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  • Chicago Theater Review: NEIGHBORHOOD 3: REQUISITION OF DOOM (Strawdog)

    By Tony Frankel | October 20, 2012
    in

    THE DANGERS OF TECHNOLOGY – ON STAGE AND OFF Playwright Jennifer Haley is definitely onto something in her play Neighborhood 3: Requisition of Doom, now receiving its Chicago premiere at Strawdog. In a suburban neighborhood in Anytown, USA, the local teens have become addicted to an Xbox video game in which the dissociative kids can…

  • Chicago Theater Review: ALL THAT JAWS (Theater Wit)

    By Lawrence Bommer | October 20, 2012
    in

    LATE NIGHT CHUB THAT’S HARD TO SWALLOW The only excuse for reviewing this 70-minute trifle is that they’re charging $20 to see it when it would be worth twice as much to pay to get out. Mired in forced rhymes and scansion, forgettable tunes, lame lyrics, grade-school props, seemingly improvised dialogue, and a plot that…

  • Chicago Opera Review: SIMON BOCCANEGRA (Lyric Opera)

    By Kristin Walters | October 20, 2012
    in

    STAGNANT YET SATIATING Giuseppe Verdi wrote Simon Boccanegra in 1857, but it is the revised 1881 version which the  Lyric Opera is presenting in a stiff yet satisfying production.   After searching for his lost daughter (reappearing later as Amelia), Simon Boccanegra (Thomas Hampson) returns to Genoa to find the corpse of his lover and her vengeful…

  • New York Cabaret Review: ANDREA MARCOVICCI: SMILE (Café Carlyle)

    By Harvey Perr | October 20, 2012
    in

    SMILE, THOUGH YOUR HEART IS BREAKING Andrea Marcovicci, who reinvented the torch song for a new generation, has looked our depression/recession straight in the face and decided that what she needs to do is to lift our spirits.   In Smile, her current show at the Café Carlyle, Marcovicci’s toothy smile radiates the purest form of…

  • Chicago Theater Review: WASTELAND (TimeLine)

    By Dan Zeff | October 19, 2012
    in

    A POWERFUL WASTELAND AT TIMELINE Wasteland is a two-character play but the audience only sees one in this drama about two American soldiers held as prisoners during the Vietnam War, now receiving a gripping world premiere at TimeLine. The other character is separated behind a wall in a connecting room. The rooms exist an in…

  • Off-Broadway Theater Review: IN THE SUMMER PAVILION (59E59 Theatres)

    By Dmitry Zvonkov | October 19, 2012
    in

    WELL INTENTIONED, ILL-CONCEIVED Whispers of “pretentious” could be heard in the audience of Paul David Young’s new play In the Summer Pavilion, which doesn’t seem like a fair assessment. Calling a work pretentious suggests a certain lack of sincerity on the part of its creator, as if he’s more concerned with showing off his abilities…

  • Off-Off-Broadway Theater Review: LOVE’S END (Abrons Arts Center)

    By Sarah Taylor Ellis | October 19, 2012
    in

    A POETIC BREAKUP The plot of writer/director Pascal Rambert’s play Love’s End is astoundingly simple. A long-term romantic relationship finally reaches a breaking point. The man confronts the woman in an extended soliloquy, after which the woman turns the tables and has her say. This familiar drama nonetheless plays out with incredible intensity. Love’s End…

  • Los Angeles Theater Review: AND THEN THERE WERE NONE (Actors Co-op)

    By Tom Chaits | October 19, 2012
    in

    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…

  • Off Broadway Theater Review: HARPER REGAN (Atlantic Theater Company)

    By Harvey Perr | October 18, 2012
    in

    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…

  • Cabaret Review: JOHN KELLY (Joe’s Pub)

    By Harvey Perr | October 18, 2012
    in ,

    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,…

  • Los Angeles Theater Review: JUSTIN LOVE (Celebration Theatre)

    By Samuel Garza Bernstein | October 18, 2012
    in

    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…

  • Chicago Theater Review: KINKY BOOTS (Bank of America Theatre)

    By Lawrence Bommer | October 18, 2012
    in

    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…

  • Chicago Theater Review: AFTER (Profiles)

    By Tony Frankel | October 17, 2012
    in

    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…

  • Chicago Theater Review: TRAINSPOTTING USA (Theater Wit)

    By Lawrence Bommer | October 17, 2012
    in

    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…

  • San Diego Theater Review: AROUND THE WORLD IN 80 DAYS (Lamb’s Players Theatre)

    By John Todd | October 17, 2012
    in ,

    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…

  • Off-Broadway Theater Review: LAST MAN CLUB (One Sheridan Square).

    By Paul Birchall | October 17, 2012
    in

    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…

  • Chicago Theatre Review: THE ARSONISTS (Trap Door)

    By Paul Kubicki | October 17, 2012
    in

    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…

  • San Francisco Theater Review: BLOODY BLOODY ANDREW JACKSON (SF Playhouse)

    By Maurice Kelly | October 17, 2012
    in

    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…

  • Off-Off-Broadway Theater Review: NATASHA, PIERRE, & THE GREAT COMET OF 1812 (Ars Nova)

    By Sarah Taylor Ellis | October 16, 2012
    in

    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…

  • Los Angeles Concert and Tour Review: AN EVENING WITH DAVID BYRNE & ST. VINCENT (SEGERSTROM CONCERT HALL)

    By Jesse David Corti | October 16, 2012
    in ,

    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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