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Theater Review: AVENUE Q (Mercury Theater Chicago)
OPEN SESAME SEASON Peter Pan never grew up. Likewise Alice in Wonderland, the Hardy Boys, Freddy the Pig, Nancy Drew, Huck Finn, or Donald Trump. It’s a pity people do: Why must grown-ups leave behind innocence and imagination after we mistakenly blunder into adulthood? You can take it with you — when it’s Avenue Q. This 2003 musical…
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Chicago Theater Review: TILIKUM (Sideshow Theatre Company at Victory Gardens)
SEA WORLD AS A CITADEL OF CAUCASIAN COMMAND Orcas, it seems, can suffer for our sins. In Tilikum — a world-premiere from Sideshow Theatre Company — the struggle of indigenous people to reclaim their stolen land comes down to a giant fish tank. Playwright Kristiana Rae Colon imagines a white-supremacist version of Sea World. Its…
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Theater Review: TAR (Playwrights’ Arena at Atwater Village Theatre)
TARANTINO IN THE STICKY SWAMPS OF SADNESS Tom Jacobson’s Tar is from his The Ballad of Bimini Baths, a triad of works playing concurrently in Los Angeles. For half a century (1902-1951), the hot springs resort actually existed here in L.A., and Jacobson means to examine how far society has, or hasn’t, come by setting…
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Theater Review: THE VIEW UPSTAIRS (Circle Theatre)
A DIFFERENT LOOK AT THE VIEW Now a nearly forgotten but seminal gay tragedy, it happened after Stonewall but before AIDS and Orlando’s Pulse terrorist attack – a 1973 arson atrocity in The Big Easy. Powerfully premiered by Circle Theatre at the Pride Arts Center, The View UpStairs is Max Vernon’s 2013 musical, nominated for…
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CD Review: BACK TO MY ROOTS (Kate Rockwell)
SCHOOL OF ROCKWELL So when was the last time you put on an album and found yourself regretting that it was over too fast? …found yourself in love with every track? …found it immediately accessible, entertaining, funny, smart, and professional? …found a CD that will please millennials, their parents AND their grandparents? Well, Kate Rockwell…
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CD Review: A LEAP IN THE DARK — LIVE AT FEINSTEIN’S/54 BELOW (Arielle Jacobs)
AN ACT IN THE DARK For her debut at 54 Below in NYC – a nearly solo cabaret which was recorded for release on Broadway Records – the triple-threat Arielle Jacobs opened by letting us know that this will be the story of how she got “to here” (to Feinstein’s/54 Below, I guess). Some of…
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San Diego Theater Review: ROMEO, ROMEO & JULIET (The Roustabouts Theatre Co. at Moxie Theatre)
PARTING IS SUCH SWEET SORROW AFTER A PLAY THIS GOOD “What’s in a name?” Juliet famously asks. A lot, if the name is Ruff Yeager. Yeager, co-founder of The Roustabouts Theatre Co., has been a long-time staple of fine directing and powerful acting in San Diego, particularly chilling as the central character in Roustabouts’ debut…
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CD Review: MY FAIR LADY (2018 Broadway Cast)
BETTER THAN FAIR As musical revivals went from a few nostalgic productions in the 1970s to the ubiquity of resurrections we see today — both from the Golden Age (Porter, Rodgers and Hammerstein) and later (Lloyd Weber, Sondheim) — it wasn’t enough to just present them as written. Guys and Dolls (1992, with Nathan Lane), How to…
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Theater Review: SWEET CHARITY (Reprise 2.0)
SWEETER THE SECOND TIME AROUND It’s like kicking a puppy dog to dislike Charity Hope Valentine. Charity is the heroine of the 1966 musical Sweet Charity — a strange amalgam of high hopes and low blows. The show once made famous by Gwen Verdon’s slinkiness and Bob Fosse’s choreography is pocked with terrific tunes by…
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Theater/Dance Preview: THE COLLECTIVE MEMORY PROJECT (The Big Show Co. at the Ford Amphitheatre)
“The worst part of holding the memories is not the pain. It’s the loneliness of it. Memories need to be shared.” Author Lois Lowry On June 28 & 29, Ford Theatres, in association with choreographer/director Arianne MacBean and The Big Show Co., will present the world premiere of The Collective Memory Project — an original dance-theatre piece inspired by…
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Los Angeles Theater Review: THE HUMANS (National Tour at the Ahmanson Theatre)
ALL TOO HUMAN Stephen Karam’s remarkable Tony-winning play The Humans — which is winding up its national tour at the Ahmanson with members of the Broadway production — begins with Erik Blake (the excellent Reed Birney, reprising his Tony-winning performance) standing on the upper level of a shabby, half-dark basement/ground-floor tenement duplex, holding two bags of groceries,…
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Los Angeles Theater Review: PARADE (3-D Theatricals)
DON’T LET THIS PARADE PASS YOU BY With no intentions of reviewing, I attended 3-D Theatricals’ astounding rendition of Parade, bookwriter Alfred Uhry and composer/lyricist Jason Robert Brown’s emotionally pile-driving musical that reprises an ugly tragedy. I have been begging folks to see this Broadway-caliber outing — it closes Sunday Jun 24 — but heard this…
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Theater & Film Preview: BANDSTAND (The Broadway Musical on Screen presented by Fathom Events)
THE BOYS ARE BACK — BANDSTAND: THE BROADWAY MUSICAL ON SCREEN The Tony-winning musical Bandstand will be screened nationwide for two nights next week. Richard Oberacker and Robert Taylor’s ode to the 1940’s, musicians, and vets coming home from WWII won a Tony for director/choreographer Andy Blankenbuehler (Hamilton) and his high-octane, heart-stopping, spectacular dancing. The Boys Are Back…
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Music Review: DIANA ROSS SINGS MEMORIES WITH THE HOLLYWOOD BOWL ORCHESTRA
MISS ROSS REVIVED MEMORIES, BUT DIDN’T BOWL US OVER Last Saturday was an unusually grey and chilly night for June. Unfortunately, the program for the opening night of the Hollywood Bowl’s 2018 season was as mild as the weather. I suppose it’s enough that the event raised more than $1.75 million for the Los Angeles Philharmonic’s educational…
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Theater Review: LONG DAY’S JOURNEY INTO NIGHT (The Wallis in Beverly Hills)
ONCE MORE UNTO THE BREACH Eugene O’Neill twice turned his troubled youth into all-absorbing drama. His family first appeared as a happy tangle of eccentric loved ones in Ah, Wilderness!, a halcyon 1933 comedy that revealed no greater family rifts than a generation gap and a father’s worry about his son’s preference for “decadent” poets….
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CD Review: TAKE ME TO THE WORLD (Sutton Foster)
TAKING US TO HER WORLD I’m a huge fan of Sutton Foster: Her work is stunning on Original Cast Albums like Violet, Thoroughly Modern Millie, and Anything Goes (which I think is far superior to the Patti LuPone version). So it’s a shame that her latest CD is such a mixed effort; there’s an “A”…
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Theater Review: CULT OF LOVE (IAMA Theatre Company in Atwater Village)
ON CONFORMING AND CHRIST Ah, what better fodder for drama is there than the dysfunctional American family? You know the ingredients: accusations hurled back and forth by the walking wounded; recriminations for offenses committed years before; and — for good measure — a reunion with plenty of alcohol and mental illness. With her Cult of Love,…
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Theater Review: A COMPLETE WASTE OF TIME (Hollywood Fringe Festival)
HALLUCINOGENS, MAN-WHORES & CHINA PEOPLE I’m not sure why Steve Chang chose to call his world premiere one-man show at the 2018 Hollywood Fringe Festival A Complete Waste of Time. It isn’t. He isn’t. And his aim doesn’t seem to be anything as trivial as what the title suggests. Chang tells a number of stories…
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Music Review: CONSIDERING MATTHEW SHEPARD (Ford Amphitheatre)
BREAKING DOWN FENCES An American requiem, an oratorio, and a choral masterpiece elegantly and movingly performed, Considering Matthew Shepard, which closes tonight at the Ford Amphitheatre, is not to be missed. The full-length work — containing hymns, Western music, spirituals, and other Copeland-esque evocations of American compositions — certainly mourns and honors Shepard, the twenty-year-old…
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Los Angeles Theater Review: SKELETON CREW (Geffen Playhouse in Westwood)
MOTHER COURAGE IN MOTOR CITY The marvel of scenic designer Rachel Meyers’ work greets you when you enter the theater at the Geffen Playhouse, and draws the audience into Skeleton Crew, the third and final installment in playwright Dominique Morisseau’s award-winning three-play cycle, The Detroit Project. Then Meyers’ set does an extraordinary thing: During onstage…
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