Palazzo Parking Structure: 1010 Glendon Avenue, Los Angeles, CA 90024
Located 1.5 blocks away and even closer to many restaurant partners
Rate: $4 with validation (please request a validation ticket from the box office or concierge upon entering the theater)
*Payment by credit card is available immediately at the gate arm when exiting. Patrons paying in cash are asked to pay at the pay station on the street level.
BROOKE SHIELDS AND RICHARD CHAMBERLAIN TAKE THE STAGE FOR WORLD PREMIERE ADAPTATION OF THE EXORCIST
The most chilling test of faith come to life on stage. This world premiere adaptation of the famous 1971 novel documenting the terror and redemption of a ten-year-old girl remains as frightening and relevant as when first experienced. Under the direction of Tony Award winner John Doyle and adapted by acclaimed playwright John Pielmeier (Agnes of God), The Exorcist transforms the unsettling battles of good versus evil, faith versus fact and ego versus ethos into a uniquely theatrical experience as sophisticated as it is suspenseful.
Stage and screen stars Brooke Shields and Richard Chamberlain take on the iconic roles of Chris MacNeil and Father Merrin in playwright John Pielmeier’s world premiere of The Exorcist at the Geffen Playhouse. Helmed by acclaimed director John Doyle, who won a Tony Award for his striking reimagining of Sweeney Todd, this stage adaptation of William Peter Blatty’s famous 1971 novel transforms the unsettling battles of good versus evil, faith versus fact and ego versus ethos into a uniquely theatrical experience as sophisticated as it is suspenseful.
Date: I thought Friday the 13th was fitting.
Seats: Orchestra seats
Cost: $75 group rate (single tickets are $80 + $8 service fee)
I have a refund policy, so don't worry about signing up and then needing to change your plans later on. I just need 10 days notice or a replacement.
Brooke: My first experience was in high school, when my best friend made all the cheerleaders sit down and watch it. I was too scared to stay in the living room to watch it, and I went and stayed in the kitchen. There was no way I was going to watch the film. After watching it, she slept on the floor in her parent’s room for two months. Absolutely terrified.
So you’ve never seen it?
B: Nope. I have not seen it and wouldn’t see it and was so scared to see it. So I asked the director [of the play], “Look, I’ve read the book and if you want me to see the movie I will see it tonight.” He said, “No, it’s not necessary. There’s no pea soup or head spinning in this production and it’s all taken from the book.” So, he said the book was enough. There’s going to be so many people that have seen the movie, but there will be people who haven’t seen the film. In a sense they might get a different experience, but hopefully because of the way John is doing this it won’t take long for people to stop the comparison.
When reading the script, I immediately didn’t think of the book or the movie. It’s sort of a poem—so fluid and beautiful.
B: The [script] itself is kind of what got me. Having not seen the film and just hearing the hype of it, I thought to myself, “I know I’m not going to like this.” I sort of wanted to not like it because I thought it’s going to be ridiculous. I read the script and I was so moved by the language in the script, and what John Pielemeier did. It’s just like you said, there’s a very poetic nature to the discussion of good and evil. The more evil it is, the more beautiful it becomes.