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Theater Review: ROCK OF AGES (National Tour reviewed at the Hollywood Pantages)
ROCK & ROLL CAMP The cast of Rock of Ages is riotously hell bent on making you have a good time. They beat you into submission with energy, wide smiles, and hair’”lots and lots of great big 80s hair. It’s a jukebox musical, with a slender thread of a boy-meets-girl story piecing together some of…
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Regional Theater Review: ANNA CHRISTIE (The Old Globe in San Diego)
ODD CASTING CHOICE NEARLY SINKS SHOW There is a perplexing and ultimately infuriating casting choice in the Old Globe’s production of Anna Christie that nearly sinks Eugene O’Neill’s 1921 tale of two sea-faring men and the woman who comes between them. Nearly. There is enough fully-realized acting and truly breathtaking stagecraft (including a scene change…
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Los Angeles Theater Reviews: SHORT EYES and CAGES (LATC in Los Angeles and Stella Adler Theatre in Hollywood)
IMPRISONED BY ART Most literary intellectuals have as much business writing about life behind bars as incarcerated felons have teaching text analysis. In the last few months, Los Angeles has hosted two plays written by playwrights who have spent time, and set stories, in prisons. Miguel Pinero did his time as a thief and drug…
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Theater Review: JULIUS CAESAR (African-American Shakespeare Company in San Francisco)
JULIUS CAESAR IN AFRICA Modern theater companies traditionally place Shakespeare into all kinds of settings, eras and cultures in search of new or updated relevance. While the choices for many endeavors feel largely arbitrary, the African-American Shakespeare Company sets Julius Caesar amongst the surreal violence of Africa. This inspired pairing brilliantly elucidates political maneuvering, brutal…
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Chicago Theater Review: TEN CHIMNEYS (Northlight Theatre in Skokie)
ALL ABOUT ALFRED AND LYNN Ten Chimneys is the name of the estate near Madison, Wisconsin, where the famous American husband-and-wife acting team of Alfred Lunt and Lynn Fontanne retreated annually to prepare for their season on the American stage. The estate is now a major tourist attraction, a monument to the lives and careers…
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Los Angeles Theater Review: THE SPIDEY PROJECT: WITH GREAT POWER COMES GREAT RESPONSIBILITY (Studio/Stage in Los Angeles)
OH WHAT A TANGLED WEB WE WEAVE While Theatre Unleashed’s cast and crew have a gloriously and unashamedly good time bringing The Spidey Project to the West Coast, it’s a shame that their source material isn’t the parody it promised to be in the press release. There are some very funny moments in this silly,…
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Los Angeles Theater Review: GROUNDLINGS ZOMBIE APOCALYPSE and LET THEM EAT SUNDAY (The Groundlings Theatre in West Hollywood)
GROUNDLINGS ZERO The best part about cleaning up my DVR last weekend was catching up on Raising Hope, the hilarious FOX comedy. It’s funny, surprising, naughty, sometimes dirty, and wholly original. In one episode they give Cloris Leachman a beautifully timed joke about how she could only have an orgasm with her late husband when…
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Los Angeles Theater Review: AMERICAN NIGHT: THE BALLAD OF JUAN JOSÉ (Kirk Douglas Theatre in Culver City)
AMERICAN NIGHT SUCKS, BUT IT SWALLOWS Juan José, a Mexican cop sick of being on-the-take, has crossed the border in search of citizenship, leaving his pregnant wife behind. Panicking over flash cards while studying for his U.S. citizenship exam, Juan falls asleep and the rest of this 90 minute, intermissionless, astoundingly uneven cavalcade of skits,…
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Film Review: THE KID WITH A BIKE directed by Jean-Pierre and Luc Dardenne
LOSING A BIKE AND A FATHER AT THE SAME TIME Jean-Pierre and Luc Dardenne are always burrowing deep into the dirty soil from which we all presumably come. Life, to these extraordinary Belgian filmmakers, is hard and mean and filled with consequences that are not merely challenging but driven through with pain and despair. And,…
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Los Angeles Theater Review: THE COLOR PURPLE (Celebration Theatre in Hollywood)
HATE THE MUSICAL, BUT LOVE, LOVE, LOVE THE PRODUCTION Whether you love or hate the musical version of The Color Purple, no one, and I mean no one, can or will deny that this is one of the finest productions ever staged in a small theater in Los Angeles. Director Michael Matthews has taken a…
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San Diego Theater Feature: PARADE (Cygnet Theatre)
A PARADE IS COMING TO TOWN In the NY Times, Christopher Isherwood stated that while the authors of Parade deserve credit for their fidelity to history and their ambition to probe a painful chapter in the American past, the true story of Leo Frank, a Jewish man who was lynched in Georgia in 1915 for…
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Chicago Theater Review: THE LARAMIE PROJECT: TEN YEARS LATER (Redtwist Theatre)
WHAT A DIFFERENCE TEN YEARS MAKE The Laramie Project: Ten Years Later tells the story of Matthew Shepard and how it affected those involved a decade after his 1998 murder. As with its point of origin The Laramie Project (also running concurrently as staged readings) disparate denizens of this infamous town in Wyoming have been…
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Chicago Theater Review: CAMINO REAL (Goodman)
REAL GENIUS OR REAL CLUNKER? Tennessee Williams wrote at least 10 plays that are more accessible and commercially viable than his Camino Real (pronounced CA-mino Reel). Even the most zealous playgoer likely has never seen a production of this perplexing symbolic drama. So when the Goodman Theatre placed the 1953 play on the company’s 2011-2012…
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World Tour Theater Review: RIVERDANCE (Oriental Theatre in Chicago)
RIVER OF DREAMS All good things must come to an end, they say, so it was inevitable that Riverdance would finally end its run, at least in the United States. But will it ever be missed. Playing for a paltry week of performances at the Oriental Theatre, the show bids farewell to Chicago, but it’s…
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Los Angeles Theater Reviews: THE YELLOW HOUSE and SPECIAL DELIVERY (Katselas Theatre Company at the Skylight Theatre)
TWO MORE ONE-PERSON PLAYS AT THE SKYLIGHT Burke Byrnes’s The Yellow House (Fridays) and Harry Hart-Browne’s Special Delivery (Saturdays) both possess the virtues and weaknesses of one-person shows. Both have the bracing intelligence of their creators. Both are very well performed. Both are highly personal and yet avoid the narcissism that personal works are often guilty of….
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Chicago Theater Review: BRING IT ON: THE MUSICAL (Cadillac Palace Theatre in Chicago)
THE BOOK ISN’T READY, BUT BRING IT ON ANYWAY Bring It On at the Cadillac Palace Theatre is cut from the Legally Blonde cloth of contemporary musical theater: they are both inspired by motion pictures (Bring It On spun off into five movies from 2000 to 2009), and feature a lithe young blonde heroine, a…
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Los Angeles Theater Review: WHY WE HAVE A BODY (Edgemar Center for the Arts in Santa Monica)
WHY DO WE HAVE WHY WE HAVE A BODY? Every few years a vanity project comes along so appalling that one’s jaw hangs open for its entire running time, saliva connecting the lower lip to the floor in a single unbroken strand. The planets have to align very particularly for a travesty of this magnitude…
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Los Angeles Theater Review: THE SEAGULL (Antaeus Theatre Company in North Hollywood)
A GROUNDED SEAGULL In Chekhov’s The Seagull, the young, angst-ridden writer Tréplev maintains that “What we need are new forms! We need new forms, and if we can’t have them, then we’re better off with no theater at all.” Yet when Chekhov wrote this line in 1895, he was referring not to the interpretation of…
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Los Angeles Theater Review: ANTONY AND CLEOPATRA (A Noise Within in Pasadena)
A NEGLECTED CLASSIC GONE AWRY The story of Antony and Cleopatra shares with Shakespeare’s Romeo and Juliet those two indispensable elements of tragedy: love and death. While Romeo and Juliet is perhaps Shakespeare’s best known play, Antony and Cleopatra is all but neglected. This is all the more surprising considering contemporary interest in its principal…
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Chicago Theater Review: THE PRICE (Raven Theatre in Chicago)
A REVIVAL THAT’S WORTH THE PRICE The Price (1968), in a solid revival at the Raven Theatre, demonstrates Arthur Miller at the top of his game – writing intense, eloquent, densely textured dramas about families under stress. The production may have been marred a bit on opening night by some line-reading glitches, but the staging…
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