←Recommendations of Never Snows in L.A.

Comedy. Horror. With a dash or two of satire for good measure. Evan Baughfman, with "Never Snows in L.A.", has definitely touched on how utterly tense and insane the screenwriting "racket" can be. Orson Welles, Robert Altman, Tarantino, as well as any and all struggling writers . . . would have an absolute field day with this.

A tart and witty exploration of a writer's powerlessness to defend his vision in the face of a soulless producer veers compellingly into a horrific nightmare for the producer. The characters are vividly drawn. The funny bits are truly hysterical. The horror is riveting as it emerges. Who could ask for anything more?

05/11/2026 - What had me laughing out loud at the beginning put me on the edge of my seat near the end! Evan Baughfman shows off his knack for comedy and horror here in so many ways, creating a great piece that sets a time, a place, and an idea so well for the audience. The characters will speak to the writers and creators in the audience and the premise will speak to the horror lovers out there as well. Excellent work as always!

Evan Baughfman takes audiences on a ride with this dark comedy/industry satire/horror. I was happy for Warren writing a story that means a lot to him, angered by Barry's selfishness, frightened by the atmospheric horror, pleased at the comeuppance, and surprised by the button. Not only would audiences and actors love this short play, but so would lighting, set, and sound designers.

Sharp, eerie, and darkly funny, Never Snows in L.A. blends Hollywood satire with haunting local lore. Baughfman’s crackling two-hander explores truth, exploitation, and artistic compromise before landing an unexpected, chilling turn.

A smart, sharply constructed two-hander, Never Snows in L.A. deftly blends industry satire with an eerie, unexpected turn. Evan Baughfman crafts a compelling clash between artistic integrity and commercial cynicism, with dialogue that crackles with authenticity and bite. The haunting final sequence elevates the piece, transforming it into a striking meditation on storytelling, ownership, and the consequences of exploiting truth.

Oh man, this is why I have no desire to write screenplays. Poor Warren has his script about Ivan, a murderous polar bear from the Griffith Park Zoo, torn to shreds by Blake who, in true Hollywood fashion, wants to make the story about something else entirely. Their dialogue zips delightfully along, and I did NOT anticipate that turn! Nor did I realize that I would be googling 'Ivan the Terrible polar bear' and 'Griffith Park cursed' after finishing the play, but I did, and it was time well spent