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Chicago Dance Review: GIORDANO DANCE CHICAGO (Harris Theater)
KINETIC COOL IN MILLENNIUM PARK As evidenced at last night’s opening, Giordano Dance Chicago’s Fall Engagement’”a two-night gig at the Harris Theater’”is a major installment in the company’s very welcome 50th anniversary season. The most exciting part of the program is the world premiere of company member Autumn Eckman’s G-Force. Almost living up to its…
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Off-Broadway Theater Review: HOUSE FOR SALE (The Duke on 42nd Street)
HOUSE NOT AT HOME IN THE THEATER My theatergoing companion left the Duke on 42nd Street last night with tears welling in her eyes. She spent much of the subway ride home taking deep breaths to recover from Transport Group’s House for Sale, adapted from Jonathan Franzen’s personal essay about selling his childhood house after his mother’s…
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Los Angeles Theater Review: I OUGHT TO BE IN PICTURES (Falcon Theatre)
I OUGHT TO BE IN PICTURES OUGHT TO BE BETTER You would be hard-pressed to find anyone proclaiming I Ought To Be In Pictures to be Neil Simon’s finest hour, but even with its shortcomings it deserves much better treatment that it is currently receiving at the Falcon Theatre in Burbank. Unlike his mid-60’s smashes…
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Film Review: CLOUD ATLAS (directed by Tom Twyker, Lana Wachowski, and Andy Wachowski)
MAP OF THE AGES Cloud Atlas, the latest effort from the Wachowskis, wraps a half-dozen stories, settings, and groups of characters into one film. But it doesn’t matter how many stories they do, their song remains the same. The Matrix helmers have hit the same point for a while now: Liberty is the freedom from…
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Chicago Theater Review: THE RECKLESS, RUTHLESS, BRUTAL CHARGE OF IT, OR THE TRAIN PLAY (Oracle Theatre)
A RUSH TO DOOM As the breathless title suggests, there’s nothing placid or contained about Liz Duffy Adams’ hyper-poetic hybrid of interior monologues and frantic dialogue. The metaphorical/microcosmic setting is a speeding American train whose eight highly driven passengers represent Western culture literally hurtling to some unsought doom. A Midwest premiere, Adams’ “comi-threnody” gives Will…
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Los Angeles Theater Review: FAITH: PART ONE OF A MEXICAN TRILOGY (Los Angeles Theatre Center)
A SENTIMENTAL JOURNEY Faith by Evelina Fernandez, directed by Jose Luis Valenzuela, is a sensitive portrayal of a Mexican-American family in the 1940’s. Good performances and a smart use of music ultimately succeed in transforming a spotty episodic tale into a meaningful drama. Two melodramatic vignettes in Mexico seem to serve as a prequel, planting…
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Off-Broadway Theater Review: A SUMMER DAY (Rattlestick Playwrights)
A BAD DAY FOR A GREAT PLAY It’s a problem when the most effective elements of a dramatic show are the sound and visual effects, but such is the case with Cherry Lane Theater’s production of Jon Fosse’s outstanding play A Summer Day, which had the misfortune of being admired and subsequently translated and helmed…
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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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