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DVD Review: CLEOPATRA (directed by Joseph L. Mankiewicz)
WHAT AN ASP During one of the tamer scenes of Cleopatra, Elizabeth Taylor’s Queen of the Nile leads Julius Caesar to the tomb of Alexander the Great. Staring down at the (pretend) grave of Western Civilization’s greatest conqueror, it’s possible that Taylor was thinking, “Amateur!” Whereas Alexander tried and failed to take with force the…
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Chicago Theater Review: THE GLASS MENAGERIE (Mary-Arrchie at Theater Wit)
EXQUISITE SHARDS OF GLASS Never has the title of Tennessee Williams’ early masterpiece, The Glass Menagerie, been so thoroughly embraced by the set designer. Grant Sabin takes the name of this 1944 memory play very seriously. Unlike past productions where the late 1930s Saint Louis cramped Wingfield apartment is fully realized, fire escape and all,…
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Los Angeles Theater Review: A FRIED OCTOPUS (Bootleg Theater)
BRAIN FRIED Retaining a cephalopod’s far-ranging spinelessness and wide-ranging tentacles, Alicia Adams and Justin Zsebe’s vanity work, A Fried Octopus, makes a squishy thud at The Bootleg. Instead of a clear narrative, what we have is an absinthe-soaked progression of discussions and monologues that veer from subjects like Toulouse Lautrec, divine femininity, and women in…
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Theater Review: CIRQUE SHANGHAI: DRAGON’S THUNDER (Navy Pier)
A THUNDEROUS EVENT The “thunder” in Dragon’s Thunder comes from huge kettle drums, prominently featured in a pounding competition between a Dragon and a Tiger (both win). It’s one of 14 lyrical or awesome acts in 2013’s welcome edition of Navy Pier’s annual Skyline Stage spectacle: Cirque Shanghai, the Eastern answer to a rather different…
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Los Angeles/National Tour Theater Review: PRISCILLA QUEEN OF THE DESERT (Pantages Theatre)
WHAT A DRAG There are so many ways to glitter and be gay in modern American Musical Theater. The recent revival of La Cage Aux Folles depicts the unexpected bourgeois normality in a near-marriage of boa-wrapped impersonators at a gender-breaking Riviera nightclub. Kinky Boots, currently on Broadway, celebrates vogue-crazed drag queens with foot fetishes who…
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Chicago Theater Review: RICHARD III (Wayward Productions at the Den Theatre)
HAND IN HAND TO HELL’S ANGELS Deceit and destruction reign in Wayward Productions’ hell-bent for leather staging of Richard III, which has been reimagined as biker gang mayhem in a bar named London. This reinterpretation of Shakespeare has extended its run from the Underground Wonder Bar; given the deft direction of Carlo Lorenzo Garcia and committed…
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San Francisco Theater Review: ARCADIA (American Conservatory Theater)
A STIRRING MENTAL EXERCISE WELL DONE In reviewing A.C.T.’s Arcadia, I feel compelled to begin with a caveat: It is a highly cerebral work – a tapestry of threads connected by bloodlines, theories, and time that requires constant focus. Those with a literary turn of mind, who revel in being made to think, will find…
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Off Broadway Theater Review: BOTALLACK O’CLOCK (Brits Off Broadway at 59E59 Theaters)
A CURE FOR INSOMNIA Dan Frost’s evocative performance as the artist Roger Hilton isn’t enough to save Botallack O’Clock, written and directed by Eddie Elks and currently being performed as part of the Brits Off Broadway festival, from being an excruciatingly boring and drama-free 70 minutes. According to legend Hilton hardly left his bed during…
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Los Angeles Music Preview: AMERICAN SONGS & SPIRITUALS (Los Angeles Master Chorale at Walt Disney Concert Hall)
COME FOR THE SONGS; STAY FOR THE SPIRIT. It’s fitting that Samuel Barber’s “Sure on this Shining Night” opens American Songs & Spirituals, Los Angeles Master Chorale’s final program of its 49th season: Residing within the text from an untitled poem by James Agee are the lines which augur the spectator’s experience after witnessing this…
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Los Angeles / Regional Theater Review: THE FANTASTICKS (South Coast Rep in Costa Mesa)
FANTASTIC, INDEED Fantasticks may be the longest running musical in America, but Amanda Dehnert’s magical production at South Coast Rep should run forever. The backdrop for this timeless wonder is now a defunct seaside amusement park, instead of the normally simple and open stages of countless productions past. A captivating cast recounts a tale of…
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Los Angeles Opera Review: DULCE ROSA (LA Opera)
NOT SO DULCE It’s a shame that so much love, talent and money was bestowed upon the new opera, Dulce Rosa, which is the inaugural project of LA Opera’s Off Grand series, a program which offers new operatic works in venues other than the Dorothy Chandler Pavilion. Opening at the Broad Stage in Santa Monica…
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Los Angeles Theater Review: FRATERNITY (Ebony Repertory Theatre)
A FRATERNITY OF MASTER THESPIANS At its core, Jeff Stetson’s Fraternity is about the two options that face black men in today’s society (or, at least, the society of Birmingham in 1987, when the play was written): Either become part of the white establishment or cling passionately and tenaciously to the tenets of the early…
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Off-Broadway Theater Review: SLEEP NO MORE (Punchdrunk Theatre Company)
SOMETHING WICKED THAT WAY GOES In a rare clash of film noir, an awesome murder mystery party, and Shakespeare, Punchdrunk’s Sleep No More is the ultimate voyeuristic thrill. Audience members don Venetian masks and explore the depths of the 1930s-style McKittrick hotel in pursuit of the dubious characters of Shakespeare’s Macbeth, who run amuck throughout….
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Off-Broadway Theater Review: THE MASTER BUILDER (Harvey Theater at BAM)
SKETCHY BLUEPRINT The great John Turturro stars as the architect Halvard Solness in David Edgar’s translation of Ibsen’s enigmatic chef-d’oeuvre The Master Builder, which is currently being performed at BAM’s Harvey Theater under the direction of Andrei Belgrader. Mr. Belgrader chooses to take what might be called a more traditional approach to staging the work,…
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Los Angeles Theater Review: CHESS (East West Players)
ALL THE WRONG MOVES The musical Chess highlights the tongue-twisting, swift, and pithy lyrics by Tim Rice and the soaring, dazzling music by Benny Andersson and Björn Ulvaeus of ABBA fame. In previous Stage and Cinema reviews of productions at MTG and the Met Theatre, its history has been well-documented: The super-partnership of Rice-Andersson-Ulvaeus in 1979;…
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Los Angeles Theater Review: DYING CITY (Rogue Machine Theatre)
ALIVE WITH AMBIGUITY If you require a neat and tidy ending, a feeling of clarity, and a sense of completion to insure your theatrical enjoyment, then Dying City – making its Los Angeles premiere at the Rogue Machine Theatre —is not for you. If on the other hand you appreciate that a life examined offers…
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San Diego Theater Review: BE A GOOD LITTLE WIDOW (Old Globe)
HOME IS WHERE THE HEARTACHE IS Moments before the arrival of Hope (a domineering mother-in-law, not the aspiration), newly-married Melody jests with her handsome corporate attorney husband, Craig: “Don’t talk about your mother and then try to kiss me.” Although funny dialogue such as this may seem more sitcom than theatrical in Bekah Brunstetter’s Be…
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Chicago Theater Review: THE MISANTHROPE (Court Theatre)
THE TITLE CHARACTER IS TOO PURE FOR PEOPLE, BUT THIS PURE PRODUCTION IS FOR EVERYONE Of all Moliere’s comedies, The Misanthrope (1666), now gloriously and faithfully revived at Court Theatre, is the one literary critics and Moliere fans most take to heart. The master’s most personal and most ambiguous work, The Cantankerous Lover (its telling subtitle) delivers…
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Chicago Dance Review: EIFMAN BALLET OF ST. PETERSBURG’S “RODIN” (Auditorium Theatre)
SCULPTED TO PERFECTION Dance should never be dull: That’s the acting credo of Boris Eifman’s kinetic Eifman Ballet of St. Petersburg, now erupting across the huge Auditorium Theatre stage through Sunday. Chicago may be a huge dance town already, but this amazing company is always welcome for their frenzied dancing, electric mood swings, pulsating lighting on swirling…
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Los Angeles Theater Review: THE CRUCIBLE (Antaeus)
BEDEVILED An off-stage character is tortured by a Salem court in Arthur Miller’s The Crucible, a play which dramatizes the Salem witch trials of 1692. As heavy stones are placed upon his chest, the innocent man’s reported final words are “More weight.” This is exactly what Antaeus Company’s production needs in order to be more…
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