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Film Review: ARGO (directed by Ben Affleck)
WE’LL ALWAYS HAVE ARGO Sixty years ago, at a time of worldwide turmoil, a script that had bounced around finally made it into production. It involved the tangled lives of desperate political refugees trying to escape political danger to America. It ended at an airport, where a handful of classic movie characters decided their problems…
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Chicago Theater Review: BLOODY BLOODY ANDREW JACKSON (Bailiwick)
NOT AS BLOODY AS THE TITLE IMPLIES Bloody Bloody Andrew Jackson is an audacious rock musical tracing the life and times of Andrew Jackson, the 7th president of the United States. The show is receiving its local premiere by the Bailiwick Chicago Theater, and at its best moments the production is a stimulating, challenging, theatrical,…
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Off-Off-Broadway Theater Review: HERESY (The Flea)
AN AMUSING TRIFLE A.R. Gurney’s entertaining, dynamic but trivial new play Heresy reinvents the story of Jesus Christ (in the play he’s called Chris), changing the setting from 33 A.D. Jerusalem to America in the not-so-distant future. Jim Simpson’s solid direction, engaging performances, clever dialogue, well-articulated ideas and an abundance of jokes manage to distract…
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Chicago Dance Feature: HUMAN LANDSCAPES (Joffrey Ballet)
THE LANDSCAPE OF THE SOUL Those who were lucky enough to witness the Joffrey Ballet’s Spring Desire program this year were treated to what may well have been the greatest dance program in years. The Joffrey has reached a pinnacle of form, beauty, and transplendent theatricality that other dance companies’”indeed, most theater events’”should strive for. Now, with their…
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Chicago Theater Review: BLACK WATCH (National Theatre of Scotland)
KILLER’S REMORSE It’s a bit haunting that Black Watch is performed in a National Guard armory where soldiers, like the Scottish laddies depicted in Gregory Burke’s combat pageant, trained before being sent to the trenches of World War I. This internationally acclaimed touring production from the National Theatre of Scotland could hardly find a more…
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Theater Review: BLACK N BLUE BOYS/BROKEN MEN (Goodman Theatre in Chicago)
A STORY TO TELL Writer/Actress Dael Orlandersmith has many stories to tell in her one-person show at the Goodman, but they all encompass the same theme: abuse. Specifically, involving boys and men, both the abusers and those who have been abused’”physically and sexually. The fictional characters are channeled through Orlandersmith, a powerful writer who is…
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Los Angeles Theater Review: ROOM 105: THE HIGHS AND LOWS OF JANIS JOPLIN (Macha Theatre)
JOPLIN TRIBUTE NEEDS TO TRY, NOT A LITTLE BIT, BUT A LOT HARDER 42 years ago, Janis Joplin joined fellow rock visionaries Jimi Hendrix and The Rolling Stones’ Brian Jones in the “27 Club,” a term reserved for popular musicians who died tragically at 27 years of age’”typically by way of drug-related overdose (Kurt Cobain and Amy…
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Chicago Dance Feature: ONE THOUSAND PIECES (Hubbard Street Dance Chicago)
PIECES OF FATE There is quite a bit of buzz surrounding Hubbard Street Dance Chicago’s One Thousand Pieces, which will commence the company’s 35th season. Inspired by Chagall’s masterpiece, America Windows, Madrid-born resident choreographer Alejandro Cerrudo is creating his first full-length dance program, which happens also to be HSDC’s first full-evening presentation by a single…
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San Diego Theater Review: SAM BENDRIX AT THE BON SOIR (La Jolla Playhouse at Martini’s Above Fourth)
THANK GOD THE DRINKS ARE STRONG The secret to living in New York is knowing how to cross the street against the light. Sam Bendrix (Luke Macfarlane) recalls having been given that advice when he first arrived in the city. Now he tells us, from the cabaret stage of the Bon Soir, that he must…
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Los Angeles Theater Review: THE BELLE OF BELFAST (Ensemble Studio Theatre/LA)
THE ‘TROUBLES’ WITH FAITH Choosing to write about the Irish Troubles comes with baggage’”many people have come before you, and many will come after. Like the Holocaust, it can conjure a deep vein of feeling, but the idea of slogging through it again can also seem like a chore to audiences. It takes skill, flair,…
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Los Angeles Theater Review: CYMBELINE (A Noise Within in Pasadena)
DUALITY IN A NOISE WITHIN’S CYMBELINE Are women faithful to the men they love? Or are they so weak-willed and inconstant as to be easily seduced by another? While many writers and dramatists have explored these questions over the centuries, Shakespeare addresses them as just one important strand in the complicated plot of his late…
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Chicago Theater Review and Commentary: ONE NAME ONLY (A DIFFERENT KIND OF REALITY SHOW) (Black Ensemble Theater)
ONE TIME ONLY FOR ONE NAME ONLY WAS ONE TOO MANY TIMES Yes, America’s got talent. And the performers on stage at Black Ensemble Theater’s beautiful new digs are packed to the gills with charm, powerful voices, and boundless stage presence. But I can’t remember being this shell-shocked and mortified at the stupendous waste of…
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San Diego Theater Review: THE EXIT INTERVIEW (San Diego Repertory Theatre)
A PLAY THAT GROPES FOR AN EXIT William Missouri Downs’ The Exit Interview is a jumble of a play whose myriad directions are made more difficult to track by its opening pronouncement: Two exuberant cheerleaders (JoAnne Glover and Lisel Gorell-Getz), uniformed and pom-pommed, lead the audience in a spirited: “Give me an “O”! Give me an…
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Los Angeles Theater Review: THE CIRCLE (Theatre 40 in Beverly Hills)
SEMI-CIRCLE The drawing room comedy has fallen out of fashion over the years. These extremely well-made, light, sophisticated plays center around members of polite society whose lives unravel in a literal drawing room during otherwise civilized weekends in the country. Featuring wit and verbal banter among wealthy, leisured, upper-class Brits, the form eventually morphed into…
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Los Angeles Theater Review: NOVEMBER (Mark Taper Forum)
AN OCTOBER UNSURPRISE Scott Zigler learned to direct theater from David Mamet, which is like having David Ortiz teach you how to pitch for the major leagues. A designated hitter thinks every pitch should come right over the plate, and may be excused for only paying attention to the elements of the game that concern…
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Los Angeles Theater Review and Commentary: THE KING OF HEARTS IS OFF AGAIN (Odyssey Theatre)
OFF AND ON Once again, I talk to a troupe of foreign artists, and once again, apart from the art, there’s an utter lack of coherent understanding between their world and mine. It’s especially funny since so many Americans claim to believe that we’re the least sophisticated and least cross-culturally educated of the industrialized nations. …
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Chicago Theater Review: MAKING NOISE QUIETLY (Steep Theatre)
NOISE IS OFF It is 1944 in a field near a watering hole in Kent, England. A strapping, fine-looking, and masculine young man purveys the view and strips off his shirt. Another young man enters with his bike; he is a rail-thin, bespectacled, academic-looking peer who is also handsome, but more like Harry Potter than…
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Off-Broadway Theater Review: CHARLIE VICTOR ROMEO (3LD Theater)
REAL TERROR IN THE AIR AND IN THE THEATER If this play doesn’t make you want to travel by train instead of by air, nothing will. Here’s a performance project (credited to creators Bob Berger, Patrick Daniels, and Irving Gregory) that consists of a cast of actors performing the transcripts of recordings retrieved from the…
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DVD Review: FUNKYTOWN (directed by Daniel Roby)
SEX DRUGS AND DISCO HIT FUNKYTOWN When the opening scene of a film features a naked couple doing the nasty accompanied by a voiceover which states, “There is no rhyme or reason to life. You think you’re doing okay and the next thing you know, you’re miles away from home, in bed with a stranger,…
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Los Angeles Theater/Event Review: DELUSION: THE BLOOD RITE (Haunted Play)
HAUNTED BY EXPOSITION Last October, Hollywood stuntman Jon Braver put up Delusion, a much-celebrated high-end haunted house. One of Mr. Braver’s purposes with this project, which he wrote, directed, and produced, was to correct what he saw as a tired tendency toward “jump-out-of-the-corner” type scares in the haunted houses he visited. He added narrative to…
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