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Chicago Theater Review: REFERENCES TO SALVADOR DALI MAKE ME HOT (National Pastime)
A LUKEWARM PRODUCTION OF A HOT SCRIPT This July, Pastime Theatre is ripping off their clothes and inviting audiences to join in on the fun. “Naked July: Art Stripped Down” is a theatre festival, part in celebration of the human body, part in celebration of the opening of Pastime’s new space – which, oddly enough,…
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Los Angeles Theater Review: THAT GOOD NIGHT (The Road Theatre in North Hollywood)
THIS ALMOST GREAT NIGHT Andrew Dolan, a working actor perhaps better known as a writer, had his second completed play produced first, in a Los Angeles world premiere: last season’s knockout EST production of his very smart race-and-academic politics piece, The Many Mistresses of Martin Luther King. That play exemplifies all that is most promising…
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Off-Broadway Theater Review: TRIASSIC PARQ (SoHo Playhouse)
DOWNTOWN DINOSAURS The Off-Broadway Musical is an endangered species. The perfect storm of escalating real estate rents, union expectations, and production costs render producing commercial Off-Broadway musicals a dubious venture at best. Enter Triassic Parq, The Musical, the 2010 Award-Winning FringeNYC show for Best Musical, eager to please and ready to challenge the conventional wisdom….
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Chicago Theater Review: FLOYD COLLINS (BoHo Theatre Ensemble at Theater Wit)
THE YODELING ROCKS, THE SHOW DOES NOT Before Adam Guettel was declared the next Sondheim by many for his beautiful, swelling Light in the Piazza score, he drew on the rich folk sounds of Kentucky for the tale of Floyd Collins. This lesser-known musical is the true-life story about a passionate Kentucky spelunker whose foot…
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Los Angeles Theater Review: WAR HORSE (Ahmanson Theatre)
WHO’LL SAVE THE PLOW HORSE? War Horse is almost critic-proof. It has been garnering all sorts of Best Play awards, but, in truth, there are all sorts of new, unrecognized categories for which War Horse can compete and still come out a winner. Let’s mention a few, why don’t we? The Most Imaginative Use of…
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Los Angeles Theater Review: A MISSIONARY POSITION (REDCAT in Los Angeles)
LEARNING OF A DEATH PENALTY FOR ONE’S EXISTENCE Uganda has an alarming history when it comes to human rights violations, but recent developments against gay people are horrifying. In 2005, Ugandan police arrested a lesbian couple in their home, strip-searched and fondled them, and then released them without filing charges. In 2008, the couple won…
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Los Angeles Theater Review and Commentary: JITNEY (Pasadena Playhouse)
THE SIZZLE’S A FIZZLE It is an uncontestable fact that every play August Wilson wrote justifies being looked at again and again. It has been fascinating to see how the moral, political and emotional life of African-Americans has been given the sweep of history by concentrating on the ten decades of a tumultuous century and…
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Off-Broadway Theater Review: MORE OF OUR PARTS (Clurman Theater in New York City)
MORE IS LESS THAN THE SUM OF ITS PARTS When making a show consisting of several short plays about the disabled, one must be concerned, it seems, with the possibility of the whole thing becoming more about message than art. It’s unlikely under such circumstance that, for example, a disabled character, say a wheelchair-bound girl,…
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Chicago Theater Review: THE LOVER (Soul Theatre at A Red Orchid Theatre)
LET ME GO, LOVER I’ll be the first to admit as a twenty-something that I don’t know what it’s like to feel like your sex life has passed you by – something I’m told that many couples experience in their later years. Harold Pinter’s one-act The Lover seeks to explore one middle-aged couple’s attempt to spice…
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Los Angeles Theater Review: FLUFFY BUNNIES IN A FIELD OF DAISIES (The Arena Stage in Hollywood)
FLUFF IS NOT ENOUGH Fluffy Bunnies in a Field of Daisies is precisely the type of title that peaks curiosity leading one to think that with such a clever and catchy name it has to be good. Not so fast. Celebrating its 10-year anniversary production, the show presented by Drew Brody / The Infinite Monkey…
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Chicago Theater Review: WE’RE ALL IN THIS ROOM TOGETHER (Second City’s 46th Revue in Chicago)
FRESH NEW REVUE AT SECOND CITY Four of the six performers in the new Second City e.t.c. revue We’re All in This Room Together never appeared on a Second City mainstage before. And this is only the second show for the other two players. But youth and inexperience were not a factor on the opening…
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Off-Broadway Theater Review: 3C (Rattlestick)
THREE’S COMPANY ON SHROOMS The concept of David Adjmi’s flawed but entertaining new play 3C is an intriguing one: to take Three’s Company, an iconic, milquetoast ABC sitcom (which starred John Ritter and ran from 1977 to 1984), and subvert it, removing the innocuous, bourgeois-TV-show veil, and turning its characters and themes on their heads….
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Chicago Theater Review: HERO (Marriott Theatre)
HERO NEEDS TO ZERO IN ON THE BOOK Hero, a brand new musical at the Marriott Theatre, has enough warmth and humor to provide a pleasant evening of light summer entertainment, but the work of composer/lyricist Michael Mahler outshines that of the problematic book by Aaron Thielen, so whether or not the show has the…
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Los Angeles Theater Review: FELLOWSHIP! (Steve Allen Theater in Hollywood)
RING IT ON! I hadn’t read J.R.R. Tolkien’s The Fellowship of the Ring since junior high, and the movie, which is the first installment of Peter Jackson’s gorgeous film trilogy The Lord of the Rings, left me bewildered at best. To say then that I was dubious attending a musical parody of the popular book and…
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Chicago Theater Review: RAIN: A TRIBUTE TO THE BEATLES (Oriental Theater in Chicago)
YOU REALLY GOT A HOLD ON ME The baby boomers were out in force at the Oriental Theatre Tuesday night, reveling in a Beatles nostalgia fest called Rain: A Tribute to the Beatles. The show is a note-for-note replication of about 30 of Beatles’ greatest, and not so greatest, songs, as performed by four young…
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Bay Area Theater Review: SALOMANIA (Aurora Theatre in Berkeley)
SALOMANIA BLENDS HISTORY WITH GREAT THEATER The year is 1918 and the world is fraught with an unimaginable war. Only a doctor or a pervert knows what a clitoris is. For anyone else during this era known for its hypocrisy, such knowledge meant scandal that could and did blast lives. In Aurora Theatre Company’s Salomania,…
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Off-Broadway Theater Review: 7TH MONARCH (The Acorn Theater in New York City)
THEATER NOIR: STYLE VS. SUBTEXT Supreme command of stagecraft is evident in every aspect of Somerled Charitable Foundation’s production of Jim Henry’s initially riveting but ultimately unsatisfying new play, the noirish psychological thriller 7th Monarch. In general, the first act has so much style and focus that one becomes hopeful for the second act to…
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Los Angeles Theater Review: THE BLACK GLASS (Hollywood Fringe Festival)
WHAT WE HAVE HERE IS A FAILURE TO COMMUNICATE Somewhere around half-way through Guy Zimmerman’s The Black Glass, a “Hollywood Fringe Festival premiere,” my mind began to wander. Every opportunity for me to jump on board with this dense, impenetrable, and esoteric mess had been squandered by abstruse writing, obscured plot, elusive character development, and…
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Theater Review: BLOOD AND GIFTS (Mandell Weiss Forum Theatre; La Jolla Playhouse in San Diego)
GRIPPING PLAY EXPLORES THE TANGLED WEB BORN OF AN IDEALISTIC WAR Set primarily in Pakistan along the Afghan border, J.T. Rogers’ Blood and Gifts begins in 1981, a critical point in the Cold War. Brezhnev’s Russian invasion of Afghanistan has Reagan in a quagmire: how does the U.S. attempt to stop the spread of communism…
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Chicago Theater Review: THE SANDMAN (Oracle)
MR. SANDMAN, BRING ME A NIGHTMARE There is something passing strange at the Oracle Theatre, and you won’t want to miss it. In Oracle’s The Sandman, dreams are not to be trusted, illusion and reality are constantly confused, and childhood fairytales prove to be fatal. Bob Fisher’s stage adaptation of E.T.A Hoffman’s 1816 fantastical, somewhat…
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