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Broadway Review: TOOTSIE (Marquis Theater)
TOOT-TOOT-TOOTSIE, HELLO! I’m here to sing the praises of all those musical comedy freaks who have been jonesing for a contemporary musical that will bring back, in some new form, the golden age of Broadway musicals, because one has come their way. You know the kind I mean. Each song, complete with entrancing melody and…
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Theater Review: THE CHILDREN (Steppenwolf)
THE PARENTS CRUSADE The setting is the story in The Children, Steppenwolf Theatre Company’s Chicago premiere. Set designer Chelsea M. Warren depicts a cluttered seaside cottage off the east coast of England. It’s seen from across a cliff, as if an exhibit in a human zoo. This remote shelter is located just outside an “exclusion zone,” the site…
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Theater Review: BRIGHT STAR (Candlelight Pavilion Dinner Theater in Claremont)
OH MY STAR! Bright Star is a heartwarming musical written by Steve Martin and Edie Brickell inspired by their 2013 bluegrass album Love Has Come for You. The show had a Broadway run in the spring of 2016 with direction by Walter Bobbie, choreography by Josh Rhodes and a set design by Eugene Lee. Now,…
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Music Review: SALONEN’S STRAVINSKY: MYTHS (Los Angeles Philharmonic)
BORE-PHEUS AND EURYD-ENNUI When we think of Stravinsky’s music, contemplative, encompassing beauty isn’t what pops into mind. Yet that’s what we get in the very rarely performed ballets, Orpheus (1947) and Perséphone (1934). As part of LA Phil’s erstwhile Music Director’s series, Salonen’s Stravinsky, Esa-Pekka Salonen continues his salute of (mostly) lesser played works by…
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Broadway Review: GARY: A SEQUEL TO TITUS ANDRONICUS (Booth Theatre)
SEND IN THE CLOWNS A bloody war is ended. The bodies pile up. Who will clean up the mess? What to do? What to do? Oh, yes. Send in the clowns. On this note, Taylor Mac, the certified genius whose A 24-Decade History of Popular Music was the most dazzling, mesmerizing, audacious, life-changing theater experience…
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Theater Review: HAMLET (Chicago Shakespeare)
THE PARALYZED PRINCE Century after century, thespian tyro after marquee headliner, something remains rotten in the state of Denmark. A defining challenge for thousands of careers, Hamlet persists as both a title and a test, Shakespeare’s longest if not deepest tragedy. At nearly three hours, Barbara Gaines’ magisterial modern-dress revival is a valuable and workmanlike continuation…
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Theater Review: TIME NO LINE (John Kelly)
TEMPUS FUGIT There are great performance artists and, rarer still, there are great artists who perform. John Kelly is both. His Time No Line is a quietly breathtaking meditation on his life and art culled from the journals he kept from 1976 to the present day. He can be mathematically precise poring over details in…
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Opera Review: MOBY-DICK (Chicago Opera Theater at the Harris Theater)
THE WHALE WINS There’s only one more performance — on Sunday at 3 at the Harris Theatre — of Chicago Opera Theater’s awesomely ambitious Moby-Dick, a nearly-three-hour 2010 epic with music by Jake Heggie and a libretto by Gene Scheer. As much an exercise in mounting hubris and ironclad obsession as was Captain Ahab’s pursuit…
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Theater Review: THE JUNGLE (Curran Theatre in San Francisco)
IT’S A JUNGLE IN HERE From 2015 to 2016, The Jungle was a makeshift camp in a landfill site in Calais, France, the port city where the Channel Tunnel to the UK begins. Inhabited by refugees from nations normally unfriendly to one another — Syria, Sudan, Afghanistan, Eritrea, Iraq, Iran, and others — they put…
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Theater Preview: DIE, MOMMIE, DIE! (Los Angeles Theatre Works at UCLA)
SHE’S BA-A-A-CK AND SHE’S FA-A-A-ABULOUS Charles Busch’s play Die, Mommie, Die! is equal parts Greek comic-tragedy and Hollywood kitsch — a melodramatic campy cult classic in the vein of 1960s gothic horror films such as Hush:Hush, Sweet Charlotte. I saw the very first production at the Coast Playhouse back in 1999 starring the cabaret and…
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Dance Review: ACROSS THE POND (Joffrey Ballet at the Auditorium Theatre)
BRITAIN’S BALLET FINDS CHICAGO Springing into the season, the Joffrey Ballet’s current visit to the Auditorium Theatre delivers very welcome art — two world premieres and a Chicago first. Across the Pond, with accompaniment by the Chicago Philharmonic conducted by Scott Speck, proves a stirring showcase for three cutting-edge choreographers. It’s an equal opportunity for…
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Theater Review: TWO DAYS IN COURT: Benet’s THE DEVIL AND DANIEL WEBSTER and Gilbert and Sullivan’s TRIAL BY JURY (City Lit)
TWIN TRAVESTIES (OF JUSTICE) ARE DOUBLE THE FUN Order in the court! Closing its season with dueling gavels, City Lit Theater offers Two Days in Court in only 90 minutes. Merrily combining Gilbert and Sullivan’s first hit, the “dramatic cantata” Trial by Jury, with Stephen Vincent Benet’s historical romp The Devil and Daniel Webster, it’s a charming…
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Dance Review: GRIMM TALES (Ballet Austin)
BEST WHEN IT’S GRIM GRIMM Born in Austin and now living in New York City, artist Natalie Frank created 75 works based on the stories of Jacob and Wilhelm Grimm. Using gouache and chalk pastel, the images are almost a blend of Marc Chagall and Irving Albright. There’s a delicious, nightmarish, psychologically unsettling quality to…
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Theater Review: JAY JOHNSON: THE TWO AND ONLY (Tour)
THE VOICE BEHIND THE VOICES Ventre Loqui: To speak from the belly. This is the etymology of the word ventriloquism, an art as old as : well, it depends who you ask. For some, there is no older art, as it was the trick of the devil to make the snake appear to speak to…
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Dance Review: THE LITTLE MERMAID (San Francisco Ballet at the War Memorial Opera House)
A BIG LITTLE John Neumeier’s multi-cultural fantastical rendition of Han’s Christian Andersen’s The Little Mermaid has returned in a beautiful production at the San Francisco Ballet in the War Memorial Opera House. Created in 2005 for the Royal Danish Ballet and revised in Hamburg in 2007, Neumeier includes Andersen as the “Poet” guiding and lamenting…
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CD Review: HOTEL AMOUR (Meow Meow and Thomas Lauderdale)
IF ANYONE CAN CAUSE A PUSSY RIOT… Welcome to the definition of “chanteuse.” The slinky, sexy, performance artist Meow Meow — whose new CD with Pink Martini’s leader and pianist Thomas Lauderdale is instantly classy, lovable, moving, funny, accessible, transportive, and timeless — gives what feels like your own private deliriously fun nightclub act. Hotel…
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Off-Broadway Theater Review: SOCRATES (The Public)
SOC ON THIS Perhaps one of the reasons Socrates has become a god-like figure in the world of philosophy is that we know very little about the actual man who existed during the dawn of writing. He kept no diaries and wrote no treatises, yet philosophies attributed to the classical Greek thinker — Socratic Method, Socratic…
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Music Preview: VíKINGUR ÒLAFSSON (Solo Piano at Disney Hall)
AS GOOD AS GOULD While my heart sank to hear that Murray Perahia had to pull out of his recital at Disney Hall this Sunday, April 21, 2019, nothing prepared me for the fantastic news that pianist Víkingur í“lafsson will replace him with a program of mostly Bach with some Glass (Perahia will return as…
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Theater Review: SINGIN’ IN THE RAIN (The Soraya in Northridge and The La Mirada Theatre)
LET THE GOOD TIMES POUR When people say a musical is old-fashioned they usually mean it in a negative way, which is silly. There are bad, good, and brilliant musicals, and Singin’ in the Rain is brilliant. The stage version of Singin’ in the Rain was adapted from the 1952 MGM movie written by Betty Comden…
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Theater Review: FALSETTOS (National Tour)
NOT ONE FALSE NOTE The musical masterpiece Falsettos follows Marvin, an appealing, brainy, anxious, obsessive, wealthy Jewish gay man who struggles to create a tight-knit family out of his eclectic array of core relationships: an ex-wife, new boyfriend, adolescent son, psychiatrist, and “neighbors who are lesbians from next door.” Amidst a series of monumental life changes…
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