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Los Angeles Music Preview: DUDAMEL CONDUCTS BERNSTEIN & BEETHOVEN (LA Phil)
D AND B AND B Our city’s philharmonic will be going on tour next week to the Eastern seaboard (Boston, D.C. and New York), and then overseas to Barbican Hall, London, and the Paris Philharmonie. They are bringing some dazzling programs which include music from last week’s barn burner of a line-up — the Shostakovitch…
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Chicago Theater Review: NATURAL AFFECTION (Eclipse Theatre Company)
CHRISTMAS CAN BE CRUEL More than most, life’s victims need their storytellers. William Inge (1913-1973) wrote his characters from the inside out — theirs and his. A heart surgeon without a scalpel, Inge, like his mentor Tennessee Williams, was a town crier against the meanness and pettiness — in both anonymous cities and rural backwaters —…
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Music and Dance Preview: TAO: DRUM HEART (International Tour)
TAIKO ME AWAY Ever since man could bang a stick on a rock, percussion has been a way for humans to express themselves. From the battlefield to the theater to your teenager’s bedroom, percussion has evolved from communicative and ritualistic purposes into an art form. We take for granted the use of percussion — primitive,…
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CD Review: HELLO AGAIN (Original Motion Picture Soundtrack)
HELLO AGAIN HELLO AGAIN Hello Again is Michael John LaChiusa’s 1993 musical adaptation of Arthur Schnitzler’s play about sexual intricacies (Der Reigen and, in French, La Ronde), which has itself been adapted dozens of times on stage (David Hare’s The Blue Room) and screen (360) since its scandalous censor-banning beginnings in 1897. The basic premise consists of…
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Chicago Theater Review: THE DOPPELGí„NGER (AN INTERNATIONAL FARCE) (Steppenwolf)
DOUBLE VISION, OR LOST IN THE LAFFS Can a forced farce make a theater audience howl with laughter, never realizing until the very end that the joke is on them? That’s almost a rhetorical question with Steppenwolf Theatre’s world premiere. It’s a clumsy/clever comedy whose final scene, arriving after two hours of relentless burlesque, attacks the…
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Tour Theater Review: SOUL DOCTOR (Lyceum Theatre in San Diego)
JUST WHAT THE DOCTOR ORDERED: A JOYFUL MESSAGE There is an ancient Chinese proverb: “The wise adapt themselves to circumstances, as water molds itself to the pitcher.” In the musical Soul Doctor, the Jewish Orthodoxy apparently aren’t big on such Chinese wisdom. Based on the true story of Shlomo Carlebach, often known as “The Singing…
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Opera Review: IL PIGMALIONE & RITA (Chicago Opera Theater at the Studebaker Theater)
MY FAIR SIGNORA, OR DONIZETTI, SOUP TO NUTS He didn’t just write Lucia di Lammermoor, Don Pasquale, L’Elisir d’Amore, Poliuto, The Daughter of the Regiment, Maria Stuarda, Roberto Devereux, Anna Bolena and much more. Gaetano Donizetti could write small and he started early: A fascinating, brilliantly mounted double bill, Chicago Opera Theater’s third and last Studebaker Theater…
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Music Review: DUDAMEL CONDUCTS SALONEN & SHOSTAKOVICH (Los Angeles Philharmonic)
A WONDERFUL WORLD PREMIERE BY SALONEN There’s nothing more wonderful than witnessing a world premiere and craving to hear it again immediately as an encore. Such was the experience with Esa-Pekka Salonen’s brand new 12-minute tone poem, composed this year. If the Symbolist Debussy and Modernist Salonen had a love child (Debusalonen!), it would be…
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Chicago Theater Review: LETTIE (Victory Gardens)
A CON IS NEVER “EX” The nickname Lettie comes from the Greek term “Letitia” or “joy.” That’s one of many bleak ironies that stalk the anti-heroine of Boo Killebrew’s survival saga, a world premiere from Chicago’s Victory Gardens Theater. In 100 troubling minutes, her one-act chronicles the fall and fall of an ex-con and single…
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Los Angeles Theater Review: SIGNIFICANT OTHER (Geffen Playhouse in Westwood)
TOGETHER ALONE Keilly McQuail and Will Von Vogt are absolutely riveting in Significant Other, Joshua Harmon’s mostly funny, sometimes sad take on the pitfalls of being the GBF (gay best friend). Both actors fearlessly explore their characters’ self-obsessions so fully and so believably, that behavior and dialogue which might grow irritating, instead stays fresh and…
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Dance Review: GISELLE (Dada Masilo & The Dance Factory at The Wallis in Beverly Hills)
WILIS AT THE WALLIS First staged in 1841, Giselle is one of the oldest surviving ballets still in the international repertory, especially because the lead role is a showcase for the world’s leading prima ballerinas. Since its inception, the Romantic story ballet has had several revisions, but most companies follow Marius Petipa’s fin de siècle version. Now, South African…
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CD Review: THE DRUMS [Remastered] (Jo Jones)
JONESING FOR JO JONES Jo Jones (1911-1985) is one of the most important percussionists in jazz history. In 1934, he joined Count Basie’s band, influencing the Great Buddy Rich and the Great Louie Bellson. He was a backbone for Basie’s traveling troupe up through 1948. He influenced swing and bop drummers by shifting the timekeeping…
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Chicago Theater Review: GASLIGHT DISTRICT (The Second City e.t.c.’s 42nd Revue at Piper’s Alley)
SCATTERSHOT SATIRE AIMS AT MOVING TARGETS It’s easy to think that humor is subjective — until an entire audience’s spontaneous guffaw undermines any such abstraction. Often enough, thats the situation in Second City e.t.c.’s 42nd revue. In the bilious realm known as Gaslight District, a customer can humiliatingly get the wrong kind of coffee roast; an Office…
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Theater Review: SAINT JOAN (Bedlam Theatre Company on tour at The Broad Stage in Santa Monica)
SAVING FAITH Even with a few blemishes, Bedlam’s revival of George Bernard Shaw’s 1923 masterpiece Saint Joan is an immersive and ultimately gratifying theatrical experience. The story, told in six scenes and an epilogue, concerns the last two years of Joan of Arc’s life (1429-31): arrival at court and the discovery of the dauphin; leadership of sieges…
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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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