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Chicago Theater Review: FOLLIES (Chicago Shakespeare Theater)
‘TIS FOLLY TO OVERPRAISE FOLLIES The buzz in the lobby of Chicago Shakespeare Theater (CST) on opening night of Stephen Sondheim’s landmark 1971 musical Follies was palpable; people from around the world were clamoring to see this rarely produced work – and for good reason. The original Broadway production is legendary: people lucky enough to…
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Off Broadway Review: SONS OF THE PROPHET (Roundabout at Laura Pels Theatre)
LOVE, FONTANA, COMPASSION One of the joys of seeing theatre in New York City Off-Broadway is that, every so often, you get to see a special star-of-the-future appear in the firmament and watch his wattage increase with each role. Santino Fontana’s performance as Joseph in the Roundabout Theatre’s production of Stephen Karam’s lovely new play…
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Interview: SANTINO FONTANA (Starring in ‘Sons of the Prophet’ at Roundabout’s Laura Pels Theatre)
HIS BRILLIANT CAREER (SO FAR) Still in his twenties, Santino Fontana has performed in quite a respectable number of productions that many actors would hope to accomplish in a life time: most recently The Importance of Being Earnest (Clarence Derwent Award), the short lived Brighton Beach Memoirs (Drama Desk Award for Best Featured Actor), Billy…
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San Diego Theater Review: MIXTAPE (Lamb’s Players Theatre at Horton Grand Theater)
A SWEET TRIP BACK IN TIME Some shows really make you think. Others are designed to move you to tears. And then there’s miXtape, which is pretty much two full hours of cleverly-performed, good-hearted fun. If that’s beneath you, move on immediately. But if you don’t mind the idea of smiling, laughing, and even catching…
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Off Broadway Theater Review: BAIT N’ SWISH (Stage Left Studio)
GAYER TUNA In “Bait” – the first of the two interconnected one-acts in Bait n’ Swish – we meet Charlie and Justin, best friends looking for Mr. Right at Gay Bait, a gay speed-dating event in a Manhattan Howard Johnson’s. In their 3-minute rotating gay dates, they meet a horde of men looking for an…
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Los Angeles Stage & Cinema Review: THE LORD OF THE RINGS IN CONCERT: THE FELLOWSHIP OF THE RING (Honda Center)
EPIC SOUND The mark of a great film score is often its paradoxical “inaudibility;” music is in service of the story, and the visual tends to dominate. In The Lord of the Rings in Concert: The Fellowship of the Ring, however, Howard Shore’s Academy Award-winning score is deservingly foregrounded. On October 15, the majestic first…
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Chicago Theater Review: THE DOYLE AND DEBBIE SHOW (The Royal George Theatre)
COUNTRY MUSIC PARODY BETTER THAN COUNTRY MUSIC ITSELF Country music can be whiney, right wing, corny, and macho. In the case of The Doyle and Debbie Show, it is also hilarious. I am no lover of country music, but who can resist a revue that includes numbers like “Stock Car Love,” “Barefoot and Pregnant,” and…
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Chicago Theater Review: BUS STOP (The Raven Theatre)
PORTRAYALS BRING BUS STOP TO LIFE William Inge was a hot American playwright during the 1950’s, but in the turbulent 1960’s and beyond, his realistic studies of small town Midwestern life became unfashionable. Lately, Inge has reappeared on the radar of important American playwrights, with theaters and audiences again finding pleasure in his sturdy dramaturgy…
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Off Broadway Theater Review: BLAME IT ON BECKETT (Abingdon Theatre Company)
INTERN(AL) AFFAIRS We all know that having sexual relations with an intern will get you in a heap of trouble, be it in the Oval Office or at a fictitious regional theatre company. Blame It On Beckett is playwright John Morogiello’s take on such indiscretions, and the theme takes center stage under the competent direction…
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Chicago Theater Review: CLYBOURNE PARK (Steppenwolf Theatre)
TWO PLAYS IN ONE What is the purpose of theater? Some say that it is to reflect reality while being entertaining, enlightening, and/or educating. Yet when Shakespeare wrote that theatre is designed to “hold, as ’twere, the mirror up to Nature,” his character of Hamlet actually used theatre to shape reality, not merely reflect it….
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Chicago Theater Review: THE SHADOW OF A GUNMAN (Seanachaí Theatre Company)
THE SHADOW OF A GREAT PLAY The birth of the Irish Republic occurred around Dublin in 1916. Aiming to end British rule, Irish Volunteers staged an insurrection known as the Easter Rising, a rebellion many Irishmen did not support. However, after quelling the week-long insurrection, the British Government’s hostile reaction – including conscription (compulsory enlistment)…
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Bay Area Theater Review: ONCE IN A LIFETIME (American Conservatory Theatre in San Francisco)
ONCE IN A LIFETIME IS A ROMP FOR AN ERA When the “talkies” trumpeted a new era in American living rooms, a bevy of entertainers stampeded to get in on the ground floor of this opportunity, at all costs. This fertile field for comedy and playful jabs at the industry was harvested by Moss Hart…
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Los Angeles Theater Review: THE DINOSAUR WITHIN (The Theatre @ Boston Court)
ACCESS YOUR INNER DINOSAUR The Dinosaur Within digs up some curious storylines, but these fragments fail to cohere into a compelling narrative. In its West Coast premiere at Boston Court, John Walch’s play flounders in a fossil-filled fiasco. Walch aims to cut across the densely-sedimented layers of time in a drama of mourning and loss,…
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Film Review: REVENGE OF THE ELECTRIC CAR (documentary directed by Chris Paine)
CAR MANUFACTURERS BEGIN TO GET IT When Dan Neil’”the eloquent car-guy columnist who formerly wrote for Car and Driver, AutoWeek and The Los Angeles Times, and who now writes for The Wall Street Journal’”says that he’ll never buy a gasoline-powered car again, you just have to take notice. “The only way forward is electric cars,”…
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Los Angeles Theater Review: I’VE NEVER BEEN SO HAPPY (The Rude Mechs)
A WILD WEST PARTY IN CULVER CITY The Rude Mechs’ I’ve Never Been So Happy works overtime to please. This Western extravaganza spills into the Kirk Douglas Theater’s lobby for an interactive romp before and after the show, as well as during an extended intermission. Audience members who embrace the Frito pies and margaritas, the…
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Los Angeles Theater Review: IRIS (Cirque du Soleil)
CIRQUE DU CINEMA When Quebec-based artistic troupe Cirque du Soleil creates a new resident production, they typically design the building to fit the show. Not so with Cirque du Soleil’s IRIS. Although the Kodak Theatre at Hollywood and Highland has been around for only a decade, Cirque du Soleil still spent $100 million on renovations….
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Chicago Theater Review: THE REAL THING (Writers Theatre in Glencoe)
WHO IS TO SAY WHAT IS REAL? Tom Stoppard is the thinking person’s playwright. Ever since his breakout hit Rosencrantz and Guildenstern are Dead in 1967, the erudite scribe has been earmarked an absurdist, one whose work concentrates on the futility of man’s search for meaning in a meaningless existence. As with all Theatre of…
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Chicago Theater Review: SNAPSHOTS: A MUSICAL SCRAPBOOK (Northlight Theatre in Skokie)
WHAT WE FIND IN THIS ATTIC IS A CASE OF THE CUTES It was a privilege to witness Snapshots: A Musical Scrapbook at Northlight Theatre, for this reviewer has never seen anything like it before. An omnibus of previously published Stephen Schwartz songs (not trunk songs, mind you, but songs taken from formerly produced shows)…
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Chicago Theater Review: BRAND by Henrik Ibsen (Red Tape Theatre Company at St. James Episcopal Church)
LITERATURE NOT MEANT TO BE STAGED Halfway through the first act of Brand at Red Tape theatre, it occurred to me that I had no idea what was going on. First of all, it can be argued that Henrik Ibsen’s 1866 dramatic poem (some call it a Verse-Drama) was not written to be staged. The…
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Los Angeles Theater Review: CARNEVIL: A GOTHIC HORROR ROCK MUSICAL (Sacred Fools Theatre)
FAUSTIAN PHANTASMAGORIA “There is nothing new under the sun,” said a Jewish writer more than two thousand years ago. While such a sentiment may not have been intended to discourage creativity, it can’t help but betray a certain weariness with the world. And such seems to be the present mood in Hollywood, where the big…
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