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Los Angeles Theater Review: AND THEN THERE WERE NONE (Actors Co-op)
THEY’RE DROPPING LIKE FLIES AT ACTORS CO-OP Since it was first published in1939, Agatha Christie’s And Then There Were None (originally titled Ten Little Niggers and quickly renamed for the 2nd printing) has sold over 100 million copies, making it the best-selling mystery novel of all time. In 1943 Dame Aggie adapted the novel for…
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Off Broadway Theater Review: HARPER REGAN (Atlantic Theater Company)
THE JOURNEY HOMEWARD The title character in Simon Stephens’s freshly observed new play, Harper Regan, is at a crossroads in her life, in the midst of what we used to call a midlife crisis. Her father is dying. Her boss (a slyly direct Jordan Lage) won’t give her the time off to see him. Her…
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Cabaret Review: JOHN KELLY (Joe’s Pub)
WOE AND BEHOLD When John Kelly descends into the regions of darkness, he does so with a soaring intensity that is intoxicating and never depressing. In his new cabaret act at Joe’s Pub, Kelly – in a tight dark jacket, its lapels often clinging to his neck; and a kilt made of black leather strips,…
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Los Angeles Theater Review: JUSTIN LOVE (Celebration Theatre)
JUSTIN IS JUST IN THE MIDDLE The best thing about Justin Love, Celebration Theatre’s 30th season opening production, is the fun of watching the stylish performance of Grant Jordan, who gives his twink role a seriously meta spin that makes you laugh out loud. Like most of the characters in the show, he lusts after…
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Chicago Theater Review: KINKY BOOTS (Bank of America Theatre)
GIVE IT THE BOOT UNTIL IT WORKS OUT THE KINKS Prepare yourself for some disparate reviews of Kinky Boots, which had its pre-Broadway tryout in Chicago’s Bank of America Theater last night. One camp will see the sterling talent and the highly expensive glitz and glamour that many Broadway outings need to disguise mediocre writing and…
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Chicago Theater Review: AFTER (Profiles)
AFTERGLOW It’s with good reason that Chad Beckim’s After has been extended at Profiles Theatre. Yes, Beckim’s script undoubtedly tries to cover too much territory as he tells the tale of Monty, who has been exonerated after serving 17 years for a trumped-up charge of rape. Yet even with faults in both the playwriting and…
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Chicago Theater Review: TRAINSPOTTING USA (Theater Wit)
INTO THE TOILET The 1996 film Trainspotting was notorious for its spare-no-sensitivity, take-no-prisoners look at Edinburgh heroin addicts. Based on Irvine Welsh’s bottom-feeding novel, it traced the tailspins of a fractured family of junkies. Always meaning to go clean, these loud losers would do anything for their next fix: they stole and sold electronics, drugs…
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San Diego Theater Review: AROUND THE WORLD IN 80 DAYS (Lamb’s Players Theatre)
ADAPTATION NEEDS TO MAKE EVERY DAY COUNT Jules Verne channeled 19th century technological progress into wondrous stories that fueled the world’s imagination. He took us to the center of the earth, to the bottom of the sea, to the moon and, in perhaps his most popular adventure, around the world in 80 days. Even in…
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Off-Broadway Theater Review: LAST MAN CLUB (One Sheridan Square).
THE JOADS AT HOME Playwright Randy Sharp’s one act drama takes place during the Dust Bowl catastrophe of the 1930s, when a monstrous drought descended on the central plain states turning fertile fields and prairies into alkali hellpits. Of course, most of us are familiar with Steinbeck’s great novel, The Grapes of Wrath, which followed…
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Chicago Theatre Review: THE ARSONISTS (Trap Door)
OXYGEN? YES. FUEL? YES. HEAT? NO. There are arsonists who want to burn down a town, and they want the citizens to help. In Max Frisch’s absurdist play, a city has whipped itself into a frenzy over manmade fires, but they won’t acknowledge their complicity in the conflagrations. And while they know theoretically how to stop the arsonists, they…
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San Francisco Theater Review: BLOODY BLOODY ANDREW JACKSON (SF Playhouse)
SHOOTING HISTORY IN THE NECK With the exception of Hedwig and the Angry Inch and its fierce gender-bending genius, and Rocky Horror Picture Show (sublime sexy silliness that nudged a million budding transvestites into their corsets and fishnets just that much sooner), the genre of rock musicals, in general, is an overrated bore. My verité-besotted…
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Off-Off-Broadway Theater Review: NATASHA, PIERRE, & THE GREAT COMET OF 1812 (Ars Nova)
DRINKS WITH A RAKE Find the nearest bottle of vodka and drink up. Ars Nova’s world premiere of Natasha, Pierre & The Great Comet of 1812 – an electro-pop musicalization of a self-contained section of Tolstoy’s War and Peace – offers up a tantalizing environmental experience. Dramaturgically, however, this new musical wouldn’t hold up in…
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Los Angeles Concert and Tour Review: AN EVENING WITH DAVID BYRNE & ST. VINCENT (SEGERSTROM CONCERT HALL)
BYRNE THE MUSICIAN VS. BYRNE THE ENTERTAINER “Hello, People of Orange,” David Byrne iterates plainly to the Segerstrom Concert Hall audience. The no-frills greeting brings forth a low-thrills evening devised to promote the album Love This Giant, his collaborative effort with St. Vincent (Annie Clark). Swapping their trademark eclectic, electric, guitar-centric rock for horn-heavy, stiff…
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Off-Broadway Theater Review: THE OLD MAN AND THE OLD MOON (The Gym at Judson)
EXTRAORDINARILY BEAUTIFUL PIGPEN PROJECT PigPen Theatre Co.’s The Old Man and the Old Moon is guaranteed to gently pluck at your heartstrings. An enchanting fable told through shadow puppetry, movement, music, and theatrical lighting, this ensemble play seems aesthetically filtered through Instagram. A warm glow emanates from the stage of the Gym at Judson, where a…
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Los Angeles Theater Review: CREATION (Theatre @Boston Court in Pasadena)
A PRO-CHOICE ARGUMENT Michael Michetti’s staging of Kathryn Walat’s Creation will, I hope, long hold the record in my experience for Most Literal Production. This decidedly non-realistic play does much to invite such a treatment: its awkward, unhelpful structure features many redundant soliloquies (a trope in which the director has his actors engage the audience…
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Off-Off-Broadway Theater Review: HERESY (The Flea Theater)
TIRED SATIRE “Satire,” as George S. Kaufman once famously said, “is what closes Saturday night.” Though written in jest, it has served as an admonition for playwrights in pursuit of satire. In this age of political unrest, where sharp satire of our cultural differences is not only necessary but essential (and hardly forthcoming), we crave…
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Off-Off-Broadway Theater Review: I HATE FUCKING MEXICANS (The Flea Theater)
PINCHES GRINGOS! The aliens have arrived. Mexicans, that is. Fucking Mexicans. And fucking Nigerians. Small town Southern girl Tamara-Lee can’t seem to decide which she hates more. I Hate Fucking Mexicans is a zany satire of cultural stereotypes, and no one is exempt from the raucous critique – particularly the fucking Americans like Tamara-Lee and…
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Los Angeles Theater Review: THE BEAT GOES ON! (Arena Stage in Hollywood)
SASSY SENIORS PROVE THE BEAT GOES ON FOR THE YOUNG AT HEART At 80 years young, Jackie Goldberg, a.k.a. The Pink Lady, is on a mission. After becoming a widow at 70 she created a series of seminars entitled “Get Up, Get Out, & Get A Life” to encourage baby boomers and seniors to follow new…
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Chicago Theater Review: SMOKEY JOE’S CAFÉ (Theo Ubique)
SMOKIN’ When Smokey Joe’s Café opened on Broadway in 1995, the critics were only mildly impressed, and suggested that this revue of rock “n” roll songs composed by Jerry Leiber and Mike Stoller would be better served by a small club setting than a large Broadway theater. Audiences thought otherwise, and the show ran on Broadway…
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Chicago Theater Review: BROKEN GLASS (Redtwist Theatre)
EVIL WILL TRAVEL In his great works, like Death of a Salesman and The Crucible, and even in his lesser efforts, such as Broken Glass, Arthur Miller forces us to confess a greater loyalty than those based on our obvious ties to family, class, and country. He asks us to honor our ideals, and further challenges…
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