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Theater
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Theater Review: EXCEPT MYSELF (Broadwater Black Box)
ALL IN ONE AND ONE IN ALL With Except Myself at the Broadwater Black Box, playwright Drew Petriello has achieved a clever, slick, and absolutely entertaining deconstruction of the solo show concept. Using the template of the classic absurdist play Six Characters in Search of an Author by Luigi Pirandello, Petriello has fashioned his own “five…
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Theater Review: THE GOOD RUSSIAN (Stephanie Feury)
THE GOOD ANDREW BYRON CREATES A LONG AND WINDING RUSSIAN Andrew Byron frames his one man show The Good Russian within the historical context of 2018, when Sergei Skripal, a Russian expatriate who had worked as a double agent for MI6, the British Intelligence Agency, was found poisoned along with his daughter in his home in…
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Theater Review: DO YOU FEEL ANGER? (Marin Theatre)
I DON’T FEEL YOUR PAIN Corporate life—or working in an office—has a very specific subculture that goes along with it. Sharing confined spaces with others in a 9-to-5 structure can be chaotic, or at least confusing, especially now, post-COVID. People are having to readjust to “playing well with others” all over again. The Bay Area’s tech culture in…
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Theater Review: PARADE (National Tour, Ahmanson Theatre)
NEITHER FOOLS NOR COWARDS Michael Arden is a Renaissance artist. He approaches his work with a humanist curiosity, an intricate yet organic perfectionism, and a keen eye for composition, movement, and light. He’s a two-time Tony Award-winning director, the first of which was for his 2023 Broadway revival of Parade. This production is now on…
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Theater Review: ALL’S WELL THAT ENDS WELL (Old Globe)
WELL… The Old Globe Theatre is opening its summer Shakespeare season with the comedy All’s Well That Ends Well, one of the Bard’s least presented (and least admired) works. Completists who wish to add the play to their list of missing Shakespeare shows may want to catch the Old Globe revival while they have a…
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Theater Review: THE CLUB OF BROKEN FASTS (Broadwater Theatre Main Stage)
SHAKESPEARE GOES BRAT PACK The trouble with tribute plays is that not all audiences are necessarily as knowledgeable about the subject of the homage as the creators are. In the case of Phil S. Gould’s faux Shakespearian The Club of Broken Fasts, the object of his retooling is the 1985 coming-of-age teen comedy-drama The Breakfast…
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Theater Review: RESERVOIR DOLLS: THE WOMEN OF QUENTIN TARANTINO (Broadwater Studio)
PULP FRICTION Reservoir Dolls is a witty, sharp satire of several sociological concerns currently occupying center stage in the cultural consciousness of both “tinsel town” and the nation: the exploitation of women in films and their limited access to roles in an image-driven industry; the institutional gender inequality and barriers facing women in the studio…
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Theater Review: DO YOU FEEL ANGER? (Marin Theatre)
RAUNCHY AND RIDDLED Marin Theatre carries a torch for unusual and challenging productions at its Mill Valley location. This past season has seen a collection of shows, each producing a controversial “loved it/hated it” response from critics and audiences alike. The final show of their season, Do You Feel Anger? is in the same league….
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Theater Review: IRAQ, BUT FUNNY (Lookingglass in Chicago)
A FUNNY THING HAPPENED ON THE WAY TO BAGHDAD: COMEDY BUMPS INTO HISTORY TO CREATE A MASTERPIECE We sometimes forget how much the theatrical stage can be a place of true discovery—until we stumble upon islands of magic like Iraq, But Funny, a marvel now running through July 20. Written by the immensely talented Lookingglass…
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Theater Review: SMILE: THE STORY OF CHARLIE CHAPLIN (Broadwater Main Stage)
NOT A DETAILED BIO, BUT MARCEL COLE IS THE REEL THING Smile: The Story of Charlie Chaplin is wildly successful for many reasons, only not for the reasons it would succeed with me. As a major film geek, I confess to being a certified PITAP (“Pain In The Ass Purist”). For me, the show was…
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Theater Review: Woody Allen’s MR. BIG (Hobgoblin Playhouse)
THE BIG SLEEP MEETS BIG QUESTIONS IN MR. BIG “Mr. Big” is the final entry in Woody Allen’s Getting Even (1971), his first published collection of 17 tales and essays, most of which originally appeared in The New Yorker. The main character in “Mr. Big” reflects a recurring motif for Allen: Sam Spade. Kaiser Lupowitz,…
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Off-Broadway Review: PRINCE FAGGOT (Playwrights Horizon)
A RADICAL FAIRY TALE FIT FOR A KING The only marketing I saw for Jordan Tannahill’s provocative new play Prince Faggot, which opened last night at Playwrights Horizons (a co-production with Soho Rep), was the single-line tease: “Let us tell you a fairy tale about a prince.” It didn’t prepare me for the electrifying, emotionally rich, and theatrically thrilling experience waiting…
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Theater Review: THE SECOND COMING OF JOAN OF ARC (The Actors Company)
NOT ENOUGH HEAT The Second Coming of Joan of Arc is the best-known work of American playwright, author, and lesbian feminist Carolyn Gage. Loosely based, scholars will tell you, “very loosely,” on the history of the teenage “Maid of Orléans,” who led the French armies to a series of victories over those of the English…
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Theater Review: BROADWAY’S BEST NIGHT EVER (Transcendence Theatre Company at Fazio Field in Sonoma)
BROADWAY ON A BASEBALL FIELD: TRANSCENDENCE THEATRE HITS IT OUTTA THE PARK Transcendence Theatre Company has opened a triple-hitter “stars under the stars” summer season with their song-and-dance revue spectacular Broadway’s Best Night Ever. This veteran production company has been inviting the best and the beautiful talents from Broadway and international touring companies to perform…
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Theater Review: YOU WILL GET SICK (Steppenwolf Theatre)
SICKENINGLY FUNNY Noah Diaz’s You Will Get Sick, which opened last night at Steppenwolf, is an odd bird of a play. It begins with an irresistible premise: a middle-aged woman, Callan, responds to a flyer promising “$40 $20″ to anyone who will receive a phone call from a stranger; the only requirement being that she…
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Theater Review: WILDS OF SEA (Actors Company Other Space; Hollywood Fringe Festival)
SEA WORTHY Wilds of Sea is an undersea adventure that will leave little ones wide-eyed and utterly captivated. But make no mistake—this all-ages puppet spectacle is as enchanting for the grown-ups as it is for the kids. Directed by Shannon Reagan, who also built the stunning life-sized puppets, Wilds of Sea follows a mischievous seal…
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Theater Review: AN ILIAD (Court Theatre, University of Chicago)
STORYTELLING THAT LAUNCHES A THOUSAND SHIPS There is a moment in Court Theatre’s fourth (!) iteration of An Iliad where The Poet holds a flashlight below his chin—I immediately flashed back to memories of ghost stories told in a tent while lights were supposed to be out. The conceits of Lisa Peterson and Denis O’Hare’s…
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Theater Review: BEAUTIFUL (Reagle Music Theatre of Greater Boston in Waltham, MA)
A BEAUTIFUL TAPESTRY OF SONGS AND STORY Reagle Music Theatre kicks off the summer with a vibrant, lovingly crafted staging of Beautiful: The Carole King Musical, directed with finesse and flair by Deanna Dys. Her production fluidly moves from cramped domestic scenes in Brooklyn to the adolescent alchemy of late-50s and early-60s pop in the…
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Theater Review: RAG DOLL ON A BOMB SITE (Hudson Guild Theatre; Part of the Hollywood Fringe Festival)
THIS SHOW NEEDS A LOTTA LENYA I always look forward to the shows of Shelley Cooper at the Hollywood Fringe. They are musical biographies of women who made history not only with their presence but with their voices as well; La Divina: The Last Interview of Maria Callas and Jenny Lind Presents P.T. Barnum were…
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Theater Review: BOOK OF MORMON (National Tour)
A MUSICAL SALTIER THAN SALT LAKE ITSELF Let’s start the actual religious text called The Book of Mormon, published in 1830. Without going into all its details about other planets, Jesus visiting America, and more–suffice it to say that if you weren’t raised with it, it sounds a bit bizarre. So when you give already-unconventional…


















