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Off-Broadway Theater Review: LIFE AND TIMES: EPISODES 1-4 (The Public Theater)
A PLAYFULLY PROFOUND MASTERPIECE “Oh my God, I can’t believe we’re doing this. Okay :” Warm laughter of recognition spread across the audience. This thought had undoubtedly crossed all our minds more than a few times during Life and Times: Episodes 1 – 4, an eleven-hour theatrical event devised by the Nature Theater of Oklahoma…
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Film Review: ME @ THE ZOO (directed by Chris Moukarbel and Valerie Veatch)
WHY THE CAGED BOY SINGS Chris Moukarbel and Valerie Veatch’s Me @ the Zoo proves the storytelling truism that the big picture may be effectively presented via minutiae. Directed with great ingenuity and intelligence, edited from thousands of video clips as if by the gods of order, the movie uses a few years in the…
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Chicago Theater Review: BOY GETS GIRL (Raven Theatre)
BEST NOT TO SEE THIS PLAY ON A FIRST DATE The Raven Theatre is celebrating its 30th Anniversary Season with the return of Rebecca Gilman’s Boy Gets Girl, which debuted at the Goodman Theatre in 2000. Much has changed since then in our world: The economy, global revolutions, technological gadgets and the acceptance of gay…
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Off-Broadway Theater Review: COLLISION (Rattlestick Playwrights Theater)
THE ANTICHRIST IN A COLLEGE DORM The Amoralists’ staging of Lyle Kessler’s new play Collision, directed by David Fofi, is an admirable but flawed effort to explore the motivations of a young white middle-class cult leader and his followers. Featuring dialogue packed with popular philosophical notions and a main character who, in spirit at least,…
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Chicago Theater Review: THE ALIENS (A Red Orchid Theatre)
SLOW, SAD AND STRANGE Sooner or later (preferably the former), we expect a play to pay off – to deliver a “gotcha” revelation that makes sudden or accumulated sense out of what seemed to be aimless exposition. A less than engrossing Chicago premiere at A Red Orchid Theatre, Annie Baker’s slow-paced, torpidly talky and seemingly…
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Film Review: A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III (directed by Roman Coppola)
SWAN IN LOVE More than most families, the Coppolas deserve credit for keeping Hollywood honest. Roman Coppola has written and/or produced a couple of Wes Anderson movies, as well as assistant directing for his more successful father and sister and creating his own independent work. In the fight against corporate banality he is one of…
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Los Angeles Theater Review: FOR THE RECORD: SCORSESE THE CONCERT (Rockwell Table & Stage)
A LOT OF HOLES IN THIS CONCERT, AND A LOT OF PROBLEMS ARE BURIED IN THOSE HOLES Mean Streets, Alice Doesn’t Live Here Anymore, Taxi Driver, Raging Bull, Last Temptation of Christ, Goodfellas, Cape Fear, The Age of Innocence, Casino, Gangs of New York, The Aviator, The Departed, and Hugo. This list of iconic movies…
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Chicago Theater Review: A GRAND NIGHT FOR SINGING (Mercury Theater)
AMERICA’S BEST NOTES Beginning its first new season of self-generated musicals, the Mercury Theater has, true to its name, raised the temperature with A Grand Night for Singing, a heartfelt, if sometimes overwrought, salute which happily honors and delightfully reprises the glorious, all-American (in the best sense) Rodgers and Hammerstein musicals and their inexhaustible legacy…
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Los Angeles Theater Review: DOSTOEVSKY’S NOTES FROM UNDERGROUND (Zombie Joe’s Underground)
DOSTOEVSKY’S NOTES FROM UNDERGROUND Dostoevsky’s Notes from Underground at Zombie Joe’s Underground Theatre in North Hollywood ought not to surface. This willfully banal production of the Russian classic refrains from connecting with the audience and instead, serves only their self-absorbed conceits. More concerned with making a joke about Lankershim Boulevardland than it is with both relating…
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Chicago Theater Review: OTHER DESERT CITIES (Goodman Theatre)
FIXING WHAT WON’T HEAL Jon Robin Baitz’ Broadway drama Other Desert Cities depicts a crisis of apparent betrayal and imminent exposure that besets the Wyeth clan, a wealthy Jewish family sheltered in the oasis of Palm Springs. Viewed one way, Baitz’ Pulitzer Prize finalist is very much a two-act family fight. But, as Arthur Miller…
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Chicago Theater Review: ACCIDENTAL DEATH OF AN ANARCHIST (Oracle)
ACCIDENTAL DEATH OF A PLAY Anarchy is not chaos. The former means “without law,” and the latter means “without form.” This is an important distinction to consider in a play that intends to make an argument for anarchy. After a government scandal, a schizoid anarchist poses as certain government officials to disrupt the government from…
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Theater Review: THE MUSIC MAN (The Paramount)
ONE RIVER CITY DESERVES ANOTHER If ever a show spelled out summer, it’s Meredith Willson’s 1957 masterpiece The Music Man. Throughout the rollicking story the title character exudes sunny optimism and buoyant confidence, a contagious flimflam that “Professor” Harold Hill wants to believe as much as the suckers who take it in. For four magical…
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Los Angeles Music Feature: LOS ANGELES MASTER CHORALE: BRAHMS’ REQUIEM (Disney Hall)
A REQUIEM IN FLOWER The Los Angeles Master Chorale captures the shared human experience with a pairing of Brahms’ sublime Ein Deutsches Requiem and the West Coast premiere of The World in Flower, Peter Lieberson’s lyrical and moving message of tolerance written in memory of his wife and muse, famed mezzo-soprano Lorraine Hunt Lieberson, with…
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Broadway Theater Review: PICNIC (American Airlines Theater)
AS HARMLESS AS A PICNIC Roundabout Theater Company’s revival of William Inge’s Pulitzer Prize-winning play Picnic is the perfect show to take your mom to. I know because I did. An excellent cast – which includes Ellen Burstyn, Mare Winningham, and Reed Birney – solid staging, topnotch stagecraft elements, and a well-crafted, thoughtful script full…
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Bay Area Theater Review: TROUBLEMAKER, OR THE FREAKIN KICK-A ADVENTURES OF BRADLEY BOATRIGHT (Berkeley Rep)
STURM AND SLANG Every generation writes its own playbook for tackling the game of life. These new rules are encoded in language that the previous generation (parents, Old School, The Establishment) usually finds baffling. Flummoxing grown-ups with newfangled lingo (think: fresh, dope, rad and bitchin’) helps young people find a voice, establish an identity and…
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Los Angeles Theater Review: FREUD’S LAST SESSION (Broad Stage)
TALKING HEADS Mark St. Germain’s commercially successful two-hander Freud’s Last Session, suggested by The Question of God by Dr. Armand M. Nicoli, Jr., is about a speculative meeting between the titular founder of Psychoanalysis and Christian author/Oxford professor C. S. Lewis. Having cut its teeth at The Barrington Stage Company followed by a long run…
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Upcoming Los Angeles Music Feature: LOS ANGELES CHAMBER ORCHESTRA: MOZART’S REQUIEM (Royce Hall and Alex Theatre)
IN PRAISE OF MOZART’S REQUIEM I’ll never forget the first time I heard Mozart’s Requiem. I was wandering through the streets of Paris on a warm summer evening and I happened to stop at the magnificent Madeleine Church on the Place de la Concorde. Inside was a full orchestra with choir and soloists rehearsing the…
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Film/VOD Review: TELL YOUR FRIENDS! THE CONCERT FILM! (directed by Victor Varnado)
DOCUSTANDUP Victor Varnado and Liam McEneaney’s comedy documentary is simple and a little grungy, in tune with the unpretentious vibe at Tell Your Friends, a weekly indie show at Lolita Bar where alternative and mainstream comedians “workshop new material and feel free to fuck around” (Liam McEneaney, founder and host). After a bland opening musical…
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Los Angeles Theater Review: THE GRAND IRRATIONALITY (The Lost Studio)
A FINE MESS The Grand Irrationality: The title of playwright Jemma Kennedy’s romantic comedy refers to the concept found in astrology relating to ultimate chaos – e.g., the idea that sometimes the stars and the constellations are entirely out of whack, without order, or prone to nothing but random disorder. Of course, Kennedy’s interest is…
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Off-Broadway Theater Review: C’EST DU CHINOIS (Public Theater)
BREAKING THE LANGUAGE BARRIER The French expression “C’est du Chinois” means “It’s all Greek to me” – or, literally translated, “It’s Chinese.” The phrase is typically flippant and dismissive of cultural differences, marking a refusal to engage a linguistic barrier. Yet the play C’est du Chinois, conceptualized and directed by Edit Kaldor, creates a rather…
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