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Los Angeles Theater Review: COLLECTED STORIES (Odyssey Theatre)
COLLECTED STORIES: A SNOOZE INDUCING “WRITE” OF PASSAGE As a critic I hope for one of two things: either a production is fantastic or, to be blunt, it sucks. For me at least, a review of a great show or an awful show practically writes itself: it’s the critiques of the so-so ones that take…
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Los Angeles Theater Review: ABSURD PERSON SINGULAR (South Coast Repertory in Costa Mesa)
LIFE IN THE KITCHEN Suicide is no laughing matter. No laughing matter, that is, until someone tries to commit it repeatedly in a room full of oblivious friends. Then it’s hilarious. Alan Ayckbourn’s Absurd Person Singular is about three couples, who each in turn throw disastrous Christmas Eve dinner parties at their homes; under David…
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San Francisco Theater Review: THE PLAY ABOUT THE BABY (Custom Made Theatre Co.)
LOTS OF LEVELS TO PLAY WITH If you tend to like plays with concrete storylines, well-defined goals, and a balance of symbolism integrated into reality, you may find The Custom-Made Theatre Co.’s 14th season-opening production of Edward Albee’s The Play About the Baby a cacophony of absurdist abstracts that requires too much guesswork – one which teeters on the tedious and…
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Chicago Theater Review: HAMLET (Writers’ Theatre in Glencoe)
THE DANE’S THE THING The oft-produced Hamlet demands countless choices by a director and Michael Halberstam has met all the challenges; instead of overloading the evening with grandiose directorial concepts, he resolves the script’s knotty problems with intelligent interpretation and theatrical savvy. Like nearly all revivals of Hamlet, the director takes some liberties with the…
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Chicago Theater Review: SEASCAPE (Remy Bumppo)
SEE SCAPE A wonderfully questioning work from 1975, Edward Albee’s whimsical, Pulitzer-winning domestic drama literally reflects our world as seen by diametrical couples. Seascape meets landscape on the neutral ground of a coastal beach: The result is an inter-species double date. Albee first presents Nancy and Charlie: A mature terrestrial couple, they’re torn between spending…
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Los Angeles Theater Review: ROME AT THE END OF THE LINE (24th Street Theatre)
SOMETHING BEAUTIFUL HAS ARRIVED Daniel Serrano’s Roma al final de la Vía (Rome at the End of the Line) is a highly recommended diamond-in-the-rough, and the 24th Street Theatre presents its US premiere. Julieta Ortiz and Norma Angélica are outstanding in their portrayal of women growing up together through life; bonded by their love for…
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Broadway Review: CHAPLIN (Ethel Barrymore)
WHAT’CHA GONNA DO? In a poignant moment in Act II of the new musical Chaplin, cultural icon Charlie Chaplin realizes that life is not a movie. One has to take the tears with the laughter, and there is no guarantee of a happy ending. As it turns out, life is not really a musical either….
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Los Angeles Theater Review: THE FULL MONTY (Third Street Theater)
THE SCHLONG AND SHORT OF IT The great local critic Wenzel Jones, writing about the play “Naked Boys Singing,” (another play in which men happily doffed their clothes to showcase their Full Monties) drolly noted that “for best results” the show “should be seen on a warm night.” It is tough to avoid making a similar…
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Chicago Theater Review: SHAW VS. CHESTERTON: THE DEBATE (Provision Theatre)
A HEALTHY DEBATE George Bernard Shaw observed that, “The only service a friend can really render is to keep up your courage by holding up to you a mirror in which you can see a noble image of yourself.” By that standard, the playwright Shaw and his friend and rival, journalist G. K. Chesterton, must…
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Los Angeles Concert Review: WEST SIDE CONNECTIONS 1: MUSIC & STORY with Mark Salzman (The Broad Stage in Santa Monica)
WESTSIDE CONNECTIONS INTEROFFICE MEMO from: Office of Setting Things Up to: Offices of no names; we’re all friends here re: the other night at the Broad We want to start by thanking you all for your hard work, your good work. You are appreciated. As you know, we’ve had our first Music & Story event…
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Chicago Theater Review: THE WOMAN IN WHITE (Lifeline Theatre)
THE PLOT THAT WOULD NOT DIE Doggedly dedicated but exhausting at nearly three hours, Robert Kauzlaric’s adaptation of Wilkie Collins’ mystery thriller The Woman in White is, to quote another Victorian writer, “too much of a muchness.” Sparing neither anticlimactic exposition nor a manic attention to convoluted plotting’”complexities that no audience will want to pursue’”this…
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Chicago Theater Review: WRONG MOUNTAIN (Rare Terra Theatre)
WRONG IN MORE WAYS THAN ONE, OR A TREK THROUGH PEDANTRY Middle-aged misogynist, pedant, and poet Henry Dennett has a chip on his shoulder and a worm in his gut’”literally, a gigantic tapeworm’”but in David Hirson’s astoundingly overwritten play Wrong Mountain, it’s also an overly symbolic worm whose name in Latin means “contempt for one’s…
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New York Theater/Event Review: THE RIDE (Literally on the streets of New York)
ONLY IN NEW YORK The next time you pass through Times Square, be sure to wave at the tricked out tour bus with windows that soar to the ceiling, flashing LED lights, and a pounding sound system. The Ride, an interactive tour of midtown Manhattan designed by 3D pop artist Charles Fazzino, is a spectacle…
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Los Angeles Theater Review: ENCOUNTER (East West Players)
THE PEASANTS ARE REVOLTING, NOT THE PRODUCTION Set amidst the teeming, verdant jungles of South India, Encounter is an often compelling dance theatrical production from the Navarasa Dance Theater, a group that has origins in South Asia and India (though the company is currently based in Massachusetts); it is a tale of atrocity, tyranny, and…
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San Francisco Theater Review: CHINGLISH (Berkeley Rep)
LANGUAGE AND CUSTOM ARE SOURCES OF HILARITY IN CHINGLISH At a time when Americans may feel a little uneasy about the rising power of China, Berkeley Repertory Theatre offers us a chance to step back and see a more human side of Chinese-American relations with its cleverly staged, sophisticated and uproarious Chinglish. Chinese-American playwright David…
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Chicago Theater Review: XANADU (Drury Lane)
ENTERTAINING, BUT WITHOUT THE COMIC SIZZLE In 2009, Xanadu opened in downtown Chicago that turned out to be one of the delights of the season. It was a silly musical, but hip, satirical, nostalgic, and loaded with energy and visual invention. Fast forward to today and the Drury Lane Theatre’s revival: While there is considerable entertainment value,…
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Documentary Film Review: HOW TO SURVIVE A PLAGUE (directed by David France)
HOW TO CREATE A GREAT DOCUMENTARY There’s a great line in the Bette Midler musical For the Boys, when, as an old woman, she is looking back on her years doing U.S.O. tours for the troops, and she quips, “Yeah, World War Two: Everybody’s big break.” I thought of that when I was watching David…
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Chicago Theater Review: FREUD’S LAST SESSION (Mercury Theatre)
YOU BETTER CATCH THIS BEFORE IT REALLY IS THE LAST SESSION Mike Nussbaum is probably weary of hearing himself called the Grand Old Man of Chicagoland Theater and a local treasure, like Wrigley Field. But consider the record. Nussbaum has provided local audiences with superior performances for nearly 50 years. Those unfortunates who missed him…
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Chicago Theater Review: IPHEGENIA 2.0 (Next Theatre in Evanston)
IT’S ALL GREEK TO MEE Charles Mee’s plays are audacious, imaginative, weird, sometimes funny, and more often than not, powerful and thought provoking; they are not for all tastes, but audiences willing to sign on for one of Mee’s dramatic flights of fancy are guaranteed a wild ride that likely will make the viewer laugh,…
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Los Angeles Theater Review: I LOVE A PIANO (3-D Theatricals in Fullerton and Redondo Beach)
AMERICANA NOT DEAD YET! Composer Jerome Kern said, “Irving Berlin has no place in American music. Irving Berlin is American Music.” This understanding is precisely what Ray Roderick and Michael Berkeley had when they conceived the all-Irving Berlin (fifty-five songs worth) revue I Love a Piano. The song and dance valentine for both Berlin and…
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