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San Francisco Music Preview: JESSYE NORMAN IN CONCERT (Davies Symphony Hall)
NORMAN’S CONQUESTS For those who haven’t heard, Soprano Jessye Norman’s July 31 concert with pianist Mark Markham at Davies Symphony Hall was postponed so that Ms. Norman could perform in Washington, D.C. at a ceremony of the U.S. Congress to commemorate the 50th anniversary of the March on Washington. The San Francisco concert has been…
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Documentary Review: CUTIE AND THE BOXER (directed by Zachary Heinzerling)
PORTRAIT OF THE ARTIST AS AN OLD MAN The connection between artist and starvation has rarely received such a quietly violent treatment as it does in Cutie and the Boxer. If young artists were made to sit and watch this documentary once a year at school, we’d have more accounting majors and less mediocre art. …
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Los Angeles Music Review: A NIGHT OF ELEGANCE (LA Phil at the Hollywood Bowl)
DOUBLE YOUR PLEASURE As promised, the Los Angeles Philharmonic program last Tuesday offered stylishness and sophistication, but guest artists Katia and Marielle Labéque added an element of fierce emotion. It was evident in the centerpiece, Mendelssohn’s Concerto in E major for Two Pianos (and Orchestra), how well the sisters complement each other. Marielle, wearing black, had…
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Los Angeles Music Review: PINK MARTINI (LA Phil at the Hollywood Bowl)
A ZESTY SUMMER COCKTAIL In their seventeen years as a fourteen member full “little orchestra,” Pink Martini has established a reputation for clever, daring, sophisticated and delightful music. The unusually overcast sky at the Hollywood Bowl Sunday evening provided an excellent opportunity for LA Phil and Pink Martini to perk up the environment with some much needed color and…
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Los Angeles Theater Review: ONE NIGHT IN MIAMI… (Rogue Machine)
THE X FACTOR How many times have we mused that we would have loved to have been a fly on the wall when ___________? That’s exactly what playwright Kemp Powers has done in his One Night in Miami…, the world premiere of which is currently on at Rogue Machine. Taking a real gathering of four…
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Los Angeles Theater Review: REVELATION (Elephant Theatre Company in Hollywood)
RUPTURED RAPTURE Attending the opening night of a comedy at one of the smaller 99 seat theaters in Los Angeles can be problematic. In addition to a minute smattering of critics and avid theatergoers, the audience is primarily made up of friends of the cast and members of the theater company. Therein lies the rub. …
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Los Angeles/Regional Theater Review: THE BIG PICTURE (Pageant of the Masters)
I GET THE PICTURE Pageant of the Masters’ The Big Picture is perhaps the most three-dimensional idea from the fertile mind of director Diane Challis Davy. Continuing the 80-year tradition of celebrating art with a performance of “living pictures”’”tableaux vivants’”this year’s production is a tribute to the history of motion pictures and the ways in…
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Los Angeles Theater Review: A PARALLELOGRAM (Mark Taper Forum)
THE SHAPE OF THINGS After Bruce Norris’s A Parallelogram at the Mark Taper Forum, I overheard a few audience members describe the play as “cute.†For all of the play’s political incorrectness, ramblings about physics, a future plague, and fairly unlikeable (and unknowable) characters, it appears that the playwright was going for provocative philosophy, but…
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Off-Broadway Theater Review: STORYVILLE (York Theatre Company)
STORY-LESS A rubber knife jiggles and bends during an ostensibly dramatic stabbing scene. Characters’ “trumpet playing” is out of sync with the actual trumpeter. Performers struggle to remember their lines. And the unremarkable dance numbers seem under-rehearsed and take place in a performance space that all too often feels overcrowded. These are some of the…
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Regional Theater Review: KING LEAR (Oregon Shakespeare Festival)
LEAR AND HUNGRY TIMES With only a small caramel as dinner, I was concerned about the three-hour running time of director Bill Rauch’s contemporary adaptation of King Lear at Oregon Shakespeare Festival. Fortunately, the forceful intimacy, powerful ensemble and modern relevancy made the hours fly, making this Lear a memorable feast. The set design and…
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San Francisco Theater Preview: CAMELOT (San Francisco Playhouse)
IT’S TIME FOR A LITTLE HAPPY EVER-AFTERING As San Francisco Playhouse opens a promising and highly anticipated rendition of Camelot this week, I am reminded of T. H. White’s The Once and Future King, the source material of the musical, and its effect on me when first I read it. But I am also reminded…
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Los Angeles/Regional Theater Review: I DO! I DO! (Laguna Playhouse in Laguna Beach)
I DO BUT I DON’T With all the adorability, simplicity, cliché and generic tone of a Hallmark Card, I Do! I Do! opened last weekend at the Laguna Playhouse. Starring Broadway stalwarts Davis Gaines and Vicki Lewis, the 1966 two-character musical by Tom Jones and Harvey Schmidt (The Fantasticks) has aged surprisingly well, considering it…
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San Diego Theater Preview: 2013 SHAKESPEARE FESTIVAL (Old Globe)
ALL THE WORLD’S AN OLD GLOBE The Old Globe has officially opened the 2013 Shakespeare Festival, now on through September 29. Adrian Noble returns for his fourth and final season as the internationally renowned festival’s Artistic Director, taking the helm on both Shakespeare’s The Merchant of Venice and Tom Stoppard’s classic farce, Rosencrantz and Guildenstern are…
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Film Review: THE CONJURING (directed by James Wan)
OLD SCHOOL AND SCARY AS HELL In The Conjuring, Patrick Wilson and Vera Farmiga take the roles of paranormal investigators Ed and Lorraine Warren, a Nick and Nora of supernatural troubleshooting. The real-life Warrens are best known in some circles as investigators at Amityville, but The Conjuring comes from a lesser known incident earlier in…
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Los Angeles Theater Review: SUNSET BOULEVARD (Musical Theatre West in Long Beach)
MISGUIDED MELODRAMA Billy Wilder’s 1950 film masterpiece Sunset Boulevard starred Gloria Swanson as the washed-up-actress-turned-cougar Norma Desmond, and William Holden as her prematurely-jaded-Hollywood-writer-turned-boy-toy Joe Gillis. Using the camera as an instrument to capture performances of discomforting intensity, it wove a psychologically intricate tale of seduction, jealousy and betrayal set, of course, in Hollywood. It skirted…
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Chicago Theater Review: THOM PAIN (BASED ON NOTHING) (Theater Wit)
A GREAT PLAY (BASED ON SOMETHING) Though little happens and nothing is resolved in the Pulitzer-nominated Thom Pain (based on nothing), the play is oddly and intensely captivating. Will Eno’s extended monologue wades into an ethereal spot where conscience and consciousness collide, using his everyman Thom Pain as a lens to reveal the gaps and…
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Los Angeles Music Review: MICHAEL FEINSTEIN’S MGM MOVIE CLASSICS (Pasadena POPS)
THE NIGHT THEY INVENTED TINY BUBBLES After Marvin Hamlisch’s untimely passing, Michael Feinstein, who has singlehandedly reinvigorated the American Songbook for the 21st century, took over as principal conductor for the Pasadena POPS. His first concert, Michael Feinstein’s Songbook, saw the beguiling raconteur as a perfect fit for the POPS crowd which, let’s face it,…
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Film/VOD Review: CARTOON COLLEGE (directed by Josh Melrod and Tara Wray)
VAGUE ETCH Cartoon College, a film by Josh Melrod and Tara Wray, chronicles the experiences of a group of aspiring cartoonists enrolled in the selective two-year MFA program offered by the Center for Cartoon Studies in White River Junction, Vermont. Featuring interviews with students and a prestigious faculty, it covers ’” loosely ’” one class’s…
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San Diego Theater Preview: COMPANY (Cygnet Theatre)
IN GOOD COMPANY “It’s a revue, but not a revue,” Stephen Sondheim said about Company when he was interviewed at Segerstrom last year. This surprised me because the groundbreaking 1970 musical which opens at Cygnet Theatre this weekend is a concept musical, meaning that the themes of a show (in this case, marriage and commitment)…
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Bay Area Theater Preview: THE WIZ (Berkeley Playhouse)
EASE ON DOWN A fascinating phenomenon has occurred recently in the theater world for this critic. Far and away, my favorite theatergoing experiences have been at revivals of musicals, most of which have been rarely produced. Some were staged concert performances, such as I Can Get It for You Wholesale, Harold Rome’s 1962 take on a…
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