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Theater Reviews: GHOSTS, NEVER SWIM ALONE and LANDSCAPE (Inkblots “A” &”B” of Open Fist’s Rorschach Fest)
OUR INKBLOT INTERPRETATIONS: SPLAT, SPLAT, SPLAT, SPLAT, SPLENDID Theater isn’t just what it brings to us, it’s also what we bring to it. At least, that’s the general idea behind Open Fist Theatre Company’s Rorschach Fest, a series of five experimental one-act plays from risk-taking playwrights: John O’Keefe, Harold Pinter, Daniel MacIvor, and Caryl Churchill….
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Film Review: PANDORA’S BOX (directed by G. W. Pabst)
OUTSIDE OF THE BOX Norma Desmond‘s iconic pronouncement “We had faces then” might well have been written specifically for Louise Brooks. This is a face that defies time and period, and is as relevant today as it was in 1929 when she was lured to Germany by G. W. Pabst to play the doomed Lulu…
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Theater Review: GLORIA (A.C.T.’s Strand Theater)
GLORY GLORY GLORIA I don’t know if Branden Jacobs-Jenkins has ever worked in a Manhattan publishing house but he sure knows his way about the workplace. In Gloria, he paints an extraordinary portrait of the workings of an office whose conflicts revolve around some writers with their own agendas, a sense of emotional intensity on…
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Opera Review: THE QUEEN OF SPADES (Lyric Chicago)
WHAT A QUEEN! Pyotr Ilyich Tchaikosky’s ballets Swan Lake and The Nutcracker are both beloved and celebrated, yet his operas are scarcely known. Indeed, we don’t get much Russian opera at all, at least in Chicago. Lyric produced Tchaikovsky’s Eugene Onegin in 2017, while Chicago Opera Theatre produced his Iolanta in 2018 and Rachmaninoff’s Aleko…
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Music Preview: ACADEMY OF ST MARTIN IN THE FIELDS WITH JOSHUA BELL, VIOLIN (The Soraya)
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 90 next…
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CD Review: COLOR OUT OF SPACE (Original Motion Picture Soundtrack by Colin Stetson)
OUT OF SPACE IS OUTTA SIGHT! OK, now you’re talking!! As modern music continues to drone down some boring atonal alley, and soundtracks lack any kind of personality, along comes the soundtrack for Color Out of Space, an adaptation of a 1927 H.P Lovecraft short story by infamous director Richard Stanley, who was sacked from…
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New York Opera Review: AGRIPPINA (The Met)
GRIPPING AGRIPPINA For a political comedy littered with slapstick, it’s fittingly ironic that this newest Met Opera take on Agrippina opens and bookends with morbidity: All the main players are perched on tombs bearing their names. This adaptation of Théâtre Royal de la Monnaie’s production occurs during the tricentennial of George Frideric Handel’s music and…
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Theater Review: THE BOOK OF MORON (Tour)
STAND-UP MEETS SELF-HELP It’s a singular solo show: Creator of The Male Intellect: An Oxymoron, satirist Robert Dubac now delivers Book of Moron, an 85-minute riff on reality and all its threats. Delivering rapid-fire, hit-and-run observations about contemporary consciousness, this driven lecturer imagines himself coming out of the coma of everyday existence to embark on…
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Opera Review: ROBERTO DEVEREUX (LA Opera)
DEVERSTATING It was the middle-child opera of the season; not like the world-premiere Eurydice or the must-see Ring Cycle. Roberto Devereux is a lesser-known Donizetti confection, and erstwhile Artistic Director Plácido Domingo was set to hot-ticket this tale of Queen Elizabeth and her lover Essex that likely hasn’t been an opera question on Jeopardy! Except…
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Music Review: ESA-PEKKA SALONEN AND JULIA BULLOCK (San Francisco Symphony at Davies Hall)
ESA-PEKKA SALONEN AND JULIA BULLOCK The opening notes of Steven Stucky’s transcription of Henry Purcell’s Music for the Funeral of Queen Mary, memorably mournful, set the elegiac tone for last weekend’s San Francisco Symphony concert at Davies Hall. In ten short minutes, a quietly solemn mood was eloquently created, under the sympathetic conducting of Essa-Pekka…
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Theater Review: SHE LOVES ME (San Diego Musical Theatre at Horton Grand Theatre)
SHE LOVES ME:AND WITH GOOD REASON! Ah, love. As hard to find as ever, but so satisfying when it is. But what did the ancients (20th-century people) do to find love before Tinder, eHarmony, and the like? Joe Masteroff’s book takes us to the simpler days of Lonely Hearts Clubs, when people exchanged letters (on…
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Theater Review: DEX & ABBY (Pride Films and Plays)
PUPS ‘N’ STUFF MAKES A DOGGONE DRAMA “Love me, love my dog. [Then I’ll love you:}” That’s the operating assumption between Dex & Abby, a cross-species comedy/love play. At 130 minutes of industrial-strength sentimentality, this Chicago premiere from Pride Films and Plays will test your tolerance for anthropomorphized antics. It’s the feel-good story of comfort…
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Theater Review: HUMAN INTEREST STORY (Fountain)
HERE’S SOMETHING THAT WILL INTEREST YOU This is the second show this year in L.A. to take head-on the insanity of modern journalism (the insanity being that while newspapers deliver so-called news, they gotta make a buck, so sensationalism often wins out [ask Hearst], but now we have the interenet to contend with, where any…
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Theater Review: FOUND (IAMA Theatre Company)
LOST … AND FOUND Found: A New Musical is determined to find its way. After a run off-Broadway at the Atlantic Theatre Company in 2014, this reworked West Coast premiere — now playing at the Los Angeles Theatre Center in Downtown L.A., stumbles through its first act with vague ambitions, disconnection, and cloying clichés, only…
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Theater Review: FRANKENSTEIN (Four Larks & Wallis)
MONSTER MASH In an effort to strip away the centuries, Mary Shelley’s Frankenstein has gone under the knife. Revitalizing the 200-year-old classic is the Beverly Hills-based performing arts center, The Wallis, which has commissioned a reimagining by Four Larks, an innovative L.A.-based theater company known for their interdisciplinary stylings. In this intimate world premiere production…
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Theater Review: REVENGE SONG (Geffen Playhouse)
IT’S THE HIGH SCHOOL SHOW THAT I WISH I WROTE IN HIGH SCHOOL The thing that looks like a high school vanity project at the Geffen Playhouse is actually a world premiere with a lot of bucks behind it. While I certainly appreciate that Qui Nguyen of the self-described “geek” theater company Vampire Cowboys in…
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Theater Review: THE BOOK OF MORMON (Tour)
I CAN ALWAYS USE MORE MEN Well, here’s a national tour that isn’t resting on its laurels. Somewhat tighter with impeccably glorious performances, a golden angel high above at the center of a light-filled proscenium arch seems to trumpet, The Book of Mormon is here to douse your doldrums with a delirious, dandy delight. It…
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Theater Review: HERE WE GO and THIS IS A CHAIR (Inkblot “C” of Open Fist Theatre’s Rorschach Festival)
CARYL ME HOME When the author is famed English playwright Caryl Churchill, theater about death and life’s surmounting surrealism isn’t depressing at all; it’s exhilarating. The author of Cloud Nine, Owners and Top Girls has written many short works as well, and right now two great one-acts are being given a minor production by Open…
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Theater Review: KILL MOVE PARADISE (TimeLine)
POSTHUMOUS EMANCIPATION The painful premise behind Kill Move Paradise is that there’s no justice on this side of the grave. So author James Ijames goes to the other side. He creates a kind of Elysian Fields for four young black men cut down wrongly and early. It’s up to this 2017 valedictory, inspired by the…
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Theater Review: BORN IN EAST BERLIN (SF Playhouse)
REBIRTH Which walls are worse? Those that keep people out or those that keep people in? Playwright Rogelio Martinez seemed to have this question in mind when he wrote Born in East Berlin, which is being given its world premiere at the Creativity Theater thanks to San Francisco Playhouse’s Sandbox Series, and it is this…
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