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Los Angeles/Tour Theater Review: MIKE TYSON: UNDISPUTED TRUTH (Pantages and National Tour)
SMILE, AND SMILE, AND BE A VILLAIN Since civilization stopped executing them outright, the notorious have always had the fallback of a second act as freakshow attractions. From 1883 well into the first decade of the Twentieth Century, Americans and Europeans paid to see Buffalo Bill’s Wild West show, featuring old Indian fighters and actual…
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Los Angeles Theater Review: WHEN YOU’RE IN LOVE, THE WHOLE WORLD IS JEWISH (Greenway Court)
WHAT WERE JEW THINKING? Baby boomers should recall the time when a great comedy album could be played with regularity. Some of my favorites were Bill Cosby Is a Very Funny Fellow…Right! (1963), which contained his iconic “Noah” sketches; George Carlin’s Class Clown (1972) with its infamous track entitled “Seven Words You Can Never Say…
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Los Angeles Theater Review: THE LAST DAYS OF JUDAS ISCARIOT (Victory Theatre in Burbank)
THE PLAY ABOUT A TRIAL ULTIMATELY BECOMES A TRIAL TO WATCH Stephen Adley Guirgis’ The Last Days of Judas Iscariot is a courtroom drama set in Purgatory where the guilty or not guilty verdict literally means heaven or hell for the one standing trial. The one being judged in this case is former apostle and…
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Bay Area Opera Review: THE SECRET GARDEN (Cal Performances and SF Opera at Zellerbach Hall)
A PERFECT CHILDREN’S STORY FOR OPERA, BEAUTIFULLY STAGED…BUT IS IT READY FOR CHILDREN? I confess to being passionately attached to the score for the successful stage musical, The Secret Garden by Lucy Simon and Marsha Norman (1991), but translating Frances Hodgson Burnett’s classic children’s novel – the story of Mary, a spoiled 19th-century 11-year-old sent…
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Off-Broadway Theater Review: HENRY IV, PART 1 (The Pearl Theatre Company)
THE PRINCE OF PEARL Through ribald jokes and fiery speeches, spit flies during The Pearl’s solid and satisfying production of Shakespeare’s Henry IV, Part 1. The second part in a tetralogy of history plays (encompassing Richard II, Henry IV Parts 1 and 2, and Henry V), Henry IV is a work of epic proportion, well…
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Film Review: EMPEROR (directed by Peter Webber)
WHEN HISTORY IS NOT ENOUGH A series of releases in the last few months – Zero Dark Thirty, Argo, Lincoln – have highlighted the ever-present conundrum of historical depiction in film, especially in regards to accuracy and storytelling. One film was threatened with Congressional investigations over its portrayal, and another took vast liberties with the…
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Off-Broadway Theater Review: THE WILD BRIDE (St. Ann’s Warehouse)
GO TO THE DEVIL With his lanky limbs draped over a rocking chair, the Devil has an undeniable magnetism. This storyteller exudes a Southern, gentlemanly charm – but dark motives lurk behind his twinkling eyes. “Sit with me, friends,” he lures the audience in. “Let’s wait for somethin’ to happen.” The “somethin’” that follows is…
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Off-Broadway Theater Review: BELLEVILLE (New York Theatre Workshop)
CALCULATING, BLUNT, DISTURBING AND INTENSE The name Amy Herzog seems to be on the tip of every theatergoer’s tongue lately. Hot on the heels of The Great God Pan, 4000 Miles and After the Revolution, New York Theatre Workshop brings us Herzog’s newest play Belleville – a disturbing domestic thriller. In a chic bohemian apartment…
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Los Angeles Theater Review: VERONICA’S ROOM (Underground Theater)
A RESTRICTED BUT RIVETING ROOM Novelist Ira Levin may be best-known for Rosemary’s Baby and Stepford Wives, both made even more popular by their film adaptations, but as a playwright, Levin wrote the fifth longest-running play in Broadway history, Deathtrap (1978), made less popular by its film adaptation. Five years prior to Deathtrap, Veronica’s Room (originally subtitled…
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Chicago Theater Review: THE CITY & THE CITY (Lifeline Theatre)
A TALE OF TWO CITIES THAT BLENDS SCI FI AND MYSTERY China Miéville’s novels are dense works of science fiction, and sometimes deciphering them feels more like work than entertainment. That’s why it’s impressive that Lifeline Theatre’s world premiere adaptation of his Hugo Award-winning The City & The City is so accessible. Adaptor Christopher M….
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Chicago Opera Review: RIGOLETTO (Lyric Opera)
RIGO-LENTO After a season chock full of successes, Lyric’s momentum slows with a dull production of Verdi’s Rigoletto. Not even Evan Rogister’s expert conducting nor the orchestra’s triumphant execution of Verdi’s score could buoy opening night’s dragging performances. The show opens with a single spotlight illuminating a violent sexual encounter between the Duke of Mantua (a…
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Los Angeles Theater Review: CAVALIA’S ODYSSEO (The White Big Top in Burbank)
BEHOLD THE BREATHTAKING BEAUTY OF CAVALIA’S ODYSSEO In 2003, Normand Latourelle, one of the co-founders of Cirque du Soleil, was ready to up the entertainment ante when he introduced his equine extravaganza Cavalia to the world. The show was a smash right out of the gate and has been galloping around the globe ever since….
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Bay Area Theater Review: THE MOUNTAINTOP (TheatreWorks in Palo Alto)
INSPIRATIONAL, THOUGHTFUL, DARING What if Dr. Martin Luther King was a down-to-earth, simple, vulnerable human being like the rest of us? What if human existence could be viewed from another dimension, one that allowed the viewer to weigh the pluses and minuses of the greater good versus personal choice, or the math of one human…
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Chicago Theater Review: SEE WHAT I WANNA SEE (Steppenwolf)
A TISSUE OF SONGS An ambitious and sporadically powerful entry in Steppenwolf Theatre Company’s fourth annual “Garage Rep,” this 2005 musical by John LaChiusa is a Rashomon-like puzzle whose song pieces can’t quite be put together. But ardently produced in the Steppenwolf Garage this becomes a healthy, rather than pointless, challenge to the listener, despite…
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Chicago Theater Review: EVERTHING IS ILLUMINATED (Next Theatre)
SOME THINGS, BUT NOT EVERYTHING, IS ILLUMINATED “With writing, we have second chances,†declares Jonathan Safran Foer in Everything Is Illuminated, his well-received and dauntingly complex first novel from 2002. Taking leaps that have nothing to do with faith, this self-reflexive look at how writing about an event serves many different truths begins with a…
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Los Angeles Theater Review: JANE AUSTEN UNSCRIPTED (Impro Theatre at the Carrie Hamilton)
GO GET LOST IN AUSTEN I drove to Jane Austen UnScripted directly from a production of Oklahoma! as grand and empty as the wind sweepin’ down the plains. With a quarter of the cast of that Rogers and Hammerstein show, and a tithe of the expense, seven Impro Theatre actor/writers showed more integrity to the spirit…
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Los Angeles Theater Review: COMPLETE (Wilder Theatrics at the Matrix Theatre)
A COMPLETE WASTE OF WORDS If you hold a doctorate in linguistics then you might (and that’s a very questionable “might”) find some interesting banter in Complete, the alleged comedy written by Andrea Kuchlewska currently making its West Coast premiere at the Matrix Theatre. If, on the other hand, the scientific study of syntax and…
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Film Commentary: DJANGO UNCHAINED (directed by Quentin Tarantino)
FUN WITH SLAVERY A couple of questionable dramatic decisions aside, Django Unchained is a very entertaining film, boasting some outstanding performances, limber and witty direction, and a dynamic (and now Oscar-winning) script with an abundance of sharp dialogue. Quentin Tarantino’s latest invention is a wish-fulfillment fantasy – an American hero movie – a western modeled on…
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Los Angeles Theater Review: OKLAHOMA! (Musical Theatre West)
THE CORN IS HIGH INDEED Messrs. Rodgers and Hammerstein reinvented American Musical Theater for the ages when they created Oklahoma! in 1943, incorporating song and dance to tell their story rather than detract from it. The musical avoids creaking with age because Hammerstein’s book shuns overt sentimentality, and the lyrics are chock-full of poetic imagery…
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Film and DVD Review: STRANGE FRAME (directed by G.B. Hajim)
STRANGELY FAMILIAR Srange Frame isn’t perfect. But there’s something fairly good for everyone here, because (contrary to its narrative’s revolutionary politics) the movie goes out of its way for its consumers. It has danceable songs, spaceships, nipples, clever dialogue, and an Up the Proletariat subversive pretext, the kind of nonspecific general “revolution” that appeals to…
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