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Jesse David Corti
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Dance Review: NASHVILLE DANCE FESTIVAL (Nashville Ballet at the Fisher Center of Performing Arts)
MULLIKIN TO DEUX, AND MORE TO BE DONE No matter the overwhelming amount of hustling singer-songwriters, and evolving identity of what qualifies for country music, there are artistic corners of Nashville deserving attention and support; Nashville Ballet is among the most worthy of these. After 25 years developing under the reliably captivating visions of Artistic…
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Theater Review: SHINERS (Woolworth Theatre in Nashville)
CIRQUE DU WICKS SALOON REVUE Booze, mostly respectable eye candy, and the music turned up. That’s downtown Nashville in a nutshell. Until recently, Broadway (not The Great White Way, but the iconic southern thoroughfare) was replete with these three in the historical honky tonk bars that vibrated with live country and western tunes of Roger…
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Film Review: LA LA LAND (written and directed by Damien Chazelle)
LA LA LAND STARTS WITH OOH-LA-LA BUT LANDS HARD In some ways, La La Land promises to be a moving, old-fashioned romantic musical that plays around with old techniques and presents them in a vibrant, zestful fashion. But some well-staged numbers and appealing actors don’t quite make up for forgettable songs, constrained storytelling, and two leads who aren’t terrific…
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Los Angeles Music Preview: ROMANCE AT THE PHIL (Bringuier, Tilling, Brahms, Berg & Beethoven)
ROMANTIC RENDEZVOUS Lionel Bringuier touches down at Disney Hall with the Los Angeles Philharmonic on Valentine’s Day weekend serving up a buffet of romantic music from Brahms, Berg, and Beethoven. Following his final year as Resident Conductor with the LA Phil, Bringuier returns with the exceptional Swedish soprano Camilla Tilling, whose voice carries the combination…
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Los Angeles Music Review: URBAŠƒSKI CONDUCTS CHOPIN, PROKOFIEV & KILAR (LA Phil at Disney Hall)
A PERFECT BALANCE OF BITE AND BEAUTY Krzystof Urbański’s star shines a bit brighter these days. Not yet 35, he has taken hold as the conductor of the Indianapolis Symphony, and on Jan. 25 he wowed with an LA Phil command performance. The power bursting forth from the philharmonic, along with Urbański’s exuberance and lively…
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Los Angeles Theater Review: A PERFECT LIKENESS (Fremont Centre Theatre in Pasadena)
LIKING THIS LIKENESS Writer/producer/director Daniel Rover Singer’s A Perfect Likeness imagines a meeting between Charles Dickens and Charles Dodgson–better known by the alias, Lewis Carroll. Had Dickens taken up amateur photographer Mr. Dodgson’s request to meet him and have his portrait taken, this would be the scenario. The ninety-minute two-person drawing-room play is set somewhere…
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Los Angeles Theater Review: CYRANO (Independent Shakespeare Co.)
SIRRAH, NO Cyrano de Bergerac is the story of a fearless, witty, charismatic romantic whose grotesque nose prevents him from pursuing Roxanne, the woman he loves. Roxanne is smitten by Christian, a handsome man whose only fault is not being equipped with Cyrano’s wit. When Cyrano decides to write missives to Roxanne as Christian, the…
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Los Angeles Music Review: 200 MOTELS (LA Phil at Walt Disney Concert Hall)
ZAPPED ZAPPA Any live performance of 200 Motels is bound to bear a degree of disappointment since its mastermind, Frank Zappa, is not alive to conduct the evening’s program, shred on guitar, or entertain audiences with his fiery passion. Musically more challenging, and arguably more ambitious than the Beatles’ Sgt. Pepper or the Who’s Tommy…
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Los Angeles Music Review: SALONEN CONDUCTS DEBUSSY & BARTÒK (LA Phil at Disney Hall)
A LASTING IMPRESSION Fab Fin Esa-Pekka Salonen returned to the hall where he established the reputation of LA Phil, educated audiences to challenging new music, and garnered adulation for his graceful manner and acute interpretation of various works, classical and contemporary. The program this past weekend set the stage for Salonen to do as he…
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Los Angeles Theater Review: THE GUARDSMAN (A Noise Within in Pasadena)
BE ON YOUR GUARDSMAN Nationwide, nearly half the couples that get married today end up divorced. The aphorism about the difference between the way relationships are handled by this generation and the so-called greatest generation is “back then when something was broke, we tried to fix it, not buy a new one.” Since the 1911…
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Los Angeles Music Review: EMMYLOU HARRIS & RODNEY CROWELL (Valley Performing Arts Center)
AMERICAN LEGENDS Emmylou Harris and Rodney Crowell took the stage at Valley Performing Arts Center to deliver a hot set of good old-fashioned country-flavored Americana music. It was an evening of legends paying tribute to those whom they revere and love, not excluding each other. Since their first meeting forty years ago, these highly regarded…
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Los Angeles Music Review: ORQUESTA BUENA VISTA SOCIAL CLUB (Valley Performing Arts Center at CSUN)
BUENA BUENA Back in the 1990s, Buena Vista Social Club took the world by storm. The album, inspired by the music played at a Havana members club, both celebrated and cemented the fluid formidability of popular pre-revolution Cuban music performed by Cubans. It sold over five million units worldwide, and notched a Grammy Award as…
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Los Angeles Theater Review: PERICLES, PRINCE OF TYRE (A Noise Within in Pasadena)
POSITIVELY PEERLESS PERICLES There’s a certain respect lost among most national leaders today, especially here in America, due to the excessive regard for individuals graduated from northeast institutions, and an improper recognition for those who serve in the military’” especially those who fight overseas. The last three Presidents of this country have avoided harm’s way…
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Los Angeles Theater Review: AH, WILDERNESS! (Actors Co-op)
AH, GOOD THEATER! Ah, Wilderness! is Pulitzer and Nobel Prize-winning O’Neill’s only comedy, and he describes it as, “a wistful recollection:the kind of childhood I wished I had growing up.” One can certainly see the parallels between what must’ve been a young O’Neill and the character of Richard Miller as Wilderness also provides a rose-colored…
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Los Angeles Theater Review: A SHORT STAY AT CARRANOR (Theatre West)
TOO MUCH OF TOO LITTLE FOR TOO LONG An aged widow and an even more aged married man have a shared, passionate history with each other that ended after World War II. Now, nearly seventy years later, they find themselves with an opportunity to reunite, make up for lost time, and take one last shot…
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Los Angeles Music Review: PINK MARTINI (LA Phil at the Hollywood Bowl)
A ZESTY SUMMER COCKTAIL In their seventeen years as a fourteen member full “little orchestra,” Pink Martini has established a reputation for clever, daring, sophisticated and delightful music. The unusually overcast sky at the Hollywood Bowl Sunday evening provided an excellent opportunity for LA Phil and Pink Martini to perk up the environment with some much needed color and…
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Los Angeles Theater Review: THE LAST DAYS OF MARY STUART (Son of Semele Ensemble)
AND NOW FOR A BRIEF INTERLUDE What’s hip these days? It’s the old tradition of taking idiosyncratic history or historical figures and putting the stories and details to music. Sufjan Stevens produced albums about the states Michigan and Illinois to wide acclaim in the indie circuit. Electronic duo Neon Neon released Stainless Style, based on…
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Los Angeles Music Review: VOICES OF LOS ANGELES: SONGS OF EXPERIENCE (Hollywood Master Chorale)
BLAKE: IN DELICACY AND DISTRESS Hollywood Master Chorale concluded their Songs of Experience concert series Sunday night at the West Hollywood Library. Since the concert was inspired by Poet-painter William Blake’s “Songs of Innocence and Experience,” the library was an an apt location to showcase his intimate, poignant poems set to song. The composers enlisted…
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Los Angeles Concert Review: AN EVENING WITH RUFUS WAINWRIGHT (Valley Performing Arts Center in Northridge)
A DIFFERENT KIND OF GAME Rufus Wainwright received a smattering of awards for his self-titled 1998 debut, loud fanfare for his follow-up album Poses, and his cover of Leonard Cohen’s classic “Hallelujah” for the Shrek Soundtrack in 2001, but has not found the same level of praise or success for his subsequent efforts. Mentions of…
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Los Angeles Theater Review: A FRIED OCTOPUS (Bootleg Theater)
BRAIN FRIED Retaining a cephalopod’s far-ranging spinelessness and wide-ranging tentacles, Alicia Adams and Justin Zsebe’s vanity work, A Fried Octopus, makes a squishy thud at The Bootleg. Instead of a clear narrative, what we have is an absinthe-soaked progression of discussions and monologues that veer from subjects like Toulouse Lautrec, divine femininity, and women in…
Theater Review: EUREKA DAY (Dezart Performs)
by Jason Mannino | January 16, 2026
in Palm Springs
(Coachella Valley), TheaterOff-Broadway Review: THE DISAPPEAR (Minetta Lane Theatre)
by Rob Lester | January 15, 2026
in New York, TheaterTheater Review: YOUNG PLAYWRIGHTS FESTIVAL 2026 (Pegasus Theatre Chicago)
by Mitchell Oldham | January 14, 2026
in Chicago, TheaterTheater Review: LIBRARY LION (Adam Theater)
by Lynne Weiss | January 13, 2026
in Boston, TheaterTHE ROLE OF FAITH-INSPIRED LITERATURE IN CHILDREN’S STORYTELLING
by Susan Hall | January 13, 2026
in Books, ExtrasBroadway Review: BUG (Manhattan Theatre Club)
by Carol Rocamora | January 12, 2026
in New York, TheaterAudition Announcement: BEACHES, A NEW MUSICAL (Are You a Little Cee-Cee?)
by Connor McCormick | January 12, 2026
in New York, TheaterWILD JOKER CASINO: STRAIGHT TALK FOR AUSSIE PLAYERS
by Aveline MacQuoid | January 12, 2026
in ExtrasAlbum Review: IN HER HANDS (Neave Trio)
by Connor McCormick | January 11, 2026
in Albums



















