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Off-Broadway Theater Review: THE OLD MAN AND THE OLD MOON (The Gym at Judson)
EXTRAORDINARILY BEAUTIFUL PIGPEN PROJECT PigPen Theatre Co.’s The Old Man and the Old Moon is guaranteed to gently pluck at your heartstrings. An enchanting fable told through shadow puppetry, movement, music, and theatrical lighting, this ensemble play seems aesthetically filtered through Instagram. A warm glow emanates from the stage of the Gym at Judson, where a…
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Los Angeles Theater Review: CREATION (Theatre @Boston Court in Pasadena)
A PRO-CHOICE ARGUMENT Michael Michetti’s staging of Kathryn Walat’s Creation will, I hope, long hold the record in my experience for Most Literal Production. This decidedly non-realistic play does much to invite such a treatment: its awkward, unhelpful structure features many redundant soliloquies (a trope in which the director has his actors engage the audience…
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Off-Off-Broadway Theater Review: HERESY (The Flea Theater)
TIRED SATIRE “Satire,” as George S. Kaufman once famously said, “is what closes Saturday night.” Though written in jest, it has served as an admonition for playwrights in pursuit of satire. In this age of political unrest, where sharp satire of our cultural differences is not only necessary but essential (and hardly forthcoming), we crave…
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Off-Off-Broadway Theater Review: I HATE FUCKING MEXICANS (The Flea Theater)
PINCHES GRINGOS! The aliens have arrived. Mexicans, that is. Fucking Mexicans. And fucking Nigerians. Small town Southern girl Tamara-Lee can’t seem to decide which she hates more. I Hate Fucking Mexicans is a zany satire of cultural stereotypes, and no one is exempt from the raucous critique – particularly the fucking Americans like Tamara-Lee and…
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Los Angeles Theater Review: THE BEAT GOES ON! (Arena Stage in Hollywood)
SASSY SENIORS PROVE THE BEAT GOES ON FOR THE YOUNG AT HEART At 80 years young, Jackie Goldberg, a.k.a. The Pink Lady, is on a mission. After becoming a widow at 70 she created a series of seminars entitled “Get Up, Get Out, & Get A Life” to encourage baby boomers and seniors to follow new…
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Chicago Theater Review: SMOKEY JOE’S CAFÉ (Theo Ubique)
SMOKIN’ When Smokey Joe’s Café opened on Broadway in 1995, the critics were only mildly impressed, and suggested that this revue of rock “n” roll songs composed by Jerry Leiber and Mike Stoller would be better served by a small club setting than a large Broadway theater. Audiences thought otherwise, and the show ran on Broadway…
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Chicago Theater Review: BROKEN GLASS (Redtwist Theatre)
EVIL WILL TRAVEL In his great works, like Death of a Salesman and The Crucible, and even in his lesser efforts, such as Broken Glass, Arthur Miller forces us to confess a greater loyalty than those based on our obvious ties to family, class, and country. He asks us to honor our ideals, and further challenges…
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Off-Off-Broadway Theater Review: POSITIONS (Roy Arias Studio Theater)
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…
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Stage and Cinema Interview: GRANT GERSHON (Music Director of Los Angeles Master Chorale)
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…
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Chicago Theater Review: PONTYPOOL (Strawdog Theatre Company)
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,…
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Chicago Theater Review: NIGHT OVER ERZINGA (Silk Road Rising)
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…
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Chicago Theater Review: ELEKTRA (Lyric Opera)
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…
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Off-Broadway Theater Review: HIM (59E59 Theaters)
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…
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Los Angeles/Regional Theater Review: PINKALICIOUS (Lewis Family Playhouse in Rancho Cucamonga)
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…
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Documentary Film Review: BROOKLYN CASTLE (directed by Katie Dellamaggiore)
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…
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Off Broadway Theater Review: CLOSER THAN EVER (York Theater)
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…
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Theater Review: KRAPP’S LAST TAPE (Kirk Douglas Theatre in Culver City)
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…
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Chicago and New York Theater Review: MEDEA’S GOT SOME ISSUES (Teatro Luna in Chicago and the Solo Festival in New York)
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),…
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Off-Broadway Theater Review: NORTH (59E59)
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…
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Chicago Theater Review: 42ND STREET (Theatre at the Center in Munster, 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…
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