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  • Off-Off-Broadway Theater Review: POSITIONS (Roy Arias Studio Theater)

    By Dmitry Zvonkov | October 15, 2012
    in

    PUT IN AN UNCOMFORTABLE POSITION Anticipating having to review Owen Dunne’s new play Positions, the feeling I had while watching it  – knowing the production to have travelled 600 miles to New York City and seeing it performed on a Saturday night to a near-empty house  – was similar to that of watching a roach trying to…

  • Stage and Cinema Interview: GRANT GERSHON (Music Director of Los Angeles Master Chorale)

    By Tom Chaits | October 15, 2012
    in ,

    L.A. MASTER CHORALE’S GRANT GERSHON PIPES UP The Los Angeles Master Chorale kicks off its 49th season on Sunday, October 21st at the Walt Disney Concert Hall with an organ and choral extravaganza featuring local guest organists Paul Meier (St. James Episcopal Church) and Kimo Smith (1st Presbyterian Church of Hollywood).   Joining the Chorale in…

  • Chicago Theater Review: PONTYPOOL (Strawdog Theatre Company)

    By Zach Freeman | October 15, 2012
    in

    THE LANGUAGE OF THE ZOMBIE Over a decade ago, author Tony Burgess penned the experimental novel Pontypool Changes Everything, which featured what could be called “zombies” but focused more on semiotics in a highly stylized and sometimes off-putting way. A few years ago, Burgess adapted that novel into a screenplay for the well-received film Pontypool,…

  • Chicago Theater Review: NIGHT OVER ERZINGA (Silk Road Rising)

    By Lawrence Bommer | October 14, 2012
    in

    THE FORCE OF FAMILY Looming over this long multi-generational family epic by Adrianna Sevahn Nicholas is the shadow of genocide’”the 1915 slaughter by Turks of 1.5 million Armenians, a precursor, as the Nazis admitted, to their concept of a “final solution.” It haunts the matriarch of an extended family of Armenian expatriates, even after they’ve…

  • Chicago Theater Review: ELEKTRA (Lyric Opera)

    By Kristin Walters | October 13, 2012
    in

    OPERA WITH A TASTE FOR BLOOD The word “opera” normally elicits memories of sound’”an orchestra roiling, an aria peaking’”but in an effort to innovate the public’s preconceived notions of the art form, Lyric presents both a musically entrancing and visually stunning production of Richard Strauss’s Elektra. Images of blood, destruction — and androgyny — will…

  • Off-Broadway Theater Review: HIM (59E59 Theaters)

    By Paul Birchall | October 13, 2012
    in

    THE FAMILY THAT STAYS TOGETHER HATES TOGETHER The legacy of emotional damage inflicted on children by their parents is one of the main themes in Him, a new play by Daisy Foote – but the subtext is given an even more delicious dimension by the fact that Foote herself is the daughter of the magnificent…

  • Los Angeles/Regional Theater Review: PINKALICIOUS (Lewis Family Playhouse in Rancho Cucamonga)

    By Kim Kautzer | October 13, 2012
    in ,

    TICKLED PINK OK. I admit it: I’m a bad grandma. With three granddaughters between the ages of four and seven, I’ve never read a single Pinkalicious book. I felt unprepared, then, to join a theater audience comprised mostly of preteen girls, dressed to the nines and all aglitter in pink dresses and sparkly crowns for…

  • Documentary Film Review: BROOKLYN CASTLE (directed by Katie Dellamaggiore)

    By Jason Rohrer | October 13, 2012
    in

    CHECK.   PLEASE. Katie Dellamaggiore’s first feature, Brooklyn Castle, is an engaging, feel-good, get-angry documentary of the sort you can see just about everywhere these days.   It’s better made than many, and has fairly engaging subjects under its lens.   It encourages outrage against a status quo while celebrating the human spirit that can overcome it.   It…

  • Off Broadway Theater Review: CLOSER THAN EVER (York Theater)

    By Paul Birchall | October 13, 2012
    in

    SOPHISTICATED SONGWRITING IN CLOSER THAN EVER One might well approach this musical about growing into middle age with some trepidation.   The fact is that plays about midlife usually tend to possess more than a whiff of self indulgence – they’re either full of characters who spend their time whining about the fact that they aren’t…

  • Theater Review: KRAPP’S LAST TAPE (Kirk Douglas Theatre in Culver City)

    By Jason Rohrer | October 12, 2012
    in ,

    LIKE THE LAST, AND THE ONE BEFORE THAT About twenty minutes into John Hurt’s solo performance Wednesday, the character Krapp’s voice on tape said, “Extraordinary silence tonight.” And as the live actor playing Krapp and the capacity house at the Kirk Douglas Theatre listened intently to this recorded mention of silence, a real live watch…

  • Chicago and New York Theater Review: MEDEA’S GOT SOME ISSUES (Teatro Luna in Chicago and the Solo Festival in New York)

    By Paul Kubicki | October 12, 2012
    in ,

    YOU THOUGHT THAT YOU HAD ISSUES? Your favorite Euripidean diva has some serious beef with just about everything.   In Emilio Williams’ new one woman show, Medea’s Got Some Issues, she’s pissed at Jason for screwing the princess, at Americans for not recognizing that she’s actually Latina (and casting girls from Jersey in her role instead),…

  • Off-Broadway Theater Review: NORTH (59E59)

    By Sarah Taylor Ellis | October 12, 2012
    in

    NORTH GOES SOUTH As a child, I flew to the stars with Antoine de Saint-Exupéry’s The Little Prince – a work of youthful wonder tinged with adult melancholy, loneliness, and wistful philosophical musings. In 1939, Anne Morrow Lindbergh – a novelist in her own right, as well as wife of pilot Charles Lindbergh – found…

  • Chicago Theater Review: 42ND STREET (Theatre at the Center in Munster, IN)

    By Tony Frankel | October 12, 2012
    in ,

    YOU DEFINITELY WANT TO MEET THESE FEET I was led to believe, based on having seen both the original Broadway version of 42nd Street and the humongous Broadway revival, that the slight jukebox musical demanded Busby Berkeley-sized sets and a chorus of 25 toe-tapping tootsies. But as Chicago theater proves time and again, it is…

  • Film Review: ARGO (directed by Ben Affleck)

    By Kevin Bowen | October 12, 2012
    in

    WE’LL ALWAYS HAVE ARGO Sixty years ago, at a time of worldwide turmoil, a script that had bounced around finally made it into production. It involved the tangled lives of desperate political refugees trying to escape political danger to America. It ended at an airport, where a handful of classic movie characters decided their problems…

  • Chicago Theater Review: BLOODY BLOODY ANDREW JACKSON (Bailiwick)

    By Dan Zeff | October 12, 2012
    in

    NOT AS BLOODY AS THE TITLE IMPLIES Bloody Bloody Andrew Jackson is an audacious rock musical tracing the life and times of Andrew Jackson, the 7th president of the United States. The show is receiving its local premiere by the Bailiwick Chicago Theater, and at its best moments the production is a stimulating, challenging, theatrical,…

  • Off-Off-Broadway Theater Review: HERESY (The Flea)

    By Dmitry Zvonkov | October 11, 2012
    in

    AN AMUSING TRIFLE A.R. Gurney’s entertaining, dynamic but trivial new play Heresy reinvents the story of Jesus Christ (in the play he’s called Chris), changing the setting from 33 A.D. Jerusalem to America in the not-so-distant future. Jim Simpson’s solid direction, engaging performances, clever dialogue, well-articulated ideas and an abundance of jokes manage to distract…

  • Chicago Dance Feature: HUMAN LANDSCAPES (Joffrey Ballet)

    By Tony Frankel | October 11, 2012
    in

    THE LANDSCAPE OF THE SOUL Those who were lucky enough to witness the Joffrey Ballet’s Spring Desire program this year were treated to what  may well  have been the greatest dance program in years.   The Joffrey has reached a pinnacle of form, beauty, and transplendent theatricality that  other dance companies’”indeed, most theater events’”should strive for. Now, with their…

  • Chicago Theater Review: BLACK WATCH (National Theatre of Scotland)

    By Lawrence Bommer | October 11, 2012
    in ,

    KILLER’S REMORSE It’s a bit haunting that Black Watch is performed in a National Guard armory where soldiers, like the Scottish laddies depicted in Gregory Burke’s combat pageant, trained before being sent to the trenches of World War I. This internationally acclaimed touring production from the National Theatre of Scotland could hardly find a more…

  • Theater Review: BLACK N BLUE BOYS/BROKEN MEN (Goodman Theatre in Chicago)

    By Tony Frankel | October 10, 2012
    in ,

    A STORY TO TELL Writer/Actress Dael Orlandersmith has many stories to tell in her one-person show at the Goodman, but they all encompass the same theme: abuse. Specifically, involving boys and men, both the abusers and those who have been abused’”physically and sexually. The fictional characters are channeled through Orlandersmith, a powerful writer who is…

  • Los Angeles Theater Review: ROOM 105: THE HIGHS AND LOWS OF JANIS JOPLIN (Macha Theatre)

    By Jesse David Corti | October 10, 2012
    in

    JOPLIN TRIBUTE NEEDS TO TRY, NOT A LITTLE BIT, BUT A LOT HARDER 42 years ago, Janis Joplin joined fellow rock visionaries Jimi Hendrix and The Rolling Stones’ Brian Jones in the “27 Club,” a term  reserved  for popular musicians who died tragically at 27 years of age’”typically by way of drug-related overdose (Kurt Cobain and Amy…

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