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Chicago Theater Review: JOHN DOE (Trap Door)
MAD ABOUT JOHN DOE Trap Door Theatre is entered via a long narrow gap between two Bucktown restaurants. Upon arrival, Artistic Director Beata Pilch assigns audience members a number and Mike Steele seats them. Already in costume for their roles as madhouse attendants, Pilch and Steele look suitably frightening and forbidding. This disquieting introduction sets…
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Los Angeles Theater Review: CHOIR BOY (Geffen)
SWEET SONGS UNSUPPORTED Tarell Alvin McCraney’s 2012 Choir Boy is a tantalizing, underdeveloped play-with-music not entirely improved by Trip Cullman’s direction, now at the Geffen a year after the production’s Manhattan Theater Club bow. Jason Michael Webb’s tasteful vocal arrangements sound terrific via Fitz Patton’s crisp sound design, but the very assurance and gravity of…
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Chicago Theater Review: THE WORLD OF EXTREME HAPPINESS (Goodman Theatre)
OUT OF THE COUNTRY AND OUT OF LUCK Seldom has a title been more ironic: The World of Extreme Happiness, specifically the booming factory city of Shenzhen in urban China, is definitely extreme. You feel it in the particular pain endured by the rural poor who flock there, hoping to change or make their fortunes….
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Los Angeles Theater Review: SPRING AWAKENING (Deaf West Theatre & The Forest of Arden)
REAWAKENING In one of the bios for Deaf West’s production of Spring Awakening, actress Ali Stroker thanks the company for stepping out of the box, and turning what some may think as a ‘limitation’ into an opportunity. The “limitation” here refers to her wheelchair as well as deafness’”particularly, her cast mates who are deaf appearing…
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Chicago Theater Review: A KURT WEILL CABARET (Theo Ubique Cabaret Theatre)
STAY FOR A WEILL An impeccable labor of love, Theo Ubique Cabaret Theatre’s heartfelt homage, A Kurt Weill Cabaret, pays unstinting tribute to a deft and dynamic composer. Kurt Weill’s impressive range stretched from the agitprop intensity of Three Penny Opera, the signature piece for the decadent Weimar Republic, to the Broadway sophistication of One Touch…
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Los Angeles Theater Preview: THE TRIP TO BOUNTIFUL (Ahmanson Theatre)
COME HOME TO THE TRIP TO BOUNTIFUL The Trip to Bountiful, Horton Foote’s plaintive 1953 teleplay (adapted for Broadway and for the 1985 film with Geraldine Page), paints a picture of rural America in the 1940s that gently reminds us that there was (and may still be) a place in this country where people tip…
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Chicago Theater Review: SEASON ON THE LINE (The House Theatre of Chicago at Chopin Theatre)
STOREFRONT SHENANIGANS Have you ever heard of Bad Settlement Theatre Company? Well, don’t worry about it if you haven’t. Up until the opening of House Theatre’s production of Season on the Line, this off-off-off-Broadway theater company only existed in the imagination of playwright Shawn Pfautsch, whose new work celebrates the theater as it deconstructs it….
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Off-Broadway Theater Review: ILLUSIONS (Jerome Robbins Theater at the Baryshnikov Arts Center)
THE UNKNOWABLE WORLD THAT WE LIVE IN Is it possible for true love to be unrequited? Or, to put it another way, is it possible for unrequited love to be true? These questions, on the surface as deceptively simple as Ivan Viripaev’s story-telling framework, are at the core of his play Illusions, which uses the queries…
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Off-Off-Broadway Theater Review: ICEBOUND (Metropolitan Playhouse)
THE GOOD, THE LOST, AND THE VAIN Owen Gould Davis, Sr.’s thoughtful and masterfully crafted 1923 Pulitzer Prize-winning drama Icebound, which explores Puritan vanity and its many ironies, gets an admirable staging by Alex Roe and his all-around excellent cast at the Metropolitan Playhouse. Though not particularly startling or revolutionary, the show is good, solid…
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Off-Broadway Theater Review: UNCLE VANYA (Pearl Theatre Company)
A MERRY APPROACH TO A MELANCHOLY CLASSIC These days when directors revive a classic, they have to decide whether their approach will be either to modernize the play or mount it as a period piece, true to the spirit of the times in which it was created. Sometimes, as in the case of the The…
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Off-Off-Broadway Theater Review: DAUGHTERS OF THE SEXUAL REVOLUTION (WorkShop Theater)
LOVE IS A MANY-SPLINTERED THING It’s after dark in Westchester County in 1976. Do you know where your parents are? Still under the spell of an ebullient consciousness raising meeting, two suburban Moms are sharing a joint and flirting. Joyce Horowitz (Christine Verleny) explains the marijuana was a gift for her big 4-0; she’s a…
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Los Angeles Opera Review: TOSCA (Pacific Opera Project at St. James in Pasadena)
POP DOES OPERA BIG, INTIMATELY Under Artistic Director Josh Shaw’s hands-on guidance, Pacific Opera Project has become L.A.’s most exciting new opera company. In just three years since POP began with the teeny-tiny production of Bernstein’s Trouble in Tahiti, I sensed that this would be the company to make quality opera more accessible, approachable, and affordable….
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Los Angeles Theater Review: THE WHY (Blank Theatre)
COLD DEAD HANDS America’s bittersweet love-and-hate affair with guns is the target of playwright Victor Kaufold’s thought-provoking but lopsided satirical revue, which premiered in 2000 at the Blank Theatre’s Young Playwright’s Festival, their annual showcase of works by teen authors. The play was an immediate response to the massacre at Columbine High School, where a…
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Chicago Theater Review: JANE EYRE (Lifeline Theatre)
GOTHIC FRICTION There soon will be plenty of haunted houses and Halloween-themed plays cropping up, but if you’re looking for a genuinely creepy production now, you’ll find it in Lifeline Theatre’s updated version of Christina Calvit’s original adaptation of Charlotte Brontë’s 1847 novel, Jane Eyre (last seen at Lifeline 13 years ago), which depicts the…
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Off-Broadway Theater Review: ROCOCO ROUGE (Company XIV)
A CABARET SHOW THAT GOES FOR BAROQUE Mae West, the sage and sybarite from Brooklyn, used to say, “Let joy be unrefined,” a point of view that also suits Austin McCormick, artistic director and choreographer of Company XIV. His latest extravaganza Rococo Rouge retools the roisterous risk-taking revelry he’s known for: bare skin, sultry ballet,…
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Chicago Theater Review: THE COMMONS OF PENSACOLA (Northlight Theatre in Skokie)
AFTER THE FALL IS OVER A Midwest premiere by Northlight Theatre, Amanda Peet’s topical domestic drama The Commons of Pensacola isn’t exactly about Bernie Madoff’s unimprisoned wife nor how her family deals with disgrace. But as inspired speculation, it will do’”at least until a tell-all Ruth Madoff exposé comes along. Apart from dramatizing the collateral…
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Los Angeles Theater Review: THE GOAT, OR WHO IS SYLVIA? (L.A. Gay & Lesbian Center’s Renberg Theatre)
YOU’LL GET THIS GOAT Martin is an architect at the top of his profession; he and his wife Stevie and their son Billy live at, or on, the crest of civilization: rich, successful, smart, loving, happy. Their journalist friend Ross is, if not an Olympian, a dweller on the slopes; they are all cultivated, delightful,…
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Chicago Theater Review: REST (Victory Gardens)
SUNSET ASSISTED DYING Samuel D. Hunter, Victory Gardens Theater ensemble playwright and recent recipient of a MacArthur “genius” award, specializes in tender tales of gutsy outsiders, spunky survivors who use their pain to feel that of others. Produced by V.G. in 2013, his The Whale celebrated the humanity of a terminally obese man (the wonderful…
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Los Angeles Theater Preview: WHERE’S CHARLEY? (Musical Theater West in Long Beach)
HERE’S CHARLEY This Sunday, September 21, Musical Theatre West will begin the Reiner Staged Reading Series fifth anniversary season with a one-time only performance of Where’s Charley? (1948), based on Brandon Thomas’s wildly successful Charley’s Aunt (1892), which had an original London run of 1,466 performances. Where’s Charley?, Frank Loesser’s first Broadway score, is one…
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Los Angeles Theater Review: THE BEHAVIOR OF BROADUS (Sacred Fools)
STRANGE BUT WATCHABLE BEHAVIOR Let’s see if I got this right. A tongue-in-cheek bio-musical and pseudo-adventure tale about John Broadus Watson’”wannabe preacher-turned-behavioral scientist-turned-ad man’”includes anthropomorphized barnyard animals, family drama, a love story, a talking lab rat, and a vaudevillian, Weill-esque score (from oompah and jazz to spirituals) : and this hydra-headed musical doesn’t suck?! Credit…
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