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Los Angeles Theater Review: ENRIQUE VIII (Rakatá at the Broad Stage)
MY KINGDOM FOR A TRANSLATION In the “What Were They Thinking?” Department, the Broad Stage has brought in a magnificently acted, thrillingly staged and cleverly edited version of Shakespeare’s Henry VIII, but it was booked on one of the notoriously busiest theater weekends of the year (which includes the international RADAR L.A. theater festival). However,…
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Chicago Theater Review: PULLMAN PORTER BLUES (Goodman Theatre)
CHANGE ON A TRAIN Schematic, predetermined and sometimes improbable, Cheryl L. West’s ambitious family saga Pullman Porter Blues blends blues ballads with convenient confessions in order to richly portray three generations of a family who are literally on the rails. As capacious as a documentary and as focused as a family album, this sprawling domestic…
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Film Review: RUSH (directed by Ron Howard)
WHAT A RUSH One day soon, or so we’re told, we will no longer drive. At the edge of the Age of the Driverless Car, taking a spin behind the wheel will become a thing of an increasingly distant past. Trendsetters assure us that this is the next great advance in safety and transportation. Soon…
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Los Angeles Theater Review: ST. JUDE (Kirk Douglas Theatre in Culver City)
HEAVENLY SAINTS PRESERVE US Ten days after opening night, Luis Alfaro still wasn’t off-book for his one-man confessional work-in-progress. This matters because the moment when he leaves his lightly comic, heavily clichéd script, and whirls himself into performance-art dervish, it is transporting and beautiful; but there is only one such occasion in an hour and…
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Los Angeles Opera Review: CARMEN (LA Opera at the Dorothy Chandler Pavilion)
SAFETY IN NUMBERS The production of Carmen that opened this week at the Dorothy Chandler Pavilion has been seen before. Emilio Sagi’s production originated at Madrid’s Teatro Real and was previously seen in Los Angeles in 2004 and 2008. To put it mildly, this seems like a safe choice for the season opener: With music…
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San Francisco Theater Review: 1776 (A.C.T.)
IF ONLY OUR CURRENT CONGRESS WAS THIS MUCH FUN Who would think that a musical featuring a bunch of middle-aged white men talking politics could be fun? But that’s the miracle of Frank Galati’s production of 1776. the rousing revival of the 1969 musical classic currently at A.C.T. Peter Stone’s witty dialogue and Sherman Edwards’…
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Chicago Opera Review: JOAN OF ARC (Chicago Opera Theater)
VERDI UNLEASHED A DOMESTIC TERRORIST Written in 1845 and seldom seen since, this early opera by Giuseppe Verdi (whose centenary we celebrate) was a promissory note to be redeemed over and over before 1901. Based on an obscure play by Schiller, the somewhat preposterous plot (with libretto by Temistocle Solera) imagines “Giovanna d’Arco,” but not…
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Dance Review: STARDUST (David Roussève/REALITY, REDCAT)
STARRY STARRY NIGHT David Roussève’s full-length dance piece that opened at REDCAT last night is something of a miracle. Choreographed, written, and directed by Roussève, Stardust effectively amalgamates so many elements of multi-disciplinary performing arts–theater, story, dance, multi-media–that it should be a template for any dance company that desires to move, touch and inspire their…
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Los Angeles Theater Review: THE NORMAL HEART (Fountain Theatre)
THE HEART OF THE MATTER Larry Kramer’s blistering condemnation that chronicles the early years of the AIDS epidemic has arrived with an intimate production that highlights the urgency of the play but produces mixed results in casting and direction. A brilliant juxtaposition of love story and agit prop, The Normal Heart follows activist and unruly…
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Los Angeles Music Review: ORQUESTA BUENA VISTA SOCIAL CLUB (Valley Performing Arts Center at CSUN)
BUENA BUENA Back in the 1990s, Buena Vista Social Club took the world by storm. The album, inspired by the music played at a Havana members club, both celebrated and cemented the fluid formidability of popular pre-revolution Cuban music performed by Cubans. It sold over five million units worldwide, and notched a Grammy Award as…
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Los Angeles Theater Review: DO ANDROIDS DREAM OF ELECTRIC SHEEP? (Sacred Fools)
COUNT THIS SHEEP AND FALL ASLEEP As dull as its premise is exciting, Jaime Robledo’s production of Edward Einhorn’s 2010 play, adapted from Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, could not be further divorced from its source. The novel is a philosophical visit to the defining boundaries of human nature, and…
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Chicago Theater Review: THE WHEEL (Steppenwolf)
A TRAIN TO NOWHERE It’s not enough reason for Joan Allen’s Chicago comeback. She returns to her ensemble-thick roots on the Steppenwolf stage after a 22-year absence during which, among other cinema roles, she three times pursued Jason Bourne. Now the screen star finds herself in The Wheel, a vehicle that’s both sprawling and stunted. Zinnie…
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Theater Review: FOREVER FLAMENCO! PAINT A WOMAN (Fountain Theatre)
THEY COULD HAVE DANCED ALL NIGHT Once a month at the Fountain Theatre, Deborah Lawlor presents Forever Flamenco!, an assemblage of the greatest flamenco artists anywhere. Programs change each time, but based on the show I saw last Sunday (which had two different artists than previously announced) it would be impossible to have a tepid…
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Theater Review: THE WIZARD OF OZ (National Tour)
NO HEART. NO BRAIN. NO NERVE. STAY HOME. Just short of insulting, a Broadway Machine-styled version of the iconic film, The Wizard of Oz, opened at the Pantages this week. Instead of writing additional new material that matched the screenplay by Noel Langley, Florence Ryerson and Edgar Allan Woolf (uncredited in the program), bookwriters Andrew…
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Los Angeles Music Preview: LE SALON DE MUSIQUE, SEASON 4: L’INVITATION AU VOYAGE (Dorothy Chandler Pavilion)
A VOYAGE YOU HAVE TO TAKE Have you ever been to a Chamber Concert of virtuosic musicians in a grand venue such as Walt Disney Hall or Carnegie Hall but wished you could experience the program in an intimate setting? Do you wish that you could be just a few feet from the musicians? Have…
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Chicago Dance Review: RUSSIAN MASTERS (Joffrey Ballet)
A SMOKING SAMOVAR It’s a different kind of “spring fling,” much m0re fitting for September when the season has faded fast. The latest installment in the Joffrey Ballet’s “Masters of Dance” season is a revival of their 1987 and 2009 recreations of the seminal and controversial, century-old Sacre du Printemps–a labor of the future by…
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Los Angeles Theater Review: R II (Theatre @ Boston Court in Pasadena)
YON METHINKS SHE STANDS Over the last year or so, some of my best time in an audience has been spent watching Paige Lindsey White. Twice in collaboration with director Jessica Kubzansky at Boston Court, once with Debbie Devine at 24th Street, this actor has embodied the reasons I revere artists. Sometimes portraying children, sometimes…
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Los Angeles Theater Review: THE BURNT PART BOYS (Third Street Theatre)
SHAFTED! There’s a story to be mined in “them thar” hills of West Ver-ginny but unfortunately The Burnt Part Boys, making its west coast premiere at the Third Street Theatre, doesn’t dig deep enough to unearth it. The West Coast Ensemble Theater has ventured below ground before with their award-winning production of Floyd Collins back…
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Chicago Theater Review: TO MASTER THE ART (Broadway Playhouse)
BON APPETIT! A welcome return engagement (which is now part of the prestigious Broadway in Chicago subscription lineup), TimeLine Theatre Company’s revival of its 2010 original work To Master the Art remains, even in a much less intimate space and with a higher ticket price, a delicious passion play. As delightfully developed by authors William…
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Los Angeles Theater Review: PERICLES, PRINCE OF TYRE (A Noise Within in Pasadena)
POSITIVELY PEERLESS PERICLES There’s a certain respect lost among most national leaders today, especially here in America, due to the excessive regard for individuals graduated from northeast institutions, and an improper recognition for those who serve in the military’” especially those who fight overseas. The last three Presidents of this country have avoided harm’s way…
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