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Off Broadway Theater Review: MODERN TERRORISM (2econd Stage Theatre)
WHERE IS DR. STRANGELOVE WHEN YOU NEED HIM? The best thing about Joe Kern’s Modern Terrorism, or They Who Want To Kill Us and How We Learn to Love Them is its title. And if it bears a close resemblance to the title of a famous Stanley Kubrick satire, it is purely intentional. Indeed, before…
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Off Broadway Theater Review: HOUSE FOR SALE (The Duke on 42nd Street)
SOLD: ONE HOUSE. AT A DISAPPOINTING RATE. Since Daniel Fish has been certified a new genius by New York’s avant-garde elite, I am loath to label him a hoax on the basis of having seen just one of his productions, but House for Sale, the Jonathan Franzen essay which Fish has adapted and directed for…
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Theater Review: THE DOCTOR’S DILEMMA (A Noise Within)
JUST WHAT THE DOCTOR ORDERED Even though the legislation for a public health care option passed by Democratic majority in Congress, matters of wellness and proper treatment are anxieties that still plague the hearts, souls, and minds of all mortal individuals. It concerns us greatly because we hunger to make the most of our lives;…
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San Francisco Theater Review: AN ILIAD (Berkeley Rep)
BERKELEY REP HITS A HOMER It utterly astonishes that the epic tale of the Trojan War could be rendered with power and grace by a solo actor. The fact that one actor would have, and does have, the reserves to go for 100 unflagging minutes, bringing to life a litany of historical facts, names, dates,…
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Chicago Theater Review: THE OPPONENT (A Red Orchid Theatre)
A FELLOWSHIP IN THE RING The Opponent is a play about the gritty world of small time boxing. Brett Neveu’s world premiere two-hander at A Red Orchid Theatre explores the relationship between Tremont (aka Tre), a white, middle-aged, ex-boxer who operates a gym in Lafayette, Louisiana, and Donell, a young black fighter who works out in the…
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Chicago Theater Review: IN PIGEON HOUSE (Seanachaí)
I DON’T EVEN KNOW WHAT THE TITLE MEANS Every once in a while, a theater company falls in love with a script and simply must stage it. I can’t imagine any other reason that Seanachaí decided to present In Pigeon House, a surreal Vaudeville by Honor Molloy which, even with Brian Shaw’s vibrant staging, Patrick…
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Los Angeles Theater Review: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (Pacific Opera Project)
A CLOSE SHAVE The Pacific Opera Project’s production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street promises so much blood that before the curtain goes up three characters ask if the people in the first two rows might like to buy ponchos for one quid each. The ponchos aren’t really for sale…
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Chicago Theater Review: DUCK FOR PRESIDENT (Lifeline)
WHEN POLITICS GO FOWL All aboard! Duck is hitting the campaign circuit so be kind to your web-footed friends by taking the family out to see Duck for President; meanwhile, don’t forget to vote. Based on the popular 2004 bestseller by Doreen Cronin and Besty Lewin, Lifeline brings the farm to life in this quirky…
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Los Angeles Theater Review: YOU CAN’T TAKE IT WITH YOU (Antaeus)
A DELECTABLE CHESTNUT Kaufman & Hart’s You Can’t Take it With You has earned its place in the American canon as a great American chestnut, one of those charming, heartfelt comedies from the first half of the 20th century. You Can’t Take it With You is such a lovely and funny play that it has…
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Los Angeles Theater Review: A BRIGHT NEW BOISE (Rogue Machine Theatre)
HIS OWN PRIVATE BOISE We’re in Boise, Idaho, in the break room of an arts and craft chain store called Hobby Lobby. Two men appear on closed circuit television doing a sort of home shopping channel patter about their wares. (They also break the fourth wall and do the announcement about turning off cell phones…
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Off-Broadway Theater Review: THE FREEDOM OF THE CITY (Irish Repertory Theatre)
A BLOODY GOOD TIME Bloody Sunday is a 1972 incident in Derry, Northern Ireland, during which 13 civil rights protestors and bystanders were shot and killed by the British Army. Although the tragic events have been artistically immortalized in song, poetry, fine art, and even before in the theater, the Irish Repertory Theatre’s production of…
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Los Angeles Theater Review: SEMINAR (Ahmanson Theatre)
SEMINAR SEARCHES FOR MEANING The premise: four fiction writers have paid five thousand dollars each to participate in an exclusive seminar with a renowned teacher. Filled with witty wordplay, love triangles, and hints of something deeper, Center Theatre Group’s production of Theresa Rebeck’s writerly comedy Seminar is fun, colorful, and entertaining’”but ultimately offers emotionally lean…
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Chicago Theater Review: THE BOOK THIEF (Steppenwolf)
A DEATH OF FRESH AIR During the height of WWII in Germany, a recently orphaned adolescent girl named Liesel is taken in by a poor couple in The Book Thief, now receiving its world premiere production at Steppenwolf. Liesel finds solace in books, and, as a survival mechanism, has taken to stealing them, whether from the…
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Chicago Theater Review: NEIGHBORHOOD 3: REQUISITION OF DOOM (Strawdog)
THE DANGERS OF TECHNOLOGY – ON STAGE AND OFF Playwright Jennifer Haley is definitely onto something in her play Neighborhood 3: Requisition of Doom, now receiving its Chicago premiere at Strawdog. In a suburban neighborhood in Anytown, USA, the local teens have become addicted to an Xbox video game in which the dissociative kids can…
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Chicago Theater Review: ALL THAT JAWS (Theater Wit)
LATE NIGHT CHUB THAT’S HARD TO SWALLOW The only excuse for reviewing this 70-minute trifle is that they’re charging $20 to see it when it would be worth twice as much to pay to get out. Mired in forced rhymes and scansion, forgettable tunes, lame lyrics, grade-school props, seemingly improvised dialogue, and a plot that…
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Chicago Opera Review: SIMON BOCCANEGRA (Lyric Opera)
STAGNANT YET SATIATING Giuseppe Verdi wrote Simon Boccanegra in 1857, but it is the revised 1881 version which the Lyric Opera is presenting in a stiff yet satisfying production. After searching for his lost daughter (reappearing later as Amelia), Simon Boccanegra (Thomas Hampson) returns to Genoa to find the corpse of his lover and her vengeful…
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New York Cabaret Review: ANDREA MARCOVICCI: SMILE (Café Carlyle)
SMILE, THOUGH YOUR HEART IS BREAKING Andrea Marcovicci, who reinvented the torch song for a new generation, has looked our depression/recession straight in the face and decided that what she needs to do is to lift our spirits. In Smile, her current show at the Café Carlyle, Marcovicci’s toothy smile radiates the purest form of…
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Chicago Theater Review: WASTELAND (TimeLine)
A POWERFUL WASTELAND AT TIMELINE Wasteland is a two-character play but the audience only sees one in this drama about two American soldiers held as prisoners during the Vietnam War, now receiving a gripping world premiere at TimeLine. The other character is separated behind a wall in a connecting room. The rooms exist an in…
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Off-Broadway Theater Review: IN THE SUMMER PAVILION (59E59 Theatres)
WELL INTENTIONED, ILL-CONCEIVED Whispers of “pretentious” could be heard in the audience of Paul David Young’s new play In the Summer Pavilion, which doesn’t seem like a fair assessment. Calling a work pretentious suggests a certain lack of sincerity on the part of its creator, as if he’s more concerned with showing off his abilities…
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Off-Off-Broadway Theater Review: LOVE’S END (Abrons Arts Center)
A POETIC BREAKUP The plot of writer/director Pascal Rambert’s play Love’s End is astoundingly simple. A long-term romantic relationship finally reaches a breaking point. The man confronts the woman in an extended soliloquy, after which the woman turns the tables and has her say. This familiar drama nonetheless plays out with incredible intensity. Love’s End…
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