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Los Angeles Theater Review: URBAN DEATH (Zombie Joe’s Underground in North Hollywood)
THEATER OF WHAT THE FUCK As an impresario and creative force, the man who calls himself Zombie Joe is the envy of the North Hollywood arts scene. Largely on the remarkable popularity of Urban Death, its signature show now in the tenth incarnation since 2005, Zombie Joe’s Underground Theatre Group operates year-round out of an…
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Los Angeles Theater Review: UN-RULE-LEE (Elephant Theatre Lab in Hollywood)
RULIER THAN THOU I came to this show in a bad mood and left in a better one, which is as much praise as I can heap on a one-woman show about identity issues. There’s no theatrical fauna I want more sincerely to see on the endangered list, and none that looks less likely to…
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Off-Broadway Theater Review: THE SOUND AND THE FURY (Elevator Repair Service at The Public Theater)
HOW SWEET THIS SOUND The standout theater company Elevator Repair Service (ERS), much acclaimed for their six-hour-plus show Gatz, among others, brings the first part of William Faulkner’s novel The Sound and the Fury to the Public Theater, performing it in its entirety, with spectacular results. The section of the novel in question consists wholly…
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Chicago Theater Review: THE DECEMBER MAN (L’HOMME DE DÉCEMBRE) (Mary-Arrchie)
THE LAST VICTIMS An urban massacre grabs headlines for days, then burns out as quickly as it erupted. There’s always the next shock of the known to deal with: Without meaning to be cruel, we move on. An aftermath drama, The December Man is Canadian playwright Colleen Murphy’s 90-minute, three-character look at what won’t fade…
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Los Angeles Theater Review: CHEKHOV UNSCRIPTED (Impro Theatre at The Lab on Vermont)
THE CRAGS OF DELIVERANCE If bad reviews are the flattest line my pen can draw, a steppe of the imagination that writes its unsurprising self, a good review is the Caucasus. To critique Impro Theatre requires ice boots spiked with inked nibs. Frankly I’ve become fearful of seeing this company scale the heights of artistry,…
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Film Preview: INSIDE OUT (Disney–¢Pixar/Fathom Events at theaters nationwide)
GETTING INSIDE FIRST Do you ever look at someone and wonder what is going on inside their head? Disney’¢Pixar’s original new film Inside Out ventures inside the mind to find out. The film opens in theaters nationwide on June 19, 2015, but Fathom Events and Disney are working together to present a special screening in…
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Off-Broadway Theater Review: NEW COUNTRY (Cherry Lane Theatre)
EVERYTHING OLD COUNTRY FEELS NEW AGAIN In Mark Roberts’ delightful and moving play New Country, skillfully directed by David Harwell, 25-year-old country music star Justin is up to his usual antics on the eve of his wedding’”partying, philandering, and treating everyone around him like crap. Good-looking, charismatic and egotistical, Justin (David Lind) has never encountered…
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Chicago Theater Review: MIRACLE! (Hell in a Handbag Productions at Mary’s Attic)
DEAF, DUMB, BLIND–AND FABULOUS! Right now there’s a lot of noise in the attic–Mary’s Attic in Andersonville. The uproarious occasion is Miracle!, a gender-bending, cross-dressing romp created by sex guru Dan Savage, the seminal spokesperson (“Savage Love”) for most matters GLBTQ. Losing not a laugh, it was inevitable that Hell in a Handbag Productions, Chicago’s…
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Film Preview: THE QUEENDOM OF TONGA (directed by Brian Favorite)
GIVE SOME GREEN ON PINK FOR THE QUEENDOM Pinkstart, part of Kickstarter, is the new global LGBT crowdfunding website. The Queendom of Tonga, a fascinating 50-minute documentary now in post-production, seeks funding to complete short animation sequences by Tess Martin. Follow a Peace Corps volunteer, directed to stay in the closet, as he navigates how to…
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Chicago Theater Review: QUIZ SHOW (Strawdog)
A METAPHORICAL MESS “The truth can be cruel.” That’s the twisty motto of the interactive quiz show within Quiz Show, a maddeningly metaphorical one-act from Strawdog Theatre Company. The U.S. premiere of British playwright Rob Drummond’s puzzle piece, this treacherous 75-minute drama morphs like a microbe–from a game show that tests trivia to a lethal…
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Regional Theater Review: SAMSARA (Chance Theater)
PREGNANT PAUSE A loving, liberal, and somewhat quirky childless couple, Craig and Katie, discovers that the only option to have their own baby is to implant her egg and his sperm in another woman. But fertilization in the States is pricey, so the surrogate mother will be Indian. The rented womb belongs to Saraiya, who…
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Chicago Theater Review: INANA (TimeLine Theatre)
LIVING A LEGACY At this very moment Islamic State terrorists are on the brink of invading–and possibly destroying–the ancient Roman capital of Palmyra. Loathing any past but their present, their campaign of desecration and vandalism across Ninevah and Mosul, Iraq, as well as precious sites in Syria, echoes the culture rape of the distant Mongols….
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Los Angeles Theater Preview: ANDRÉ & DORINE (Los Angeles Theatre Center)
LIFE AS WE KNOW IT It was one of those magical evenings in the theater that shall live with me forever. When Kulunka Teatro’s André & Dorine appeared at the Los Angeles Theatre Center for only three performances back in September, 2012, I considered myself among the lucky few privileged enough to have witnessed such…
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Regional Dance Preview: TANIA PÉREZ-SALAS COMPAôIA DE DANZA (Ahmanson Theatre)
AN ABUNDANCE OF DANZA In 1994, Tania Pérez-Salas founded Compaí±ía de Danza in Mexico City. Since then, her company has become unrivaled in the arena of Mexican contemporary dance, and Pérez-Salas has not only proven herself to be Mexico’s premiere contemporary choreographer, but her troupe has made many global appearances. Thanks to Glorya Kaufman Presents…
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Chicago Theater Review: THE LITTLE FOXES (Goodman Theatre)
DIRTY DOINGS IN DIXIE In a way The Little Foxes is a complete complement to Margaret Mitchell’s antebellum revisionism in Gone With The Wind (which appeared the same year as Lillian Hellman’s mistresspiece). This nasty work also exposes the true South–greed, not glory–half a century later. Hellman’s brilliantly constructed exposé of a monumentally dysfunctional Southern…
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Los Angeles Theater Preview: BRIGADOON (Musical Theatre West in Long Beach)
MUSICALS LIKE THIS OCCUR ONCE EVERY 100 YEARS In 1947, when Brigadoon confirmed the mutual genius of Alan Jay Lerner and Frederick Loewe, timing was everything: A second global conflict had just ended, leaving in its wake postwar angst and searing doubts that the millions of deaths had made no difference. Hoping that faith could move…
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Los Angeles Theater Review: OUR LADY OF 121ST STREET (Victory Theatre in Burbank)
IN HARLEM’S WAY We never meet the titular Our Lady of 121st Street, a no-nonsense New York nun who had a profound effect on the characters in Stephen Adly Guirgis’s 2003 play. Nor do we meet, as it were, the plot. At rise, a middle-aged boxer shorts-wearing white man’”his suit is conspicuously missing the pants’”stands…
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Off-Broadway Theater Review: ONE HAND CLAPPING (Brits Off Broadway Festival at 59E59 Theaters)
THE SOUND OF ONE HAND CLAPPING In Lucia Cox’s play One Hand Clapping, which she adapts from the 1961 Anthony Burgess novel and brings as director to 59E59 Theaters as part of their Brits Off Broadway Festival, Howard, a fastidious 30-ish used-car salesman with perfect photographic memory, uses his mental gift to win £1000 on…
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Los Angeles Theater Review: THE WOODSMAN (Coeurage Theatre Company)
LUMBER Workshopped once onstage in 2000, Stephen Fechter’s The Woodsman had its play form set aside while Fechter and director Nicole Kassell turned it into a screenplay that won the 2001 Slamdance screenwriting competition. The 2004 film was about as good as most movies starring Kevin Bacon, whose luck cruelly runs out every time he…
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Chicago Dance Review: UP & DOWN (Eifman Ballet of St. Petersburg at Auditorium Theatre)
DISTURBED DANCES Two years ago Boris Eifman brought his all-absorbing story recital Rodin to the Auditorium Theatre. It delighted audiences with its stream of 1,000-word pictures: The vibrant talespinning depicted a great sculptor and his (outer) inner demons. Less enthralling and more problematic, Eifman’s equally elaborate Up & Down is just that–a roller-coaster focused more…
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