THE NAKED HOLIDAYS OPENING
(one act play from a holiday themed play festival)

LA Weekly
“George Larkin’s ‘The Naked Holidays Opening,’ directed gleefully by Alexander Yannis Stephano, is the pick of the show.  A multicultural melange outlining the contrasting traditions of Christmas, Hanukkah and Kwanzaa with a debunking of Christian traditions, climaxing in a semi-clothed chorus line.”

LA Times (from page one of the Calendar Section)
“Most of the clothes come off near the end of George Larkin’s frisky musical introduction, which also establishes that the holidays in question include Hanukkah, Kwanza and solstice celebrations, as well as Christmas.  The show pokes fun at its own ethnic non-diversity by enlisting an unwilling white guy (Jeff Benninghofen) to explain Kwanza.  Not all of the seven vignettes that follow are especially raw.  Nothing else is as good...”

FOR THE FULL THEATRE REVIEWS, PLEASE CLICK HERE.

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