Areas We Cover
Categories
Los Angeles
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Los Angeles / Regional Theater Review: DEATH OF A SALESMAN (South Coast Repertory in Costa Mesa)
NOT MUCH LIFE IN DEATH The miracle of Arthur Miller’s Death of a Salesman is that it contains so many themes relevant to today’s world’”the American Dream, the disconnect of father and son, a lifetime of work resulting in fiscal emptiness, self-deception’”that this 1949 play can truly be called timeless. Yet so lifeless and lacking…
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Los Angeles Music Review: ROMANTIC FAVORITES (LA Phil at the Hollywood Bowl)
A STUNNING TRIFONOV MAKES HIS HOLLYWOOD BOWL DEBUT It was both fascinating and distracting to watch 22-year-old Daniil Trifonov, the current Big Thing of the piano world, perform Rachmaninoff’s Piano Concerto No. 2 (1897) at the Hollywood Bowl on Tuesday. Hunched over the keys and stroking them with a fierce tenderness, he consistently appeared to…
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Los Angeles Theater Review: BARE (Hayworth Theatre)
THE BARE TRUTH There’s a kind of desperate seriousness about the “rock” musical Bare ’” more pop than rock ’” first produced in 2000, now back with updated music and a telegenic and talented cast. The original production preceded Spring Awakening and Glee, but it feels like it cashes in on both genres of teen musical:…
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Los Angeles Theater Review: BLUE MAN GROUP IN CONCERT (Hollywood Bowl)
BLUE MAN GROUP GETS BOWLED OVER International phenomenon Blue Man Group (BMG) made their Hollywood Bowl debut on Friday in a wildly uneven yet ultimately entertaining evening ranging from moments of true wonderment to “what were they thinking?” befuddlement. The theme of the night was FUN and Principal Guest Conductor Thomas Wilkins and members of LA Phil’s…
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Los Angeles Dance and Music Review: MUSIC BY GLASS – DANCE BY DIAVOLO (LA Phil at the Hollywood Bowl)
MAGNIFIQUE Sometimes, dance performances are entertaining, but only for the spectator who understands the storyline behind the dancing. Other times, the performances are less about dance and more about the esoteric, self-righteous fulfillment of the dancer being able to perform. Where is the line drawn between these forms and how does the viewer know when…
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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 Dance Interview: JACQUES HEIM (Artistic Director of Diavolo Dance Theater)
“I AM AN ARCHITECT OF MOTION” Born and raised in Paris, France, Jacques Heim received his MFA in Choreography from the California Institute for the Arts and founded Diavolo Dance Theater in 1992. For the past twenty years Heim has choreographed for Diavolo, Cirque de Soleil, theater, and television. He has also gained international recognition…
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Los Angeles Theater Review: RAPTURE, BLISTER, BURN (Geffen Playhouse)
THE GRASS IS ALWAYS GREENER:OR IS IT? Smart, funny and thought-provoking, Rapture, Blister Burn has arrived at the Geffen Playhouse in Westwood with the original New York cast in tow. Written by Gina Gionfriddo (Pulitzer Prize finalist for Becky Shaw) the show puts a new spin on the often beaten to death themes of gender…
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San Diego Theater Review: DOUBLE INDEMNITY (Old Globe in Balboa Park)
STAGE NOIR In many ways, the stage adaptation of James Cain’s novel, Double Indemnity, is a radical departure from the iconic film from director/writer Billy Wilder. The film’”co-written by Cain’s contemporary and rival Raymond Chandler, who was known to deride Cain’s novels’”contains deliciously noir dialogue that Wilder and Chandler used to get past the censors….
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Los Angeles Music Review: A NIGHT OF ELEGANCE (LA Phil at the Hollywood Bowl)
DOUBLE YOUR PLEASURE As promised, the Los Angeles Philharmonic program last Tuesday offered stylishness and sophistication, but guest artists Katia and Marielle Labéque added an element of fierce emotion. It was evident in the centerpiece, Mendelssohn’s Concerto in E major for Two Pianos (and Orchestra), how well the sisters complement each other. Marielle, wearing black, had…
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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: ONE NIGHT IN MIAMI… (Rogue Machine)
THE X FACTOR How many times have we mused that we would have loved to have been a fly on the wall when ___________? That’s exactly what playwright Kemp Powers has done in his One Night in Miami…, the world premiere of which is currently on at Rogue Machine. Taking a real gathering of four…
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Los Angeles Theater Review: REVELATION (Elephant Theatre Company in Hollywood)
RUPTURED RAPTURE Attending the opening night of a comedy at one of the smaller 99 seat theaters in Los Angeles can be problematic. In addition to a minute smattering of critics and avid theatergoers, the audience is primarily made up of friends of the cast and members of the theater company. Therein lies the rub. …
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Los Angeles/Regional Theater Review: THE BIG PICTURE (Pageant of the Masters)
I GET THE PICTURE Pageant of the Masters’ The Big Picture is perhaps the most three-dimensional idea from the fertile mind of director Diane Challis Davy. Continuing the 80-year tradition of celebrating art with a performance of “living pictures”’”tableaux vivants’”this year’s production is a tribute to the history of motion pictures and the ways in…
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Los Angeles Theater Review: A PARALLELOGRAM (Mark Taper Forum)
THE SHAPE OF THINGS After Bruce Norris’s A Parallelogram at the Mark Taper Forum, I overheard a few audience members describe the play as “cute.†For all of the play’s political incorrectness, ramblings about physics, a future plague, and fairly unlikeable (and unknowable) characters, it appears that the playwright was going for provocative philosophy, but…
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Los Angeles/Regional Theater Review: I DO! I DO! (Laguna Playhouse in Laguna Beach)
I DO BUT I DON’T With all the adorability, simplicity, cliché and generic tone of a Hallmark Card, I Do! I Do! opened last weekend at the Laguna Playhouse. Starring Broadway stalwarts Davis Gaines and Vicki Lewis, the 1966 two-character musical by Tom Jones and Harvey Schmidt (The Fantasticks) has aged surprisingly well, considering it…
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San Diego Theater Preview: 2013 SHAKESPEARE FESTIVAL (Old Globe)
ALL THE WORLD’S AN OLD GLOBE The Old Globe has officially opened the 2013 Shakespeare Festival, now on through September 29. Adrian Noble returns for his fourth and final season as the internationally renowned festival’s Artistic Director, taking the helm on both Shakespeare’s The Merchant of Venice and Tom Stoppard’s classic farce, Rosencrantz and Guildenstern are…
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Los Angeles Theater Review: SUNSET BOULEVARD (Musical Theatre West in Long Beach)
MISGUIDED MELODRAMA Billy Wilder’s 1950 film masterpiece Sunset Boulevard starred Gloria Swanson as the washed-up-actress-turned-cougar Norma Desmond, and William Holden as her prematurely-jaded-Hollywood-writer-turned-boy-toy Joe Gillis. Using the camera as an instrument to capture performances of discomforting intensity, it wove a psychologically intricate tale of seduction, jealousy and betrayal set, of course, in Hollywood. It skirted…
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Los Angeles Music Review: MICHAEL FEINSTEIN’S MGM MOVIE CLASSICS (Pasadena POPS)
THE NIGHT THEY INVENTED TINY BUBBLES After Marvin Hamlisch’s untimely passing, Michael Feinstein, who has singlehandedly reinvigorated the American Songbook for the 21st century, took over as principal conductor for the Pasadena POPS. His first concert, Michael Feinstein’s Songbook, saw the beguiling raconteur as a perfect fit for the POPS crowd which, let’s face it,…
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San Diego Theater Preview: COMPANY (Cygnet Theatre)
IN GOOD COMPANY “It’s a revue, but not a revue,” Stephen Sondheim said about Company when he was interviewed at Segerstrom last year. This surprised me because the groundbreaking 1970 musical which opens at Cygnet Theatre this weekend is a concept musical, meaning that the themes of a show (in this case, marriage and commitment)…


















