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National Tour Theater Review: A GENTLEMAN’S GUIDE TO LOVE AND MURDER (Bank of America)
KILLING COUSINS Serial killers can be fun. In the film Theatre of Blood Vincent Price sardonically played a Shakespearean actor, a hate-filled ham who doggedly “offs” the critics who panned him. (He snuffs out each scribe in endgames inspired by the Bard.) Who’s Killing the Great Chefs of Europe? was a less important question than…
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Chicago Opera Review: LUCIO SILLA (Chicago Opera Theater at the Harris Theater)
LUCIO SILLA REVELS IN YOUTH’S BEAUTY Mozart’s early chamber opera Lucio Silla, written at the precocious age of sixteen, is an excellent example of the bel canto style. Not only is the singing, quite literally, “beautiful,” but there is a steady progression of recitative, solo arias, duets, etc. that showcase the extraordinary capabilities of the…
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Chicago Theater Review: EAST OF EDEN (Steppenwolf)
THE OLD TESTAMENT MEETS THE NEW WORLD A saga of American origins, John Steinbeck’s most ambitious novel was published in 1952 and, three years later, starred James Dean and Julie Harris in a seminal film version. Archly aphoristic, portentous with easy wisdom, East of Eden is a solemn and serious California update of the Biblical…
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Bay Area Theater Review: AMÉLIE, A NEW MUSICAL (Berkeley Repertory Theatre)
IN CHARM’S WAY Turning a beloved French film into an American stage musical is a dicey proposition at best, but that’s precisely what Berkeley Rep has done with Jean-Pierre Jeunet’s 2001 Oscar-nominated film, Amélie. It is charming, visually appealing and succeeds on numerous levels, calling for just a bit of tweaking before it heads for the…
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San Diego Theater Review: LA CAGE AUX FOLLES (San Diego Musical Theatre)
OOH LA LA FOR LA CAGE AUX FOLLES If any gay activist ever derides this delightful musical, they would do well to remember just how radical La Cage aux Folles was when it hit Broadway in 1983 (the original play [1973] and film [1978] even more so). A third of a century later, it’s still…
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Off-Broadway Theater Review: ANTIGONE (BAM Harvey Theater)
ANTIGONE AND JULIETTE In Anne Carson’s crisp new translation of Sophkles’ Antigone, the great Juliette Binoche embodies the title character, a young woman who breaks the law under penalty of death to do what she knows to be morally right. Staged in the present, the answer to why director Ivo van Hove’s revival is relevant…
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San Diego Theater Review: MASTER CLASS (ion theatre)
SCHOOLED BY CALLAS If you’ve ever been to a master class, then Terrence McNally’s Master Class (1995) will seem very familiar. If you haven’t, then you’re in for a real eye-opener. A master class, as its name suggests, is a class given by an expert (or master) to students in a particular discipline, typically music,…
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Chicago Opera Review: THE MARRIAGE OF FIGARO (Lyric Opera)
A MARRIAGE MADE IN CHICAGO Lyric Opera’s season-opening production of Mozart’s The Marriage of Figaro celebrates love and beauty with vibrant colors, light-hearted laughter and sublime music. It is a joyful celebration, one that minimizes some of the darker elements and revolutionary undercurrents in Lorenzo da Ponte’s libretto, based on Pierre Beaumarchais’ 1778 play. Hungarian…
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Los Angeles Music Preview: TEARS OF JOY, TEARS OF SORROW (Le Salon de Musiques at the Chandler)
YOUR TRANSCENDENCE AWAITS The grand opening concert of Le Salon de Musique’s 2015/2016 arrives on Sunday, October 4, 2015, at the Dorothy Chandler Pavilion. Every time I visit, Le Salon proves itself to be the greatest chamber music outfit I have ever discovered. You get world-class players in an intimate setting offering masterful works (often…
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Opera Preview: IL TROVATORE (The Metropolitan Opera and Fathom Events)
A TREASURE TROVATORE There’s nothing subtle about Verdi’s ambitiously conceived Il Trovatore (The Troubadour). And David McVicar’s grandly realized, dark and hellish version will be shown in select U.S. screens on October 3, 2015, as The Met: Live in HD begins another season of live transmissions. The opera is one of the three triumphs of…
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Los Angeles Theater Review: RANT & RAVE CHAPTER 62: MEDIA (Rogue Machine Theatre)
ME NEXT TIME I’m running up Pico. It’s 7:54 p.m. and I just parked on Rimpau because I’ve only lived in L.A. for 18 years and Google Maps told me Theatre Theater was .1 mile from Rimpau, but it isn’t, it’s like 9 blocks, and I’m running. I was up at 4:30 this morning to…
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Chicago Theater Review: DISGRACED (Goodman)
DRAMATIC PROFILING In the three years since American Theater Company debuted this corrosive cultural tragicomedy on the North Side, Disgraced has become a massive hit, with revivals on Broadway, slated productions at 10 major regional theaters, as well as 32 more in the next two years and a film version with HBO. Now, helmed by…
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Regional Theater Review: ONE MAN, TWO GUVNORS (South Coast Rep in Costa Mesa)
ONE SKETCH, TWO STYLES When the National Theatre of Great Britain produced One Man, Two Guvnors, playwright Richard Bean’s 2011 update of Carlo Goldoni’s 18th Century comedy, The Servant of Two Masters, the razor-sharp ensemble under Nicholas Hytner’s direction paved the way for a star turn by James Cordon, who played Francis, a daft dolt…
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Chicago Theater Review: SIDE SHOW (Porchlight Music Theatre at Stage 773)
YOKED ASUNDER Don’t believe the ironic title of a first-act song: Daisy and Violet Hilton were not your “Typical Girls Next Door.” Conjoined (or “Siamese” twins), they were, grotesquely enough, literally born into showbiz–as “freaks” of nature and entertainment. Discarded by their freaked-out mother, the “well-connected” girls were exploited in their native England by a…
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Los Angeles Theater Review: THE WHISKEY MAIDEN (Theatre of NOTE in Hollywood)
LOS PECES VIOLENTOS There is a dark parable in the bible, in Luke or maybe John; it’s in the Scheherazade – the tale of the thousandth night, perhaps. Your translation didn’t have every night, anyway you didn’t read that far, but you almost know it. It’s in the Talmud. It’s a legend your grandmother used…
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Chicago Theater Review: THE TEMPEST (Chicago Shakespeare Theater)
A TRAGICOMEDY WITH TRICKS Well, why not do The Tempest as a magic show? It comes with Shakespeare’s territory. During the Duke of Milan’s unhappy exile, deposed by his nefarious brother, with only his daughter and two supernatural beings as companions, Prospero has become a sorcerer on an empty island. He’s able to cast spells,…
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Los Angeles Theatre Preview: BONNIE AND CLYDE (Musical Theatre Guild at the Alex in Glendale)
GANGSTER MUSICAL You’ve seen the movie, you’ve seen the car, now see the musical. Meet the most famous robbing, murdering, loving couple in U.S. history. From their first meeting at a West Texas diner through their tumultuous courtship and romance, from their brief, history-making crime spree to their fateful final drive through Louisiana, this thrilling…
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Off-Broadway Theater Review: HAMLET IN BED (Rattlestick Playwrights Theater)
HAM IN BED At the beginning of Hamlet in Bed, when its author and co-star Michael Laurence comes up to the standup microphone at the front of the stage, I can’t help wanting him to succeed; his manner’”shy and awkward, earnest, sincere’”make him a sympathetic, if only moderately engaging, presence. And even though in playing Michael’”a…
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Los Angeles Theater Review: HOOKED (Los Angeles Theater Festival at the Complex’s Ruby Theatre)
“DON’T LOOK AT ME” Jillian Leigh’s second play, Hooked, is extremely ambitious and fairly successful in the hands of director Terri Treas, producer Michael Zand, and a strong cast including the playwright. While the play could use another couple of drafts and at least one scene either more or less, and though the opening-night performance…
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Chicago Dance Review: MILLENNIALS (The Joffrey Ballet at the Auditorium Theatre)
COMING CHOREOGRAPHY Opening its 60th season, the Joffrey Ballet literally leaps into the future with Millennials, a three-part program at the Auditorium Theatre. Closing Sunday, it features many bold new moves within two world premieres and one Chicago debut. Even if the majority of Joffrey dancers qualify as millennials, the rationale to showcase today’s dance is reason enough to…
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