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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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Los Angeles Theater Review: BALM IN GILEAD (Coeurage Theatre Company at Actor’s Circle Theatre)
THRILLING HOPELESSNESS Go up into Gilead, and take balm, O virgin, the daughter of Egypt: in vain shalt thou use many medicines; for thou shalt not be cured. – Jeremiah 42:11. In 1964, Lanford Wilson wrote a play startling in its representation of a gritty present, and even more surprising now for its continued relevance. …
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Los Angeles Theater Review: SARAH’S WAR (Hudson Mainstage Theatre in Hollywood)
ACTS OF CONSCIENCE All theater is inherently political, in that a story is only as objective as its teller. But some plays go straight to the 24 hour news cycle definition of politics, addressing problems of international diplomacy divisive enough that only a stage may politely host them. Sarah’s War, Valerie Dillman’s play enjoying its…
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Chicago Theater Review: THE NORTH PLAN (Theater Wit in Chicago)
A STRANGE MIXTURE OF BELLY-LAUGH FARCE AND POLITICAL INTRIGUE The North Plan at Theater Wit is either a farce with dark political conspiracy overtones or a political conspiracy drama played heavily for farce. Playwright Jason Wells may intend to say serious things about the political state of the nation, but if the audience doesn’t take…
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Los Angeles Theater Review: A FEW GOOD MEN (Sky Lounge in North Hollywood)
RISE ABOVE THEATRE MOVEMENT HANDLES THE TRUTH Just three years after Aaron Sorkin’s A Few Good Men (1989) was produced on Broadway, the play’s popularity was eclipsed by the film version with Tom Cruise. Revivals of the play are rare, but based on the vivid production by Rise Above Theatre Movement (RATMO), the courtroom drama…
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Regional/National Tour Dance Feature: ALVIN AILEY AMERICAN DANCE THEATER (Segerstrom Center for the Arts in Costa Mesa)
ALVIN AILEY – REMEMBER HIS NAME AIDS wreaked havoc on the theater world in all of its incarnations, and the crushing effects of its devastation remain with us today. So many ingenious creators were robbed from us that imagining the works that may have been instigates an unspeakable grief so vast that, at times, it seems best…
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Los Angeles Theater Review: SLITHER (Chalk Repertory in Hollywood)
FANGS FOR THE MAMMARIES Carson Kreitzer’s 2003 play Slither conforms to a certain category of American text: the women’s empowerment monologue extravaganza. Hallmarks of the genre include plotless, drama-free speeches of subjugation, delivered by female figures unfettered by character; a monologue format occasionally and inexplicably interrupted by thematically related scenes also lacking dramatic tension; and…
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Los Angeles Theater Review: FIGURE 8 (Theatre of NOTE in Hollywood)
ORIGINAL SIN In their fevered exploration of the seven deadly sins, Figure 8 playwright/co-director Phinneas Kiyomura and co-director Jerry Kernion seem hell bent on making sin seem as original as possible. Visually, their approach results in moments of genuine power. Emotionally, it has its limits. Kiyomura rather enigmatically calls Figure 8 a collection of eight…
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Theater Review: NEW JERUSALEM, THE INTERROGATION OF BARUCH DE SPINOZA AT TALMUD TORAH CONGREGATION: AMSTERDAM, JULY 27, 1656 (West Coast Jewish Theatre, L.A.)
A LACK OF PHILOSOPHY Elina de Santos’ production of David Ives’ 2008 New Jerusalem, The Interrogation of Baruch De Spinoza at Talmud Torah Congregation: Amsterdam, July 27, 1656 is the play’s west coast premiere, although L.A. Theatre Works presented the show last year.* This incarnation, however, is almost certainly the first to contain no moments…
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National Tour/Nightclub Review: MARíA VOLONTÉ (Blue Tango National Tour)
THE DARK STREETS OF PASSION The voluptuous Argentine singer María Volonté glided elegantly onto the stage at The Rrazz Room, caressed her guitar as with a lover, and had me at, “Are you ready to be dragged into the world of passion?” Music historians may debate the origins of tango music, but no one will…
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Los Angeles Theater Review: THE COST OF THE ERECTION (Blank Theatre in Hollywood)
SUPER STRUCTURE The Cost of the Erection: The title of Jon Marans’ new play sounds like one of those gay shows where comely actors get naked to pump up the box office. There is some veiled nudity here’”integral to the plot’”but this isn’t a Naked Boys Singing knockoff. While the title may be two-edged, clever,…
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Los Angeles Theater Review: THREE YEAR SWIM CLUB (East West Players in Los Angeles)
THREE YEAR SWIM CLUB SWIMS UP STREAM Ever since mankind began telling tales, the “overcoming adversity” story has remained ever-popular. From cave wall pictures depicting a hunter’s prowess over the Woolley Mammoth to David overpowering Goliath to calculus teacher Jaime Escalante’s efforts with underprivileged students, these stories are meant to inspire. The heroes, most often…
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Chicago Theater Review: TOO MUCH LIGHT MAKES THE BABY GO BLIND (The Neo-Futurarists)
A BLUEPRINT FOR ACTIVISM The Occupy Wall Street movement would do well to take a tip from the longest running show in Chicago, Too Much Light Makes the Baby Go Blind (TML). The event may take place every week indoors at the Neo-Futurarium — above a funeral home in the Andersonville neighborhood — but it…
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San Diego Theater Review: NEXT FALL (Diversionary Theatre)
IT’S THE SCRIPT THAT TAKES A FALL The main thing missing from Next Fall, Geoffrey Nauffts’ play about a gay couple with disparate religious beliefs, is credibility. No matter how much the playwright attempts to tackle some very serious modern issues – religion, gay rights, family values – it is difficult to take the play…
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Los Angeles Theater Review: MAN OF LA MANCHA (Musical Theatre West in Long Beach)
TO STAGE AN IMPOSSIBLE DREAM Now in its 60th season, Musical Theatre West (MTW) is currently reviving Man of La Mancha with the astronomical performance of Davis Gaines as its driving force. Technically, the estimable company has never been better, producing sights and sounds the likes of which one would only expect from a Broadway show….
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