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Los Angeles Theater Preview: THE MUSIC MAN (Musical Theatre West in Long Beach)
THE MUSIC MAN BEHIND THE MUSIC MAN When Musical Theatre West announced their production of The Music Man, which opens tonight at the Carpenter Center in Long Beach, I actually got excited. I never tire of seeing this charming musical, and it occurred to me that I haven’t seen it since 2001, when Will &…
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Los Angeles Dance Review: JAMES BROWN: GET ON THE GOOD FOOT, A CELEBRATION IN DANCE (Ahmanson Theatre)
FUNK ME Director and choreographer Otis Sallid wants to illuminate how James Brown’s funky music and original dance styling has influenced contemporary culture. He engaged PHILADANCO (Philadelphia Dance Company) and then chose choreographers from around the world, letting each one choose from 33 of Brown’s songs and cultivate original works. The result is James Brown:…
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Chicago Theater Review: GYPSY (Chicago Shakespeare)
A ROSE WHO EVENTUALLY BLOOMS Gypsy is as much a celebration of the addictive insanity of show business as a chronicle of the checkered childhood of super-stripper Gypsy Rose Lee. Stephen Sondheim’s crackling lyrics give Jule Styne’s tunes whiplash wit and psychological heft. No question, Chicago Shakespeare Theater’s spellbinder heats up frozen Navy Pier, but…
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Los Angeles Theater Review: VANYA AND SONIA AND MASHA AND SPIKE (Mark Taper Forum)
LASAGNA AND GROANERS AND KASHA AND TRIPE The comical but frothy Vanya and Sonia and Masha and Spike arrives at the Taper this week, but instead of a delectable meal, Christopher Durang’s play takes dollops of ingredients from Chekhov’s plays and wheels out a dessert cart consisting of flavorful characters and funny dialogue with no…
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Chicago Dance Review: CONTEMPORARY CHOREOGRAPHERS (Joffrey Ballet at the Auditorium)
STATE OF THE STEPS Playing (in every sense of the word) through Feb. 23, Joffrey Ballet’s three-part showcase of Contemporary Choreographers delivers some (happily) bloodless cutting-edge miracles of movement. Mostly more impressive to the eyes than comprehensible to the brain, this very mixed rep won’t curl up to you before a warm fire. But our…
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Film Review: THE CONGRESS (directed by Ari Folman)
THE WRIGHT STUFF In this highly stylized adaptation of Stanislaw Lem’s sci-fi novel The Futurological Congress, Robin Wright stars as herself, but the scenario is different. She’s still the aging star of the classic films Princess Bride and Forrest Gump, but her career has taken a long, slow dump because of her frequent need to…
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Los Angeles Theater Review: BILL & JOAN (Sacred Fools Theater Company)
RIGHT BETWEEN THE EYES It was the shot heard round the countercultural world – the Big Bang of the Beats, as it were. At a party one night in Mexico City in 1951, writer William Burroughs drunkenly talked his wife Joan Vollmer into standing against the wall with a water glass on her head while…
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Los Angeles Theater Review: DEATH TAKES A HOLIDAY (Musical Theatre Guild in Santa Monica)
MTG DEFIBRILLATES DOA MUSICAL Sheaths can be written about how deadly the musical Death Takes a Holiday is, and where the creators went wrong. What’s more important is that director Calvin Remsberg, musical director Jim May, and a wholly flawless cast have pulled a Frankenstein: They electrified dead tissue and created a vivid being. It…
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Los Angeles Theater Review: MIKE DAISEY: AMERICAN UTOPIAS (Royce Hall at UCLA)
DAISEY: I LOVE HIM, I LOVE HIM NOT I’m jealous of Mike Daisey. In American Utopias at Royce Hall, the infamous monologist fulminated and commentated about three interpolated subjects near and dear to my heart: Disney, Activism, and Community Gatherings. The corpulent and energetic Daisey, who sat at a table mopping himself, was by-and-large riveting…
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Los Angeles Theater Review: FIREMEN (Echo Theater Company at Atwater Village Theater)
FIVE-ALARM ACTING SETS THE STAGE ABLAZE IN FIREMEN After sixteen years of a nomadic existence, Echo Theater Company has finally found a permanent home at the Atwater Village Theater. If their world premiere production of Firemen is any indication, they’ll be burning up the boards in these new digs for a long time to come….
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Los Angeles Dance Review: INTERSECTIONS/AJíŠ (Viver Brasil at the Nate Holden Performing Arts Center)
¡VIVA, VIVER! Perhaps the vibrancy of the Afro-Brazilian dance culture lures you in with the strong beats of the drum. Maybe it’s the sensuality and seductiveness of its movement. Whatever the case, Viver Brasil did not fail to deliver on its presentation of Intersections/Ajê at the Nate Holden Performing Arts Center. Rest assured that even…
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Chicago Theater Review: CHICAGO’S GOLDEN SOUL (A 60’S REVIEW) (Black Ensemble Theater)
IT DOESN’T GET MORE GOLDEN THAN THIS Hot stuff on a cold night! Just released as a companion piece to Black Ensemble Theater’s runaway hit It’s All-Right to Have a Good Time: The Story of Curtis Mayfield, Chicago’s Golden Soul (A 60’s Review) provides a deliriously happy musical context for its sister show. Also produced,…
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Los Angeles / Regional Theater Review: THE LIGHT IN THE PIAZZA (South Coast Repertory in Costa Mesa)
LIGHT SHINES IN SCR’S PIAZZA On general principle, it’d be very easy to dislike The Light in The Piazza. Let’s say you don’t consider stories about rich people in crisis having any relevance to you. Or if you chaff at the notion of those wealthy types traveling to Europe and falling in love with a…
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Los Angeles Theater Review: ABOVE THE FOLD (Pasadena Playhouse)
BELOW THE FOLD Above the Fold, a new play making its debut at the Pasadena Playhouse, has two major flaws that result in an evening of uninspired theater: both a lack of credibility and compelling dramatic action. Written by former The New York Times reporter-turned-playwright Bernard Weinraub, Above the Fold follows a journalist from a…
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Los Angeles / Regional Dance Review: LILIOM (Hamburg Ballett at Segerstrom Hall in Costa Mesa)
IF I LOVED YOU At a time when many ballet companies are commissioning short dance pieces, it’s refreshing that John Neumeier’”since 1973, when he became Artistic Director and chief choreographer of the Hamburg Ballett [sic]’”continues to develop story ballets. His latest sweeping narrative which arrived at Segerstrom Hall last night is Liliom, based on Ferenc…
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Los Angeles Theater Review: BUNNY BUNNY (Falcon Theatre in Burbank)
NO NEED TO HOP ON OVER TO THE FALCON There’s an old European superstition: In order to ward off evil spirits and bad luck the first words you utter on the first day of every month must be ”rabbit, rabbit, rabbit.” As a child frightened of monsters lurking in her bedroom, comedienne and actress Gilda…
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Los Angeles Music Preview: ROMANCE AT THE PHIL (Bringuier, Tilling, Brahms, Berg & Beethoven)
ROMANTIC RENDEZVOUS Lionel Bringuier touches down at Disney Hall with the Los Angeles Philharmonic on Valentine’s Day weekend serving up a buffet of romantic music from Brahms, Berg, and Beethoven. Following his final year as Resident Conductor with the LA Phil, Bringuier returns with the exceptional Swedish soprano Camilla Tilling, whose voice carries the combination…
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Chicago Theater Review: CRIME AND PUNISHMENT (Mary-Arrchie at Angel Island)
PLAYING GOD AIN’T FOR AMATEURS Following his return from a decade in exile in Siberia as a dissenter against the Romanov order, Fyodor Dostoevsky intended his second novel, written as much to pay off gambling debts as to share a story, to be called The Drunkards. It would depict how alcohol destroys a family from the…
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Theater Review: THE HOW AND THE WHY (TimeLine Theatre)
ANATOMY IS NOT DESTINY Bursting with more arguments than solutions — cerebral, metaphorical and personal (sometimes simultaneously) — Sarah Treem’s two-act, two-person drama is also two plays: Two evolutionary biologists present conflicting theories of the sexual survival of the fittest, centering on menstruation and menopause. At the same time, these women — who are, not…
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Chicago Opera Preview: QUEENIE PIE (Chicago Opera Theater at the Harris Theater for Music and Dance)
THE DUKE WHO WAS A KING A blast from the “big band” past, Queenie Pie is the great late Duke Ellington’s sole–if unfinished’”opera, recently revived in Los Angeles. On February 15, Chicago Opera Theater (COT), in a co-production with Long Beach Opera, takes that reclamation effort to the Harris Theater in Millennium Park, with the…
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