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Film Review: ALÌ BLUE EYES (directed by Claudio Giovannesi / International premiere at Tribeca Film Festival)
NATURALISM AT ITS BEST There seems to be a tendency for fledgling directors making their first narrative features to limit themselves to low-key realism. But whereas so many of these creations end up being dull, flat, and redundant statements, Claudio Giovannesi’s Alì Blue Eyes, though awash in realism, is a captivating, insightful and truthful portrait of…
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Chicago Theater Review: PAL JOEY (Porchlight Music Theatre at Stage 773)
CHICAGO CAD MAKES BAD LOOK GOOD Sassy and brassy Pal Joey is a wondrous rouser that spins the tale of a roué gone rotten in Depression-era Chicago. Porchlight Music Theatre gained the exclusive rights to Rodgers and Hart’s original 1940 version of their masterwork, and is staging a glorious revival at Stage 773 (they’ve even restored “I’m…
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Chicago Theater Review: THE HAPPIEST SONG PLAYS LAST (Goodman Theatre)
SEVEN CHARACTERS IN SEARCH OF A PLAY Undernourished as this commissioned play may feel, it is, in fact, the last of the “Elliot Trilogy” by Quiara Alegría Hudes (bookwriter for In the Heights). The saga depicts how wars shaped three generations of a Puerto Rican family: The first was Elliot, a Soldier’s Fugue and the…
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San Diego Opera Review: AIDA (San Diego Opera)
EYEING AMNERIS IN AIDA In this well-loved 150-year-old Guiseppe Verdi classic of Grand Opera, it may be heretical to question the relationship of the principle characters and their so-called “love triangle.” But in the San Diego Opera production it is Amneris, the Pharoah’s love-sick daughter, who seems more the protagonist. After all, it is Amneris’ world…
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Film Review: THE RELUCTANT FUNDAMENTALIST (directed by Mira Nair / US premiere at Tribeca Film Festival)
THE RELUCTANT FILMMAKERS Director Mira Nair’s The Reluctant Fundamentalist tells of how Changez (Riz Ahmed), a young Pakistani, goes from being an ambitious, pro-American executive at an elite Wall Street financial firm to a college professor at a Pakistani university who criticizes US policy and may possibly be involved with terrorists. This thriller disguised as…
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Film Review: BLUEBIRD (directed by Lance Edmands / World Premiere at Tribeca Film Festival)
BACKWATER BLUES Lesley (Amy Morton), a school bus driver, gets distracted by a bluebird while inspecting her bus at the end of her shift and fails to notice a little boy asleep in one of the rear seats. The ramifications of this are the subject of Lance Edmands’ feature directorial debut Bluebird. Grim, cold and…
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Chicago Theater Review: STILL ALICE (Lookingglass Theatre Company)
ALICE FALLS THROUGH AT LOOKINGGLASS “I miss myself.” That’s the plaintive cry from the titular character of Still Alice, adapted from Lisa Genova’s book, and presented by Lookingglass Theatre Company. The didactic new work recalls Arthur Kopit’s Wings as it shares the struggle from the inside out of Prof. Alice Howland, a 50-year-old brain researcher who senses – but can’t…
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Los Angeles Music Review: WILD UP: BROOKLYN | BRIDGE TO PALM (REDCAT)
PASSION OVER PERFECTION wild Up is an electric ensemble of twenty-two twenty-somethings who vigorously perform a maelstrom of eclectic musical works ranging from J.S. Bach to They Might Be Giants. Led by the dynamic and skittish Artistic Director-Conductor Christopher Rountree at REDCAT in Disney Hall last Wednesday, the zestful ensemble performs a bizarrely arranged program of…
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Chicago Theater Review: BIG FISH (Pre-Broadway World Premiere at the Oriental Theatre)
A FISH OUT OF WATER Ten years ago, the Tim Burton film Big Fish with Ewan McGregor and Albert Finney, based on Daniel Wallace’s 1998 “novel of mythic proportions,” charmed audiences with its depiction of tall tales turned true. A tribute to storytelling as a gift from one generation to the next, Big Fish is…
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Film Review: ALMOST CHRISTMAS (directed by Phil Morrison / World Premiere at Tribeca Film Festival)
ALMOST Directed by Phil Morrison (of the 2005 indie hit Junebug), Almost Christmas stars Paul Giamatti and Paul Rudd as two former small-time Canadian thieves Dennis and Rene, who take a truck full of Christmas trees to New York City with hopes of selling them and making some much needed cash. Mr. Morrison’s gentle direction infuses…
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Film Review: HARMONY LESSONS (directed by Emir Baigazin / North American premiere at Tribeca Film Festival)
THE DISHARMONY OF FORCED UNDERSTATEMENT Set in a village in the hinterlands of Kazakhstan, Harmony Lessons centers around a young teenager named Aslan (Timur Aidarbekov), who washes obsessively and executes cockroaches in novel ways. A poor loner and outcast who lives with his grandmother, Aslan goes to a school dominated by a classmate named Bolat…
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Chicago Theater Review: THE BRIG (Mary-Arrchie)
THEATER OF CRUELTY (TO THE AUDIENCE, THAT IS) A blast from the past, this 1963 curiosity from the once-living Living Theatre is a tribute to author Kenneth H. Brown’s total recall and recreation of a very ugly world. Written when Brown was a 27-year-old former U.S. Marine, The Brig is his attempt to replicate the…
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Regional Music Review: MUSICNOW FESTIVAL (Cincinnati Memorial Hall)
WHAT BETTER TIME THAN MUSIC NOW? “You came all the way to Cincinnati for this?” several Ohioans asked me during the eighth annual MusicNOW Festival. I may have access to great contemporary music any night of the week in New York City, but rarely does the concert lineup include such a diverse juxtaposition of musicians,…
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Film Review: TO THE WONDER (directed by Terrence Malick)
MALICK IN WONDERLAND Here’s a fun discussion for sitting around the cinematic campfire: are the worst films by the best directors still better than 80 percent of what is released? Are say, Bringing Out the Dead or The Hudsucker Proxy still relative carrots for the eyes when compared to the Transformer movies? Terrence Malick’s To…
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Los Angeles Theater Review: SEVEN BRIDES FOR SEVEN BROTHERS (La Mirada Theatre)
OH BROTHERS! Seven Brides for Seven Brothers: Talk about a musical with a strange history! It begins with the Ancient Roman legend “The Rape of the Sabine Women” — attributed to Plutarch — followed by Stephen Vincent Benét, who transferred the tale to Tennessee in his short story, “The Sobbin’ Women.” Then comes the 1954…
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Los Angeles Theater Review: AMERICAN MISFIT (Boston Court in Pasadena)
HISTORY AS MYTHOLOGY AS ROCK AND ROLL Dan Dietz’s American Misfit is the kind of smart, provocative entertainment that stimulates the best part of an audience: its appreciation. As produced by the ever-resourceful Theatre @ Boston Court, this play furiously delineates some mixed results of the American experiment with historical footnotes that illuminate our present…
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Chicago Theater Review: CREDITORS (Remy Bumppo)
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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Los Angeles Theater Review: SLIPPING (Lillian Theatre in Hollywood)
NO SLIPS HERE After previous productions in Chicago and New York, Daniel Talbott’s first play Slipping touches down in Los Angeles and serves as both the inaugural production of Rattlestick Playwrights Theater in Los Angeles and his directorial debut. The deconstructed text is challenging – hopping back and forth in place and time utilizing a plethora of short scenes…
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Los Angeles Opera Review: THE MARRIAGE OF FIGARO (Pacific Opera Project)
A MARRIAGE MADE IN HEAVEN Less than a month after its pop-up production of The Barber of Seville, Pacific Opera Project (POP) continues Beaumarchais’ trilogy with Mozart’s The Marriage of Figaro (Le Nozze di Figaro). Unlike that pop-production, this brief run in two successive weekends at Porticos Art Space in Pasadena and the Miles Memorial…
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Los Angeles Theater Review: MAD FOREST (Open Fist Theatre in Hollywood)
A DARK, RIVETING AND WORTHY TRIP TO THE FOREST An undeservedly small house took in Friday’s performance of Caryl Churchill’s brilliant, unsettling Mad Forest. Commissioned in 1990 in response to the events of the 1989 Romanian Revolution, this is a challenging piece of theatre that Open Fist deserves recognition for producing. Under Marya Mazor’s smart,…
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