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Los Angeles Theater and Tour Review: THE ADDAMS FAMILY (Pantages Theatre)
REAPPLYING MAKE-UP ON THE SAME CORPSE Your enjoyment of The Addams Family, now on its National Tour, will depend largely on your expectations. If you are a discerning musical theater aficionado who craves a well-crafted story and amazing songs, this will be a head-scratching affair, one which creates more questions than answers. Those who are…
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Chicago Theater Review: ALMOST AN EVENING (Circle Theatre in Oak Park)
SHOULD YOU GO TO HELL? Sarte said that Hell is other people, but playwright Ethan Coen proposes that watching other people experience hell is supposed to be hysterical. Coen’s Almost An Evening is the inaugural show in Circle Theatre’s new, more intimate space, and while J. Christopher Brown’s production can be devilishly fun at times,…
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Los Angeles Theater Review: TAKE ME OUT (Sky Lounge in North Hollywood)
BLACK BOX BASEBALL Rise Above Theatre Movement has proved once again that it is not afraid of performing difficult material. In the young theatre company’s first show, The Last Days of Judas Iscariot, many of the actors were challenged by the play’s unconventional religious content and its lead actor bared his body on stage. In…
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Off-Off-Broadway Theater Review: THE GOLDEN VEIL (The Kitchen)
THEATER AS A COLLECTIVE DREAM The band is already playing, the show underway, as we enter The Kitchen Theatre by way of the stage, which is set up like the parlor of a mystic or a fortuneteller, full of old books and odd, antiquated objects. As we take our seats we are offered wine from…
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Los Angeles Theater Review: LOS OTROS (World Premiere at the Mark Taper Forum)
¿POR QUÉ? I have been trying to figure out sixty ways from Sunday’s opening of Los Otros just exactly how to approach a critique. The new one-act musical by composer Michael John LaChiusa (The Wild Party) and librettist/lyricist Ellen Fitzhugh (Grind) is essentially two sung-through monologues. For about 45 baffling minutes, The Woman (Michele Pawk),…
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Los Angeles Theater Review: VERY STILL & HARD TO SEE (Lex Theatre in Hollywood)
VERY IMPERVIOUS AND HARD TO GET, OR WHAT THE HELL..? I’m debating whether or not to tell you to go to Hell. Should you choose to go, playwright Steve Yockey will take you there in the world premiere of Very Still and Hard to See, a cluster of sporadically startling but ultimately opaque short stories…
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Los Angeles Theater Review: WHERE THE GREAT ONES RUN (Rogue Machine)
RUN The Rogue Machine is one of the best theatre companies in Los Angeles, producing some of the finest productions anywhere. Sadly, their latest effort Where the Great Ones Run wandered off their true artistic center and truly left me baffled. The story basically is about a Country Star returning to his home town because…
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Chicago Theater Review: [TITLE OF SHOW] (Northlight Theatre in Skokie)
[title of review] The Northlight Theatre decided to step off of the beaten path this season, putting on the relatively unknown cult musical [title of show]. The simple premise has two writers, Jeff and Hunter, who are trying to write a show about themselves writing a show ([title of show] refers to the New York…
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Chicago Theater Review: CAMELOT (Light Opera Works in Evanston)
THE LIBRETTO NEVER REALLY WORKS, BUT THIS PRODUCTION SURE DOES Camelot is a good musical that should be better. After all, it was composed by the team of Lerner and Loewe, of My Fair Lady immortality. And it takes as its subject one of the great romantic legends in Western culture, the reign of King Arthur…
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San Francisco Theater Review: THE FULL MONTY (Ray of Light Theatre)
BARED SOULS AND BARE FLESH The huge production of Ray of Light Theatre’s The Full Monty may be packed into the tiny Eureka Theater (opening night was squirming-room-only), but it astonished me how satisfying such full measures of delight, laughter, robust song, and crisp dance could be packed into this revival. Add to that the musical’s…
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Chicago Theater Review: THE BLOND, THE BRUNETTE, AND THE VENGEFUL REDHEAD (Writers’ Theater in Glencoe)
GO FOR THE PERFORMANCE, NOT THE SCRIPT Like most one-actor plays, the new show at Writers Theatre is more satisfying as a performing showcase than as a drama. The play carries the tantalizing title of The Blonde, the Brunette, and the Vengeful Redhead, identifying three of the seven characters impersonated by an exceptionally versatile actress…
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Los Angeles Theater Review: Sandra Bernhard: SANDROLOGY (REDCAT)
A MESS IN BIG POCKETS Imagine yourself not exactly as JFK cheerleader Arthur Schlesinger Jr., but at least a 40ish New Deal Democrat, attending a John F. Kennedy rally in New York City in the summer of 1963. You’re sympathetic to the president and his ideas, but you’re not one of the fresh-from-college, budding-hippie, personality-cult…
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Chicago Theater Review: MY KIND OF TOWN (TimeLine Theatre in Chicago)
BAD COP GOOD COP The cynical title My Kind of Town acknowledges the pop song that celebrates Chicago but also a likely culture of police brutality. This is the work of investigative journalist John Conroy, who wrote 22 articles on police torture in Chicago from 1990 to 2007. Conroy may not be an experienced professional…
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Los Angeles Theater Review: SYNESTHESIA (Bootleg Theater)
PIECE OF EIGHT Conceived by Ashlin Halfnight and Melanie Sylvan at New York’s Electric Pear Productions, Synesthesia can easily be classified in the “Why Didn’t I Think of That?” Department. The performance piece (actually, eight performance pieces in one) is a multi-medium event with such a clever concept that one would suspect the outcome would…
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Off-Broadway Theater Review: MY CHILDREN! MY AFRICA! (Signature Theatre)
CHILDREN OF HOPE AND SORROW We enter the theater, which has been configured thrust-style like an amphitheater, and take our seats. The tiny stage below has an unfinished cement floor, a small wooden desk with a chair behind it, and two more chairs, one plain and one with a tablet arm. Behind them is a…
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Los Angeles Theater Review: STONEFACE: THE RISE AND FALL AND RISE OF BUSTER KEATON (Sacred Fools Theatre Company in Hollywood)
TOO MUCH TRAGEDY SPOILS CLEVER CONCEIT Prior to curtain at Sacred Fools’ production of Stoneface, the packed house watched samplings of Buster Keaton’s films, projected on a screen center stage. Hushed and rapt, almost reverent, many were even leaning forward towards the screen. When a funny bit occurred, the audience roared in unison, then just…
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Film Review: FUZZ TRACK CITY (directed by Steve Hicks)
IN THE GROOVE Novelist and screenwriter Raymond Chandler said of the detective in any private-eye story, “He must be a complete man and a common man and yet an unusual man.” This goes a long way toward saying nothing, and in fact, all the detective “must be” is a cypher, a blank slate with a…
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Los Angeles Theater Review: IT IS DONE (Pig –˜N Whistle in Hollywood)
IT IS (BUT SHOULDN’T BE) DONE There was something that felt particularly showcase-y about It Is Done, which can best be described as a 22-minute episode of The Twilight Zone laboriously stretched into a full-length one-act. There are three characters in Alex Goldberg’s talky script. Hank (Michael McCartney) is the skanky proprietor of a bar…
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Off-Broadway Theater Review: FEBRUARY HOUSE (The Public Theater)
THE HOUSE OF LOVE AND MUSIC Many artists, being generally unsuited for life in normal society, have often dreamed of a place where they could be with others of their ilk. Where they would be free to live and create without the sinewy hand of mediocrity shackling them with public morals and conventions. A place…
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Los Angeles Cinema Feature: LAST REMAINING SEATS (Los Angeles Conservancy)
MOVIES THE WAY THEY WERE MEANT TO BE SEEN 25 years ago, a handful of volunteers from The Los Angeles Conservancy, a nonprofit that recognizes, preserves, and revitalizes the historic architectural of L.A. County, dreamt up Last Remaining Seats, a summertime program which presents classic films and live entertainment in historic movie palaces. The brilliantly…
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