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Broadway Theater Review: DON’T DRESS FOR DINNER (American Airlines Theatre)
DON’T EVEN BOTHER Broadway producers often hope lightning will strike twice as they mount shows very similar to past successes. We have recently seen the creative team of Hairspray unsuccessfully try to replicate that triumph with the flop Cry Baby. The folks who brought you a competent Lombardi are now serving us a mediocre Magic/Bird. …
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Broadway Theater Review: LEAP OF FAITH (St. James Theater)
LOOK BEFORE YOU LEAP Americans love popular stories of miracles and redemption. And really, who doesn’t? Few things are more gratifying than God taking time out of His schedule to break all the rules of Nature, which He created, just to do you a favor. How uplifting is a tale of a corrupted soul that…
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Broadway Theater Review: PETER AND THE STARCATCHER (Brooks Atkinson Theatre)
THEATER OF THE ADVENTUROUS I hadn’t realized how deeply entrenched in my unconsciousness the Peter Pan legend was; that is, until I found myself, in the last minutes of the rousing and miraculously innovative Peter and the Starcatcher, gently weeping. Not that the show in any way jerked tears out of me – make no…
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Los Angeles Theater Review: CONCEALING JUDY HOLLIDAY (Pacific Resident Theatre in Venice)
REVEALING JUDY HOLLIDAY If you really never cared about Judy Holliday, because you only know her from grating performances in unsophisticated 50’s movies, you’re not alone. (Turns out she may have hated them more than I.) And I was warned that Concealing Judy Holliday is built upon the somewhat familiar premise of a deathbed fever…
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Regional Theater Review: BROWNIE POINTS (Lamb’s Players in San Diego)
POINTS FOR THE RICH MIX IN BROWNIE Five women consider themselves to be friends because their daughters are in the same Girl Scouts troupe. The bond they share should have been enough to plan and co-lead a weekend camping excursion for the troupe, but challenges along the way reveal different personalities that were belied by…
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Chicago Theater Review: THE MARCH (Steppenwolf)
THE LONG MARCH E. L. Doctorow’s The March was a fine Civil War novel and likely would make an excellent motion picture, but as a play it has problems. The ambitious adaptation at the Steppenwolf Theatre certainly gives the book a brave try, but at 2 hours and 50 minutes the production turns out to…
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Chicago Theater Review: PIRATES OF PENZANCE (Marriott Theatre in Lincolnshire)
A PRODUCTION THAT IS THE VERY MODEL The comic operas of Gilbert and Sullivan can be an acquired taste for modern audiences. The plots are inane and the satire, so cutting in Victorian days, means little to today’s spectators. Still, the music is superb and the lyrics delicious, though it takes a sharp ear to…
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Chicago Theater Review: SIXTY MILES TO SILVER LAKE (Flat Iron Arts Building in Chicago)
SIXTY MILES TO NOWHERE The setting for Dan LeFranc’s Sixty Miles to Silver Lake is the front seat of a car. Ky (Sean Bolger) has picked up his son Denny (Ethan Dubin) from a soccer game, as he does every weekend, to drive sixty miles on the Golden State Freeway to Silver Lake, near downtown…
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Off Broadway Theater Review: NINTH AND JOANIE (Labyrinth Theater Company)
BEYOND REALISM The living room and foyer of the modest house on 9th Street in the South Philadelphia of 1986, created by David Meyer, is as dank and dreary as social realism will allow. And when the door to the kitchen opens, we may not see the kitchen sink, but we can readily imagine exactly…
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Regional/Los Angeles Theater Review: CLOUDLANDS (South Coast Repertory in Costa Mesa)
EXPOSITION, THE MUSICAL SPOILER ALERT in this first paragraph! There are attempts at surprising plot twists in Octavio Solis’ and Adam Gwon’s new musical drama Cloudlands, but this new piece, commissioned by South Coast Repertory, takes itself so seriously, struggling, grasping for some sort of esoteric significance that it never rises above its soap-operatic plot….
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Broadway Theater Review: GHOST THE MUSICAL (Lunt-Fontanne Theatre in New York City)
THEATRE GHOST In uncertain times such as these, audiences crave familiarity and nostalgia. Broadway, which once turned plays into movies, is now glutted with adaptations of popular films because it’s easier to sell a show as a known quantity based on a “title.” While producers play on our nostalgia, they usually diminish the source material,…
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Los Angeles Theater Review: SHOTSPEARE’S ROMEO AND JULIET (Skinny’s Lounge in North Hollywood)
DRINKS ARE QUICK Corey Womack has produced and stage-managed my two favorite Shakespeare shows of the past year, and so to me she is among the most able and important people working in the American theater. True, more famous names may bring the classics to Southern California stages. But from Peter Hall’s uninspired Midsummer Night’s…
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Chicago Theater Review: HAIRSPRAY (Drury Lane Theatre in Oakbrook Terrace)
A PERFECTLY COIFFED HAIRSPRAY A successful revival of Hairspray demands pinpoint casting in two roles: Tracy Turnblad, the show’s central character, must be short, exceedingly stocky, look like a high school girl, and have a performing motor that doesn’t stop for more than two hours, and Tracy’s mother Edna must be credibly played by a man….
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Los Angeles Theater Review: MISS SAIGON (La Mirada Theatre for the Performing Arts in La Mirada)
COME FOR THE MUSIC, STAY FOR THE CADILLAC The music is everything in Miss Saigon’”not the plot, which is strangely muddled at times, and not the lyrics, which are sometimes awkward. What sticks in your mind and what made the show such an enduring hit (currently the eleventh longest running show in Broadway history) is…
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Los Angeles Theater Review: THE CONVERT (Kirk Douglas Theatre in Culver City)
NEW BEGINNINGS “You are bafu!” is an insult hurled many times throughout Danai Gurira’s new play The Convert. Bafu means traitor; in this context, it is used to describe Africans who collaborate with Europeans in ways that go against tribal customs. Much of the drama in The Convert centers on those who are considered traitors…
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Chicago Theater Review: THE RAINMAKER (BoHo Theatre at Theater Wit)
A REFRESHING RAIN When reviving an oft-produced play like N. Richard Nash’s The Rainmaker, the hope is that the director will somehow put a new spin on the production so that the piece doesn’t come off as dusty as the drought-ridden plains in which it takes place. Bohemian Theatre Ensemble’s production at Theater Wit has…
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Off-Off-Broadway Theater Review: YOU BETTER SIT DOWN: TALES FROM MY PARENTS’ DIVORCE (The Civilians at The Flea Theater)
YOU’RE GONNA STAND UP: Sometimes in the theater, all you need are four chairs and four actors and a director who knows how to move them around so that everything they do is as natural as breathing. Welcome to You Better Sit Down: Tales From My Parents’ Divorce, the newest project of the innovative and…
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Chicago Theater Review: BLUE MAN GROUP (Briar Street Theatre)
FEELING A LITTLE BLUE In 1992, a friend insisted that we see Blue Man Group: Tubes at the tiny, cramped Astor Place Theatre in New York City. At the time, people were calling it a new generation of performance art, largely because it lacked the self-serving air of attention-seeking SoHo artists. To us, it was…
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Off Broadway Theater Review: MASSACRE (SING TO YOUR CHILDREN) (Rattlestick Playwrights Theater)
BLOODY MASSACRE, DULL SONG As they march through (or are flung through) the doors of an abandoned slaughterhouse, their bodies bloodied, one wonders what battle zone of what war they have come from. But it turns out that this group of survivors have merely killed a mean neighbor. Who would have thought there’d be so…
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Los Angeles Theater Review: LONG DAY’S JOURNEY INTO NIGHT (Actors Co-op in Hollywood)
LONG DAY’S JOURNEY INTO NATURALISM Much has been written about Eugene O’Neill’s decision to trade first names with his own dead brother Edmund when naming the younger Tyrone brothers in Long Day’s Journey into Night. The autobiographical play about the family of a fading actor was after all so personal to the writer that he…
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