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Film Review: PALO ALTO (directed by Gia Coppola / U.S. premiere at Tribeca Film Festival)
YET ANOTHER STUDY OF SUBURBAN TEENS It’s difficult to make a successful first feature, even for one who comes from cinematic royalty, as Palo Alto demonstrates. Writer/director Gia Coppola’s film, based on a short story collection of the same name by James Franco (who also acts in the film), is by no means a disaster….
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Chicago Theater Review: EMMA (Dead Writers Theatre Collective at Stage 773)
MATCHMAKERS GET BURNED In the social maze of Regency England, where any successful matrimony required sexual politics and emotional intrigue, novelist Jane Austen understood how love gets lost. There were too many artful simulations of actual affection for the real deal to compete. Hard as it is to find love for oneself, 21-year-old Emma Woodhouse,…
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Film Review: CHEF (directed by Jon Favreau / New York premiere at Tribeca Film Festival)
EMPTY CALORIES Chef concerns Carl, a successful L.A. chef who finds he must reinvent himself after a Twitter fight with an important critic goes viral. First, let me tell you what I like of the film written, directed and starring Jon Favreau. Number one: Jon Favreau. I fell in love with him as an actor…
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Film Review: TRAITORS (directed by Sean Gullette / North American premiere at Tribeca Film Festival)
MAKING IT IN MOROCCO Set in Tangier, writer/director Sean Gullette’s admirable debut feature Traitors follows Malika (Chaimae Ben Acha), a rebellious young woman from a struggling, working-class family, who is trying to get her all-female punk band off the ground. When a producer offers her a chance to cut a demo, provided she can pay…
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Los Angeles Theater Review: THE LION IN WINTER (The Colony Theatre in Burbank)
A TOOTHLESS LION James Goldman’s The Lion in Winter is a brilliant study in castle intrigue laced with deceit and deception, alliances and allegiances, backstabbing and double dealing. The power of the 1966 drama emanates from its uncompromising wit and biting humor. Unfortunately, under the direction of Stephanie Vlahos, The Colony Theater’s production, a muted…
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Los Angeles Theater Review: BE A GOOD LITTLE WIDOW (NoHo Arts Center in North Hollywood)
UNBEREAVABLE Bekah Brunstetter’s Be a Good Little Widow is awash with structural issues (ambiguous timeline, disconnected scenes), trite themes and relationships, and a refusal to penetrate into the characters. Why, then, have prominent companies Collaboraction in Chicago, Ars Nova in New York, Old Globe in San Diego, and now NoHo Arts Center decided to produce…
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Los Angeles Theater Review: FATHERS AT A GAME (Moving Arts Hyperion Station)
WHICH GAME IS ON? With the 2014 Hollywood Fringe Festival set to begin in June, I decided to check out Fathers at a Game. I was curious to see why this 50-minute three-hander was being billed as “The Best of Fringe – 2013 Hollywood Fringe Festival.” After seeing it, I was bemused that this play…
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Los Angeles Music Preview: DOVER QUARTET (The Da Camera Society at Artemesia Estate)
HISTORY: CHECK. BEAUTY: CHECK. MUSIC: CZECH. The concerts organized by the Da Camera Society are as notable for their historic venues as they are for the quality of their performers and the beauty of their repertoire. The society’s April 27 concerts at 2:00 and 4:00 pm will feature the Dover Quartet playing an all-Czech program…
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Los Angeles Theater Review: THE YELLOW BOAT (Coeurage Theatre Company in Burbank)
ON A SEA OF TEARS It’s a play that deals with AIDS, and the central character is a little boy. Okay? So while Coeurage Theatre Company (like many who have produced David Saar’s The Yellow Boat since it was first published in 1997) says that it’s appropriate for ages 8 and up, you’ll have to…
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Theater Review: TOP GIRLS (Antaeus Theatre Company in North Hollywood)
YOU’RE THE TOP, GIRLS For the most part, Joyce, a working class Englishwoman in Ipswich is not a sympathetic or likeable person: She is annoyed by her 16-year-old daughter Angie (who admittedly is belligerent and daft), and begrudging toward her sister, Marlene, whom she views as a ball-busting, career-driven, selfish, soulless abandoner (not that there…
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Off-Broadway Theater Review: TO DAMASCUS, PART 1 (Strindberg Rep at Gene Frankel Theatre)
STRINDBERG ON PROZAC Throughout my tenure with Stage and Cinema I have criticized a number of productions for staging foreign plays too literally, insisting that it is misguided for directors who don’t have sufficient understanding of the world the playwright is working with to try and recreate it – better to reinvent it as something…
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Chicago Theater Review: THE PRESIDENT (Oracle)
RECRUITING FOR THE 1% Hungarian playwright Ferenc Molnár is much better known for the spindrift, gossamer pleasures of his Liliom (which inspired Carousel) and The Good Fairy (which gave us Make a Wish), musicals drawn from quicksilver dramas of artful delicacy and effortless charm. Written in the dangerous year of 1929, Molnár’s The President (originally entitled…
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Los Angeles Dance Review: PAUL TAYLOR DANCE COMPANY (Dorothy Chandler Pavilion)
TAYLOR-MADE When a visiting dance company plays Los Angeles, it usually offers pieces which cover both the old and the new. And so it is with Paul Taylor, who presented last weekend at the Chandler three works created between 1978 and 2011. The triptych certainly speaks to the inventiveness of Taylor, who has created 139…
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Los Angeles Theater Review: RUTH DRAPER’S MONOLOGUES (Geffen Playhouse)
IS THERE A DIRECTOR IN THE HOUSE? There is nothing inherently humdrum about the Geffen Playhouse’s production of Ruth Draper’s Monologues but there is nothing particularly exhilarating about it either. With Annette Bening, one of America’s most celebrated actresses, letting loose performing selections by Ruth Draper, one of America’s most celebrated monologists, what could possible…
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Off-Off-Broadway Theater Review: AN ECLECTIC EVENING OF SHORTS VII: BOXERS AND BRIEFS (Theater 54 @ Shelter Studios)
SOME ARE TKO’S, SOME SHOULD BE BRIEFER The first play featured in this annual showcase of ten-minute plays by emerging writers, An Eclectic Evening of Shorts VII: Boxers and Briefs, is Margo Hammond’s humorous Mistress Marlene, directed by Alex Dmitriev. Bill, an electrician (a disarming Tim Barker), arrives at his elderly client Sandra’s (a naturalistic Susanne…
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Los Angeles Theater Review: EVERYTHING YOU TOUCH (The Theatre @ Boston Court)
EVERYTHING NEEDS A RETOUCH 30-year-old Jess is a mess. A New York-based dotcom genius, Jess is fraught with low self-esteem, making her an overweight, smelly, anti-social, stressed-out, aggressive, iconoclastic nerd who picks at her zits. She tells fellow nerd and co-worker Lewis during lunch at Chipotle that her mother, estranged for years, is dying back…
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Off-Broadway Theater Review: SHAKESBEER (New York Shakespeare Exchange)
BOOZE AND BARD In ShakesBEER, NYC’s Original Shakespearean Pub Crawl, New York Shakespeare Exchange members perform ten-minute scenes from four Shakespeare plays in as many bars over the course of three hours. The locations change with every incarnation of the show; the most recent one was hosted by The Liberty, Peter Dillon’s Pub, Galway Pub,…
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Chicago Theater Review: DORIAN (House Theatre)
A WILD(E) ADAPTATION A spectacle that swirls and thrills, The House Theatre of Chicago’s Dorian has updated Oscar Wilde’s classic cautionary tale from Victorian music halls to today’s club scene. Their “promenade” production also transforms an ambulatory audience into vintage voyeurs, even stalkers. As they perambulate around the capacious Chopin stage (a seating area is…
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Chicago Theater Review: MUD BLUE SKY (A Red Orchid)
THE CONDITIONAL KINDNESS OF STRANGERS An episodic evening set in and around a hotel near O’Hare Airport, Marisa Wegrzyn’s itinerant one-act both celebrates and red-flags those encounters, seemingly causeless and effectless, that in fact change and define us–at the time, more than we know or need to. It promises to be wild but, better, ends up…
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Chicago Theater Review: THE WAY WEST (Steppenwolf)
WATCHING LOSERS LOSE IS A LOSE/LOSE SITUATION After a brief show of compassion for life’s casualties and some welcome sympathy for the underdog in Good People and The Motherfucker with the Hat, Steppenwolf Theatre Company is back to a bad habit’”amusing an audience by mugging poor slobs. An unwelcome world premiere, Mona Monsour’s two-act downer…
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