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Off-Broadway Theater Review: THE NORWEGIANS (The Drilling Company)
OOFTA, INDEED The premise of C. Denby Swanson’s black comedy The Norwegians is that two Minnesotan women, Texas transplant Olive (Veronica Cruz) and Kentucky transplant Betty (Karla Hendrick) hire two very nice gangsters of Norwegian descent – Tor (Hamilton Clancy) and Gus (Dan Teachout) – to murder their ex-boyfriends. The bulk of the play is…
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Los Angeles Theater Review: THE HOMOSEXUALS (Celebration Theatre at Atwater Village Theatre)
ROLE REVERSAL For its inaugural production at its new temporary home in Atwater Village, the Celebration Theatre has mounted The Homosexuals (pun intended). As one might glean from the title, Philip Dawkins’ play deals with the trials and tribulations of a group of gay friends and, of course, their self-proclaimed requisite “fag-hag.” In essence it’s…
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Los Angeles Theater Review: DR. JEKYLL AND MR. HYDE (Actors Co-op in Hollywood)
HYDE IN PLAIN SIGHT Actors Co-op does it again! Last year’s re-imagining of The World Goes ‘Round was musical perfection and this year’s Ah, Wilderness! was a sentimental delight. Now Dr. Jekyll & Mr. Hyde crosses genres mastering the macabre and mysterious in an equally mesmerizing manner. Adapted by Jeffrey Hatcher from the Robert Louis Stevenson novella Strange…
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Theater Review: EVITA (National Tour in Hollywood)
A HIGH FLYING, ADORED REVIVAL Composer Sir Andrew Lloyd Webber and lyricist Tim Rice released the Evita “rock opera concept album” in 1976, a few years before the first theatrical production came to life on the West End and ultimately Broadway, a production that I vividly remember. It was truly exhilarating to witness Patti LuPone…
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Los Angeles Theater Review: SHOTSPEARE PRESENTS MACBETH (Fake Gallery)
IS THIS A KEGGER I SEE BEFORE ME? The morning after the Thane has killed his king, and one of those epic, omen-riddled Shakespearean storms has ravaged the countryside, Macbeth snaps out my candidate for all-time champion literary understatement: “’Twas a rough night.” But in a one-hour burlesque of Macbeth that brusquely acknowledges Shakespeare’s contribution,…
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Chicago Dance Review: GIORDANO DANCE CHICAGO (Fall Program at the Harris Theater)
FAST, FURIOUS AND FUNKY Ending tonight at the Harris Theatre, the latest balletic blast from the newly renamed Giordano Dance Chicago delivers six hyper-kinetic pieces. This generous outpouring fully showcase the young ensemble’s dexterity, volatitility and, well, flash-dancing. Including world premieres by an Israeli-born and Philadelphia-based choreographer and an in-house artist, the recital offers a…
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Los Angeles Music Review: THE SILK ROAD ENSEMBLE (Valley Performing Arts Center)
A MUSICAL TRAVELOGUE Silk Road Ensemble’s violinist Colin Jacobsen introduced his “Atashgah” to an attentive crowd at the gorgeous Valley Performing Arts Center with a simple, “I wrote this piece.” Yet magically, it didn’t appear written at all. The consistent soul-searching and yearning that emanated from the 11-piece ensemble rendered the work seemingly improvisational. The…
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Los Angeles Theater Review: A STRANGE DISAPPEARANCE OF BEES (Raven Playhouse)
A STRANGE DISAPPEARANCE OF ACTING Last August, Time’s cover story, “A World Without Bees,” brought to light a frightening occurrence: In recent years, there have been mass deaths of honeybees around the globe, known as “Colony Collapse Disorder.” Scientists are surmising the reasons – agricultural pesticides, parasitic mites, bacterial and HIV-like diseases – but they’ve…
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Los Angeles Theater Review: KISS ME, KATE (Cabrillo Music Theatre in Thousand Oaks)
A CLOSED-MOUTH KISS There are so many sexual allusions and situations in Cole Porter’s Kiss Me, Kate that it is remarkable the musical came out in 1948. I surmise the reason that Porter got away with such startling and blatant innuendos was his ability to wrap them up in sophisticated, witty lyrics. The musical is…
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Off-Off-Broadway Theater Review: DEAR MR. ROSAN (777 Theatre)
DEPRESSING DEPRESSION ERA DRAMA What a time! Folks standing on line for charity handouts, companies closing down, destitution and despair all around. Surprise, though, we’re not talking about nowadays – we’re talking about the Great Depression of the 1930s, the subject of playwright Danielle M. Velkoff’s well-intentioned but clumsy period drama. It’s an interesting idea…
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Los Angeles Theater Review: INVISIBLE CITIES (The Industry and L.A. Dance Project at Union Station)
SEEING WHAT’S INVISIBLE In describing Invisible Cities, allow me to paraphrase Gore Vidal’s critique of Italo Calvino’s 1972 novel of the same name on which this production is based: Of all tasks in reviewing director Yuval Sharon’s marvelously inventive theater event in Union Station, recounting Christopher Cerrone’s opera is the most difficult and perfectly irrelevant….
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Documentary Film Review: BIRTH OF THE LIVING DEAD (directed by Rob Kuhns)
DEATH OF AN ERA, BIRTH OF A GENRE Rob Kuhns’ Birth of the Living Dead is in part a making-of documentary, and a good one, about the revolutionary 1968 zombie picture Night of the Living Dead. It’s also a sharp essay celebrating the original George Romero film in historical political context. It only plays through…
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Off-Broadway Review: THE OTHER MOZART (Cherry Lane Theatre)
MOZART’S SISTER: POSSIBLY MORE TALENTED, DEFINITELY BETTER LEGS In many one person shows that are biographies of historical personages, there’s the risk of Wikipedia syndrome, in which the performer essentially just narrates the events of her character’s life, as though they’ve just been dictated straight from some website chronology. Fortunately, writer-performer Sylvia Milo’s luscious depiction…
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Los Angeles Concert Preview: AUDRA MCDONALD: ONE NIGHT ONLY (Dorothy Chandler Pavilion)
I’M A LITTLE BIT IN LOVE The captivating singer and actress Audra McDonald performed last September at the SF Symphony gala opening, sharing the program with two orchestral works. At one point, she sang the Bernstein/Comden/Green tune “I’m a Little Bit in Love” from Wonderful Town: “Mm–mmm! / It’s so nice to be alive /…
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Chicago Theater Review: WE WILL ROCK YOU (National Tour at Cadillac Palace Theatre)
REINVENTING ROCK A huge West End hit for over a decade, this compilation jukebox musical does for Queen what Mamma Mia! did for ABBA, Buddy for Buddy Holly and the Crickets, and Jersey Boys for Frankie V. and the Four Seasons. But it’s much closer to the first example, if only because the plot is…
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Off-Broadway Theater Review: EAGER TO LOSE (Ars Nova)
EAGER FOR MORE A farcical, semi-interactive burlesque fairytale – complete with girls in g-strings and tassels, a pun-spewing, corny joke-telling MC, a Jazz combo, and a working bar inside the house – Eager to Lose is a delight from beginning to end. And did I mention that most of the dialogue is in Shakespearian-esque verse?…
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Los Angeles Theater Review: CREDITORS (Odyssey Theatre in West Los Angeles)
COMPRESSED CRUELTY IN A SMALL STRINDBERG SHOCKER August Strindberg, the “father of modern psychological drama,” told his publisher that Creditors, a drama that he prized as much as he did his masterpiece Miss Julie (also written in 1888) was “humorous, loveable, all of its characters sympathetic.” Nothing could be further from the truth – as…
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Regional Theater Review: THE TALLEST TREE IN THE FOREST (La Jolla Playhouse)
A NOURISHING TREE While lacking in emotional engagement, Daniel Beaty’s solo outing exploring the life of actor/singer/activist Paul Robeson undoubtedly entertains, educates, inspires, and leaves the audience with a great deal to talk about. With an international following of his music, stage performances and cinema work, Paul Robeson was one of the best-known black men…
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Los Angeles Music Review: SALONEN CONDUCTS DEBUSSY & BARTÒK (LA Phil at Disney Hall)
A LASTING IMPRESSION Fab Fin Esa-Pekka Salonen returned to the hall where he established the reputation of LA Phil, educated audiences to challenging new music, and garnered adulation for his graceful manner and acute interpretation of various works, classical and contemporary. The program this past weekend set the stage for Salonen to do as he…
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Broadway Theater Review: A TIME TO KILL (John Golden Theatre)
VERDICT: WEAK ADAPTATION There’s something innately suspenseful about a courtroom drama. Perhaps it’s the fact that real life courtrooms are themselves theaters and a criminal trial is essentially one long play – either a tragedy or a melodrama, depending on the result. The prosecutor puffs, the defense attorney huffs, and the defendant squirms and tries…
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