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Chicago Theater Review: LORD OF THE FLIES (Steppenwolf)
BOYS WILL BE MONSTERS William Golding’s 1954 cautionary thriller depicts a world on the edge of nuclear war. But when a plane crashes, a tiny portion of humanity is given a do-over. Tragically, reduced to feral bipeds, they succumb to our worst instincts. Lord of the Flies imagines a deserted tropical island’”a kind of modern…
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Los Angeles Dance Review: NEDERLANDS DANS THEATER 1 (Dorothy Chandler Pavilion)
PUTTING THE THEATER IN DANCE Living up to its name, Nederlands Dans Theater 1 bounded into Los Angeles last night, showing off the reasons why The Hague-based contemporary dance outfit is known for defying convention. With a mixture of acting, multi-media, unique choreography and bravado inventiveness, this world-class company offered three works in a program…
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Off-Broadway Theater Review: THE PLAY’S THE THING (Storm Theatre Company)
NOT ONLY THE PLAY, BUT THE PLAY-WITHIN-THE-PLAY’S THE THING The Storm Theater presents the first offering of its Ferenc Molnár festival with this gem, adapted by P.G. Wodehouse from Molnár’s original The Play at the Castle. Molnár was a Hungarian playwright of the Golden Age of Fluffy Theater, and in his latter years he was…
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Chicago Theater Review: THE TABLE (Blind Summit at Chicago Shakespeare Theater)
A PUPPET IN THE WILDERNESS In The Table, a curious creation now on its first U.S. tour, three members of the U.K.’s Blind Summit puppet theater depict a garrulous Bunraku-style hand puppet, a vibrant invention who impersonates no less than the 120-year-old Moses on his dying day on the plains of Moab. The puppet, a…
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Off-Off-Broadway Theater Review: THE LEARNED LADIES (Cake Productions / New Ateh Theater Group)
FRANCE: WHERE THE WOMEN ARE WOMEN (AND THE MEN ARE WOMEN, TOO) Director Paul Urcioli’s delightful production of Moliere’s classic skewering of female emancipation is given an additional dimension of gender politics by the intriguing notion of having all the roles, both men and women, played by female performers who portray the men in drag. …
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Chicago Dance Review: LA BAYADÈRE: THE TEMPLE DANCER (Joffrey Ballet)
INDIAN NIGHTS Earlier this fall the Joffrey Ballet revisited the uneasy birth of modern dance with a kinetic revival of Stravinsky’s still-shocking, century-old Sacre du Printemps in all its primitive vitality. As if to balance the ledger, the Auditorium Theatre is now filled with the gorgeous melodies of a late-blooming classical ballet from 1877. With…
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Los Angeles Theater Review: WAIT UNTIL DARK (Geffen Playhouse in Westwood)
AN EASY PILL TO SWALLOW Thrillers are always a tough act to pull off in the theater which is why they are so rarely produced. When the show is a revival (or reworking as it is here) and it has been turned into a widely seen motion picture the ability to involve, surprise and shock…
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Los Angeles Music Review: THE LAST DAYS OF SOCRATES (Los Angeles Philharmonic at Disney Hall)
A DIFFERENT TYPE OF SOCRATIC PROBLEM Perhaps one of the reasons Socrates has become a god-like figure in the world of philosophy is that we know very little about the actual man who existed during the dawn of writing. He kept no diaries and wrote no treatises, yet philosophies attributed to the classical Greek thinker’”Socratic…
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Los Angeles Theater and Tour Review: TOTEM (San Pedro, Irvine and Santa Monica)
CIRQUE’S PERKS What’s a circus without lions, tigers, and elephants? In the case of Cirque du Soleil’s Totem, their eleventh major production in 26 years, it’s a marked improvement, proving that animal acts are strictly for the birds when it comes to grand circus entertainment. Press materials tell us that “Totem traces the fascinating journey…
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Off-Off-Broadway Theater Review: THE COLLECTIVE: 10 PLAY FESTIVAL, PROGRAM A: THE ODDS (McGinn/Cazale Theatre)
THE FOOD HERE IS MIXED…AND SUCH SMALL PORTIONS One thing you’ve got to love about this festival of ten minute plays: When they’re done correctly, these vignettes are like plates of tapas, each fully formed and complete, but in miniature. The only question is whether they’re tapas plates from that wonderful Spanish restaurant in the…
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San Diego Theater Review and Commentary: OUR TOWN, PLATONOV and the WithOutWalls Festival (La Jolla Playhouse)
SITE-SPECIFIC IS NOT SO SPECIFIC La Jolla Playhouse supported the trend of site-specific and immersive theater by presenting a four-day program of over 20 different performances in and around the Playhouse. The WoW (WithOutWalls) 2013 festival was a beehive of activity which sadly played only one weekend. It was an arena for nurturing and showcasing…
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San Diego Theater Review: TRAVESTIES (Cygnet)
STOPPARD AND GO Tom Stoppard’s brilliant Travesties (1974) is literate and fiercely crafted, tackling ideas of love, wit, politics, art, theater, literature, intellectualism and whatever else flows its way through Stoppard’s cosmic inquisitiveness. The plot, if you can call it that, is complex and nonlinear. World War I veteran Henry Carr reminisces with failing memory…
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Chicago Theater Review: THE GODDESS (The Artistic Home)
THE STANDARD FOR STORYTELLING It’s a coup just to get the theatrical rights to this juicy work, the late, great Paddy Chayevsky’s Oscar-nominated 1956 screenplay. But it’s sensational to pull it off to perfection. Cinematic as its source, John Mossman’s adaptation and staging of The Goddess is a gem of make-believe, an engrossing cautionary tale…
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Los Angeles Theater Review: CIVILIZATION (ALL YOU CAN EAT) (Son of Semele)
BIG HOGS AND HOT POCKETS We buy products because they consume us. Ultimately our products replace us, because if you are what you eat, it follows that what you eat also is you. And at that point, does the food chain even need you anymore? Supernumerary to your own plans, it’s easy to end up…
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San Diego Theater Review: WIT (Lamb’s Players Theatre in Coronado)
WIT DOESN’T HOLD BACK Years back, Oldsmobile released a new line of sporty, sleek cars with the tagline “This is NOT your father’s Oldsmobile.” For those who associate Lamb’s Players with lighter fare such as Godspell, Guys and Dolls and Christmas specials, the powerhouse production of Wit which opened this week proves that this is NOT…
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San Diego Theater Review: THE LAST GOODBYE (Old Globe)
NO HALLELUJAH FOR THE LAST GOODBYE No one can deny why Jeff Buckley has achieved cult status. The coffeehouse-rock singer brought an aching, wrenching, ethereal and vulnerable quality to both his original songs and his covers of other composers’ work (his version of “Hallelujah” is widely regarded as the definitive interpretation of Leonard Cohen’s masterpiece)….
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Chicago Theater Review: THE MUSICAL OF THE LIVING DEAD (The Cowardly Scarecrow Theatre Company at Stage 773)
A ZOMBIE MUSICAL THAT NEEDS BRAINS There’s something wrong with a show that demands you be drunk. On opening night the howling fans of this cult phenom, now in its fourth incarnation (if that’s the right word for a flesh-eating farce), managed to outshout even this screamingly unfunny offering. Literally buckets of beer flowed freely…
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Los Angeles Theater Review: DELUSION: MASQUE OF MORTALITY (Bethany Presbyterian Church in Silverlake)
HOLY HORROR It’s that that time of year again when everyone and their brother is looking to scare the crap out of you. To that end, The Original Interactive Horror Theatre Company is back to terrorize their patrons with Delusion: Masque of Mortality. Last year they presented the highly successful Delusion: The Blood Rite at a…
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Film Review and Commentary: FINAL CUT: LADIES AND GENTLEMEN (directed by György Pálfi)
FOUND AND LOST AGAIN Formula movies can make you feel that you’ve already seen them. But György Pálfi’s latest film, which closed the 2012 Cannes Film Festival, is a love story so familiar that you have, in fact, sat through much of it before. Final Cut: Ladies and Gentlemen is a feature-length collage of clips…
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Los Angeles Music Preview: THE LAST DAYS OF SOCRATES (La Phil at Disney Hall)
LA PHIL FIRST IN PREMIERES Having presented exceptionally successful premieres this year, the Los Angeles Philharmonic is on a roll. From the West Coast premiere of Adam Schoenberg’s Bounce to the U. S. Premiere of Tan Dun’s The Tears of Nature to the posthumous World Premiere of Peter Lieberson’s percussion-rich composition Shing Kham, the LA Phil has proven…
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