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Los Angeles Music Review: RUEIBIN CHEN, PIANO: TOTAL RACHMANINOFF (The Wallis in Beverly Hills)
TOTAL IS LESS THAN THE SUM OF ITS PARTS The acclaimed Chinese-Austrian pianist Rueibin Chen is in the midst of a worldwide tour coinciding with the anniversary of Rachmaninoff’s birth 140 years ago, but there were three Rueibin Chens at his solo recital at the Wallis last Friday: There was Rueibin Chen, the fascinating interpreter…
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Los Angeles Theater Review: SHAKESPEARE UNSCRIPTED (ImprŠ Theatre at the Carrie Hamilton)
SHAKESPEARE WISHES HE WERE THIS FUNNY Mistaken identities, cross-dressing, puns, fart jokes and dick jokes and pussy jokes. You know where you can find these? Movies starring Saturday Night Live alumni. That’s about how funny they are: they’re not. And they’re about as funny as Shakespeare ever got. The only people who buy tickets to…
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Off-Broadway Theater Review: CHARLATAN (Ars Nova)
BEWITCHED, BOTHERED, AND BEWILDERED In a way shows that are pure spectacle – acrobat, dance, magic – must achieve a higher level of virtuosity to be successful than, say, theatrical plays. Even a flawed play can be satisfying. An abundance of drama, for instance, can help take our attention away from the superficiality of the…
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Los Angeles Theater Review: ORPHEUS (Four Larks Theatre in Downtown L.A.’s Fashion District)
HELL COMES TO THE GARMENT DISTRICT Melbourne-based Four Larks is performing their ghostly junkyard opera, Orpheus, in a secret space on the outskirts of the Fashion District. Workshopped at Getty Villa Theater Lab, Four Larks narrates the mythology of Orpheus and Eurydice, navigating the Grecian hero through an ancient underworld as he attempts to resurrect…
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Los Angeles Music Review: TEMPUS (Metropolitan Master Chorale in West Hollywood)
MUSIC OF THE MOMENT “There is a season for everything: a time for losing, a time for keeping: a time for keeping silent, a time for speaking. A time for loving, a time for hating; a time for war, a time for peace” (Eccl. 3:1ff.) There is also a time for singing about time, and…
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Chicago Theater Review: THE JEWELS (TUTA Theatre Chicago at the Storefront Theatre)
BLING BRINGS CLOSURE Now playing at Chicago’s downtown Storefront Theatre, The Jewels, TUTA Theatre’s world premiere adaptation of a story by Guy de Maupassant, is not to be confused with The Necklace, the masterpiece by this “French Chekhov” (or “French O. Henry” for that matter). That gem from 1884, with its bittersweet twist of an…
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Los Angeles Music Review: EVGENY KISSIN IN RECITAL (Walt Disney Concert Hall)
KISSIN BLISS If you haven’t heard, Evgeny Kissin is positively the best pianist alive. In the sense of the grand pianistic tradition that some say died with likes of Arrau, Cliburn, and Rubinstein, Kissin is a living legend who, basically since infancy, has been caretaker to the “Golden Age” of the piano. Though his hair…
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Los Angeles Music Review: TIMUR AND THE DIME MUSEUM: COLLAPSE (World Premiere at REDCAT)
A COLLAPSE IN JUDGEMENT Imagine a post-punk, slightly operatic band that is equal parts Captain Planet, The Cars, Jim Henson, Victor/Victoria, a Fisher-Price Glow Worm, Judy Garland, Al Gore, Bill Black’s Combo, Hedwig and the Angry Inch, Liberace, Klaus Nomi, the Beach Boys, a midnight screening of Rocky Horror Picture Show, David Bowie’s “Let’s Dance,”…
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Los Angeles Theater Preview: FLOYD COLLINS (La Mirada Theatre)
I CAN’T CAVE ENOUGH In 1917, Kentucky cave explorer Floyd Collins discovered Crystal Cave. Located in the same area as Mammoth Cave’”the longest cave system known in the world’”the site operated as a tourist attraction by his family. In 1925, while searching for a new entrance to the hundreds of miles of interconnected caves, Collins…
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Los Angeles Music Preview: ITALY VS. GERMANY (Akademie fí¼r Alte Musik Berlin at Disney Hall)
JA, JA VS. Sí, Sí The Akademie fí¼r Alte Musik Berlin, a.k.a. Akamus. To the casual concert goer (do you guys actually exist anymore?) I imagine that that kind of name categorizes itself as one of many “anonymous but probably acclaimed talented European groups.” Yet let me assure you that this German chamber orchestra is…
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Tour / Los Angeles Music Review: REINIER VAN HOUDT (REDCAT)
A HARD-HAMMERED POUNDING FROM VAN HOUDT As part of his current U.S. tour, pianist Reinier Van Houdt stopped at REDCAT to perform concerti from three experimental composers: Jerry Hunt, Luc Ferrari, and Walter Marchetti. Van Houdt played both piano and various accompaniments for the works, each one unusually orchestrated with random small percussive instruments, a…
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Los Angeles Music Preview: DUTOIT, THIBAUDET AND THE LOS ANGELES MASTER CHORALE (Beethoven and Ravel with the LA Phil)
REVEL IN RAVEL AND BASK IN BEETHOVEN I’m so excited about LA Phil’s upcoming program this weekend (March 28 – 30) that I don’t know where to start. Well, actually I do. Ravel’s Daphnis et Chloé. In 1909, impresario Serge Diaghilev commissioned Ravel to write a score for a new ballet which would be based…
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Los Angeles Concert Review: SIMPLY LIZA: LIZA MINNELLI (Walt Disney Concert Hall)
BECAUZE SHE’S LIZA My anticipation was high but my expectations were low as I entered Disney Hall for the performance of Simply Liza: Liza Minnelli. She has not been having a particularly good century so far and I feared I was about to see an icon fall from grace. My trepidation was not completely unfounded,…
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Los Angeles Opera Review: JONAH AND THE WHALE (LA Opera at Cathedral of our Lady of the Angels)
A FISHY MONSTROSITY What is it about the story of Jonah that has so captured the world’s imagination? Is it the stupidity of a man trying to run away from God, as if that were even possible? Is it the preposterous idea of a man living for three days inside a whale? Or perhaps it…
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Los Angeles / Tour Dance Review: PARSONS DANCE COMPANY (Valley Performing Arts Center)
OUT WITH THE NEW AND IN WITH THE OLD The popular saying “out with the old, in with the new” certainly does not apply to Parsons Dance Company, seen last Saturday at Valley Performing Arts Center. Choreographer David Parsons’ older repertoire well outshines his newer works, which lack ingenuity. Because four successful works (three from…
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Los Angeles Theater Review: A SONG AT TWILIGHT (Pasadena Playhouse)
A WITLESS TWILIGHT Noël Coward referred to his final play, A Song at Twilight, as his “swan song.” The last installment of his Suite in Three Keys (a trio of plays set in the same hotel suite in Switzerland) opened in London in 1966 starring Mr. Coward alongside stage legends Lilli Palmer and Irene Worth. …
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Broadway Theater Review: MOTHERS AND SONS (Golden Theatre)
LOVE, FAMILY AND ALIENATION One of the questions at the center of Terrence McNally’s insightful and moving drama Mothers and Sons is, Why is it so difficult for a mother to love her son for who he is, and vice versa? McNally initially frames the problem in terms of a homophobic mother’s inability to accept…
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Los Angeles Music Preview: PASADENA SYMPHONY (Beethoven’s Fifth, Bruch Violin Concerto: Andrew Grams, conductor / Simone Porter, violin)
PASADENA SYMPHONY’S SPRING CONCERT BLOOMS THIS WEEK Come for the most famous four notes in classical music history, stay for the Pasadena Symphony and POPS (the Symphony has incorporated the Pasadena POPS into its Association under this new name). This estimable organization has been doing splendid work this year, especially with Beethoven’s Ninth last February,…
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Off-Broadway Review: HELLMAN V. MCCARTHY (Abingdon Theatre Company)
A FAMOUS LITERARY FEUD MAKES GREAT DRAMA In 1980, in a television interview with Dick Cavett, novelist and literary critic Mary McCarthy made an especially biting comment about her longtime adversary and fellow writer, playwright and memoirist Lillian Hellman, saying that “every word she writes is a lie, including ‘and’ and ‘the.’” Unfortunately, Hellman was…
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Dance Review: ALADDIN (Houston Ballet at Auditorium Theatre)
ABRACADABRA! In a welcome and overdue debut at Chicago’s Auditorium Theatre this weekend, Houston Ballet offers only two performances of their sumptuous three-act ballet Aladdin, an Arabian night choreographed to an inch of its life by David Bintley. (Originally created for the New National Ballet of Japan in Tokyo in 2008, it premiered in London…
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