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Los Angeles Theater Review: ON GOLDEN POND (The Glendale Centre Theatre)
AIMLESSLY ADRIFT ON GOLDEN POND After seeing the stage version of On Golden Pond, now playing at The Glendale Centre Theatre, it’s impossible not to think how much more rewarding it would have been to stay home, curl up on the couch with a big bowl of popcorn, and watch the 1981 film version starring…
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Off-Broadway Theater Review: HELL: PARADISE FOUND (59E59 Theaters)
HELL WITH NO INTERMISSION Hell: Paradise Found. Genesis: And so did Seth Panitch rummage through the intellectual compost heap and picketh he out from it clumps of sour clichés and bits of rotted old jokes, and collecteth he from it pieces of spoilt ideas, which were so far past their expiration date that they no…
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Los Angeles Theater Review: PAGEANT OF THE MASTERS: THE GENIUS (Irvine Bowl in Laguna Beach)
“BEAUTY IS A FORM OF GENIUS–IS HIGHER, INDEED, THAN GENIUS, AS IT NEEDS NO EXPLANATION.” Oscar Wilde Years ago, on a neighborhood stroll with my entourage of giggly young Girl Scouts, I caught my first glimpse of the Pageant of the Masters. Lured by faint orchestral strains, we happened upon the fence that bordered the…
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Chicago Theater Review: THE 39 STEPS (Drury Lane Theatre in Oakbrook Terrace)
THE STEPS TO SUCCESS They say that timing is everything. Timing certainly is everything in The 39 Steps, the English spy spoof that occupies a delightful, often amazing, and even suspenseful two hours at the Drury Lane Theatre. The antecedents of The 39 Steps go back almost 100 years to John Buchan’s 1915 thriller novel…
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Chicago Theater Review: A STEADY RAIN (Chicago Dramatists Theatre)
STEADY AS IT GOES A Steady Rain, Chicago Dramatists’ prodigal son, has finally come home, giving audiences a chance to sit down again with Denny and Joey, the two cops that disturbed the hell out of them back in 2007. Keith Huff’s play has had a whirlwind several years, produced in major theatres across the…
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Chicago Theater Review: CROWNS (Goodman Theatre)
IF YOU LET IT, FERVENCY AND JOY COMPENSATE FOR TROUBLING SCRIPT A joyful noise is rising out of the Goodman Theatre this summer. With hearty vibrato and a religious fervor rivaled only by televangelists, writer/director Regina Taylor’s revamped hit Crowns is shaking the rafters, and will have you nodding and tapping and humming for the…
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San Francisco Theatre Review: THE MERCHANT OF VENICE (Custom Made Theatre)
THE MERCHANT OF VENICE: AS TRUE NOW AS THEN Setting Shakespeare’s The Merchant of Venice in the cutthroat world of contemporary finance a la Wall Street is an inspired notion and Custom Made Theatre Co. has produced a timely rendition of a timeless classic that’s creative, just right, and highly satisfying. In this story about…
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Film Review: FACE 2 FACE (directed by Katharine Brooks)
VICTIM AS NARCISSIST AS ICON It makes sense to someone who doesn’t like reality television that a person who makes it for a living (The Osbournes, The Simple Life, others) could feel that she has wasted her life, and that such a person could become a drug addict to escape such feelings. Add that on…
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Chicago Theater Review: BEAUTY AND THE BEAST (Chicago Shakespeare)
NOTHING BEASTLY ABOUT IT The Chicago Shakespeare Theater is presenting the best musical production of the summer, but audiences will have to see it in the daytime. The production is Disney’s Beauty and the Beast, and while it’s billed as a family musical (a code phrase for children’s show), this show distributes its pleasures equally…
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Off-Broadway Theater Review: THE BAD AND THE BETTER (The Peter Jay Sharp Theatre)
THE GOOD THAT COULD HAVE BEEN BETTER Watching The Amoralists’ production of Derek Ahonen’s entertaining new play The Bad and The Better, an image comes to mind of a virtuoso juggling act, with Mr. Ahonen and director Daniel Aukin keeping 26 actors, over 30 characters, and an extraordinary number of plot lines in the air…
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Off-Broadway Theater Review: COLE PORTER’S NYMPH ERRANT (The Clurman Theatre)
MUSICAL ERRANT Expectations should always be lowered a bit when seeing revivals of musicals written before Oklahoma!. In pre-war musicals, songs weren’t intended to move plots forward or reveal new depths of characterization. Laced with inappropriate racial epithets, the original musical version of Nymph Errant (1933) by Cole Porter and Romney Brent would have been…
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San Diego Theater Review: HARMONY, KANSAS (Diversionary Theatre)
GOLD DISCOVERED IN THE PLAINS I rolled my eyes when I heard about the plot of Harmony, Kansas, a musical having its world premiere at Divisionary Theatre in San Diego. Heath is a gay Kansan farmer who lives with his cultured boyfriend Julian in a rural community, but Julian longs for more than just an…
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Film Review and Commentary: WES ANDERSON & MOONRISE KINGDOM
WES ANDERSON AND THE BOX OFFICE VS YOU HATE A WISE-ASS People who like to hate really like to hate Wes Anderson. Even those whose taste is impeccable in most arenas often fail the Anderson test: “Too quirky,” they’ll say. Or “Too precious.” Or “He’s in love with his shots” or “His camera fetishizes objects.” …
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Los Angeles Theater Review: LA CAGE AUX FOLLES (Pantages Theater in Hollywood)
COME FOR GEORGE HAMILTON, STAY FOR CHRISTOPHER SIEBER The national tour of La Cage aux Folles leaves its audience basking in the warm afterglow of a delightful musical comedy. As an enthused audience member behind me exclaimed at intermission, “I want to live inside this show!” – and no wonder. The Broadway revival of this…
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Theater Review: THE EXORCIST (Geffen Playhouse)
NO EVIL. NO GOOD. There are few who do not know the story. The devil possesses Regan, the innocent 12-year-old daughter of movie star Chris MacNeil, who is working on a film in Georgetown. A bevy of fascinating characters, most of whom are experiencing a crisis of faith (religious or otherwise), become tested to their…
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Chicago Theater Review: OEDIPUS EL REY (Victory Gardens Theater)
OEDIPUS REX POTENTLY UPDATED TO THE BARRIO Oedipus El Rey is Luis Alfaro’s vision of Sophocles’ Oedipus Rex seen through the prism of modern Latino life, specifically gang culture as it melds with the traditions and values of the barrio in east Los Angeles. The drama at Victory Gardens is powerful and riveting, which proves that a…
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Los Angeles Theater Review: THE IRISH CURSE (Odyssey Theatre in West L.A.)
I AM NOT MY COCK When a new Godzilla movie came out in 1998 the marketing pundits urged, “Size does matter.” But when it comes to a woman’s sexual satisfaction with her partner’s penis size, apparently size doesn’t matter, at least, not to most women. Yet, many men seem to be obsessed with the size…
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Los Angeles Theater “Reviews”: PLAYS IN THE PARK (Santa Monica Playhouse) and GRACE NOTES & ANVILS (Odyssey Theatre)
TWO CRITICS; TWO STAGED READINGS; BASICALLY ONE OPINION From Jason Rohrer: Plays in the Park, Brian Conners’ collection of one-acts (only one of which is set in a park), intends to showcase its writer (who also directs) in the glow of its rotating cast of Actors’ Studio headliners. Mark Rydell, Ed Asner and Esai Morales…
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Theater Review: THREE SISTERS (Steppenwolf Theatre)
TRACY LETTS ADAPTS THREE SISTERS FOR STEPPENWOLF Tracy Letts calls his version of Anton Chekhov’s Three Sisters an adaptation, but other than some changes in language it’s still the great Russian dramatist’s play, a human and humane account of characters mired in boredom, disappointment, failure, loneliness, and frustration. The Steppenwolf is premiering Letts’ revision in…
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Chicago Theater Review: THE MAGIC PARLOUR (The House Theatre at The Palmer House Hilton Hotel)
WATKINS HAS US IN THE PALM OF HIS HANDS I had one reservation headed into The House Theatre of Chicago’s The Magic Parlour: almost every magic show I had ever been to has been obnoxiously showy, laughably cheap, or both. I grew up seeing magicians at birthday parties, went to magic shops and learned card…
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