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John Todd
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San Diego Opera Review: AIDA (San Diego Opera)
EYEING AMNERIS IN AIDA In this well-loved 150-year-old Guiseppe Verdi classic of Grand Opera, it may be heretical to question the relationship of the principle characters and their so-called “love triangle.” But in the San Diego Opera production it is Amneris, the Pharoah’s love-sick daughter, who seems more the protagonist. After all, it is Amneris’ world…
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San Diego Theater Review HICKORYDICKORY (Moxie Theatre)
WASTED TIME In Marisa Wegrzyn’s Hickorydickory, all humans are born with a mortal clock encoded with the date and time of their death. This mortal clock takes the form of an actual pocket watch. For most people, it goes unnoticed because it is hidden behind their heart. But for the “unfortunate few” the watch is…
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San Diego Theater Review: A HAMMER, A BELL AND A SONG TO SING (San Diego Repertory Theatre)
A FEW PROTESTS… Todd Salovey’s revue of mostly American songs of protest is buoyed by a fiercely energetic, multi-talented quartet of singers and musicians: Dave Crossland, Jim Mooney, Vaughn Armstrong, and the redoubtable Lisa Payton. When Payton hits the money notes it’s enough to pop your sternum from its rib cage. But the narrative, the…
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San Diego Theater Review: AROUND THE WORLD IN 80 DAYS (Lamb’s Players Theatre)
ADAPTATION NEEDS TO MAKE EVERY DAY COUNT Jules Verne channeled 19th century technological progress into wondrous stories that fueled the world’s imagination. He took us to the center of the earth, to the bottom of the sea, to the moon and, in perhaps his most popular adventure, around the world in 80 days. Even in…
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San Diego Theater Review: SAM BENDRIX AT THE BON SOIR (La Jolla Playhouse at Martini’s Above Fourth)
THANK GOD THE DRINKS ARE STRONG The secret to living in New York is knowing how to cross the street against the light. Sam Bendrix (Luke Macfarlane) recalls having been given that advice when he first arrived in the city. Now he tells us, from the cabaret stage of the Bon Soir, that he must…
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San Diego Theater Review: THE EXIT INTERVIEW (San Diego Repertory Theatre)
A PLAY THAT GROPES FOR AN EXIT William Missouri Downs’ The Exit Interview is a jumble of a play whose myriad directions are made more difficult to track by its opening pronouncement: Two exuberant cheerleaders (JoAnne Glover and Lisel Gorell-Getz), uniformed and pom-pommed, lead the audience in a spirited: “Give me an “O”! Give me an…
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San Diego Theater Review: ALLEGIANCE (Old Globe)
NEW MUSICAL TOO LUKEWARM TO PLEDGE ALLEGIANCE TO IT Following the Japanese attack on Pearl Harbor, FDR issued Executive Order 9066, authorizing “exclusion zones” which effectively allowed for the forced evacuation of persons of Japanese ancestry in California, Washington and Oregon. Two-thirds of the 120,000 internees were American citizens, and since it was indiscernible as…
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Theater Review: TEXAS SODOMY (Whitefire Theatre / Sherman Oaks)
by Michael Landman-Karney | September 20, 2026
in Los Angeles, TheaterTheater Review: HANGMEN (Long Beach Playhouse)
by Michael Landman-Karney | September 19, 2026
in Los Angeles, TheaterTheater Review: THE HUMANITIES (Victory Gardens Theater / Chicago)
by Croydon Fernandes | September 19, 2026
in Chicago, TheaterTheater Review: BEGIN AGAIN (World Premiere Musical / The Old Globe / San Diego)
by Milo Shapiro | September 19, 2026
in San Diego, TheaterTheater Review: JEKYLL & HYDE (Kokandy Productions / Broadway Playhouse / Chicago)
by Emma S. Rund | September 19, 2026
in Chicago, TheaterTheater Review: MARISOL (Open Fist Theatre Company / Los Angeles)
by Lawrence Lucero | September 18, 2026
in Los Angeles, TheaterTheater Review: THE VISIT (Pasadena Playhouse)
by Michael Landman-Karney | September 17, 2026
in Los Angeles, TheaterTheater Review: THE BIRTH OF THE PILL (TimeLine Theatre / Chicago)
by Croydon Fernandes | September 17, 2026
in Chicago, TheaterCabaret Review: JEFF HARNAR – THE 1959 BROADWAY SONGBOOK (Birdland / New York)
by Rob Lester | September 17, 2026
in Cabaret, New YorkTheater Review: A CASE FOR THE EXISTENCE OF GOD (Rogue Machine / Los Angeles)
by Michael Landman-Karney | September 17, 2026
in Los Angeles, Theater





