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Bay Area Theater Review: PLíCIDO DOMINGO (Greek Theatre at UC Berkeley)
DOMINGO DAZZLES What do world-renowned singers do once they have reached the age of retirement? On the strength of their name, they fill cabarets and concert houses across the land with nostalgia-filled patrons who seek a glimpse of their heroes live. Recent years have seen both opera and Broadway stars in just such concerts, and…
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Chicago Theater Review: THE BALCONY (Trap Door)
AN UNFOCUSED VIEW FROM THE BALCONY In Jean Genet’s The Balcony, authority, sexual desire, and violence are so intricately intertwined that they’re nearly indistinguishable. Outside Madame Irma’s brothel, rebellion licks at the very foundations of civilized society, disrupting the rule of law and overthrowing the monarchy. Inside, cowardly men pose as judges, cardinals, and generals…
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Los Angeles Theater Review: AH, WILDERNESS! (Actors Co-op)
AH, GOOD THEATER! Ah, Wilderness! is Pulitzer and Nobel Prize-winning O’Neill’s only comedy, and he describes it as, “a wistful recollection:the kind of childhood I wished I had growing up.” One can certainly see the parallels between what must’ve been a young O’Neill and the character of Richard Miller as Wilderness also provides a rose-colored…
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Los Angeles / Regional Theater Review: DEATH OF A SALESMAN (South Coast Repertory in Costa Mesa)
NOT MUCH LIFE IN DEATH The miracle of Arthur Miller’s Death of a Salesman is that it contains so many themes relevant to today’s world’”the American Dream, the disconnect of father and son, a lifetime of work resulting in fiscal emptiness, self-deception’”that this 1949 play can truly be called timeless. Yet so lifeless and lacking…
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Los Angeles Music Review: ROMANTIC FAVORITES (LA Phil at the Hollywood Bowl)
A STUNNING TRIFONOV MAKES HIS HOLLYWOOD BOWL DEBUT It was both fascinating and distracting to watch 22-year-old Daniil Trifonov, the current Big Thing of the piano world, perform Rachmaninoff’s Piano Concerto No. 2 (1897) at the Hollywood Bowl on Tuesday. Hunched over the keys and stroking them with a fierce tenderness, he consistently appeared to…
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Los Angeles Theater Review: BARE (Hayworth Theatre)
THE BARE TRUTH There’s a kind of desperate seriousness about the “rock” musical Bare ’” more pop than rock ’” first produced in 2000, now back with updated music and a telegenic and talented cast. The original production preceded Spring Awakening and Glee, but it feels like it cashes in on both genres of teen musical:…
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Los Angeles Theater Review: BLUE MAN GROUP IN CONCERT (Hollywood Bowl)
BLUE MAN GROUP GETS BOWLED OVER International phenomenon Blue Man Group (BMG) made their Hollywood Bowl debut on Friday in a wildly uneven yet ultimately entertaining evening ranging from moments of true wonderment to “what were they thinking?” befuddlement. The theme of the night was FUN and Principal Guest Conductor Thomas Wilkins and members of LA Phil’s…
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Bay Area Theater Review: AFTER THE REVOLUTION (Aurora Theatre)
I SAY YOU WANT THIS REVOLUTION After the Revolution is a chewy new play about family dynamics and the difficulty of making moral judgments, especially after the fact. For audiences thirsting for a literate, intelligent, stimulating, and accessible new play, it will fill the bill nicely. The Amy Herzog 2010 drama premiered Off Broadway and…
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Los Angeles Dance and Music Review: MUSIC BY GLASS – DANCE BY DIAVOLO (LA Phil at the Hollywood Bowl)
MAGNIFIQUE Sometimes, dance performances are entertaining, but only for the spectator who understands the storyline behind the dancing. Other times, the performances are less about dance and more about the esoteric, self-righteous fulfillment of the dancer being able to perform. Where is the line drawn between these forms and how does the viewer know when…
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San Francisco Opera Review: MEFISTOFELE (San Francisco Opera)
HEAVEN OR HELL? I surmise that opinions will be all over the map for San Francisco Opera’s production of Mefistofele, Arrigo Boito’s 1868 take on the Faust legend. To begin with, this is a clunky, fragmented and uneven opera. There are a few memorable tunes, especially for the chorus, and there are some juicy parts. And while the…
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San Francisco Theater Review: MACBETH (We Players)
SOUND AND FURY INDEED The idea of site-specific theater’”theatre which is performed in unconventional spaces compatible to the script’”is nothing new, but it seems to be gaining ground. From New York (Then She Fell) to Los Angeles (The Manor) to Chicago (The Madness of Edgar Allan Poe) to Oregon Shakespeare Festival (Willful), theater practitioners are…
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Chicago Theater Review: 9 CIRCLES (Sideshow Theatre Company)
WAR IS CONCENTRIC SLICES OF HELL Just as America seems to be expanding rather than concluding our deal with the Devil in the Middle East, Sideshow Theatre Company’s Chicago premiere–a valuable, 100-minute drama–seems all the more topical, valuable and non-negotiable. In the spirit of A Few Good Men, Bill Cain’s pile-driving play 9 Circles exposes…
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San Francisco Theater Review: IN FRIENDSHIP: STORIES BY ZONA GALE (Word for Word)
A PRAIRIE THEATER COMPANION As many newer plays fail to grasp the art of storytelling, Word for Word Performing Arts Company offers compelling narratives via short stories which are performed literally, well, word for word. Their 20th anniversary production is a seamless compendium of Zona Gale stories which take place in the town of Friendship…
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Chicago Theater Review: DOUBLE TROUBLE (Porchlight Music Theatre)
LOONY TUNES IN EVERY WAY You could call this two-act, two-actor, two-hour romp Irma Vep meets Singing in the Rain. A charming trifle that’s also a stunning tour-de-deuce, Porchlight Music Theatre’s local premiere features two ostentatiously talented and handsome brothers, Adrian and Alexander Aguilar. They star in a madcap revue created by two very showbiz brothers,…
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Los Angeles Theater Review: A SHORT STAY AT CARRANOR (Theatre West)
TOO MUCH OF TOO LITTLE FOR TOO LONG An aged widow and an even more aged married man have a shared, passionate history with each other that ended after World War II. Now, nearly seventy years later, they find themselves with an opportunity to reunite, make up for lost time, and take one last shot…
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Los Angeles Dance Interview: JACQUES HEIM (Artistic Director of Diavolo Dance Theater)
“I AM AN ARCHITECT OF MOTION” Born and raised in Paris, France, Jacques Heim received his MFA in Choreography from the California Institute for the Arts and founded Diavolo Dance Theater in 1992. For the past twenty years Heim has choreographed for Diavolo, Cirque de Soleil, theater, and television. He has also gained international recognition…
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Regional Theater Review: THE UNFORTUNATES (Oregon Shakespeare Festival)
THE TITLE SAYS IT ALL The most unfortunate thing about The Unfortunates is that a lot of talent (five writers, actually), having spent three years developing this new hybrid-musical, lacked a leader who could teach them how to tell a story. The show, directed by Shana Cooper and choreographed by Tiffany Rachelle Stewart, is consistently…
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New York Theater Preview: THE BLUE DRAGON (BAM)
A DRAGON IN BROOKLYN A true auteur and renaissance man of the theater, Robert Lepage returns with his troupe Ex Machina to The Brooklyn Academy of Music for its 2013 Next Wave Festival, this time with his staging of The Blue Dragon, a not-to-be-missed show with a limited four-day run September 18-21. Mr. Lepage also…
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Film Review: GETAWAY (directed by Courtney Solomon)
GET AS FAR AWAY AS POSSIBLE The car porn chiller Getaway is a movie of wonder. I wondered about the way the film was actually made – the shooting sequence, the extravagant car flips and pile-ups, the monotone acting. Did Ethan Hawke actually shoot all of the gear shifting shots? Or was that Ethan Hawke’s…
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Regional Theater Review: THE TAMING OF THE SHREW (Oregon Shakespeare Festival)
TO THINE OWN SELF BE SHREW What do you get when you cross Carl Perkins, a biker, and Chris Isaak? In David Ivers’ rendition of The Taming of the Shrew, that rockabilly man with a sympathetic sensibility and arm tattoos is none other than Petruchio, the man who comes to Padua to woo, tame and…
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