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Chicago Theater Review: SOLSTICE (A Red Orchid)
ANOTHER BRIDGE TOO FAR Solstice offers a disturbing look at a chaotic class-ridden conflict, and British playwright Zinnie Harris delivers some ugly goods: She imagines’”and A Red Orchid Theatre pictures it all potently’”a violent neighborhood poisoned by a contaminated river and hemmed in by a barrier bridge upon which some obscure atrocity has occurred. The…
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Los Angeles Theater Review: THE LAKE HOUSE PROJECT (Hudson Guild Theatre in Hollywood)
FEAR THE HYPHENATE If a person is lucky enough, they will discover their passion in life and be able to fine tune and truly excel at that skill. Others flounder about, trying a bit if this and a bit of that, becoming a jack of all trades but master of none. They’re called “hyphenates.” In…
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Los Angeles Theater Review: I’LL GO ON (Kirk Douglas Theatre in Culver City)
AND HE DOES In the 1980s, Barry McGovern and Gerry Dukes collaborated to cut three novels by Samuel Beckett (Molloy, Malone Dies, The Unnamable) into a few monologues, divided by lighting cues (James McConnell) and set changes (Robert Ballagh) and an intermission, called I’ll Go On. Though spoken by different characters in their original form,…
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Chicago Theater Review: THE MANDRAKE (Commedia Beauregard at the Raven Theatre Complex)
DISREGARD BEAUREGARD Much in the spirit of Ben Jonson’s salacious Volpone and Giovanni Boccaccio’s same-titled lascivious tale of irrepressible lust, Niccolí² Machiavelli’s own political bombshell, his only surviving farce The Mandrake, is a devastating diatribe. Fueled by the same “the end justifies the means” mentality as his more famous The Prince, The Mandrake‘s almost too-easy target is the all-too-human hypocrisies that deny nature its due (of course, meaning sex). The…
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Off-Broadway Theater Review: THE SURRENDER (Clurman Theatre on Theatre Row)
DIARY OF A PRETENTIOUS NITWIT The Woman in the one-woman show The Surrender, adapted for the stage by Isabelle Stoffel and Toni Bentley from Ms. Bentley’s book The Surrender, An Erotic Memoir, tells of how she finds God while receiving her first anal sex, and continues to find Him 297 more times until her dalliance…
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Los Angeles Theater Review: TAKE ME OUT (Plus One Productions at the Flight Theatre)
A SWING AND A MISS Theater, like baseball, is a team sport. To reign triumphant and put a tick in the “W” box, all the players must be at the top of their game. When everyone hits a home run its magic, but even if a few players are having an off day, check the…
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Los Angeles Theater Review: ABE LINCOLN’S PIANO (Geffen Playhouse)
SIC SEMPER BORE-ANNUS This solo musical effort by musician performer Hersey Felder has all the trappings of a work that is rich with worthy subject matter and culture. Peppered with songs from what we’d charitably call “the American songbook” (Gershwin, Stephen Foster, Louie Gottschalk), Abe Lincoln’s Piano is Felder’s tightly crafted autobiography, which is somehow threaded…
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Regional / Chicago Theater Review: END OF THE RAINBOW (Milwaukee Rep)
A FOGGY PLAY IN LONDON TOWN Should a play seemingly designed and targeted specifically for Judy Garland devotees have the right to be held to a different standard than a play for the public at large? That’s the question you’ll need to ponder before attending Milwaukee Rep’s production of End of the Rainbow. If you…
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Los Angeles Dance Review: LES BALLETS JAZZ DE MONTRÉAL (The Wallis in Beverly Hills)
MORE JAZZ, PLEASE Interestingly, the work that opened Les Ballets Jazz de Montréal’s program last night at the Bram Goldsmith Theater in the brand new Wallis Annenberg Center for the Performing Arts was “Closer,” a 2006 duet by Benjamin Millepied. This globe-trotting dance-maker is the founding director of our own L.A. Dance Project, that tony,…
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Los Angeles Theater Review: BUNK (Son of Semele)
UNFINISHED BUSINESS Son of Semele’s 4th annual Company Creation Festival presents new works by nascent Los Angeles troupes. The festival’s first offering, Bunk, is what you’d expect from such a venue: a lot of youthful energy in service of a promising voice. That the play doesn’t make much sense at this point may be less…
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Los Angeles Cabaret Review: LAURA BENANTI: IN CONSTANT SEARCH OF THE RIGHT KIND OF ATTENTION (Catalina Bar & Grill in Hollywood)
ATTENTION MUST BE PAID The two most important aspects of the right kind of cabaret act are the singer and the songs. But when you go to see Laura Benanti’s new cabaret In Constant Search of the Right Kind of Attention at Catalina Bar & Grill (if you can get tickets to her last performance…
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Chicago Theater Review: GHOST – THE MUSICAL (National Tour at the Oriental Theatre)
PARANORMAL PASSION Love can conquer death. That potent wishful thinking was why audiences gobbled up the popular 1990 film Ghost. It also explains why it was turned into a musical, which has gone from West End to Broadway (Stage and Cinema’s review) to a National Tour. While it is a tepid spin-off, the opening last night…
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Los Angeles/Regional Theater Preview: CHANCE THEATER’S 2014 SEASON (Chance Theater in Anaheim)
TAKE A CHANCE Merrily We Roll Along is a notoriously difficult musical to get right. Even with Sondheim’s magnificent score, the nature of the show’”its lopsided cynicism and moving-back-in-time device’”has hampered every production I have seen. Except one. And while I truly loved Chocolate Factory’s small-scale West End revival, which screened nationwide last October, Chance…
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Los Angeles Concert Review: SALUTE TO VIENNA NEW YEAR’S CONCERT (Walt Disney Concert Hall)
VIENNA SAUSAGE Salute to Vienna is a light-hearted event which reenacts the ridiculously popular New Year’s Concert of the Vienna Philharmonic (a.k.a. Neujahrskonzert). The inoffensive, fun, and slightly cheesy potpourri includes costumed dancers, opera singers, and an orchestra that plays the waltzes and polkas of Johann Strauss Jr. and his contemporaries. Figures vary, but the…
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Film Review: INTERIOR. LEATHER BAR. (Directed by James Franco and Travis Mathews)
EXTERIOR. NOWHERE IN PARTICULAR. The 1980 William Friedkin movie Cruising sent Al Pacino undercover for the NYPD, threatened not by other cops as in Serpico but by the gay S&M scene. The butch detective questions his own persona once he starts identifying with the “other,” providing the story’s real interest within a banal cops-and-robbers framework. …
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Regional Theater Preview: TRUDY AND MAX IN LOVE (South Coast Rep in Costa Mesa)
AN UNCONVENTIONAL ROMANCE Meet Max, a celebrity novelist who is single, and Trudy, a happily married woman who is working on a new novel. They meet in a writer’s room and form a fast friendship that leads to a complicated affair. In the world premiere of her play Trudy and Max in Love, Zoe Kazan…
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Los Angeles Theater Preview: ONE STARRY NIGHT (Pasadena Playhouse)
MORE LIKE ONE STARRY STARRY STARRY NIGHT If anybody knows how to put together a night of eclectic songs and singers, it’s Bruce Kimmel. While he has created some terrific revues, this prolific producer, playwright and performer has been the driving force behind cast albums, vocal albums, and (a personal favorite of mine) an original…
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Los Angeles Theater Review: SUNNY AFTERNOON (Gangbusters Theatre Company)
CONSPIRACY THEORISTS AND THEATER LOVERS, UNITE! Remember E. Howard Hunt? This intelligence officer was one of Nixon’s White House Plumbers, that clandestine band of operatives who were assigned to fix any of those nasty little security “leaks” emanating from 1600 Pennsylvania Avenue. Hunt, along with G. Gordon Liddy, plotted a burglary at the Democratic National…
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CD Review/Original Cast: I AM HARVEY MILK (San Francisco Gay Men’s Chorus)
I AM EXHILARATED In 1978, on the night of Harvey Milk and Mayor George Moscone’s assassinations, an unprecedented candlelight march brought mourners to San Francisco’s City Hall. The newly formed San Francisco Gay Men’s Chorus canceled a rehearsal for their upcoming debut concert and opted to perform at the makeshift memorial service. It was there…
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CD Review/Cabaret: IN CONSTANT SEARCH OF THE RIGHT KIND OF ATTENTION: LIVE AT 54 BELOW (Laura Benanti)
CABARET SAUVIGNON She received a Tony nomination for both the Broadway revue Swing! and for playing Cinderella in the revival of Into the Woods. She won a Tony for portraying Louise in the Patti LuPone revival of Gypsy. She soloed in Andrew Lippa’s world premiere of the song cycle I Am Harvey Milk. Recently, she…
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