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Chicago Opera Review: CAPRICCIO (Lyric Opera)
THIS CAPRICCIO IS NO CAPRICE The brooding romanticism of Capriccio’s opening sextet sets the tone for the introspection that is to follow. Instead of a dramatic overture and crowd-pleasing arias, composer Richard Strauss (1864-1949) aims to say something meaningful about opera itself. In that sense, it’s an incredibly self-conscious and self-referential work’”postmodern even. Essentially an…
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Chicago Theater Review: BOTH YOUR HOUSES (Remy Bumppo at Greenhouse Theater Center)
CAPITOL CRIMES “A plague on both your houses!” Without naming either political party, that’s just what Maxwell Anderson wished over 80 years ago through his Pulitzer Prize-winning Both Your Houses. Retrieved from 1933 and given Last Week Tonight urgency by the ever exemplary Remy Bumppo troupe, this well-made play is quite a contemporary departure from…
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Los Angeles Theater Review: DAVID AND LEEMAN (Magic Castle)
TRICKSTERS WHO ARE A TREAT From Vegas extravaganzas to intimate parlors, my favorite magicians are those with personality and humor. Even when tricks are well-rehearsed and mindboggling, slick illusionists tend to omit the magic that comes from a rapport with the audience. Regardless of impressive sleight-of-hand or how many animals emerge from a coat pocket,…
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Los Angeles Dance Preview: SWAN LAKE (The Australian Ballet at the Dorothy Chandler Pavilion)
SWAN IN A MILLION Featuring a live orchestra, The Australian Ballet’s Swan Lake comes to the Dorothy Chandler Pavilion this weekend, October 9-12, 2014. While this is one of the world’s favorite ballets, expect this rendition’”created by Australian choreographer Graeme Murphy’”to be unlike any that have come before. This dazzling production is one of The…
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Off-Broadway Theater Review: UNCANNY VALLEY (59E59 Theaters)
AN UNCANNY PERFORMANCE FROM ALEX PODULKE In Thomas Gibbons’ Uncanny Valley, directed by Tom Dugdale, Alex Podulke plays Julian, a sophisticated artificial human, who was created for the purpose of having his mind implanted with a dying billionaire’s consciousness in order that the billionaire may live on. Claire (Barbara Kingsley) is the neuroscientist tasked with…
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San Francisco Theater Review: IDEATION (San Francisco Playhouse at the Kensington Park Hotel)
THE GREATER GOOD When is “enough” enough? Where do you draw the line? How far would you be willing to go for the “Greater Good”? These are some of the difficult questions posed by playwright Aaron Loeb’s darkly hilarious and deeply disturbing satire, Ideation, which opened San Francisco Playhouse’s 12th season. Originally developed and produced…
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Chicago Theater Review: AT LAST: A TRIBUTE TO ETTA JAMES (Black Ensemble Theater)
AN ALL YOU CAN ETTA BUFFET A Black Ensemble Theater hit in 2005, At Last: A Tribute to Etta James is back in (the pleasure of) business. It’s also updated to reflect the last decade of “The Matriarch of R&B,” who died in 2012 at the age of 73. Known affectionately as “Miss Peaches,” this…
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Chicago Theater Review: THE CRYPTOGRAM (Profiles)
PUZZLING THROUGH THE CRYPTOGRAM IS WORTH THE EFFORT The title alone should have been clue enough that this was going to be a difficult play, but nothing could have prepared me for the lack of perspicacity. I felt just like the lost young boy at the center of David Mamet’s The Cryptogram. Unlike the kid,…
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Chicago Theater Review: OWNERS (Interrobang Theatre Project at The Athenaeum Theatre)
WINNING SMALL Still potent after 42 years, Caryl Churchill’s corrosive class comedy Owners pits two outlooks on life against each other. In one corner you have Churchill’s now-patented “top girl,” the protagonist and anti-heroine Marion. She’s a predatory user/owner who can never get enough. But for all her snarling self-entitlement Marion is lonely at the…
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Chicago Dance Review: ABT’S ALL-AMERICAN CELEBRATION (Auditorium Theatre)
RED, WHITE AND PAS DE BLEU Marking the 125th anniversary of Chicago’s glorious and historic Auditorium Theatre, American Ballet Theatre, which used to come here every season, is all too briefly making a rare, weekend-only return engagement. They come bearing great gifts: an All-American Celebration of the New York company’s best known works, signature pieces…
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Chicago Theater Review: SMOKEFALL (Goodman)
SMOKEFALL GETS IN YOUR EYES It opened a year ago in Goodman’s smaller Owen Theatre. Due to rave reviews and popular demand, it’s now the fall opener in the larger Albert enclave. Clearly, Noah Haidle’s Smokefall struck a lot of nerves and vital organs. Its funky fame can put a critic who missed its 2013…
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Chicago Theater Review: THE VANDAL (Steep Theatre)
A VANDAL OF AN ENDING Thirty-something actor and writer Hamish Linklater’s The Vandal is one of those plays that starts well and ends poorly. It begins with a middle-aged woman waiting at a bus stop in Kingston, New York. She’s soon joined by a teenaged boy who engages her in conversation. The realism of the…
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Chicago Theater Review: DANNY CASOLARO DIED FOR YOU (TimeLine Theatre Company)
A WHISTLEBLOWER’S CONVENIENT SUICIDE Urgent, cinematic, and breathlessly intense in everything but its intermission, TimeLine Theatre Company’s true-life exposé of a truth-teller and his martyrdom delivers a heavy dose of thinking theater. Its rather un-ironic title accuses the audience as much as the authorities. Soon to become a feature film, Danny Casolaro Died for You…
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Los Angeles Theater Preview: MORE! MORE! MORE! (An Evening with Joey Arias, Justin Vivian Bond & Taylor Mac at the Hammer)
A TRANS-PORTIVE EXPERIENCE AWAITS YOU When I saw the trio of headliners who will be performing for one night only at the Hammer Museum in Westwood, I had to do a Little Rascals double-take. I have considered myself lucky to have seen each one separately, but to have all three together is a confluence of…
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Chicago Theater Review: THE CLEAN HOUSE (Bluebird Arts at the Athenaeum Theatre)
LAUGHTER IS THE WORST MEDICINE Humor and hygiene play off each other in Sarah Ruhl’s much-praised but not altogether satisfying 2004 romantic comedy. Now fitfully revived by the new Bluebird Arts troupe, Luda Lopatina Solomon’s staging feels no less half-hearted than this mood-shifting script deserves. Bluebird’s two-act domestic drama is a strange amalgam of magic…
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Regional Music Review: PACIFIC SYMPHONY WITH JOSHUA BELL (Segerstrom Concert Hall)
A DAZZLING EXPERIENCE Sound the bells, for Pacific Symphony’s 36th season opener with Joshua Bell was a resounding success. There was much ado about Music Director Carl St.Clair beginning his 25th-anniversary season, including a short documentary film about the man from rustic Hochheim, Texas who went on to become the assistant conductor of the Boston…
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Off-Broadway Theater Review: THE MONEY SHOT (MCC Theatre at Lucille Lortel)
SHOW ME THE MONEY Two couples are having aperitifs at a luxurious home in the Hollywood Hills (sexy stylish set by Derek McLane). They are Steve (Fred Weller), an aging action superstar; Missy (Gia Crovatin), his very young and ditsy wife of one year; Karen (Elizabeth Reaser), a movie star who’s quickly approaching middle-age and…
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Los Angeles Music Preview: SŠŒ PERCUSSION & THE LOS ANGELES PHILHARMONIC (Disney Hall)
LANG, A BANG, AND THE SŠŒ PERCUSSION GANG They call themselves “musical innovators, collaborators: Brooklyn-bred and globally minded.” Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting, the endlessly inventive quartet which constitute SŠ Percussion, will be joining the Los Angeles Philharmonic for its season opener, which plays Oct. 2-5. The indefatigable group’”which has an…
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Chicago Opera Review: DON GIOVANNI (Lyric Opera)
THE MANY LOVE(S OF) DON GIOVANNI Why does Chicago love Mozart’s Don Giovanni so much? Well-received as Lyric Opera’s first production back in 1954, and revived many times over the ensuing decades, including the company’s fiftieth anniversary in 2004, Don Giovanni just won’t go away, despite the titular character’s climactic comeuppance and ignominious death. The…
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San Francisco Music Review: MUSIC FROM 2001: A SPACE ODYSSEY (San Francisco Symphony)
JOURNEY BEYOND THE STARS Stanley Kubrick’s decision to use the first section of Richard Strauss’s exquisite Also Sprach Zarathustra, Opus 30 (1896) to underscore the opening sequence of his classic 1968 film 2001: A Space Odyssey may have been a master stroke; but the average moviegoer was, and still is, unfamiliar with the entire symphonic…
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