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Dance Preview: SPECTACULAR BALANCHINE! (American Contemporary Ballet in Los Angeles)
HAVING A BALL WITH BALANCHINE By the time of his death on April 30, 1983, George Balanchine had created over 400 works and was recognized as a 20th-century master alongside Picasso and Stravinsky. American Contemporary Ballet’s Artistic Director Lincoln Jones has already shown a profound ken for all things Balanchine with his original works that…
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Chicago Theater Review: BURNHAM’S DREAM: THE WHITE CITY (Theater Wit)
OUR LOST DREAM CITY It’s possible to think that it never happened, that we imagined its splendor to exalt our past. It was the most transient of treasures, with only the Museum of Science and Industry and photos to suggest the Beaux Arts, alabaster magnificence of marvels that bejeweled Jackson Park and the South Side…
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Los Angeles Theater Review: CABARET (Celebration Theatre in Hollywood)
COME TO THIS CABARET Aside from the fact that it will sell out quickly, there are a number of reasons to rush out and get tickets for Celebration Theatre’s revival of Cabaret. First of all, this is 2018, and a better time to see Cabaret could not be imagined. That may be 1929 Berlin at the dawn of…
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Chicago Theater Review: FATHER COMES HOME FROM THE WARS (PARTS 1, 2 & 3) (Goodman Theatre)
THE UNCIVIL WAR Goodman Theatre’s current epic won’t be confused with other dramas. It explores the Civil War as seen and suffered by the slaves. Not the usual perspective but it delivers a very broad canvas for Pulitzer Prize winner Suzan-Lori Parks. Running over three hours and requiring two intermissions, Father Comes Home from the…
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San Diego Theater Review: THE LONELIEST GIRL IN THE WORLD (Diversionary Theatre)
FROM ORANGE JUICE TO A PIE IN THE FACE “What these people really want, hidden behind obscure legal phrases, is the legal right to propose to our children that theirs is an acceptable alternate way of life. I will lead such a crusade to stop it as this country has not seen before.” − Anita…
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Los Angeles Theater Review: BORDERTOWN NOW (Pasadena Playhouse)
A WALL WILL NEVER STOP A BUTTERFLY When I was a kid, the word “wetback” had negative connotations, but I don’t remember it being considered particularly hateful. My mother even used it to describe herself. I think its relative mildness was directly connected to the widespread, pragmatic acceptance of a necessary system of employment. People…
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Opera Review: RIGOLETTO (LA Opera)
CARO RIGOLETTO In Rigoletto, Verdi’s score is as delightful and charming as ever, with such memorable songs as “La donna è mobile” and “Caro nome.” Moreover, it is perfectly balanced between large ensemble scenes and more intimate duets. Rigoletto doesn’t drag either, nor is it overly long, but lasts a reasonably full two and a half hours, including…
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Chicago Theater Review: 20,000 LEAGUES UNDER THE SEAS (Lookingglass Theatre Company)
A LEAGUES OF THEIR OWN You can’t keep a bad man down. Especially when he’s Captain Nemo, the scourge of the sea. Returning to the watery roots of Moby Dick, Lookingglass Theatre Company launches 20,000 Leagues Under the Seas. This 140-minute adventure on the low seas navigates the psyche of a world-wide terrorist in a…
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Chicago Theater Review: MIES JULIE (Victory Gardens)
STRINDBERG SET IN SOUTH AFRICA Yes, it’s Mies Julie, not Miss Julie, and it’s by Yaël Farber, not August Strindberg. And that makes a monstrous difference. Repurposed to depict a different divergence between two star-crossed and mismatched lovers, reset in an uprooted country torn between the curse of apartheid and the uncertainty of nationhood, Strindberg’s…
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Music Preview: 2018 PLAYBOY JAZZ FESTIVAL (The Hollywood Bowl)
THIS FESTIVAL IS ALL ABOUT PLAY, BOY OK, you’ve heard about it for years. But now you’re ready to take the plunge (and you should be) to attend the world famous Playboy Jazz Festival at the Hollywood Bowl. These two marathon days, June 9 & 10, 2018, can seem a bit intimidating, so let me…
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Chicago Theater Review: BULL IN A CHINA SHOP (About Face Theatre)
A POWER COUPLE WORTH RECLAIMING Lest we forget two women who long ago shaped their future into our present, witness Bull in a China Shop. Written by Mount Holyoke alumna Bryna Turner, this concentrated one-act pays a conditional tribute to Mary Wooley and Jeanette Marks, radical academics and long-time lovers. The former was President of…
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Theater Review: THE COLOR PURPLE (National Tour)
WHILE HARDLY REVELATIONAL, A REVVED-UP REVIVAL BECOMES RELATABLE It’s a miracle. After seeing the original 2005 musical adaption, it seemed that nothing could fix this show. But then The Color Purple met director John Doyle, who made a name for himself by reinventing musicals by eliminating choruses and having actors often playing instruments in lieu of an orchestra,…
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Dance Preview: BODYTRAFFIC (The Wallis)
FIVE NOT-SO-EASY PIECES BODYTRAFFIC, the contemporary dance outfit headquartered right here in Los Angeles, has smartly scheduled three performances of this weekend’s upcoming showcase of exciting works — including a Company Premiere and a World Premiere — at The Wallis in Beverly Hills. The last four times I saw this exciting company (three at the Broad,…
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Chicago Theater Review: A LITTLE NIGHT MUSIC (BoHo Theatre)
EINE KLEINE SWEDISH SOLSTICE Some 40 years after its birth, A Little Night Music feels like it’s always been here. Wisely and warmly, composer Stephen Sondheim and writer Hugh Wheeler, borrowing from one of Ingmar Bergman’s finest films (Smiles of a Summer Night), compassionately anatomize three mismatched turn-of-the-century couples. They’re midsummer fools of love caught…
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Theater Review: WAITING FOR GODOT (Druid Theatre)
STOOD UP YET AGAIN: “Birth was the death of him”: Terse to the point of cruelty, Samuel Beckett here devours the human experience in six words. Waiting for Godot, his minimalist masterpiece, takes nearly three hours for the same result. But Beckett succeeds in his life-long task: to “find the form that will accommodate the mess”…
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Music Preview: Sol Gabetta, Gustavo Dudamel, LA Phil (SCHUMANN CELLO CONCERTO; SYMPHONY 3 & 4)
SCHUMANN TO WIN YOU OVER Although his life was difficult, to say the least, ending prematurely in madness, Robert Schumann nonetheless composed music that elevates us through its pure spirit and unique personal character. Last week, Gustavo Dudamel began a three-week exploration of this (I think) underappreciated composer. Of course, Schumann isn’t always necessarily easy, pleasant or…
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CD Review: THE PRINCE OF BROADWAY (Original Broadway Cast Recording)
CELEBRATING BROADWAY ROYALTY When I tell you that the Original Broadway Cast Recording of the revue covering Harold Prince’s oeuvre mostly works, it’s an enormous compliment. For here you have seven decades of the most voluminous career in the American Musical Theater crammed into one evening’s entertainment. Taking into account that Prince has produced or…
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CD Review: BILL WHELAN — RIVERDANCE: A SYMPHONIC SUITE (James Galway, David Brophy and the RTÉ National Symphony Orchestra)
NEW LIFE FOR RIVERDANCE MUSIC Mention the name Bill Whelan and you may get a blank stare, even though this Irish composer, arranger and producer (who collaborated with, among others, U2, Kate Bush, and Van Morrison) has been a successful artist since 1970. But mention the word “Riverdance” and eyes will light up. Whelan won…
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Theater Review: VIOLET (Actors Co-op in Hollywood)
NO SHY VIOLET Based on The Ugliest Pilgrim, a short story by Doris Betts, Violet — with book and lyrics by Brian Crawley and music by Jeanine Tesori — takes place in 1964 and follows the 25-year-old Violet (Claire Adams) as she travels by bus from her home in the hills of North Carolina all…
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Theater Review: THE LAST SCHWARTZ (West Coast Jewish Theatre in Santa Monica)
BUT IS IT GOOD FOR THE JEWS? I love Anthony Trollope’s The Way We Live Now. It feels a bit highfalutin putting it that way, as if I sit around reading Victorian classics when not appreciating the high art of “theatre” (not “theater”). My first experience with it was not the book but the 2001…
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