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Chicago Theater Review: THE BUTCHER OF BARABOO (A Red Orchid Theatre)
IT’S NOT SAFE TO GO BACK IN THE KITCHEN Along with cutting meat for a living, Valerie, the butcher in Marisa Wegrzyn’s impressive The Butcher of Baraboo, is a middle-aged woman who is the center of an over-the-top dysfunctional family that takes the audience on a funny, disturbing, sometimes harrowing ride at A Red Orchid Theater….
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Bay Area Theater Review: OTHELLO, THE MOOR OF VENICE (Marin Theatre Company in Mill Valley)
A GRIPPING PLUNGE INTO THE DARK SIDE Watching Marin Theatre Company’s Othello, I wondered if William Shakespeare was determined – with teeth-gritted ferocity – to make the audience squirm with the effort of holding back shouts of warning and outrage. While Elizabethan audiences were uncensored, presumably barking back to the stage at any of the…
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Los Angeles Theater Review: THE BUNGLER (A Noise Within in Pasadena)
YOUR OLD-AGE HOME FOR THE CLASSICS Julia Rodriguez-Elliott’s production of Moliere’s The Bungler reminds me of nothing so much as the last two shows I’ve seen at A Noise Within this season. It’s not bad. It respects (not to say reveres, puts on a pedastal, suffocates with solicitude) its text, and presents it in an…
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Broadway Review: END OF THE RAINBOW (Belasco Theatre)
A TRIUMPHANT TRAINWRECK If you’ve never applauded a trainwreck, be prepared to do so when you see Peter Quilter’s End of the Rainbow. I am not talking about the gossip-driven, hardly revelatory play about Judy Garland’s last days; I am talking about Tracie Bennett’s devastating portrait of a Ritalin-addled, vodka-soaked, emotionally greedy and equally needy,…
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Los Angeles Dance Feature: BALLET DU GRAND THÉí‚TRE DE GENÈVE (Dorothy Chandler Pavilion)
WELCOME TO THE CITY OF ANKLES At the age of 34, dancer and choreographer Benjamin Millepied is poised to become a household name; an extraordinary feat considering that the best-known figures in dance are those trailblazers who came to emblemize originality and invention in ballet and on Broadway long ago – names such as Cunningham,…
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Off Broadway Theater Review: LOST IN YONKERS (The Beckett Theatre/Theatre Row)
SIMON’S LOST IS FOUND The disappointing turnout for The Neil Simon Plays on Broadway in 2009 suggested that Neil Simon’s style of dysfunctional family comedy, a mainstay of The Great White Way, was suddenly passé. Brighton Beach Memoirs barely drew an audience, closing within two months, and the planned companion production of Broadway Bound never…
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Theater Review: THE MERCHANT OF VENICE (Theatre Banshee in Burbank)
MUCH ADO TO KNOW ITSELF Sean Branney has been as lauded as a Los Angeles theater director can be, and Theatre Banshee has done some great work recently, so it’s disappointing to report that their new Merchant of Venice is, like Portia’s dowry boxes, a hash of gold, silver and lead. In this story, the…
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Off Broadway Theater Review: 4000 MILES (Mitzi E. Newhouse Theater)
MILES OF TALENT AT LINCOLN CENTER As a reviewer, I don’t like to pander in hyperbole, but since this year has been such a second-rate season in New York, I think it’s safe to say that 4000 Miles will be remembered as one of the best shows of the season. Upon its opening, fortunately, Amy…
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Upcoming Regional Theater: THE PRIDE (Diversionary Theatre in San Diego)
WHAT DEFINES PRIDE? How much of our identity is defined by the era in which we live? How does the constraint or freedom of a particular time mold who we are? Alexi Kaye Campbell’s The Pride, which opens this week at San Diego’s Diversionary Theatre, examines the lives of gay men in two separate stories…
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Chicago Theater Review: CHESAPEAKE (Remy Bumppo at the Greenhouse Theater)
THE PLAY’S ACTING’S THE THING Plenty of negatives can be directed toward Lee Blessing’s Chesapeake, which suffers from personality disorder: Is it a satire? A comedy? A fantasy? Does it even know, or care? Fortunately, these critical reservations are mostly disarmed by Greg Matthew Anderson’s brilliant performance. This is a good thing because Mr. Anderson…
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Los Angeles Concert Review: MUSE/IQUE, UNCORKED: EBONY MEETS IVORY (Pasadena Civic Auditorium)
JACKPOT Attending a huge array of theater and concerts is akin to a slot machine: the entertainment equivalent to three cherries does exist out there, but a huge amount of time, money and effort can be spent with little guarantee of a return on your investment – the amount of blanks and lemons out there…
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Los Angeles Theater Review: DEATHTRAP (The L.A. Gay & Lesbian Center’s Davidson/Valentini Theatre)
KILLER HUNK, KILLER SET, AND KILLER STORY MAKE UP FOR BLOODLESS PERFORMANCES As evidenced by his astoundingly beautiful production of Ira Levin’s 1978 comedy-thriller Deathtrap, Jon Imperato is a paradigm of producing and most assuredly knows how to take a tiny, black box theater and transform it into a Broadway-caliber showcase of technical and directorial…
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Chicago Theater Review: THE TURN OF THE SCREW (First Folio Theatre in Oakbrook)
HAUNTINGLY INTIMATE Ghost stories are difficult to bring off on stage. The physical reality of flesh and blood actors works against the sense of the supernatural and the suspense and horror that give the genre its distinctive flavor. That’s why ghost stories are generally more effective on the printed page or in the movies or…
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Music Review: MIGHTY PIPES (Gay Men’s Chorus of Los Angeles at the First Congregational Church of L.A.)
NOT AS MIGHTY AS EXPECTED The Gay Men’s Chorus of Los Angeles (GMCLA) has performed everywhere from the Alex Theatre to Avalon Hollywood and the Dorothy Chandler Pavilion, but never has the world-class chorus been in a venue as dramatic and spectacular as the First Congregational Church. Their latest concert, Mighty Pipes, under the spirited…
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Los Angeles Theater Review: IT’S JUST SEX (Two Roads Theater in North Hollywood)
IT’S JUST IT’S JUST SEX Cole Porter wrote sex comedies; Richard Brinsley Sheridan and William Shakespeare wrote them. Michael Frayn wrote them. Georges Feydeau and Arthur Schnitzler wrote them. There’s nothing wrong with sex comedies. A sex comedy can be very funny and therapeutic when it’s done right, and even when it’s done wrong, it…
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Los Angeles Theater Review: FEEDBACK (Lyric Theatre in Hollywood)
FEEDBACK: THE BIG TEASE Everything that works and doesn’t work about Jane Miller’s new play Feedback turns on one thing: Nudity. In terms of talking the talk, the whole exercise is about getting naked’”literally at first, then emotionally. Yet when it comes time to walk the walk, bra and panties stay firmly in place. And…
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Off-Broadway Theater Review: CARRIE (Lucille Lortel)
MCC GETS CARRIE-D AWAY The myth that youth market musicals are a low-risk venture has gained strength over the last few years in New York City. Short-sighted producers will overlook disasters such as Glory Days in favor of mounting the next potential Spring Awakening. This phenomenon has never more clearly been on display than in Manhattan Class…
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Los Angeles Theater Review: NAKED BEFORE GOD ([Inside] the Ford in Hollywood)
BORN-AGAIN PORN STAR? Nudity can have a sacred character to it, depending on one’s motives. There are Christian nudist colonies, for example, whose goal is to return humankind to its prelapsarian state, that is, to be as naked and innocent as Adam and Eve in the Garden of Eden. In The Dream Team (1989), Christopher…
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Los Angeles Theater Review: AMERICAN IDIOT (National Tour at the Ahmanson Theatre)
WHICH AMERICAN IDIOT ARE YOU? If you know and love Green Day’s studio concept album on which it is based, American Idiot is the show for you. If, like me, you are a stranger to the original material and like to savor the lyrics in a theater and not have them turn to slush amidst the…
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Los Angeles Theater Review: LINCOLN – AN AMERICAN STORY (Pasadena Playhouse in Pasadena)
THE DISNEYFICATION OF LINCOLN’S DEATH In many ways, Hershey Felder is a theater machine. In his four previous self-crafted one-man shows, the earnest and multi-talented actor/pianist/composer brought to life Gershwin, Bernstein, Chopin, and Beethoven. The man has created a fervent and dedicated fan base around the world, engaging audiences with his intensely dazzling musical interpretations:…
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