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Chicago Theater Review: WE THREE LIZAS (Steppenwolf)
A TASTY POTPOURRI PASTICHE IS MORE PASTRY THAN PORRIDGE Billed as “a holiday bender” (as in gender), About Face Theatre’s 90-minute confection includes a 45-minute “cocktail hour” pre-show with guest performers warming up the crowd at the Steppenwolf Garage. Except that there’s already more heat than light in this lavender musical version of A Christmas…
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Los Angeles Theater Review: TWIST YOUR DICKENS (Kirk Douglas Theatre)
SECOND CITY OFFERS A LUMP OF COAL * * * * * * * * * * * * * * * Scene 1’”INTERIOR OF SPOOGE AND FARLEY’S CRITIC HOUSE (EVERWHEEZER SPOOGE, an irascible, irritated editor-in-chief and theater critic, is hunched over his laptop in his impoverished surroundings, trying to finish a review of Twist…
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Los Angeles Theater Review: CONEY ISLAND CHRISTMAS (Geffen Playhouse)
PALE-Y BY COMPARISON On paper, it must have seemed like such a great idea: create a new holiday show as an alternative to the onslaught of Christmas Carols and Nutcrackers, have Pulitzer-winning Donald Margulies adapt an ecumenical holiday story by literary darling, Grace Paley, add a touch of meta-nostalgia by including in the press release…
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Off-Off-Broadway Theater Review: SPEAKING IN TONGUES (Theater 54)
HALF & HALF Australian Made Entertainment’s new production of Andrew Bovell’s well-crafted relationship thriller Speaking in Tongues really gets going in the second act. The play, directed by Bryn Boice, tells the stories of nine individuals (played by four actors) whose lives Mr. Bovell cleverly intertwines, giving us a cross-section of problems that arise in…
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Los Angeles Concert Review: LOS ANGELES MASTER CHORALE (Walt Disney Concert Hall)
LAMC SHINES IN A HISTORICALLY INFORMED PERFORMANCE OF MONTEVERDI’S VESPERS OF 1610 After Los Angeles Master Chorale’s (LAMC) astoundingly successful performance of Claudio Monteverdi’s Vespers of the Blessed Virgin (commonly known as the Vespers of 1610, having been published in that year), I felt the same rejuvenation and relaxation that would follow a luxuriant all-day…
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Los Angeles Concert Review: LOS ANGELES CHAMBER ORCHESTRA (with guest conductor Benjamin Wallfisch at Royce Hall)
BENJAMIN WALLFISCH DEBUTS HIS FIRST VIOLIN CONCERTO WITH LACO Benjamin Wallfisch, a burgeoning conductor and composer known primarily for his work on film and television scores, made his Los Angeles Chamber Orchestra (LACO) debut conducting the world premiere of his own Violin Concerto. Guest conductor Wallfisch towered over the podium at UCLA’s Royce Hall, and led…
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Chicago Opera Review: DON PASQUALE (Lyric Opera)
D’ARCANGELO DONS A NEW LOOK After presenting a successful string of tragic operas this season, Lyric Opera flexes its comedic muscles with a charming production of Gaetano Donizetti’s opera buffa Don Pasquale. Although this Bel Canto Era opera has been part of Lyric’s repertoire for almost 50 years, this is the first time they have…
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Chicago Theater Review: IT’S A WONDERFUL LIFE: THE RADIO PLAY (American Theater Company)
IT’S STILL WONDERFUL In just a few seasons, It’s a Wonderful Life: The Radio Play has ascended to the top of the Christmas tree of essential local holiday entertainments. A show that could be corny and sappy turns out to be a triumph of warmth, humor, and nostalgia. There are two versions of It’s a…
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New York Opera Review: DON GIOVANNI (Metropolitan Opera)
EXHAUSTING BUT ENJOYABLE LUST You’ll have to suspend disbelief, endure belaboring, and excuse doltish behavior to enjoy the Metropolitan Opera’s production of Don Giovanni, but once you disengage from sense and allow sensibility to take over, you’re bound to have a fun time. Produced lavishly in two acts with a running time of 3 hours…
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San Diego Theater Review HICKORYDICKORY (Moxie Theatre)
WASTED TIME In Marisa Wegrzyn’s Hickorydickory, all humans are born with a mortal clock encoded with the date and time of their death. This mortal clock takes the form of an actual pocket watch. For most people, it goes unnoticed because it is hidden behind their heart. But for the “unfortunate few” the watch is…
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Chicago Theater Review: ANNIE (Paramount Theatre in Aurora)
IT’S OK TO BELIEVE THAT THE SUN WILL COME OUT TOMORROW Director Rachel Rockwell once again astounds us with an incredibly entertaining rendition of Annie at the Paramount Theatre in Aurora, IL. Annie (book: Thomas Meehan, music: Charles Strouse, lyrics: Martin Charnin) is a musical based on the popular Harold Gray comic strip Little Orphan…
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Off-Broadway Theater Review: THE BOSS (The Metropolitan Playhouse)
REIGNING SUPREME! Monay, Monay, Monay, Monay, MONAY! If the seemingly heartless Irish tycoon Michael R. Regan (a fantastic Dave Hanson) had a theme song in the beginning of Edward Sheldon’s 1911 melodrama The Boss, it would be the 70’s O’Jays’ classic, “For the Love of Money.” Despite a 60-year gap in storylines and period, the…
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Chicago Theater Review: YOU NEVER CAN TELL (Remy Bumppo)
A SKIRMISH OF WIT THAT CAN ONLY BE SHAW In 1896, George Bernard Shaw planned to beat Oscar Wilde at his own playful plotting and acerbic wit, so he wrote his answer to the recently successful The Importance of Being Earnest. Based on how often Shaw’s You Never Can Tell’”which has a title suggesting a…
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Theater Review: INTIMATE APPAREL (Pasadena Playhouse)
BEST TO LOOK AT THE QUILT AS A WHOLE, NOT THE INDIVIDUAL ELEMENTS Intimate Apparel is a delicate but persuasive play about Esther (Vanessa Williams), a gifted black seamstress in 1905 who begins a series of missives with George (David St. Louis), a strapping, fetching, and younger Caribbean man working on the Panama Canal. The…
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Los Angeles Theater Review: ONE NOVEMBER YANKEE (NoHo Arts Center in North Hollywood)
SIBLINGS ON A CRASH COURSE IN ONE NOVEMBER YANKEE It’s a no brainer to assume that with two marquee names (Loretta Swit and Harry Hamlin) and the backing of the multi-award winning NoHo Arts Center Ensemble that One November Yankee would be a sure bet to take off and soar to great heights, but even…
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Los Angeles Theater Review: SLIPPED DISC (Son of Semele Theater)
SLIPPED DISC NEEDS A STRONGER SPINE The mission of Green Card Theatre is to expose Los Angeles audiences to plays and playwrights from around the world. Their inaugural production entitled Slipped Disc: A Study of the Upright Walk by renowned German scribe Ingrid Lausund with translation by Henning Bochert is a mixed bag of workplace…
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Los Angeles Theater Feature: GATZ (REDCAT)
GREAT F. SCOTT! REDCAT’S GOT GATZ A phenomenon is arriving at the Roy and Edna Disney Cal Arts Theatre (REDCAT) this week in Los Angeles. I promise that once its 9-performance run is over on December 9, the buzz about Elevator Repair Service’s Gatz will have seismically traveled to your doorstep, and you will kick…
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Theater Review: SISTER ACT (National Tour)
NUNBEARABLE If there’s one thing I hate, it’s to see a classic movie adapted for the stage for no apparent reason. Instead of transferring the heart and sassiness that made the movie Sister Act such a classic film, the makers of the Broadway musical, now on its national tour at the Auditorium Theatre, decided to…
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Los Angeles Theater Preview: CONEY ISLAND CHRISTMAS (Geffen Playhouse)
CHRISTMAS ISLAND With the superfluity of Christmas-themed theater descending upon America like a Biblical plague, there is one play which is opening this week that has intrigued and even excited me for both personal and critical motives: Donald Margulies’ world premiere, Coney Island Christmas, commissioned by and playing at the Geffen Playhouse. This will be…
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Los Angeles Theater Review: CALL ME MADAM (Musical Theatre Guild)
CALL ME SLACKJAWED It’s amazing what critics and audiences alike are willing to forgive when they’re in the presence of a true star. Regardless of some bouncy and hummable Irving Berlin tunes in Call Me Madam, the book by Howard Lindsay and Russel Crouse is basically a dog. Based on Perle Mesta, the millionairess political…
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