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Chicago Theater Review: THE LIGHT IN THE PIAZZA (Theo Ubique in Chicago)
AN INCREDIBLY BRIGHT LIGHT The Light in the Piazza opened on March 12 at Theo Ubique and has now been extended into midsummer, and counting. It’s gathered a sheaf of rave reviews and the tiny theater is sold out by the week, possibly the most improbable local hit in recent memory. It’s not that we…
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Los Angeles Theater Review: CAMP LOGAN (Los Angeles Theatre Center)
BONA FIDE ACTING FUELS DIDACTIC SCRIPT At about the same time that the United States entered WWI, units of the 24th Infantry Regiment, one of the Army’s four black regiments, set up camp on the outer edge of Houston. The Regiment had already seen action in the Philippines and New Mexico (against Pancho Villa), so…
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Los Angeles Theater Review: THE TURN OF THE SCREW (Underground Theater in Hollywood)
OF GOOD TURNS AND SCREWINGS All emotional reaction comes filtered through prerequisite knowledge: the sound of a crying baby is annoying, unless it’s your baby, in which case that sound may make you feel anything from relief (“It’s your turn, babe”) to terror (“I thought he was napping – that sounded like it came from…
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Los Angeles Theater Review: FOLLIES (Ahmanson Theatre)
FOLLIES IN HOLLYWOOD Follies has always been a fabulous musical. It may not be Stephen Sondheim‘s greatest musical, but it is the Stephen Sondheim musical that his admirers most desperately want to love. Follies contains what is arguably his most ravishing score. Musically, it evokes ghosts of theater songs past, while lyrically, it creates an…
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Los Angeles Theater Review: THE CHILDREN (Theatre @ Boston Court in Pasadena)
THE IMPERFECT STORM Over lunch today, I tried to tell someone about Michael Elyanow’s new take on the Medea myth and found myself crying into my tikka masala. The material is horrifying enough in the Euripides version: a witch, having lost the affections of the lover for whom she has sacrificed everything, kills his new…
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Theater Review: CHICAGO (National Tour)
WHERE IS MRS. O’LEARY’S COW WHEN YOU NEED HER? Had the inexhaustible 57-year-old Christie Brinkley performed “Roxie” on America’s Got Talent, I would have demanded that she make it to the next round. The leggy supermodel is in such great shape that it would inspire America to get its collective butt out of its seat…
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Los Angeles Theater Review: A LITTLE NIGHT MUSIC (East West Players)
IT COULD HAVE BEEN WONDERFUL East West Players’ cross-cultural take on the Stephen Sondheim/Harold Wheeler musical A Little Night Music highlights one of the most shimmering and romantic scores in American Musical Theatre, but the capricious performances and inconsistent directorial choices obstruct the radiance necessary to tell the tale about erotic liaisons in turn-of-the-century Sweden….
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Los Angeles Theater Review: CRESCENT CITY: A HYPEROPERA (Atwater Crossing in Glendale)
BETTER BE ON YOUR AVANT-GARDE Have you ever eaten at a new restaurant and summed it up thusly?: “I have no idea what I just ate! It was a little tough to chew and digest, but the presentation was thrilling and I loved the flavors. For what you get, the fare was reasonably priced, too….
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Los Angeles Opera Review: COSI FAN TUTTE (Porticoes Theater in Pasadena)
INTIMATE OPERA Bringing opera to a wider audience is the noble goal of many a musical entrepreneur, but few succeed as well as Josh Shaw and Stephen Karr, founders of the Pacific Opera Project (POP). The company has been around less than a year, in which time it has already found its own home at…
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Chicago Theater Review: DELIVER US FROM NOWHERE: TALES FROM NEBRASKA (Tympanic Theatre Company)
GOING NOWHERE Regarded as one of Bruce Springsteen’s best works, the 1982 album Nebraska has inspired tributes from Johnny Cash, Aimee Mann, Chris Cornell and other artists moved by its bleak look at ordinary life. Now Tympanic Theatre Company has brought its tales of murder, mortality and the unfairness of life to the stage with…
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Los Angeles Theater Review: THE GIRL MOST LIKELY TO (Los Angeles Theatre Center)
A CAPTIVATING GENDER-BENDING STORY In Michael Premsrirat’s thoroughly engaging The Girl Most Likely To, an unnamed teenage Boy (a winning Tobit Raphael) is, and always has been, in the wrong body. Donning women’s clothes is so natural to him, that he puts on a wig, slips on a skimpy outfit (which shows off his comely…
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Los Angeles Theater Review: HANDS ON A HARDBODY (La Jolla Playhouse)
THE PAINT JOB ON THIS PROMISING MUSICAL NEEDS DARKER COLORS NPR’s This American Life is where I first heard about the 1997 film Hands on a Hard Body, which documented a 1995 dealership-sponsored contest in Texas. The rules were simple: whoever could keep their hand on a brand-new pickup truck the longest got the keys;…
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Los Angeles Theater Review: OUT THERE ON FRIED MEAT RIDGE RD. (Pacific Resident Theatre in Venice)
RIGHT UP HALF-BAKED ALLEY Keith Stevenson’s writing in Out There on Fried Meat Ridge Rd. unsteadily walks a line between high and low comedy, veering more often toward sit-comism. More skit than play, this quasi-story tells of a redneck saint who uses doe urine for cologne (Mr Stevenson) and the bottom-feeders he attempts to redeem…
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Los Angeles Theater Review: CYRANO (Fountain)
DEAFTRAP Writer Stephen Sachs and the Fountain Theatre have come up with what would appear to be a fresh approach to Rostand’s classic play, Cyrano de Bergerac. In this modern-day version, Cyrano is no longer the joyful poet, soldier, and owner of a humongous proboscis, but a frustrated poet who happens to be deaf. He…
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Broadway Theater Review: THE COLUMNIST (Samuel J. Friedman Theatre)
THE PROBLEM WITH BEING TOO WELL-MANNERED David Auburn‘s The Columnist gets the good part over with in the first scene and then proceeds to become exactly the sort of play we might have expected from the author of Proof: clean, articulate, measured, intelligent, carefully researched, and, finally, Saharan-dry and as dull as a persistently cloudy…
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Film: I WISH directed by Hirokazu Kore-Eda
THE UNEXPECTED JOYS OF CHILDREN AT PLAY It would be easy to say, given his new film, I Wish, and his other classic film about children, Nobody Knows, that Hirokazu Kore-Eda has a way with children; but given the small body of authentic masterpieces he has directed – Maborosi, After Life, Still Walking – it…
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Broadway Theater Review: THE GERSHWINS’ PORGY AND BESS (Richard Rogers Theatre)
PLENTY OF NOTHING Even before The Gershwins’ Porgy and Bess opened on Broadway, it was fraught with controversy. A New York Times puff piece on the Boston American Repertory Theater production was pitched in such a way that director Diane Paulus, adaptor Suzan Lori-Parks, and star Audra McDonald came across as arrogant, which inspired Stephen Sondheim to…
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Chicago Theater Review: A LITTLE NIGHT MUSIC (Writers Theater in Glencoe)
A SMALL LITTLE CREATES HUGE RESULTS For its scintillating revival of A Little Night Music, Writers Theatre has condensed the Stephen Sondheim classic into a chamber musical. The action is played out on a small thrust stage enclosed by lacy floor-to-ceiling curtains. The only set is a raised two-step platform in the middle of the…
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Chicago Theater Review: OPUS 1861: THE CIVIL WAR IN SYMPHONY (City Lit Theater)
A WAR OF IDEAS For the first forty-five minutes of City Lit’s OPUS 1861, a miracle occurred: I wept. Consistently. The simple but mighty idea is this: six actors dressed in simple army fatigues (T-shirts, camouflage pants) perform an amalgamation of Civil War songs with letters from U.S. soldiers serving in Afghanistan. The letters varied…
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New York Theater Reviews: RECENT SPRING OPENINGS ON AND OFF BROADWAY
Stage and Cinema sent Harvey Perr back to the east coast to catch up on this very busy time of the season in New York City theater, when new shows open one right after the other and Tony fever is in the air. Here’s a hearty and tasty stew of what he saw go down….
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