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Chicago Theater Review: BARNUM (Mercury Theater)
THE FUN IN FRAUD Famed impresario P.T. Barnum banked on one cynical truth: No one ever went broke underestimating the intelligence of the American people. The undisputed master of the “noble art of humbug,” Barnum grew rich by providing the gullible, sensation-seeking public an inexhaustible series of “Unparalleled Attractions Never Before Seen,” many sheer flimflam,…
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Los Angeles Music Review: THE TALLIS SCHOLARS (presented by The Da Camera Society at the Bradbury Building)
TALLIS SOME MORE With their presentation of the Broadway Festival last week, the Da Camera Society of Mount St. Mary’s College not only validated the extraordinary rebirth of downtown Los Angeles but offered as the festival centerpiece a chamber concert by the Tallis Scholars inside the revitalized 1893 Bradbury Building. Seated on multiple levels around…
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Off-Broadway Theater Review: GOOD WITH PEOPLE (59E59 Theaters)
SEEING ISN’T FEELING Blythe Duff and Andrew Scott-Ramsay deliver rich, convincing performances in David Harrower’s worthwhile if not completely satisfying play Good with People. Part of the Brits Off Broadway festival, currently at 59E59 Theaters, this two-person show concerns itself with the interaction between Helen (Ms. Duff), the middle-aged manager of a small hotel in…
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Los Angeles Theater Review: THE BARGAIN AND THE BUTTERFLY (Artworks Theatre in Hollywood)
A BUTTERFLY THAT’S STILL IN THE COCOON Katherine Noon’s latest ensemble workshop-developed hydra creation, The Bargain and the Butterfly, takes its inspiration from Nathaniel Hawthorne’s The Artist of the Beautiful. In Hawthorne’s tale, Owen Warland works at a watchmaker’s shop; he is a brilliant fool with a heart of gold who is more caught up…
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Off-Off-Broadway Theater Review: AN ECLECTIC EVENING OF SHORTS: BOXERS AND BRIEFS VI (Artistic New Directions at Theater 54)
A SHOWCASE FOR EMERGING ARTISTS When watching Artistic New Directions’ presentation of An Eclectic Evening of Shorts: Boxers and Briefs VI, a collection of six ten-minute plays, plus three short improvisational pieces, one must keep in mind that these are not so much completed works as they are works-in-progress, exercises that give playwrights, directors and…
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Bay Area Theater Review: GUYS AND DOLLS (Berkeley Playhouse)
DETROIT COMES TO BERKELEY The Berkeley Playhouse production of Guys and Dolls is just the thing for a theater lover, a fan of this timeless musical, or a family to kick back and enjoy. The show, directed by Jon Tracy, is meant to be pure entertainment, with well-executed catchy and hummable songs, fun and lively…
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Bay Area Theater Review: SHIPWRECK (Shotgun Players at the Ashby Stage in Berkeley)
SHIPSHAPE Imagine a boat named “Utopia” launched in the 1830s, floating towards Moscow. As the boat sails onward, it becomes heavier, taking on cargo, passengers, and the weight of the future. As it nears Moscow, the name changes, and we are now watching the approach of “Socialism.” You’ve officially, if metaphorically, boarded Tom Stoppard’s trilogy…
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San Diego Opera Review: MURDER IN THE CATHEDRAL (San Diego Opera)
FITTING FOR A SAINT Although he wrote at least 15 complete operas, Ildebrando Pizzetti (1880-1968) is not a familiar name, even to many in the opera world. The first-generation modernist Italian composer yielded other forms of classical music (concertos, chamber works, sonatas) but also composed hundreds of film scores – many uncredited; the Sinfonia del…
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Regional Opera Review: A STREETCAR NAMED DESIRE (Virginia Opera)
NEW ORLEANS IN VIRGINIA Like many operas in the last 100 years, Andre Previn’s A Streetcar Named Desire – recently produced by Virginia Opera – is through-composed with very little straight dialogue, declamatory vocals, and text set to music so that the words and sense are both clear (this is also known as Literaturoper). Before Debussy’s Pellas et Melisande…
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Los Angeles Theater Review: MASTER CLASS (International City Theatre in Long Beach)
SCHOOLED BY CALLAS If you’ve ever been to a master class, then Terrence McNally’s Tony Award-winning play Master Class (1995) will seem very familiar. If you haven’t, then you’re in for a real eye-opener. A master class, as its name suggests, is a class given by an expert (or master) to students in a particular…
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Los Angeles Theater Review: LUNCH LADY COURAGE (Cornerstone at Cocoanut Grove Theater)
FOOD FIGHT Using Brecht’s Mother Courage and her Children (1939) as a template, writer Peter Howard has created a wartime tale about the need to survive in challenging times. But the war isn’t an overseas conflict. It is one that takes place in a school cafeteria, where Ana, a.k.a. Lunch Lady Courage, has arrived to…
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Los Angeles Theater Review: EURYDICE: (A Noise Within in Pasadena)
MYTH UNDERSTOOD Sarah Ruhl’s Eurydice is classical in its mythological origins but forges a modern path with a point of view modification and feministic flair. The original Greek myth of Orpheus is centered on the incomparable, eponymous musician who loses his wife to the netherworld too soon. He is then motivated to do whatever it takes…
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Chicago/National Tour Theater Review: PRISCILLA QUEEN OF THE DESERT (Auditorium Theatre)
BREAKOUT IN THE OUTBACK There are so many ways to glitter and be gay in American Musical Theater: 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 celebrates vogue-crazed drag queens with foot fetishes who want to strut their stuff on a runway…
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San Francisco Music Review: SNOW WHITE & HER MERRY MEN (Davies Symphony Hall)
A VERY MERRY MATCH Once upon a time in San Francisco there were two beloved icons of the city’s music scene. They were practically the same age, enormously talented, and lionized by legions of fans who adored them both; but by some trick of fate their paths had never crossed. The slightly older but very…
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Los Angeles Opera Review: CINDERELLA (LA Opera at Dorothy Chandler Pavilion)
EVERYBODY HAS A BALL AT THIS CINDERELLA Gioachino Rossini’s Cinderella (La Cenerentola) was written in 1817 during the bel canto era when operas were written to showcase beautiful singing, but LA Opera’s delightful production, which opened on Saturday, actually showcased the talents of Spanish Director Joan Font. The spirited and humorous production skittered around a…
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Off-Broadway Theater Review: THEN SHE FELL (Third Rail Projects at St. Johns in Brooklyn)
GO ASK ALICE “Do you take dictation?” the gentleman asked as he gently closed the door to the study. Seated at an antique rolltop desk, I responded with an eager “Yes,” picked up a gold pen and began to write on the notepaper he placed in front of me. “Dear Alice:” This man, I realized…
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Los Angeles Theater Review: THE NETHER (Kirk Douglas Theatre in Culver City)
NETHER NOR Reality is the state of things as they actually exist, right? Not anymore. It’s fascinating that the World English Dictionary defines reality as “the state of things as they are or appear to be, rather than as one might wish them to be.” As they appear to be. Are we to take that…
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Los Angeles Theater Review: S. O. E. (Atwater Village)
APPARENTLY CAT FIGHTING IN TRASH ISN’T AS FUN AS WE THOUGHT IT WOULD BE Jami Brandli’s ambiguous whodunit, S.O.E., strands three disillusioned and combative rivals together during a state of emergency Boston snow storm. Set in a filthy post-party kitchen amid a sea of upturned plastic cups and cigarette butts, S.O.E. revolves around novelist Josh,…
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Los Angeles Theater Review: RANK (Odyssey Theatre)
NOT YOUR RANK-AND-FILE PRODUCTION No getting around it: Robert Massey’s Rank is talky and familiar. Without a top-flight cast and director, this show could easily be lost in the vast amount of Los Angeles theater that gets staged as if it would rather be filmed for cable television. But in its American premiere at the…
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Los Angeles Theater Review: ON THE SPECTRUM (Fountain Theatre)
HAVING ISSUES WITH ISSUES Ken LaZebnik’s On the Spectrum, which opened last week at the Fountain Theatre, belongs to a genre known as Theatre of Identity, aka Social Issues Theatre; the idea is to promote a particular cultural identity – in this case, autism. Plays like the currently running Tribes (which deals with deafness) were…
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