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Los Angeles
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Theater Review: TARANTINO LIVE: PULP ROCK (CineVita)
THE SHOW WITH A BEAT TO A PULP You walk in, and boom! You’re hit with this electric vibe, like stepping into a Tarantino flick—one minute, you’re feeling cool, the next minute, you’re questioning if you’ve just stepped into a fever dream. It’s sleek, it’s gritty, and it’s dripping with style. The show you’re gonna…
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Theater Review: TWELFTH NIGHT (Antaeus Theatre in Glendale)
WHAT PRODUCTION, FRIENDS, IS THIS? After a ship wreck, Viola and her twin, Sebastian, land on different shores, each fearing the other has perished (consider them separated at surf). And by the time they are reunited, love, pranks and much romantic confusion will have played out in Shakespeare’s fleet comedy about passions, mistaken identities and…
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Theater Review: AVENUE Q (Wisteria Theatre, North Hollywood)
FURFECT Peter Pan never grew up. Likewise Alice in Wonderland, the Hardy Boys, Freddy the Pig, Nancy Drew, or Huck Finn. It’s a pity that people do: Why must grown-ups leave behind innocence and imagination after we mistakenly blunder into adulthood? You can take it with you—when it’s Avenue Q. This 2003 musical is, of…
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Theater Review: JERSEY BOYS (Musical Theatre West)
GET READY TO ENBOY YOURSELF Jersey Boys has been around long enough that you might assume it’s just another jukebox musical, cranking out hits for an easy nostalgia trip. But that’s never been the case. Since its Broadway debut in 2005, the show has stood out by weaving a real, sometimes messy, behind-the-music story into…
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Theater Review: DESPERATE MEASURES (International City Theatre in Long Beach)
A SHAKESPEAREAN WESTERN MUSICAL? DON’T WORRY, IT MEASURES UP The wild west sizzles with song and chaos in Desperate Measures, the rootin’-tootin’ Wild West musical shinin’ bright at International City Theatre in Long Beach. Peter Kellogg (book and lyrics) and David Friedman (music) convert a Shakespearean problem play into a hootenanny of moral quandaries, mistaken…
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Theater Review: OKLAHOMA! (Valley Opera and Performing Arts at El Portal in North Hollywood)
WHAT A RELIEF: OKLAHOMA! IS OK WITH VOPA The real stars of Oklahoma!, presented for two weekends only by Valley Opera and Performing Arts (VOPA) at the El Portal Theatre, are—no surprise—Richard Rodgers and Oscar Hammerstein. Hammerstein’s 1943 book remains solidly funny and sweet, avoiding the pitfalls of age with its lack of overt sentimentality,…
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Concert Review: LONDON SYMPHONY ORCHESTRA (Yunchan Lim, piano; Antonio Pappano, conductor; Philharmonic Society of Orange County)
A NIGHT OF THUNDER AND ELEGANCE Presented by Philharmonic Society of Orange County, the London Symphony Orchestra, among the most disciplined and savagely expressive classical orchestras in the world, arrived in Costa Mesa at Segerstrom Concert Hall on Feb. 19, 2024, with Antonio Pappano conducting and a young firebrand at the keyboard. Yunchan Lim, the…
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Opera Review: ADORATION (LA Opera at REDCAT)
IT’S TOUGH TO ADORE ADORATION; BUT WAS IT MEANT TO BE? I always look forward to new operas presented by Los Angeles Opera and Beth Morrison Projects. They are back with another one: Adoration, with music by Mary Kouyoumdjian and libretto by Royce Vavrek, based on the eponymous 2008 Canadian film by Atom Egoyan. It…
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Concert Review: SHOENBERG’S “PIERROT LUNAIRE” (Camerata Pacifica)
Camerata Pacifica began its February program at the Huntington Library with Lara Morciano’s Embedding Tangles, with flutist Sébastian Jacot, who premiered the piece in 2014. I don’t often get to hear works for solo flute, so this sounded promising. Alas, my initial excitement was instantly killed when we got attacked by a torrent of notes…
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Theater Review: LOVE GAME (Last Call Theatre at The Virgil)
MEET MARKET Have you ever gone to a speed dating event where singles meet, spend a few minutes talking to one person, and then move on to the next person, each for a pre-arranged chat session time? For those who have, and especially for those who never tried it, Last Call Theatre is presenting Love…
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Opera Review: EL RELICARIO DE LOS ANIMALES (1979) (Long Beach Opera at Heritage Square Museum)
THE WHINE OF THE ANIMALS Long Beach Opera continued its season-long devotion to the work of Pauline Oliveros with El Relicario De Los Animales (The Shrine of the Animals), from 1979, with two performances last weekend at Heritage Square Museum, an open-air gem with eight Victorian-era buildings. Sara Andon and Sidney Hopson But before the…
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Theater Review: NOISES OFF (Geffen Playhouse)
ONE COULD GO ON AND ON, EVEN THOUGH IT’S A LITTLE OFF Ah, Noises Off, the ever-reliable theatrical farce that’s been delighting us for decades with its impeccable timing, pratfalls, and, of course, an ungodly number of sardines. Presented at L.A.’s Geffen Playhouse in cahoots with Steppenwolf Theatre—where Geffen’s new Artistic Director Tarell Alvin McCraney…
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Theater Review: BACON (Rogue Machine at The Matrix)
BACON SIZZLES If you’re in search of a play that simmers with tension before scorching the stage with raw, emotional fire, English playwright Sophie Swithinbank’s Bacon, currently searing audiences at the tiny Henry Murray Stage upstairs at the Matrix, will leave you thoroughly singed—and perhaps a little brittle. Bacon is less a coming-of-age story and…
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Theater Review: SONDHEIM’S OLD FRIENDS (Pre-Broadway Engagement at The Ahmanson in Los Angeles)
SONDHEIM MERRILY ROLLS ALONG, BUT OLD FRIENDS DOESN’T ALWAYS BOUNCE When a show is billed as a tribute to Stephen Sondheim, expectations are sky-high. His music isn’t just a collection of songs—it’s a theatrical language of its own, intricate, intelligent, and deeply human. Undoubtedly a love letter to the late master, the revue-on-steroids Old Friends…
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Music Review: ELEMENTS AND ENERGY (John Adams and the LA Phil New Music Group at Disney Hall)
Last season, the LA Phil premiered the first five of 16 etudes commissioned by Creative Chair John Adams, with the goal to have a piece for each instrument of the orchestra to show off as a soloist. On January 28, we got to hear three more premieres from the series. First was Quantum Ptarmigan, by…
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Dance Review: ALONZO KING LINES BALLET (“Mother Goose” and “Tribute to Alice Coltrane” at Segerstrom Hall)
Alonzo King LINES Ballet’s Double Bill of Ravel’s Mother Goose and King’s Tribute to Alice Coltrane presented a fascinating study of how two musical worlds—one rooted in French impressionism and the other in American jazz spirituality—can be bound together through movement. King’s choreography bridged these contrasting styles, creating an immersive experience of transformation. The evening…
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Concert Review: PACIFIC JAZZ ORCHESTRA WITH EVA NOBLEZADA (The Soraya)
A NIGHT OF FIRE, SILK, AND SWING Prior to Pacific Jazz Orchestra‘s (PJO) dynamite event at The Soraya—the start of “Jazz at Naz” festival’s fourth season—I already knew its guEst vocalist Eva Noblezada to be a bone fide star. And I don’t toss that word out often. The girl who started her career as a…
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Theater Review: JANE AUSTEN IN 89 MINUTES (Theatre 40 at Greystone Mansion)
WHAT FUN GETTING LOST IN AUSTEN Fresh from its smash hit engagement at Theatre 40, Jane Austen in 89 Minutes has moved into the artistically appropriate Greystone Mansion in Beverly Hills for a limited 10-performance run. Performed by a cast of seven madcap ladies and gents who bring all six of Jane Austen’s beloved novels…
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Theater Review: THE WOLVES (Morgan-Wixson Theatre)
JOIN THE PACK In one of The Wolves’ final moments, one character’s mom explains that she has a swear jar at home that her daughter must put a quarter in every time she says “like.” If that jar was onstage for the duration of the play, with its characters bound to the same contract of…
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Dance Review: MEMORYHOUSE (Los Angeles Ballet at The Wallis in Beverly Hills)
KEEPING MEMORY ALIVE Memoryhouse, which premiered in 2023 as the first full-length ballet directed by Los Angeles Ballet’s new Artistic Director Melissa Barak, is an abstract work composed of vignettes commemorating World War II, all of which focus on aspects before, during, and after the Holocaust. Barak choreographed the ballet to Max Richter’s powerful 2002 album…



















