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Theater

  • Theater Review: THE KING AND I (National Tour)

    NOT ALWAYS THE ROYAL TREATMENT, BUT STILL A PRINCELY KING It’s no puzzlement why The King and I is oft-revived. Rodgers and Hammerstein’s semi-historical domestic drama’”the unlikely alliance between a Siamese monarch in the 1860s and a British governess/tutor’”shows how history is all about people at pivotal points. Change comes from unexpected places in improbable…

  • Theater Review: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (North American Tour)

    DETECTING LOVE At first Christopher John Francis Boone seems a defective detective: A 15-year-old math whiz, this only child has Asperger’s Syndrome. The anomaly is enough to push adolescence way beyond awkward. Christopher’s autism manifests in manic multi-tasking, an inability to focus (or to lie), attention deficits, a maddening literal-mindedness, and a disarming directness that…

  • Theater Review: BEAUTY AND THE BEAST (ONEOFUS)

    THE BEAST DOESN’T CHANGE WHEN KISSED: A HAPPY ENDING Fairy tales may seem ready for ditching into the dustbin of abandoned narrative, taking all their happily ever afters, glittering princesses, and talking animal friends with them. However, ONEOFUS founders Julie Atlas Muz and Mat Fraser, married couple and neo-burlesque artists, offer an alternately cheeky and…

  • Theater Review: FINDING NEVERLAND (National Tour at the Cadillac Palace Theatre in Chicago)

    A HIGHLY ORGANIZED ENCHANTMENT Playwright Alan Knee called Sir J. M. Barrie “the man who was Peter Pan.” If so, it was an author’s compensation as much as creativity. James Barrie was a shy Scotsman, awkward and diffident in public with an extroverted artistry to compensate for self-effacing insecurity. In the 2004 motion picture Finding…

  • Theater Review: STOMP (National Tour)

    STILL BANGING FOR THE BUCKS The incredibly basic concept behind Stomp, a phenom now in its third decade, remains: “Make a rhythm out of anything we can get our hands on that makes a sound.” (Luke Cresswell, co-founder/director). The result: four global productions, including permanent venues in New York and London’”and the rousing tour now…

  • Theater Review: ANNIE (National Tour)

    SO’”JUST EXACTLY WHEN WILL THE SUN COME UP? (HINT: 2020) The first Christmas special came early this year: another national tour of the  industrial-strength 1977 heart-warmer, Annie. Resistance is futile to this cunning confection. Again we warm to the tale of the plucky, Depression-era orphan redhead with an equally scrappy dog who never finds her parents…

  • Theater Review: HANSEL & GRETEL BLUEGRASS (24th Street Theatre)

    FAIRY TALE THEATER Debbie Devine and Jay McAdams are a theater couple. They’ve been putting up shows for a long time. If you and your love dream of having your own space and staging your own stuff, you’d do well to study 24th Street Theatre. One of the first things you’ll notice is that it’s…

  • Theater Review: FUN HOME (National Tour)

    LEARNING TO LOVE FROM WHAT DAD DIDN’T DO Dedicated memory-mongering, the 2013 chamber musical Fun Home–based on Alison Bechdel’s 2006 semiautobiographical graphic novel–is a worthy coming-out. We get the inside portrait of a lesbian daughter who learns more than she wanted from her gay dad. With serviceable songs by Jeanine Tesori and persuasive lyrics and…

  • Theater Review: HEDWIG AND THE ANGRY INCH (National Tour)

    THE WINNER BY AN INCH Not long into its original run at Jane Street Theatre Off-Broadway in 1998, a cult following had already been firmly entrenched for Hedwig and the Angry Inch. It was the West Village’s answer to Rent (1996), which gave a musical voice to gays, AIDS, homelessness, and a disaffected generation. Hedwig…

  • Theater Review: NEWSIES (National Tour at the Hollywood Pantages Theatre)

    THERE’S GOOD NEWSIES AND BAD NEWSIES Winner of two 2012 Tonys for best score and choreography, the rampaging romp called Newsies is mediocre material wrapped up in a special delivery. It comes from the Disney dreamers of Disney Theatrical Productions who fleshed out The Lion King, Mary Poppins, et al.  from their original film  counterparts.  This screen-to-stage adventure…

  • Theater Review: THE SPONGEBOB MUSICAL (Pre-Broadway World Premiere, Oriental Theatre in Chicago)

    BIKINI BOTTOM HITS THE HEIGHTS Upfront confession: I’ve never seen Nickelodeon’s 17-year-old SpongeBob SquarePants animation series. But my ignorance of this aquatic Sesame Street and its fishy fantasies (happily enlightened by two knowledgeable theater companions) actually helps to objectively judge the self-sustaining entertainment value of The SpongeBob Musical. Can this confection, now in a pre-Broadway…

  • Theater Review: THE SOUND OF MUSIC (National Tour)

    EV’RY MOUNTAIN GETS CLIMBED AGAIN It’s fitting that Rodgers and Hammerstein’s final collaboration is a tribute to the art and craft they served so well’”music and singing. Like Mary Poppins, convent girl Maria Rainer is a very nice nanny (minus umbrella) who teaches by example and uses play to build courage and confidence. Fraulein Rainer…

  • Theater Review: 42ND STREET (National Tour at Pantages Theatre Hollywood)

    THE LAND OF 10,000 TAPS Call us saps or suckers but we can’t, it seems, get enough of “The Understudy Who Becomes A Star.” Not when the sweet and satisfying story is stuffed with thrills like “Lullaby of Broadway” and “Young and Healthy.” Some clichés justify themselves, if only because nothing less than hokey can…

  • Theater Review: CHICAGO (National Tour at Cadillac Palace Theatre in Chicago)

    CORRUPTION: MORE FUN WHEN CHOREOGRAPHED Now in its twentieth year, this slimmed-down, near-concert version of Kander and Ebb’s cynical and enthralling musical features, as the smoothly lying lawyer Billy Flynn, John O’Hurley (J. Peterman in Seinfeld and a fixture on Dancing with the Stars. (He last appeared in the show in the 2011 tour which…

  • Theater Review: BULLETS OVER BROADWAY (National Tour at PrivateBank Theatre in Chicago)

    AS FUNNY AS A PUNCH ON THE JAW Call it a comic “war of the worlds.” It’s the tabloid-trashy tale of a Broadway show that is literally “under the gun.” As the title suggests, Woody Allen and Douglas McGrath’s 1994 film Bullets Over Broadway depicted a forced marriage between the Mob and Manhattan, specifically a…

  • Theater Review: RIVERDANCE (20th Anniversary Tour)

    TWENTY YEARS OF HARD-HEELED HOOFING What Stomp delivered through percussive street-dancing, Forever Tango gave to Argentina’s national cooch dance, and A Chorus Line  and 42nd Street did for tap, Riverdance breathtakingly offers Irish dance and its cultural spin-offs. Wowing rapt crowds at Chicago’s Cadillac Palace Theatre in its 20th anniversary world tour, this high-hoofing extravaganza can…

  • Theater Review: AN ACT OF GOD (Ahmanson Theatre)

    EVEN GOD CAN’T SAVE  THIS FROM ITSELF Dear God (if I may quote Alice Walker): What’s going on with the theater these days? Oh, that’s right, you already know. In fact, you’re appearing on stage at the Ahmanson in the guise of TV’s Will & Grace star Sean Hayes, whose name actually is placed over your…

  • Theater Review: GOTTA DANCE (Pre-Broadway World Premiere at Bank of America Theatre in Chicago)

    SENIOR RUSH No, despite the title,  Gotta Dance, a world premiere at Chicago’s Bank of America Theatre, is no musical homage to Gene Kelly or MGM’s musicals. It’s a true-life, feel-good salute to sexagenarian (and older) hoofers who deserve’”and get’”a second chance to literally kick their heels and make a splash. Based on the real-life case…

  • Theater Review: THE BRIDGES OF MADISON COUNTY (U.S. National Tour)

    HOW DO YOU LIKE YOUR BRIDGES? Given Marsha Norman’s  awkward and dispiriting adaptations  for The Secret Garden  (1991) and The Color Purple  (2005), the most surprising, but not the best, element of the musicalized version of The Bridges of Madison  County is her  libretto.  Neither is Jason Robert Brown’s score the greatest thing on stage at the Ahmanson Theatre, where this short-lived…

  • Theater Review: CARRIE: THE KILLER MUSICAL EXPERIENCE (Los Angeles Theatre)

    GET CARRIE’D AWAY The key words in the title Carrie: The Killer Musical Experience are Killer Experience. Director Brady Schwind has taken a forever-troubled musical based on source material which probably should have never been musicalized and turned it into one of the most blazingly memorable and, yes, killer experiences you may ever have in…

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