Areas We Cover
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Los Angeles
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Los Angeles Opera Review: A COFFIN IN EGYPT (The Wallis in Beverly Hills)
A NAIL IN OPERA’S COFFIN As the opera’s West Coast premiere, A Coffin in Egypt is frankly disappointing. As the first opera production at the new Wallis Annenberg Center for the Performing Arts (co-produced with Houston Grand Opera and Opera Philadelphia), A Coffin in Egypt is doubly disappointing. Based on Pulitzer Prize-winner Horton Foote’s similarly…
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Los Angeles Theater Review: THE LION IN WINTER (The Colony Theatre in Burbank)
A TOOTHLESS LION James Goldman’s The Lion in Winter is a brilliant study in castle intrigue laced with deceit and deception, alliances and allegiances, backstabbing and double dealing. The power of the 1966 drama emanates from its uncompromising wit and biting humor. Unfortunately, under the direction of Stephanie Vlahos, The Colony Theater’s production, a muted…
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Los Angeles Theater Review: BE A GOOD LITTLE WIDOW (NoHo Arts Center in North Hollywood)
UNBEREAVABLE Bekah Brunstetter’s Be a Good Little Widow is awash with structural issues (ambiguous timeline, disconnected scenes), trite themes and relationships, and a refusal to penetrate into the characters. Why, then, have prominent companies Collaboraction in Chicago, Ars Nova in New York, Old Globe in San Diego, and now NoHo Arts Center decided to produce…
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Los Angeles Theater Review: FATHERS AT A GAME (Moving Arts Hyperion Station)
WHICH GAME IS ON? With the 2014 Hollywood Fringe Festival set to begin in June, I decided to check out Fathers at a Game. I was curious to see why this 50-minute three-hander was being billed as “The Best of Fringe – 2013 Hollywood Fringe Festival.” After seeing it, I was bemused that this play…
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Los Angeles Music Preview: DOVER QUARTET (The Da Camera Society at Artemesia Estate)
HISTORY: CHECK. BEAUTY: CHECK. MUSIC: CZECH. The concerts organized by the Da Camera Society are as notable for their historic venues as they are for the quality of their performers and the beauty of their repertoire. The society’s April 27 concerts at 2:00 and 4:00 pm will feature the Dover Quartet playing an all-Czech program…
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Los Angeles Theater Review: THE YELLOW BOAT (Coeurage Theatre Company in Burbank)
ON A SEA OF TEARS It’s a play that deals with AIDS, and the central character is a little boy. Okay? So while Coeurage Theatre Company (like many who have produced David Saar’s The Yellow Boat since it was first published in 1997) says that it’s appropriate for ages 8 and up, you’ll have to…
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Theater Review: TOP GIRLS (Antaeus Theatre Company in North Hollywood)
YOU’RE THE TOP, GIRLS For the most part, Joyce, a working class Englishwoman in Ipswich is not a sympathetic or likeable person: She is annoyed by her 16-year-old daughter Angie (who admittedly is belligerent and daft), and begrudging toward her sister, Marlene, whom she views as a ball-busting, career-driven, selfish, soulless abandoner (not that there…
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Los Angeles Dance Review: PAUL TAYLOR DANCE COMPANY (Dorothy Chandler Pavilion)
TAYLOR-MADE When a visiting dance company plays Los Angeles, it usually offers pieces which cover both the old and the new. And so it is with Paul Taylor, who presented last weekend at the Chandler three works created between 1978 and 2011. The triptych certainly speaks to the inventiveness of Taylor, who has created 139…
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Los Angeles Theater Review: RUTH DRAPER’S MONOLOGUES (Geffen Playhouse)
IS THERE A DIRECTOR IN THE HOUSE? There is nothing inherently humdrum about the Geffen Playhouse’s production of Ruth Draper’s Monologues but there is nothing particularly exhilarating about it either. With Annette Bening, one of America’s most celebrated actresses, letting loose performing selections by Ruth Draper, one of America’s most celebrated monologists, what could possible…
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Los Angeles Theater Review: EVERYTHING YOU TOUCH (The Theatre @ Boston Court)
EVERYTHING NEEDS A RETOUCH 30-year-old Jess is a mess. A New York-based dotcom genius, Jess is fraught with low self-esteem, making her an overweight, smelly, anti-social, stressed-out, aggressive, iconoclastic nerd who picks at her zits. She tells fellow nerd and co-worker Lewis during lunch at Chipotle that her mother, estranged for years, is dying back…
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Los Angeles Theater Review: BULGAKOV/MOLIÈRE (City Garage Theatre in Santa Monica)
TITTY GARAGE Shows that are listed at two hours and fifteen minutes shouldn’t be forgiven for running three hours, unless they are written by a genius like Mikhail Bulgakov. One of that early Soviet dissident’s plays is in fact embedded in Charles A. Duncombe’s new play, sort of, but it’s a dream version that takes…
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Los Angeles Music Preview: LOUIS ANDRIESSEN’S DE MATERIE (“An Evening of Andriessen” LA Phil)
WHAT’S DE MATERIE? Of all the offerings during LA Phil’s Minimalist Jukebox Festival, the hard-core lovers might prefer Europe’s leading Minimalist, Dutch composer Louis Andriessen. His rarely performed, abstract, non-traditional, quasi-operatic work De Materie (“Matter”) will receive a huge production, the work’s first performance on the West Coast, on April 18 at Disney Hall. Written…
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Los Angeles Music Review: RAMIN BAHRAMI (Wallis Annenberg Center for the Performing Arts)
BACH TO BASICS If anything, Iranian pianist Ramin Bahrami’s American debut at the Wallis in Beverly Hills last Wednesday was just more evidence for soloists needing a director. The discussion need not be about his mastery of Bach (which he has in spades) or whether his playing is innovative or not (my vote is “not”…
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Los Angeles Dance Interview: ANA MARIA ALVAREZ (Artistic Director and founder of CONTRA-TIEMPO Urban Latin Dance Theater)
IT’S ALL IN THE TIEMPO The excitement in Ana Maria Alvarez’s voice is contagious: “When we got the news it was like one of those Ed McMahon calls that everyone sees on television.” The Artistic Director and founder of CONTRA-TIEMPO Urban Latin Dance Theater is referring to her company’s upcoming dance tour supported by DanceMotion…
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Los Angeles / Tour Theater Review: THE SUIT (U.S. Tour at Freud Playhouse at UCLA)
THREADBARE In the 1950s, dissident South African Can Themba wrote a short story called “The Suit,” describing a cuckold’s response to his wife’s infidelity – specifically his insistence that her lover’s clothes remain in their home as an honored guest. It was perhaps too blunt a metaphor for the psychology of living without self-determination; for…
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Los Angeles Theater Review: THE LAST ACT OF LILKA KADISON (Falcon Theatre in Burbank)
INVENTIVE MEMORY PLAY COULD USE JUST A BIT MORE MAGIC Inspired by the work of Johanna Cooper’”a broadcaster who was commonly drawn to Jewish tales’”Nicola Behrman, David Kersnar, Abbie Phillips, Heidi Stillman, and Andy White based The Last Act of Lilka Kadison on a story recounted for the NPR series “One People, Many Stories.” It…
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San Diego Opera Review: DON QUIXOTE (San Diego Opera at the Civic Theatre)
SAN DIEGO OPERA’S SWAN SONG SPEAKS TO DREAMING IMPOSSIBLE DREAMS Don Quixote (“Don Quichotte” in its original French spelling) serves as a fitting final production with which to close San Diego Opera (SDO)’s distinguished history. Founded in 1950, the company staged its first production in 1965, regularly mounting four or five operas per season. Despite…
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San Diego Theater Review: RED (San Diego REP)
A BLINKING YELLOW FOR RED AT THE REP Is a soup can art? To Matisse, probably not. To Warhol, clearly yes. And to everyone else? Ah, that’s when we start getting into what art really is. Playwright John Logan’s Red looks deeply at this question from the perspectives of two very different men in 1958….
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Los Angeles Theater Review: COME BACK, LITTLE SHEBA (A Noise Within)
COME BACK TO A NOISE WITHIN The current production of Come Back, Little Sheba at Pasadena’s A Noise Within proves that William Inge’s breakout 1950 Broadway hit is still relevant today. The Tony Award-winning play (for actors Shirley Booth and Sidney Blackmer), later made into an Oscar-winning film, follows a middle-aged couple, Lola and Doc,…
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Los Angeles Theater Review: A MIDSUMMER NIGHT’S DREAM (Bristol Old Vic and Handspring Puppet Company at the Broad Stage)
WELL MET BY MOONLIGHT Some plays are just too good to be easily staged. In my experience Shakespeare’s most beloved comedy, A Midsummer Night’s Dream, has defied more directors than it has rewarded. The thing requires so much attention, so much love, so much effort! You’ve got to create living worlds for three sets of…


















