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Los Angeles Music Review: MAHLER’S SONG OF THE EARTH (LA Phil)
FANTASIA 2018 Coming in at a clean 68 minutes, LA Phil’s production of Gustav Mahler’s Das Lied von der Erde (Song of the Earth) was short and sweet with plenty of meat. But through Saturday night, you get far more than just an orchestral rendering, which was also a mournful offering from conductor Gutavo Dudamel to…
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San Francisco Theater Review: HEISENBERG (A.C.T.)
A PRINCIPLED PRODUCTION Director Hal Brooks delivers a remarkably authentic and poignant tale with A.C.T.’s production of Heisenberg, a short play based on a rather unremarkable human relationship story. British writer Simon Stephens tells a more slender, muted tale here than in his ingenious The Curious Incident of a Dog in the Night-Time: When Georgie Burns…
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Chicago Theater Review: THE GENTLEMAN CALLER (Raven Theatre)
SWEET BIRD OF TRUTH The Gentleman Caller was the original name for a breakthrough “memory play” that, opening at Chicago’s Civic Theatre in late 1944, made Tom “Tennessee” Williams famous at 33. It was, of course, The Glass Menagerie, his most personal labor of love. That character — “James O’Connor” — represented the mysterious stranger who, like…
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Dance Preview: ASPEN SANTA FE BALLET (on tour at The Soraya in Northridge)
NOW YOU KNOW THE WAY TO SANTA FE Aspen Santa Fe Ballet (ASFB) celebrates the third year of its four-year residency at The Soraya with a program of three works that celebrate the company’s commitment to creating new contemporary dance. The entire evening, which plays only once — this Saturday April 7, 2018 at 8…
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Theater Review: PRETTY WOMAN: THE MUSICAL (Pre-Broadway World Premiere)
PRETTY UNLIKELY WOMAN When worlds collide: A celluloid fantasy about an L.A. call girl suddenly thrust into affluence, the much-loved 1990 film Pretty Woman starred a suave, salt-and-pepper-coiffed Richard Gere and Julia Roberts’ all-American Cinderella. The film drew on the wishful feeling of an inexhaustible fairy tale — and for good measure also referenced My Fair Lady, Educating Rita,…
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Chicago Theater Review: HANG (Remy Bumppo)
A VICTIM’S IMPACT STATEMENT Critics always worry about giving away too much — in spoilers and such. And, yes, at first that fear seemed real with hang by U.K. playwright debbie tucker green. By the end, however, it was clear that this one-act, coiled and coy, wasn’t giving anything away. It leaves it to the audience’s fear…
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San Diego Theater Review: KING CHARLES III (Coronado Playhouse)
WOULD SHAKESPEARE BY ANY OTHER PLAYWRIGHT SMELL AS SWEET? If the title King Charles III sounds rather Shakespearean, yet you cannot recall a “Charles” among all his Henrys and Richards, there’s a good reason. Mike Bartlett’s homage to the “Bard of Avon,” written just over 400 years later than Richard III, is about a king that Shakespeare…
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Chicago Dance Review: HUBBARD STREET SPRING SERIES (An Evening of Alejandro Cerrudo at the Harris)
CERRUDO’S SPRING FLING It’s now dance history but, performed last weekend at the Auditorium Theatre, Hubbard Street Dance Chicago’s annual Spring Series, An Evening of Alejandro Cerrudo, delivered some exciting goods. This four-work salute to the creativity of the young, Madrid-born choreographer testified to his transformative alchemy. With rigor and style, Cerrudo turns dance into stories….
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Theater Review: ON YOUR FEET (National Tour)
DANCE DELIRIUM As jukebox musicals go, On Your Feet! really earns its exclamation point. No question, the music alone, which won 26 Grammy Awards, would justify this 2015 tribute to the flashdance fervor of Gloria and Emilio Estefan and their Miami Sound Machine. Their irresistible Cuban-fusion street beat is more fun than we deserve. Two dozen numbers…
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Film Review: BATTLE OF THE SEXES (directed by Jonathan Dayon and Vaerie Faris)
BATTLE OF THE SEXES IS BASED ON A TRUE STORY Battle of the Sexes is a stranger-than-fiction, inspiring story of how the tennis courts of America were the battleground for gender equality in sport. It is a 2017 biographic film focusing on a tennis match that took part in 1973 between Bobby Riggs and Billie…
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Music Review: LAGRIME DI SAN PIETRO (TEARS OF ST. PETER) (Los Angeles Master Chorale)
FEARLESS “TEARS” ELEVATES MUSIC TO A MIND-BLOWING EXPERIENCE At a gala performance honoring Los Angeles Master Chorale donors, Peter Sellar’s critically acclaimed staging of Lagrime di San Pietro returned to Disney Hall with an encore of such luminous majesty and originality that it’s an honor to have this version of Orlando di Lasso’s last work continue on…
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Chicago Theater Review: AN ENEMY OF THE PEOPLE (Goodman Theatre)
CAGE-MATCH COMBAT: IBSEN VS. TRUMP Right now, the biggest prize fight in Chicago is at Randolph and Dearborn. More polemically urgent than psychologically penetrating, a new treatment of Henrik Ibsen’sAn Enemy of the People — adapted and directed by Goodman Theatre artistic director Robert Falls — is a powder keg that ignites a munitions factory. In…
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San Diego Theater Review: A JEWISH JOKE (The Roustabouts Theatre Co. at MOXIE Theatre)
A JEWISH JOKE WAS NO LAUGHING MATTER IN THE 1950s When the nation went into Commie panic in the ‘40s and ‘50s, one of the first places to get hard hit was Hollywood. In 1947, Congress’s House Un-American Activities Committee (HUAC) announced the “Hollywood Ten,” the first wave of accusations against ten Tinseltown Americans for…
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San Diego Theater Review: A LITTLE NIGHT MUSIC (Cygnet Theatre Company)
CYGNET DOESN’T SEND IN ANY CLOWNS IN THIS LOVELY REVIVAL Much like modern art, Stephen Sondheim musicals aren’t for everyone. They are purposefully discordant in places, often dark in tone, and border on operatic on occasion. Other parts will be sweetly melodic with gorgeous harmonies − strikingly different from the same composer. Whether you like…
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CD Review: IVAN THE TERRIBLE (Prokofiev’s Original Motion Picture Score, Reconstructed)
IVAN THE TERRIFIC Ivan the Terrible, the second joint project of Sergei Eisenstein and Sergei Prokofiev, is a two-part historical epic film, portraying the rise and fall of the autocratic ruler Ivan IV in the 16th century. Prokofiev’s musical portrayal is unique in film history, for the score conceives both parts of the film on…
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CD Review: THE BAND’S VISIT (Original Broadway Cast Recording on Ghostlight Records)
WELL WORTH A VISIT Perhaps composer/lyricist David Yazbek (The Full Monty, Dirty Rotten Scoundrels) was inspired by one of our best new playwrights, Itamar Moses, and his adaptation of the terrific 2007 film, The Band’s Visit. Perhaps his experimentation with harmony, melody, Spanish rhythms, and character development on Women on the Verge of a Nervous…
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Los Angeles Theater Preview: 57 CHEVY (Highways)
57 CHEVY: THE ANTI-IMMIGRANT ANTIDOTE, OR HOW BROWN WAS MY VALLEY? There’s palpable excitement surrounding the upcoming West Los Angeles engagement of Cris Franco’s autobiographical comedy, 57 Chevy. “We’re remounting the show because of the Trump administration’s full throttle attack on our families. It’s time to fight back!” says the play’s award-winning author. The true…
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Los Angeles Theater Feature: REPRISE RETURNS WITH NEW SEASON OF MUSICALS (Freud Playhouse)
REPRISE REPRISED It’s a strange sort of serendipity. Just when Musical Theatre West announced its final season after eight glorious years presenting rarely produced musicals in concert form (The Reiner Reading Series), along comes an organization that shuttered its doors years ago, but now returns. Reprise! Broadway’s Best, which presented nearly 50 productions of classic musicals between…
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San Diego Theater Review: THIS RANDOM WORLD (North Coast Rep)
WELL-PLANNED IRONIES Facebook and LinkedIn have illuminated the error in the supposed six degrees of separation theory, which asserts that all living things and everything else in the world are six or fewer steps away from each other; in our interconnected world, the correct number is probably closer to three. In This Random World, the…
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Dance Review: ROMEO AND JULIET (Joffrey Ballet)
SUCH SWEET SORROW FOR THE WRONG REASONS It’s as if choreographer Krzysztof Pastor, director of the Polish National Ballet, gave Prokofiev the opportunity to protest Stalin’s tyranny that he never had in 1940. Pastor’s two-act treatment of the Russian’s celebrated three-act ballet carries no Renaissance finery, just real-world immediacy. Premiered by the Scottish Ballet in…
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