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Barry Creyton
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Opera Preview: THE MAGIC FLUTE (Los Angeles Opera at the Dorothy Chandler Pavilion)
MAGIC CAN STRIKE THRICE IN THE SAME PLACE In 2013, a new production of The Magic Flute from Berlin’s Komische Oper became a sell-out sensation, courtesy of the Los Angeles Opera. In 2016, it returned just as magical as it was the first time. Now, it returns to the Dorothy Chandler Pavilion starting Saturday, November 16,…
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Theater Review: LA VIE EN ROSE (Julia Migenes at the Odyssey Theatre in Los Angeles)
A LIVING ROSE If you have even a modest love of French songs, or just the art of performance, of hearing and seeing a singer bring a lyric to vibrant life, do yourself a favor and go see this consummate artist in a sweet, masterful evening of Chanson. Julia Migenes is one of those rare…
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Film Review: GAY CHORUS DEEP SOUTH (written and directed by David Charles Rodrigues)
HITTING THE RIGHT NOTES In 30 of the United States, LGBTQ people risk losing employment simply because of who they are. In Mississippi and North Carolina, laws have been passed to strip them of basic human rights. In this seriously divided nation, hatred is endorsed by the present administration. Far from encouraging love of one’s…
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Film & Music Review: PSYCHO LIVE (LA Opera Orchestra at Theatre at the Ace Hotel)
YOU’D BE PSYCHO TO MISS THIS ONE The golden age of movie scoring gave us soaring symphonic works by masters of the genre — Newman, Rosza, Tiomkin, Waxman — most of them inextricably married to the movies they describe. Yet of all of them, the scores that bear closer examination, and which give the greatest…
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Music Review: DUDAMEL CONDUCTS GERSHWIN AND COPLAND (LA Phil at Disney Hall)
THE ORIGINAL AMERICAN GRAFFITI It’s difficult to determine just what makes music American; and if a symphonic program is to be labeled “American”, which composers might be on the shortlist? Under the blanket title Dudamel Conducts Gershwin & Copland, this thrilling evening also included short works by Barber and Previn, all four composers giving us…
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Theater Review: BARNUM (Musical Theatre Guild at the Alex Theatre in Glendale)
I LIKE YOUR STYLE P. T. Barnum claimed there’s a sucker born every minute, but composers like Cy Coleman come along only once in a lifetime. His vigorous score was in the capable hands of musical director Jan Roper for Musical Theatre Guild’s staged reading of Barnum at the Alex Theater. Score, book and lyrics…
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Theater Review: LOOT (Odyssey Theatre Ensemble)
LOOT CONDUCT At a time when drawing room comedies ruled West End theatre, and even the shock of the raw emotions depicted in Osborne’s Look Back in Anger had faded, a complacent London audience enjoyed such safe, heartwarming fare as Hello, Dolly!, and the water-thin comedy There’s a Girl in my Soup. Then in 1966…
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Documentary Film Review: THE LAVENDER SCARE (directed and produced by Josh Howard)
IT’S STILL SCARY The Witch Hunt has been part of the American psyche since Salem. Lately though, the cries of “witch hunt” evoke not the green of Elphaba, rather a nauseous orange. And while that might seem a horse of a different color, let us not forget the Red Scare in which the self-serving machinations…
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Music Review: GREAT OPERA & FILM CHORUSES (Los Angeles Master Chorale at Disney Hall)
RESOUNDING SOUNDTRACKS In 1770, Jean Jacques Rousseau employed music to accompany certain dramatic scenes in his play Pygmalion. A hundred years later, music to accompany theatrical melodrama was de rigueur. By natural progression, music became an essential part of silent cinema. Phonograph, piano, organ or a loosely assembled band played along with the earliest movies,…
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Music Review: NELLIE McKAY (City Vineyard)
by Rob Lester | April 29, 2026
in Cabaret, New YorkOff-Broadway Review: BROKEN SNOW (Theatre 71)
by Gregory Fletcher | April 28, 2026
in New York, TheaterTheater Review: THE SECRET SHARER (DNAWorks at Emerson Paramount Center)
by Lynne Weiss | April 27, 2026
in Boston, TheaterBroadway Review: JOE TURNER’S COME AND GONE (Barrymore Theatre)
by Paola Bellu | April 25, 2026
in New York, Theater
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