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London Theater Review: THE AUDIENCE (National Theatre Live)
MAJESTICAL MIRREN Although she is a politically neutral monarch, The Queen of England retains the ability to give a weekly audience to a Prime Minister (PM) during his or her term of office, at which she has a right and a duty to express her views on Government matters. Peter Morgan’s new play, The Audience,…
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Off Broadway Theater Review: MANNA-HATA (Peculiar Works Project at the James A. Farley Post Office)
GOING POSTAL OVER NEW YORK Soaked to the skin and wrestling with a flimsy umbrella, I splashed across Eighth Avenue while reading the inscription on the James A. Farley Post Office, “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.” Well, here was…
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Los Angeles Music Review: MICHAEL FEINSTEIN’S SONGBOOK (Pasadena Pops in Arcadia)
A FEINSTEIN FIRST The untimely passing of Marvin Hamlisch was a blow to the entertainment industry, but no more keenly felt than at the Pasadena Pops where he was the principal conductor. Who could possibly replace Hamlisch, the musician extraordinaire and jovial raconteur who had vast knowledge of the American Songbook and an array of…
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Los Angeles Theater Review: PHILOSOPHY IN THE BOUDOIR (Theatre Asylum / Hollywood Fringe Festival)
PHALLUS IN BLUNDERLAND Who has been accused of being a Sexual Reprobate? Satirist? Socialist? Philosopher? The precursor to Freudian psychology and existentialism? Woman-hating pornographer? An ideal of freedom? If you mentioned the American Senate circa 1915, you’re only partially right. No, the answer is the Marquis de Sade (1740 –1814), a French aristocrat, philosopher, and…
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Broadway Theater Review: MATILDA THE MUSICAL (Shubert Theatre)
UNDER THE SPELL OF MATILDA Just as author Roald Dahl’s child-heroine “Matilda” is a magical mix of unexpected brilliance, youthful exuberance and solid common sense — so is the Royal Shakespeare Company’s new musical adaptation, Matilda the Musical. Employing the familiar storyline of the discarded child on a quest to find a home and family…
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Los Angeles Theater Review: A MAN OF NO IMPORTANCE (Elephant Stages / Hollywood Fringe)
A SHOW OF GREAT IMPORTANCE An anomaly of the Hollywood Fringe Festival has arrived. A gem which alone justifies the Fringe’s existence. A nascent troupe named Good People Theater Company is using the Festival’s built-in promotional tie-in and relative inexpensiveness to its advantage. They spent a bit more requesting a specific schedule to accommodate 15…
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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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