Theater News: Weekly Reviews by Anita W. Harris – Thursdays & Eat. See. Updates

When Anita W. Harris writes about theater in Long Beach, she’s not just reviewing plays—she’s mapping the cultural pulse of a city where the arts intersect with daily life in ways that sense both deeply personal and broadly communal. Her recent column highlighting two new women-oriented productions opening this weekend isn’t merely a notice for theatergoers; it’s a signal about how local stages are responding to evolving conversations around gender, identity, and storytelling. For residents of Long Beach, especially those navigating the vibrant corridors of downtown or the quieter, tree-lined streets of Belmont Shore, this moment in the theater season offers more than entertainment—it reflects a community actively shaping its own narrative.

The productions Harris points to—though not named in full detail in the excerpt—align with a broader trend she’s documented throughout her tenure as a theater reviewer for the Long Beach Post and contributor to LA Theatrix. Her perform, spanning from her time at the Signal Tribune covering local government and events to her current role teaching writing at UC Irvine and editing the literary theory journal SubStance, consistently emphasizes how theater serves as a space where stories turn into lived experience. This perspective is vital when considering why these particular openings matter: they’re not isolated events but part of a sustained effort by Long Beach venues to center voices that have historically been marginalized in mainstream narratives.

Grab, for instance, the context Harris provided in earlier columns. Just months ago, she highlighted the Long Beach Shakespeare Company’s production of *Julius Caesar* at the Helen Borgers Theatre on Atlantic Avenue—a play steeped in political intrigue where a soothsayer’s warning (“beware the Ides of March”) echoed in a modern moment of civic uncertainty. Around the same time, the Long Beach Playhouse was staging Agatha Christie’s *Go Back for Murder*, a memory-driven mystery that challenged audiences to reconsider how truth is reconstructed through personal testimony. Then came August Wilson’s *Gem of the Ocean*, directed by Rovin Jay, which launched a spiritual journey rooted in the African American experience, sending audiences aboard a metaphorical slave ship to the mythical City of Bones. These weren’t just plays; they were invitations to engage with history, memory, and identity in ways that resonated long after the curtain fell.

Now, with these new women-oriented works opening, Harris continues that thread—though the tone shifts toward wit and reflection, suggesting a balance between gravity and levity that defines much of contemporary theater. The fact that she notes them as opening “this weekend” (relative to her column’s typical Thursday publication) underscores the immediacy of the opportunity. For someone living near The Pike Outlets or commuting along the 710 Freeway, catching a show at a venue like the International City Theatre or the Richard and Karen Carpenter Performing Arts Center at CSULB isn’t just a night out—it’s a way to participate in the cultural dialogue Harris has spent years documenting.

What makes this moment particularly salient is how it reflects Long Beach’s unique position as a city where artistic expression is woven into civic life. The Long Beach Post, where Harris publishes her column, has been a digital staple since 2007, covering everything from LGBTQ+ issues to placemaking efforts that shape neighborhoods like Bixby Knolls or Naples Island. Her ability to connect theater to these broader themes—evident in her coverage of productions at Cerritos Center for *Hadestown*, where she quoted actor Hawa Kamara on Eurydice’s practicality in a “cold and depleted world”—shows how deeply she understands the symbiosis between stage and street.

Given my background in analyzing how cultural trends translate into community needs, if this shift toward women-centered storytelling impacts you in Long Beach, here are three types of local professionals worth seeking out:

• Cultural Program Coordinators at Nonprofit Arts Organizations: Look for individuals who’ve worked with institutions like the Long Beach Arts Council or the Museum of Latin American Art (MOLAA) to develop inclusive programming. They should demonstrate a track record of partnering with diverse playwrights and directors, prioritizing accessibility (both financial and physical), and measuring impact beyond ticket sales—such as through community workshops or post-show dialogues that extend the theater’s reach into schools and neighborhood centers.
• Independent Theater Educators and Workshop Facilitators: Seek practitioners who offer scene study, voice training, or playwriting classes specifically tailored to underrepresented voices. Ideal candidates will have experience collaborating with groups like the Long Beach Shakespeare Company’s education outreach or the Playhouse’s youth conservatory, and will emphasize creating safe, exploratory spaces where participants can develop original work rooted in personal or communal narratives—especially those exploring gender, identity, or intersectionality.
• Venue Operations Managers with Equity Expertise: These professionals handle the logistics behind the scenes—scheduling, accessibility compliance, vendor coordination—but with a lens toward inclusivity. Prioritize those familiar with ADA requirements for historic theaters (like the Hagenbeck-Renewal at the Long Beach Playhouse), experienced in gender-neutral casting practices, and skilled at coordinating with local transit authorities (such as Long Beach Transit) to improve access for performances, particularly for late-night shows in areas like Downtown or Uptown.

Ready to locate trusted professionals? Browse our complete directory of top-rated experts in the Long Beach area today.