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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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Off-Broadway Theater Review: THE CARETAKER (Brooklyn Academy of Music’s Harvey Theater)
PICKING THROUGH AMBIGUITIES In Harold Pinter’s purposefully ambiguous The Caretaker (1960), currently playing at Brooklyn Academy of Music’s Harvey Theater, Davies (Jonathan Pryce) is a transient who is invited by Aston (Alan Cox) to stay in a dilapidated London house. All the action takes place in one crummy, cluttered room that is also frequented by…
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Chicago Theater Review: THE ICEMAN COMETH (Goodman Theatre in Chicago)
THE ICEMAN HATH ARRIVED Eugene O’Neill’s The Iceman Cometh is a towering play, nearly 5 hours with three intermissions and a cast of 16 major characters. Yet its theme can be summarized in five words’”We need illusions to survive. The Goodman Theatre is reviving a basically uncut Iceman (one character has been dropped) in what certainly is…
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Theater Review: RENT (American Theater Company)
RENT GETS A NEW LEASE ON LIFE, EVEN AS THE INTRINSIC PROBLEMS REMAIN As soon as David Cromer was announced as the director, the revival of Rent became one of the buzz productions of the season, Cromer being one of the hottest directors in the country. His reputation soared with a revelatory revival of Our…
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Chicago Theater Review: TIMON OF ATHENS (Chicago Shakespeare Theater on Navy Pier in Chicago)
TIMON ON OUR HANDS OK, raise your hand if you have read Shakespeare’s Timon of Athens. No? Do you even know how to say Timon? It is pronounced TIME-uhn. Have you seen a production? Probably not, as it is rarely produced. Well, guess what? It most likely wasn’t even produced in Shakespeare’s time. The scholarly…
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Los Angeles Theater Review: THE HEIRESS (Pasadena Playhouse in Pasadena)
TAUGHT BY MASTERS William Faulkner might or might not have quipped that Henry James was one of the nicest old ladies he’d ever met. Faulkner definitely did call James both priggish and among the best of novelists, and even if the old-lady line proves spurious, it sounds enough like both of them that one wishes…
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Los Angeles Theater Review: SUKIE AND SUE: THEIR STORY (Blank Theatre in Hollywood)
THE DEVIL MADE ME DO IT A demon-possessed, bleeding-eyed, pyro-maniacal Raggedy Ann doll with pre-cum on her face is the vortex around which Michael John LaChiusa’s new comedy Sukie and Sue: Their Story swirls: it’s a flight of fancy that feels wickedly appealing, and he just about pulls it off. This new work, produced by…
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Theater Review: TIGERS BE STILL (Theater Wit)
MAKE A FELINE FOR THEATER WIT At the beginning of Tigers Be Still at Theater Wit, 24-year old Sherry takes a microphone and announces to the audience, karaoke style, “This is the story of how I stopped being a total disaster and got my life on track and did not let overwhelming feelings of anxiousness…
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Chicago Theater Review: THE DUCHESS OF MALFI (Strawdog Theatre Company in Chicago)
TOO MANY THEATER INGREDIENTS SPOIL THE BROTH If there were a Joseph Jefferson Award simply for risk-taking in the theatre, Brandon Bruce would most assuredly win for his direction of John Webster’s Jacobean tragedy, The Duchess of Malfi. Mr. Bruce has assembled a savvy design team and has employed numerous theatrical styles to tell the…
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Tour Review: TOTEM (Cirque du Soleil)
CIRQUE’S PERKS What’s a circus without lions, tigers, and elephants? In the case of Cirque du Soleil’s Totem, their eleventh major production in 26 years, it’s a marked improvement, proving that animals acts are strictly for the birds when it comes to grand circus entertainment. Press materials tell us that “Totem traces the fascinating journey…
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Chicago Theater Review: PRIDE AND PREJUDICE (Lifeline Theatre in Chicago)
A PRODUCTION TO TAKE PRIDE IN All of Jane Austen’s novels are built on the same premise. A woman meets and marries an eligible man after a series of usually comic difficulties. But Austen extracts a remarkable amount of drama, comedy, and human interest from her domestic tales through her witty, ironic prose and her…
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Los Angeles Theater Review: A NEW BRAIN (Musical Theatre Guild at the Alex Theatre in Glendale)
ONE FROGGY EVENING Once again, Musical Theatre Guild (MTG), a company of professional performers who present concert-staged readings, has produced a stellar offering of a rarely-seen musical – William Finn’s A New Brain – that elucidated why it is rarely produced. More important, MTG also revealed how a musical’s spotty construction can be overcome with…
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Los Angeles Theater Review: THE PIANIST OF WILLESDEN LANE (Geffen Playhouse in Westwood)
GRIEG, INTERRUPTED The Pianist of Willesden Lane features world-class piano playing, a moving story, a performer who has mastered the art of the former but not of the latter, and a director who can’t tell the difference. About ten years ago, pianist Mona Golabek wrote with Lee Cohen a children’s book about Golabek’s mother, Lisa…
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Chicago Theater Review: IN A FOREST, DARK AND DEEP (Profiles Main Stage Theatre in Chicago)
THE ACTING IS DARK AND DEEP BUT THE SCRIPT GETS LOST IN THE FOREST In a Forest, Dark and Deep may not be top drawer Neil LaBute, but it does provide a showcase for two of the area’s best performers to rant and rave at each other with considerable gusto for 90 uninterrupted minutes. The…
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Los Angeles Theater Review: ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Royal Theatre aboard the Queen Mary in Long Beach)
THE TRIUMPH OF IRONY When Tom Stoppard’s play Rosencrantz and Guildenstern are Dead (R&G) premiered at the Edinburgh Festival in 1966, the critics hated it. While a poor production may have been partially to blame, the ensuing decades have certainly vindicated him. Stoppard’s talent for reworking Shakespeare earned him a 1999 Oscar for Shakespeare in Love….
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