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CD Review: TONY YAZBECK: THE FLOOR ABOVE ME (PS Classics)
TONY’S TOWN Prior to his 2014 Tony-nominated turn as Gabey in the hit revival of On the Town, current Broadway sensation Tony Yazbeck created with Howard Emanuel an autobiographical cabaret, The Floor Above Me, at 54 Below and Birdland. The triple-threat had already made a name for himself in revivals such as A Chorus Line (he showed…
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Chicago Theater Review: THE BACHELORS (Cole Theatre at Greenhouse Theatre)
BOYS WILL BE PIGS Stop the presses for a late-breaking alert: Men can be crude, drunk, womanizing wretches. This astonishing revelation fuels the bottom-feeding 75 minutes of Caroline M. McGraw’s utterly unedifying exposé. The Bachelors, a Midwest-premiere black comedy from Cole Theatre at the Greenhouse Theater Center, would only be news on Uranus. Erica Weiss’s…
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Chicago Theater Review: AFTER ALL THE TERRIBLE THINGS I DO (About Face Theatre at Theater Wit)
BEATEN UP FOR COMING OUT Awesomely authentic, Chelsea M. Warren’s setting for after all the terrible things i do isn’t just a character in itself’”it’s a cast. This designer has perfectly constructed the cluttered interior of an independent bookstore in a small Midwestern town. Comfortable chairs are set out for browsing. There’s a green banker’s…
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Los Angeles Film & Music Preview: BEN-HUR: A TALE OF THE CHRIST (1925 Silent Film and Rock Orchestra Score at VPAC and Segerstrom)
HURRY TO BEN Published in 1880, Lew Wallace’s Ben-Hur: A Tale of the Christ not only beat out Harriet Beech Stowe’s Uncle Tom’s Cabin (1852) in sales, it remained the reigning champion of best-selling books for over half a century, finally being toppled by Margaret Mitchell’s Gone with the Wind (1936). Not only does the…
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Chicago Theater Review: THE MATCHMAKER (Goodman Theatre)
MISS MATCH MISMATCH Though it’s usually the other way around, sometimes musicals actually improve on the sources that inspire them. Arguably, West Side Story is stronger stuff than Romeo and Juliet, She Loves Me a warmer show than Parfumerie, The Boys from Syracuse a fresher take on folly than A Comedy of Errors, and, most…
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Chicago Theater Review: I’VE GOT THE WORLD ON A STRING: HAROLD ARLEN’S SONGS OF LOVE AND LOSS (City Lit Theater)
THE WIZARD OF NOTES For half a century Harold Arlen did to notes what Monet made with colors: He found ways to make them make us very happy, equally sad, and never bored. A warm new offering from City Lit Theater, I’ve Got the World on a String: Harold Arlen’s Songs of Love and Loss is,…
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Broadway Theater Review: THE HUMANS (Roundabout Theatre Company at the Helen Hayes Theatre)
ALL TOO HUMAN Stephen Karam’s remarkable new play The Humans begins with Erik Blake (the excellent Reed Birney) standing on the upper level of a shabby, half-dark basement/ground-floor tenement duplex, holding two bags of groceries, his expression suggesting a man weighed down by existential anxiety. The stillness is broken by the sound of something massive…
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Los Angeles Theater Review: SLEUTH (Little Fish Theatre Company in San Pedro)
YOU WANT THE SLEUTH..? The kind of intimate theater I saw Sunday is targeted for elimination by Actors’ Equity Association: Low-tech projects, produced of donated resources without hope of profit. One of Equity’s arguments, repeated recently by its president, is that a proliferation of tiny nonprofits puts the development of commercial theater at a disadvantage. The…
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Chicago Theater Review: BLOOD WEDDING (Lookingglass Theatre Company)
LORCA’S RUNAWAY BRIDE Elemental, darkly poetic, driven by death, Federico Garcia Lorca’s domestic tragedy Blood Wedding is the 1932 installment of his peasant-primitive “Rural Trilogy.” (The others are Yerma, about a woman’s desperation to be fecund, and The House of Bernarda Alba, a claustrophobic saga of sexual repression.) An open homosexual later murdered by Franco’s goons, Lorca…
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Chicago Theater Review: MAI DANG LAO (Sideshow Theatre Company at Victory Gardens)
TAKE-OUT THEATER “This is not how I thought my future would be.” Bittersweet, broken-spirited, resigned to mediocrity, that lament fits all the characters in David Jacobi’s inexplicably named Mai Dang Lao, a world premiere from Sideshow Theatre Company. What Steppenwolf Theatre’s The Flick did for low-wage popcorn sweepers at a cineplex, this much shorter (85…
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Off-Broadway Theater Review: THAT PHYSICS SHOW (The Elektra Theatre)
LET’S GET PHYSICS ALL For parents who recall Professor Julius Sumner Miller’s television programs with nostalgia, who wish the Science Channel had more science shows, and for whom quality time with their kids includes watching YouTube videos in which the laws of physics are demonstrated using everyday objects, Dave Maiullo’s That Physics Show, produced and…
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Chicago Theater Review: RICHARD III (The Gift Theatre at Steppenwolf’s Garage Theatre)
A TOO-CASUAL CRUELTY Macbeth, Claudius, Goneril, and Iago were monsters–horrible but not actual. Richard III, however, is Shakespeare’s vilest historical villain. In his short, ugly reign the last of the Plantagenets bathed in blood, offing all obstacles to the throne, including his two young cousins slaughtered in the Tower. He died in battle in 1485,…
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Chicago Theater Review: YOU NEVER CAN TELL (ShawChicago at the Ruth Page Center)
SHAW FRACTURES A FAMILY In 1896 George Bernard Shaw wrote You Never Can Tell (the title suggests a plot packed with surprise), his answer to the recently successful The Importance of Being Earnest. He’d beat Oscar Wilde at his own playful plotting and acerbic wit. Well, we know how well that went, considering how often…
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Chicago Dance Review: WINNING WORKS 2016 (Joffrey Academy of Dance and MCA, Chicago)
NEW ON NEW The debut of a quartet of new dance pieces was not without some unanticipated excitement. A patron managed to sneak two non-service dogs into the Museum of Contemporary Art’s theater; one growled his approval–before the work was over. The video promoting the dance pieces accidentally came on five times–but the young dancers…
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Chicago Theater Review: HEATHERS: THE MUSICAL (Kokandy Productions at Theater Wit)
THE PRICE OF POPULARITY Westerberg High is pretty low. This Reagan-era preparatory school in Sherwood, Ohio is a cesspool of snobbish belittlement. The Buckeye hellhole includes a witches’ trio of mean girls named Heather (Duke, Chandler and McNamara) and Ram and Kurt, disposably dumb jocks swimming at the bottom of the gene pool. Then there…
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Los Angeles Theater Review: COLONY COLLAPSE (The Theatre @ Boston Court in Pasadena)
THERE WILL BE BUZZ ABOUT THIS PLAY, BUT IT’S ALL STING AND NO HONEY As honey bees gather pollen and nectar for their survival, they pollinate crops such as cranberries, melons and broccoli. “A World Without Bees,” Time’s cover story in August of 2013, brought to light a frightening occurrence: In recent years, there have…
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Los Angeles Theater Review: A HOUSE NOT MEANT TO STAND (Fountain Theatre)
A FUNHOUSE NOT MEANT TO PRODUCE You must run to the Fountain Theatre to see the delightfully quirky oddity, Tennessee William’s last play A House Not Meant to Stand. Fasten your seatbelts, slam down a mint julep, and keep all arms, legs and gaping mouths inside the McCorkle’s Southern Gothic living room at all times….
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Los Angeles / Regional Theater Preview: THE MAN WHO SHOT LIBERTY VALANCE (Rubicon in Ventura)
A NEW BIRTH FOR LIBERTY Adapted from the short story by Dorothy M. Johnson that also inspired the legendary John Ford 1962 film, The Man Who Shot Liberty Valance is a classic tale of love, honor, ambition and revenge set against the backdrop of the American West. While Quentin Tarentino is valiantly keeping the oater…
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Los Angeles Music Preview: MAHLER 3 & DUDAMEL (Los Angeles Philharmonic at Disney Hall)
THE THIRD TIME’S THE CHARM When Mahler visited Sibelius in 1907, the two composers talked about “the essence of symphony.” Mahler rejected his colleague’s creed of severity, style and logic, saying that “a symphony must be like the world. It must embrace everything.” 12 years earlier, at work on his Third, he had remarked that…
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Off-Broadway Theater Review: THE WILDNESS: SKY-PONY’S ROCK FAIRY TALE (Ars Nova)
PHONY PONY TALE There exists a type of small theater production in which a lack of resources’”material ones and, sometimes, those less tangible’”is made up for by the show’s intimacy and inclusivity, and by the performers’ enthusiasm and youth (they are always young). These endeavors are usually self-conscious, often interactive, and have an unfinished, homemade feel’”as…
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