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Film Review: ANNA KARENINA (directed by Joe Wright)
WEIGHED DOWN BY GLITTERING JEWELS Over-conceived and under-emoted, Joe Wright’s experimental Anna Karenina is art-directed to within both an inch of brilliance and an inch of death. This version of the Tolstoy novel indulges the British in three of their favorite pastimes: Stage, adapting novels, and pretending they’re Russian without actually performing Russian accents (how…
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Los Angeles Theater Review: TEA, WITH MUSIC (East West Players)
LIKE ADDING MILK TO GREEN TEA, A GREAT PLAY IS SPOILED BY ADDING MUSIC. Post World War II Era in America isn’t a red, white, and blue haven with a backyard and a Buick waiting for everyone who wants to work. While the newsreels spun wildly about the success of the Marshall Plan, the development of…
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Los Angeles Theater Review: A CHRISTMAS TWIST (Victory Theatre Center)
PLEASE SIR, WE WANT SOME MORE SeaGlass Theatre only does one show a year, which is remarkable, since they’re such a spirited bunch. For instance, it’s a shame to miss Paul Stroili any time he’s onstage: I’ve seen him do outrageously good work in good productions, like the last SeaGlass offering, Steven Berkoff’s Kvetch –…
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Off-Broadway Theater Review: FIGARO (Pearl Theatre)
BEAUMARCHAIS MARCHES ON The Pearl Theater’s choice for its first production at its new home on 42nd Street is a new adaptation of Pierre Caron de Beaumarchais’ 1778 play The Marriage of Figaro. In many ways it is an inspired one, and should please both the audiences who filled Pearl’s long time home in Greenwich…
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Los Angeles Opera Review: LA BOHÈME (Pacific Opera Project at the Highland Park Ebell Club)
HIPSTER OPERA LA Opera should take note of Pacific Opera Project. The upstart company’s edgy productions explode popular perceptions of what opera is and how it should be performed. Pacific Opera Project takes this typically elite art form and strips it down to its barest essentials: stunning music and simple, enjoyable stories. Its latest production,…
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Los Angeles Theater Review: UNTITLED WARHOL PROJECT (Odyssey and Caminito Theatres)
SILK-SCREEN DEEP Even though icon Andy Warhol passed away twenty-five years ago, his legacy remains elastically strong in all its plastic nature; a man very “American” for being of the culture, by the culture, and for the culture. Many imitate the illustrious imitator hoping to acquire fame for a little longer than just fifteen minutes….
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Chicago Theater Review: WELCOME HOME, JENNY SUTTER (Next Theatre Company)
DOWN HOME TO HEAL UP It’s hard to make healing feel dramatic. But that’s the challenge to which Julie Marie Myatt mostly rises in this engaging Midwest premiere. In 90 minutes she depicts in fragments’”since these things must be done delicately’”the beneficent aftermath of a haunted veteran’s return to California. Jessica Thebus’ painstaking but pleasure-giving…
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Off-Off-Broadway Theater Review: GARDEN OF DELIGHTS (Theater for the New City)
DARK AND DELIGHTFUL A liberatingly surreal and exquisitely poetic masterwork, Fernando Arrabal’s Garden of Delights is a sinister fairytale that concerns itself with the inner struggles of Lais, a famous actress living in a secluded castle with only her sheep and a small, grotesque, ape-like halfwit she mostly keeps locked in a cage. Ildiko Nemeth,…
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Chicago Theater Review: POTTED POTTER (Broadway Playhouse)
HOGWARTS AND ALL The Harry Potter parody called Potted Potter is the joint creation of a couple of Englishmen named Daniel Clarkson and Jefferson Turner (Dan and Jeff on the stage). The duo once worked for the British Broadcasting Corporation’s children’s network, which explains a lot. Potted Potter advertises that it will appeal to adults…
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Chicago Music Review: CHICAGO YOUTH SYMPHONY ORCHESTRAS’ FALL CONCERT (Symphony Center, Orchestra Hall)
AN OCCASION WHERE YOUTH IS NOT WASTED ON THE YOUNG The Chicago Youth Symphony Orchestras (CYSO) consists of more than 100 musicians. They’ve received an international reputation as a premier orchestral ensemble, and recently performed at the 2012 Ryder Cup at Medinah Country Club. At their Fall Concert in Orchestra Hall, the youth performers file to their chairs…
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Chicago Theater Review: JAMES JOYCE’S THE DEAD (Court Theatre)
ANYTHING BUT DEAD James Joyce is not usually considered a source of Christmas cheer, but the great Irish author did write one Christmas piece of sorts, a short story called The Dead that appeared in his story collection Dubliners. The tale was adapted into a musical that had a decent run off and on Broadway…
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San Diego Theater Review: A HAMMER, A BELL AND A SONG TO SING (San Diego Repertory Theatre)
A FEW PROTESTS… Todd Salovey’s revue of mostly American songs of protest is buoyed by a fiercely energetic, multi-talented quartet of singers and musicians: Dave Crossland, Jim Mooney, Vaughn Armstrong, and the redoubtable Lisa Payton. When Payton hits the money notes it’s enough to pop your sternum from its rib cage. But the narrative, the…
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Off-Broadway Theater Review: THE GOOD MOTHER (The New Group)
A BIG YARN AND A BIGGER YAWN In theory and concept, Francine Volpe’s The Good Mother has all the fixins’ for a juicy, if not compelling drama: diverse, colorful characters, goofy one-night stands, 12-step amends, off-stage crying, and pasts that can’t seem to be outrun. Despite all of this and more, the lazy, anti-climactic, and…
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Los Angeles Theater Review: MRS. MANNERLY (Theatre 40)
WHAT THEATRE 40 NEEDS IS A GUIDE TO AN EXCRUCIATINGLY CORRECT PRODUCTION Miss Manners, the alter-ego of writer Judith Martin, is my heroine. Her “Guide to Excruciatingly Correct Behavior” is witty, practical, and is about a lot more than table settings’”though she certainly instructs in dining service í la russe, which entails fourteen courses and…
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Chicago Theater Review: HELLCAB (Profiles)
WORTH THE FARE Hellcab opened in Chicago in 1992 for a 12-performance run and the immediate audience buzz had the show playing for the rest of the decade. Now it is is back at the Profiles Theatre to celebrate the show’s 20th anniversary. To the legion of playgoers who flocked to the original production for…
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Los Angeles Theater Review: ANNA LUCASTA (Los Angeles Theater Center)
BAD GIRL DONE GOOD Here’s a play with a fascinating history for you. Early-mid 20th century Chicago playwright Phillip Yordan originally intended this play to be set in the Polish American community, but when he couldn’t find a producer, he re-wrote it for the American Negro Theater, which, in its famous 1944 production, carried the…
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Chicago Theater Review: MY ONE AND ONLY (Marriott Theatre)
RETRO GERSHWIN STILL BESTS TODAY’S STANDARDS Like the unsurpassable Crazy for You, My One and Only is more than more than a dozen recycled Gershwin tunes. In the spirit of those daffy Jazz Age musicals and Gershwin’s own Princess Theatre offerings (here the model is Fred Astaire’s 1927 romp Funny Face), this Tony-winning song-and-dance spectacle,…
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Los Angeles Theater Review: HAMLET (The Broad Stage in Santa Monica)
LEAN HAMLET ON THE BROAD STAGE Shakespeare’s Globe’s touring production of Shakespeare’ Hamlet is currently on the boards at the elegant Broad Stage in Santa Monica, CA. Written in a time of great upheaval in Britain after Elizabeth’s reign, Hamlet falls neatly into the family of Jacobean revenge tragedies. Shakespeare most probably wrote Hamlet as…
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San Francisco Opera Review: TOSCA (SF Opera)
AN OPENING NIGHT SURPRISE It’s one of those instances that may just be talked about in the San Francisco opera circle for years to come. In Act One of Puccini’s Tosca (1900) at San Francisco Opera, we were treated to the glorious and beautiful strains of Romanian soprano Angela Gheorghiu, and although she grew in…
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Off-Broadway Theater Review: MIES JULIE (St. Ann’s Warehouse)
HOT AUGUST STRINDBERG NIGHT St. Ann’s Warehouse inaugurates its new space with an often gripping production of Mies Julie, adapted to post-apartheid South Africa. A dense fog sweeps over the earthen, stone-tiled kitchen of an old estate in the Eastern Cape Karoo. These weathered quarters (designed by Patrick Curtis) provide the heated setting for a…
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