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CD Review: THE POST (Original Soundtrack by John Williams)
FALTERED AT HIS POST The best thing I can say about John Williams’ score to The Post is that I don’t remember a thing about it after watching the movie, which means it supported the mood perfectly. Recently released on Sony Classical, the CD of the score is an entirely different matter — not that…
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Music Feature: CLASSIC FM LAUNCHES NEW VIDEO GAME MUSIC SHOW
THE BEST VIDEO GAMING HAS TO OFFER, AND SO MUCH MORE Video game music is slowly but surely creeping into mainstream appreciation. For several years now, scores have been sneaking into classical music charts, sometimes causing friction when their origins are unearthed, but otherwise being wholly appreciated. With ClassicFM launching a new video game music…
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Los Angeles Opera Preview: CRUZAR LA CARA DE LA LUNA (The Soraya in Northridge)
A MAGNIFICENT MARIACHI OPERA COMES TO THE SORAYA It was by sheer luck that I was in Chicago and happened upon the world’s first mariachi opera, Cruzar la Cara de la Luna (To Cross the Face of the Moon). Even though it immediately became one of my favorite operas, I knew that this type of…
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Chicago Opera Review: ELIZABETH CREE (Chicago Opera Theater)
A PENNY DREADFUL FOR YOUR THOUGHTS Murder will out, whether in police gazettes or chamber opera. If he hadn’t existed, the still unknown Jack the Ripper could have been invented by penny dreadfuls, the Victorian tabloids that fed on fear and treated murder like a lark. At the same time melodramas trafficked in Grand Guignol…
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Los Angeles Theater Review: IRONBOUND (Geffen Playhouse in Westwood)
THE JOY OF SURVIVAL Marin Ireland is mesmerizing and deeply moving in Ironbound. She plays Daria, a Polish immigrant. To my ear, her accent is impeccable — and most importantly, entirely consistent. We believe she is searching for the best English words to express herself, and often her syntax has an authenticity of its own….
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Chicago Theater Review: YOU GOT OLDER (Steppenwolf)
TASTING YOUR MORTALITY In the bleak midwinter ’” appropriately ’” comes this dour drama. A Chicago premiere from Steppenwolf Theatre Company, this 2014 Obie winner will not let you warm your hands by its fire. Like Raven Theatre’s current Nice Girl or Shattered Globe Theatre’s Five Mile Lake, Clare Barron’s You Got Older marinates in the failures of trapped characters. Their every…
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Chicago Dance Review: MODERN MASTERS (Joffrey Ballet at the Auditorium Theatre)
MOVEMENTS WITHOUT DEMANDS Modern masters indeed. A splendid showcase for steps and leaps, Joffrey Ballet’s annual winter engagement always brings fresh glory to the state of their art. Modern Masters, now enthralling the Auditorium Theatre through February 18, presents four works, only one on a return visit, that test the imagination of dance as much as the…
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Chicago Opera Review: I PURITANI (Lyric Opera)
BELLINI’S BEL CANTO BRITISH BALLAD After the questionable orientalism of Bizet’s Pearl Fishers and Puccini’s Turandot, Lyric audiences can now enjoy Vincenzo Bellini’s I Puritani (The Puritans), a cultural encounter of a different kind. It is an Italian opera composed for a French audience and set during the English Civil War. This is perhaps not…
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CD Review: HAMLISCH UNCOVERED (Various Artists on Broadway Records)
MARVIN’S GARDEN One of composer Marvin Hamlisch’s first gigs was that of rehearsal pianist and assistant vocal arranger for the original production of Funny Girl on Broadway in 1964, a job which he found through the aid of Liza Minnelli, who recorded one of Hamlisch’s early songs (“Travelin’ Man”) on her first album. It was…
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Book Review: MURDER IS FATAL (Barry Creyton)
NEO-NOIR NOVEL A FUNNY NOD TO CLASSIC FILM NOIR Author Barry Creyton has proven that film noir doesn’t die; it just goes from black-and-white to color. Part crime story and part love letter, the novel Murder is Fatal is a good-hearted epitome of all things film noir as well as an exaltation to its devotees….
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Chicago Theater Review: JEEVES IN BLOOM (ShawChicago at the Ruth Page Center)
SAVED BY YOUR SERVANT Like manna from the heavens, it comes when we’ve never needed to laugh more: The invaluable comic master P.G. Wodehouse returns from the Roaring Twenties to the rescue of the Troubled Teens: That delightfully co-dependent duo’”Jeeves and Bertie–are up to no boredom again: In ShawChicago’s delightful concert reading of Wodehouse’s Jeeves in…
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CD Review: MAD LIBS LIVE! (Original Cast Recording)
DRAWING A BLANK Coming direct from the Missed Opportunity Department is a semi-educational musical geared towards kids and prepubescent audiences which ends up as merely juvenile. Mad Libs Live! is an hour-long show about four high-school teens who, as a team, enter a singing group competition. The prize? The title of “Teen Superstars.” The modus…
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Chicago Theater Review: SKELETON CREW (Northlight)
THE DIS-ASSEMBLY LINE Some stories can’t stand on their own and for very good reason: They tell so many others. Much as The Wire dealt with Baltimore’s failing institutions and August Wilson chronicled the decades washing over Pittsburgh’s Hill District, Dominique Morisseau’s “Detroit Trilogy” pays tribute to the builders of a broken burg. In Chicago, TimeLine Theatre…
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Los Angeles Music Review: BERNSTEIN’S MASS (Los Angeles Philharmonic and Gustavo Dudamel)
A MASSIVE MASS FOR THE MASSES It’s a happening in Disney Hall. And there’s no better way to salute Leonard Bernstein in his hundredth year than a humongous and awesome presentation of his rarely produced Mass. How did a secular humanist Jewish composer come to write a a modernized interpretation of sacred Mass texts, including…
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Los Angeles Music Preview: BERLIN PHILHARMONIC WIND QUINTET WITH STEPHEN HOUGH (The Wallis)
HOUGH AND PUFF The glorious Berlin Philharmonic Wind Quintet is coming to The Wallis in Beverly Hills as part of a very short, nine-stop North American tour. As if having this prestigious ensemble on February 10 isn’t exciting enough, the great pianist Stephen Hough (pronounced “Huff”) will be playing with the Quintet here in Beverly…
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Chicago Theater Review: NICE GIRL (Raven Theatre)
THE GIRL OF MY DREAMS “No one will ever love you as much as I do — so shut up and stop looking for more.” A harsher hope-killing “reassurance” should not be imagined. That’s the curse/challenge facing Josephine Rosen, the 37-year-old anti-heroine in Melissa Ross’s ironically titled Nice Girl, a tender-headed character study. This sweetly knowing,…
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Chicago Theater Review: BLIND DATE (Goodman)
REHABILITATING REAGAN Putting us backstage as history happens, Goodman Theatre’s world premiere Blind Date generously or doggedly tells audiences more than they knew (or perhaps want to) about a nearly forgotten meeting of the minds. Drawing heavily from the somewhat fictionalized memoirs of Edmund Morris, a Ronald Reagan biographer who had constant access to the Great Communicator,…
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San Diego Theater Review: THE LAST WIFE (Cygnet)
THE LAST WIFE GETS IT RIGHT Historical fiction can be a dicey game, let alone a modernization of historical figures. When the results are as captivating as Kate Hennig’s The Last Wife, be prepared for some stimulating theater while brushing up on your history lessons. When speaking of British History, Katherine Parr may not be…
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Concert Review: MEOW MEOW (with Pink Martini’s Thomas M. Lauderdale)
THE DIVINE MISS MM When you hear the words “performance art,” do you envision a motionless Marina Abramovic allowing a 10-foot boa constrictor to wrap itself around her head? And when you hear the term “cabaret,” do you think of tired patter, same-old showtunes, and folks who’re trying to jump-start their career? Well, prepare to…
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Los Angeles Theater Review: THE HOTHOUSE (Antaeus Theatre in Glendale)
A TRAGI-COMEDY OF VIOLENCE Harold Pinter’s The Hothouse is exactly the kind of play I hope to see at the Antaeus Theatre Company. It is a classic to some but not to others, and there’s a lot of leeway in the text for bold choices, its themes are relevant ’” some might say eerily so…
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