Areas We Cover
Categories
Los Angeles
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Los Angeles Theater Review: CHILDREN OF EDEN (Cabrillo Music Theatre in Thousand Oaks)
FAR MORE EDENIC THAN I EXPECTED You would think that if Stephen Schwartz (composer/lyricist of Pippin and Wicked) wrote a musical with John Caird (adapter of Les Misérables and Candide), we would have seen a production of it — or at least heard of it. But shows that haven’t played Broadway rarely make it into the public consciousness….
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Los Angeles Theater Review: SISTER ACT (Musical Theatre West in Long Beach)
NUNBEARABLE Deloris, a pushy, smart-alecky, malopropism-spouting black woman, is disguised as a nun as she awaits a court date to squeal against her gangster boyfriend. Her background as a nightclub entertainer makes her perfect to convert a convent of silly oddball sisters into a kick-ass choir — one which turns a cash-strapped church into a…
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Regional Music Preview: TANGO SONG AND DANCE (Augustin Hadelich, Joyce Yang and Pablo Sainz-Villegas in La Jolla and Irvine)
NOT YOUR AVERAGE VIOLINIST; NOT YOUR AVERAGE TANGO Coming up on April 15 and 16, 2016, in Irvine and La Jolla, acclaimed violinist Augustin Hadelich will be joined by dazzling pianist Joyce Yang and dynamic guitarist Pablo Villegas for an evening of Spanish-themed music built around André Previn’s three-part piece Tango Song and Dance, written…
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Tour Theater & Film Preview: HISTORIA DE AMOR (Teatrocinema at REDCAT L.A. and MCA Chicago)
AMOR MEANS NEVER HAVING TO SAY YOU’RE SORRY Based on the graphic novel of the same name by French writer Régis Jauffret, Historia de Amor, which opens this Thursday, March 31 at REDCAT in L.A., addresses the hardly distinguishable boundary between reason and madness, love and domination. An English teacher abducts the young Sofia and…
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Los Angeles Theater Review: DREAMGIRLS (La Mirada Theatre & Valley Performing Arts Center)
KEEPING THE DREAM(GIRLS) ALIVE Dreamgirls opened on Broadway in 1981, won six Tony awards, and ran for nearly four years. Since then, the Michael Bennett musical has been revived, presented in concert, revised, made into a movie, played at high schools, community and regional theaters, and toured. Now at La Mirada Theatre we get a revival of…
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San Diego Theater Review: THE ROCKY HORROR SHOW (Cygnet Theatre)
GIVE YOURSELF OVER TO ABSOLUTE PLEASURE Those familiar with the movie version of The Rocky Horror Show may be shocked to find that there is no typo in the title of the stage version: Here, there is no “Picture” before “Show.” Before anyone had thoughts of a movie about the gang from Transsexual Transylvania, there…
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Los Angeles Theater Review: BROKEN FENCES (The Road on Magnolia in North Hollywood)
FENCES THIS AIN’T We are taught that tolerance is a virtue, that common ground is not only findable but a state of mind. We are taught that our obligation is to our neighbor as much as to ourselves. We learn in school, or in church, that home is the foundation of community. We know it….
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National Tour Theater Review: A GENTLEMAN’S GUIDE TO LOVE AND MURDER (Ahmanson)
KISSING KILLING COUSINS Serial killers can be fun. In the film Theatre of Blood Vincent Price sardonically played a Shakespearean actor, a hate-filled ham who doggedly “offs” the critics who panned him, snuffing out each scribe in endgames inspired by the Bard (don’t get any ideas). Who’s Killing the Great Chefs of Europe? was a less important…
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Los Angeles Dance Preview: EVIDENCE/A DANCE COMPANY (The Broad Stage in Santa Monica)
FOLLOW THE EVIDENCE WHEREVER IT LEADS Evidence, A Dance Company is recognized nationally and internationally for its fusion of African dance with contemporary choreography and storytelling that combines Cuban, Caribbean, West African and modern American dance movement. A selection of signature works from its repertory will be performed to tell the story and mark the extraordinary…
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Los Angeles Film & Music Preview: BEN-HUR: A TALE OF THE CHRIST (1925 Silent Film and Rock Orchestra Score at VPAC and Segerstrom)
HURRY TO BEN Published in 1880, Lew Wallace’s Ben-Hur: A Tale of the Christ not only beat out Harriet Beech Stowe’s Uncle Tom’s Cabin (1852) in sales, it remained the reigning champion of best-selling books for over half a century, finally being toppled by Margaret Mitchell’s Gone with the Wind (1936). Not only does the…
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Los Angeles Theater Review: SLEUTH (Little Fish Theatre Company in San Pedro)
YOU WANT THE SLEUTH..? The kind of intimate theater I saw Sunday is targeted for elimination by Actors’ Equity Association: Low-tech projects, produced of donated resources without hope of profit. One of Equity’s arguments, repeated recently by its president, is that a proliferation of tiny nonprofits puts the development of commercial theater at a disadvantage. The…
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Los Angeles Theater Review: COLONY COLLAPSE (The Theatre @ Boston Court in Pasadena)
THERE WILL BE BUZZ ABOUT THIS PLAY, BUT IT’S ALL STING AND NO HONEY As honey bees gather pollen and nectar for their survival, they pollinate crops such as cranberries, melons and broccoli. “A World Without Bees,” Time’s cover story in August of 2013, brought to light a frightening occurrence: In recent years, there have…
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Los Angeles Theater Review: A HOUSE NOT MEANT TO STAND (Fountain Theatre)
A FUNHOUSE NOT MEANT TO PRODUCE You must run to the Fountain Theatre to see the delightfully quirky oddity, Tennessee William’s last play A House Not Meant to Stand. Fasten your seatbelts, slam down a mint julep, and keep all arms, legs and gaping mouths inside the McCorkle’s Southern Gothic living room at all times….
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Los Angeles / Regional Theater Preview: THE MAN WHO SHOT LIBERTY VALANCE (Rubicon in Ventura)
A NEW BIRTH FOR LIBERTY Adapted from the short story by Dorothy M. Johnson that also inspired the legendary John Ford 1962 film, The Man Who Shot Liberty Valance is a classic tale of love, honor, ambition and revenge set against the backdrop of the American West. While Quentin Tarentino is valiantly keeping the oater…
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Los Angeles Music Preview: MAHLER 3 & DUDAMEL (Los Angeles Philharmonic at Disney Hall)
THE THIRD TIME’S THE CHARM When Mahler visited Sibelius in 1907, the two composers talked about “the essence of symphony.” Mahler rejected his colleague’s creed of severity, style and logic, saying that “a symphony must be like the world. It must embrace everything.” 12 years earlier, at work on his Third, he had remarked that…
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Los Angeles Theater Review: VIEUX CARRÉ (Coeurage Theatre Company at Lankershim Arts Center)
QUITE A VIEUX Tennessee Williams deserves the credit he gets for a few outstanding texts, but for my money much of his oeuvre has been falsely enriched, and the late, long Vieux Carré (1977) is widely and correctly regarded as not among his best. It is easy to shudder when contemplating an old man’s memory…
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Los Angeles Music Preview: ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL, VIOLIN (Valley Performing Arts Center)
I’LL BE THERE WITH BELL ON Many know that Academy of St Martin in the Fields is a touring and recording chamber orchestra founded by Sir Neville Marriner in 1958. But did you know that since 2011 the world-renowned virtuoso violinist Joshua Bell has been their Music Director? Next to Marriner, who turns 92 in…
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Los Angeles Music Preview: DANIIL TRIFONOV IN RECITAL (Disney Hall)
TRIFONOV’S DEBUT RECITAL AT DISNEY HALL All it took was one performance from Daniil Trifonov (dan-EEL TREE-fon-ov) to resoundingly validate for me why he is the current Big Thing of the piano world. The Liszt-like master’s rendition of Rachmaninov’s Piano Concerto No. 2 at the Hollywood Bowl with the Los Angeles Philharmonic (followed by a…
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Los Angeles Theater Review: THE MYSTERY OF LOVE & SEX (Mark Taper Forum)
TOWARD A SAFE THEATER In 2015 Bathsheba Doran’s The Mystery of Love & Sex opened to mixed notices Off Broadway, which seems to be the exact pipeline for shows to get produced at L.A.’s Mark Taper Forum a year or so later. It fits the bill for new-millennial regional theater production in pretty much every way:…
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Los Angeles Theater Review: PAST TIME (Sacred Fools at The Lillian Theatre in Hollywood)
CHICKEN SOUP FOR THE STAGE Every time I see Leon Russom I wish I had his body. Lean like a dancer, he uses the solidity of his shoulders, the slimness of his hips to create character and emphasize moment. The Coen Brothers like to cast him as movie cops, but I first saw him onstage…


















