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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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CD Review: OSCAR, WITH LOVE (Various Artists)
OSCAR, WITH LOVE AND BEAUTY AND RESPECT AND… It’s a simple idea that could easily have caused higgledy-piggledy results. In fact, many tribute albums involving various artists contain tracks that are jarringly inconsistent and smack of commercialism. Not so here. Kelly Peterson, the widow of Oscar Peterson (1925-2007), personally produced this extraordinary three-disc set which…
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Theater Review: THE GIANT VOID IN MY SOUL (Ammunition Theatre Company at Pico Playhouse)
FILLING THE VOID IN L.A. THEATER Neither my friend nor I were looking forward to this play — I mean, good grief, when I heard that it was about a couple of “fools” going on a journey to fill the void in one of the best friend’s soul… Well, frankly, it just sounded like forgettable,…
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CD Review: BRUCKNER 9 with reconstructed finale (Aarhus Symphony Orchestra, John Gibbons)
BACK TO BRUCKNER That there are over 100 recordings of Bruckner’s Ninth — his final and unfinished symphony — speaks to the enormous popularity of this spectacular creation. In 1926, American critic Paul Rosenfeld stated that “Bruckner’s symphonies have scarce commenced heaving their mighty volumes through time, before we know we are come into a world…
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Theater Preview: DO RE MI (Musical Theatre West Reiner Reading Series in Long Beach)
GIMME THAT DO-RE-MI, BOYS The 1960 musical Do Re Mi is about a would-be big shot named Hubie Cram, a wheeler dealer who just can’t make the big time. As his wife Kay says, they have 400 hula hoops in their garage and the phase has already passed. This time Hubie has acquired 300 jukeboxes;…
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CD Review: FIVE (Tony Banks)
GIMME FIVE Tony Banks gathers no moss. At 68, the co-founder of Genesis is releasing yet another album, his tenth outside of the band. After a successful career as songwriter, singer, film scorer, and multi-instrumentalist (most especially on keyboards), Banks turned to orchestral compositions. His third, released in February 2018, is labelled “classical” but the…
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CD Review: BRUCKNER SYMPHONY V (Altomonte Orchester St. Florian; Remy Ballot, conductor)
FEELS FIVE TIMES AS LONG It’s no doubt coincidental that the fifth recording in a series of Bruckner Symphonies conducted live by Rémy Ballot is of the Fifth. If you haven’t yet heard the previous four – the Third, Eighth, Ninth, and Sixth – get ready for a shock. Recorded in August 2017 at St….
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Music Review: SEMYON BYCHKOV, LABÉQUE SISTERS, & THE LA PHIL (Ravel, Bruch and Dvořák)
LABÉQUE TO THE DRAWING BOARD Forty years since they made their U.S. debut with the Los Angeles Philharmonic, French sisters  Katia & Marielle Labèque returned for a program that seriously needed to rethink its programming. After the duo’s take on Ravel’s Mother Goose Suite for four hands (1908), the French pianists — led by Marielle’s husband,…
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Chicago Theater Review: HAVING OUR SAY (Goodman)
OUT OF THE MOUTHS OF CENTENARIANS “Life is short. It’s up to you to make it sweet.” No cliché in Emily Mann’s moving 1993 play, this is one of many hard-earned pearls of wisdom in her generous portrait of centenarian sisters. Based on the oral history provided by Sadie and Bessie Delany before their much-protracted…
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San Diego Theater Review: SOUTH PACIFIC (San Diego Musical Theatre)
SOME ENCHANTED EVENING, INDEED Rodgers and Hammerstein’s 1949 Broadway hit South Pacific is so full of familiar, classic numbers that it almost feels like a Broadway review in itself − what a coup to have song after song that we recognize beyond its most familiar piece, Some Enchanted Evening. Overall, characters are likable and the…
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Los Angeles Theater Review: DIE, MOMMIE, DIE! (Celebration Theatre at the Kirk Douglas in Culver City)
“I’M NOT ALONE ANYMORE, I HAVE ME!” Charles Busch once said he thought of himself as the Loretta Young of drag, specializing in creatures of artifice, vanity, and soulful, often unrequited longing. Even as far back as playing the ingénue haunted by a terrible secret in Psycho Beach Party, you could see the leading lady…
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