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Opera Review: THE ELIXIR OF LOVE (Center Stage Opera in Canoga Park)
FALLING FOR DONIZETTI’S VALLEY GIRL Opera in Los Angeles seems to be thriving these days. In addition to established companies like LA Opera and Long Beach Opera, there are smaller companies cropping up all over the place, such as Pacific Opera Project, the Independent Opera Company and Center Stage Opera (CSO). While the first two…
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Film Review: MANIAC (directed by Franck Khalfoun)
MANIAC LEAVES YOU FEELING SCALPED Based on William Lustig’s 1980 film of the same name, Maniac, directed by Franck Khalfoun and penned by Alexandre Aja and Grégory Levasseur, has dynamic cinematography (Maxime Alexandre), gore effects that are frighteningly realistic (KNB Mike McCarty), and a performance by Nora Arnezeder as Anna which, though idling in the…
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Off Broadway Theater Review: DIRTY GREAT LOVE STORY (59E59 Theaters)
LOVE, SEX AND POETRY Thoroughly delightful and hilarious throughout, Dirty Great Love Story, which is part of the Brits Off Broadway festival at 59E59 Theaters, is just what its admittedly clunky title implies. Richard Marsh and Katie Bonna, who together wrote, rhymed and perform the show under Pia Furtado’s direction, come out onto the stage,…
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San Francisco Theater Review: ABIGAIL’S PARTY (San Francisco Playhouse)
THEATER TO THE MAX What’s to love about the 1970s? As SF Playhouse’s presentation of Mike Leigh’s acclaimed Abigail’s Room shows, quite a bit. Director Amy Glazer offers a cornucopia of delights greater than a Nixon-era basket of waxed fruits. Right from the start, the design team hurls us back to the Me Decade faster…
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Los Angeles Theater Review : THE RUBY BESLER CABARET (Asylum Theatre / Hollywood Fringe Festival)
DON’T COME TO THE CABARET It’s the first time I have ever seen someone on stage in flop sweat. Poor Anastasia Barnes had a rough go in her opening of The Ruby Besler Cabaret. One would suppose a lack of air conditioning was the culprit, but the other five women on stage were dry as…
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Los Angeles Concert Review: AN EVENING WITH RUFUS WAINWRIGHT (Valley Performing Arts Center in Northridge)
A DIFFERENT KIND OF GAME Rufus Wainwright received a smattering of awards for his self-titled 1998 debut, loud fanfare for his follow-up album Poses, and his cover of Leonard Cohen’s classic “Hallelujah” for the Shrek Soundtrack in 2001, but has not found the same level of praise or success for his subsequent efforts. Mentions of…
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Los Angeles Theater Review: EXORCISTIC: THE ROCK MUSICAL PARODY EXPERIMENT (Orgasmico Theatre Company at the Hollywood Fringe)
A HEAD SPINNINGLY GOOD EXORCIST ROMP THAT DOESN’T SUCK C#CKS IN HELL A year or two back, wily producers crafted a stage version of the chilling 1970s horror flick, The Exorcist, and gave it a lavish staging at the Geffen Playhouse. It was a thudding flop, in spite of a cast whose members included Brooke…
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Chicago Theater Review: THE PRIDE (About Face Theatre at Victory Gardens)
GAY PRIDE AND PREJUDICE The Pride is an invaluable offering for Pride Month, or any other for that matter. Deeply textured and perfectly enacted, this Olivier Award-winning script by British playwright Alexi Kaye Campbell shifts eras to look at whether sex improves or just persists with time ’” and I don’t mean as we get older….
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Los Angeles Theater Review: NEVA (Kirk Douglas Theatre, South Coast Rep, and La Jolla Playhouse)
FOGGY BUT FASCINATING Neva by Guillermo Calderón opens like a Beckett play, with a woman sitting alone in the darkness. Once she is illuminated, she begins to speak with the pace and urgency of a train, hardly stopping for breath, her movements fervent but economical. This woman is Olga Knipper (Sue Cremin), seething with grief…
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Los Angeles Theater Review: YES, PRIME MINISTER (Geffen Playhouse in Westwood)
YES, EVERYONE Yes, Minister and Yes, Prime Minister were BBC television shows that ran on American PBS stations when I was a kid; I resented them for not being Monty Python, and dismissed them, and never thought twice about them until I heard Ron Bottitta was going to be in some kind of stage resurrection…
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Los Angeles Theater Review: GIRL CRAZY (Musical Theatre Guild)
GIRL, PLEASE! Prior to curtain at Musical Theatre Guild’s concert staging of Girl Crazy, we were warned that the Gershwin brothers’ 1930 musical was written before “the code” (read: censorship), so “expect to be offended.” Well, thank God. I am rather tired of inoffensive theater. Besides, the one memorable thing about Guy Bolton and Jack…
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Off-Broadway Theater Review: REASONS TO BE HAPPY (MCC Theater at Lucille Lortel Theatre)
REASONS TO SEE THIS SHOW Neil LaBute’s explosive and wildly funny new comedy reasons to be happy, which Mr. LaBute also directs, starts off with a bang as Steph (Jenna Fischer), having stalked her ex-boyfriend Greg (Josh Hamilton) in the parking lot of Trader Joe’s, yells at him for starting up a romantic relationship with…
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San Francisco Opera Review: LES CONTES D’HOFFMANN (THE TALES OF HOFFMAN) (SF Opera)
OFFENBACH’S REQUIEM Just as Wolfgang Amadeus Mozart died in the middle of writing his famous Requiem so did Jacques Offenbach die composing his fantastical opera Tales of Hoffmann. Both works have been seen as highly personal compositions: Mozart writing his own requiem and Offenbach standing in for Hoffmann, his protagonist. The similarities do not end…
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Los Angeles Music and Film Review: HUNGRY HOBOS and OUR HOSPITALITY (Los Angeles Chamber Orchestra at Royce Hall)
SILENT NO MORE The Los Angeles Chamber Orchestra’s (LACO) 24th annual silent film gala and benefit performance showcased the relationship between various show business elements in this entertainment capital. Movie star Dustin Hoffman introduced a Buster Keaton movie (1923’s Our Hospitality), Walt Disney Corporation General Counsel and Senior Vice President Edward J. Nowak introduced a…
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Los Angeles Theater Review: BOB: A LIFE IN FIVE ACTS (Echo Theater Company at Atwater Village Theater)
BOBBING FOR APPLES Perusing a Peanuts anthology recently, I found my mind beginning to wander after about 15 panels. Regardless of Schultz’ insightful social commentary and universal truths – as seen through the eyes of elementary school children – his comic strips were meant to be seen one at a time. No matter how clever…
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Off Broadway Theater Review: CORNELIUS (Finborough Theatre at 59E59 Theaters)
SOME PLAYS ARE “FORGOTTEN” FOR A REASON Part of the Brits Off Broadway festival at 59E59 Theaters, Finborough Theatre’s classic staging of J.B. Priestley’s Cornelius, under Sam Yates’ expert direction, has rich performances and a textured period set by David Woodhead that makes one nostalgic for mechanical typewriters and landlines. Unfortunately, these elements are unable…
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Los Angeles Theater Review: HERCULES FURENS (THE MADNESS OF HERCULES) (Not Man Apart at Miles Memorial Playhouse in Santa Monica)
THE FRUSTRATING LABORS OF A FASCINATING COMPANY It is said that Roman Philosopher and Playwright Seneca’s Hercules Furens (c. 54 CE) was never produced but only read in Seneca’s lifetime. Scholars hold that it most likely may have been written to be read and studied rather than performed on a stage. The physical theatre ensemble…
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Chicago Theater Review: THE THREE MUSKETEERS (Lifeline Theatre)
OPULENT PLOT, THRILLING FIGHTING, AND A STUDLY D’ARTAGNAN While it’s brought to film more than a dozen times, Alexandre Dumas’ The Three Musketeers is a tough work to adapt. It’s long, has a huge character list, and has as much courtly intrigue as sword fighting. But Robert Kauzlaric, who previously wrote scripts from other oft-adapted…
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Los Angeles Theater Review: ME LOVE ME (Hollywood Fringe Festival at Open Fist Theatre)
ME NO LIKE Brandon Baruch’s new play answers the question, What if a tedious dipshit got cloned? Failed actor and drunken doofus Tuck (Benjamin Durham) sponges off his girlfriend Gemma (Lizzie Adelman) until the result of a forgotten sperm donation, also named Tuck (Sto Strauss), knocks at their door. Afterward, the doofus mooches off both…
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Chicago Theater Review: AIN’T NO CRYING THE BLUES (IN THE MEMORY OF HOWLIN WOLF) (Black Ensemble Theater)
EVERY NIGHT A FULL MOON Looking back on his life and sounds from his death in 1976, Chester Arthur Burnett, now forever called Howlin Wolf, is the complex crooner at the heart of Jackie Taylor’s latest bio musical. Persuading himself that he still lives if he’s yet remembered, Rick Stone’s memorable musician (first created for…
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