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Chicago Theater Review: MOURNING BECOMES ELECTRA (Remy Bumppo Theatre Company at Greenhouse Theater in Chicago)
LONG DAY’S JOURNEY INTO DYSFUNCTION What becomes a new artistic director? Ambition, with a two-fisted delivery. Timothy Douglas, the new chief of the Remy Bumppo Theatre Company, bravely goes bare-knuckles as the director of Mourning Becomes Electra. The production is Gordon Edelstein’s adaptation of Eugene O’Neill’s play, which updates the story of Orestes by following…
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Regional Theater Review: HONUS AND ME: A BASEBALL CARD ADVENTURE (Lewis Family Playhouse in Rancho Cucamonga)
LITTLE THEATER SCORES A BIG HIT There’s nothing quite like taking a child to his very first theater outing. And when that child is a baseball fan, and the play is the family-friendly Honus and Me: A Baseball Card Adventure, well’”it’s pretty much a home run. The curtainless stage in the intimate Lewis Family Playhouse…
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Los Angeles Theater Review: SEVEN BRIDES FOR SEVEN BROTHERS (Glendale Centre Theatre)
GOIN’ A’COURTIN’ IN THE BACKWOODS OF GLENDALE Glendale Centre Theatre continues its 64th season with a rambunctious production of Seven Brides for Seven Brothers, the highly successful MGM musical from 1954. Although the stage version was a flop on Broadway, it has nonetheless become a popular staple for musical theatre companies. Written in a sexist…
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Theater Review: RICHARD O’BRIEN’S THE ROCKY HORROR SHOW (The Old Globe in San Diego)
BEING A VIRGIN CAN BE ROCKY Best known for raucous audience participation at midnight screenings, Richard O’Brien’s cult movie classic, The Rocky Horror Picture Show began life on the London stage in 1973. It enjoyed instant success by effectively melding the campy goodness of late night monster movies with ostentatious in-your-face glam rock. British audiences and critics…
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Chicago Theater Review: SWEENEY TODD (Drury Lane Theatre in Oakbrook Terrace)
THIS MUSICAL IS MURDER Dear Drury Lane Theatre: Since your production of Sweeney Todd is closing this week, please allow me to write a love letter to you for giving me the privilege of witnessing the finest production of Stephen Sondheim’s masterpiece that this critic has ever seen. My first time was the original Broadway…
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Regional Theater Review: SOMEWHERE (Old Globe in San Diego)
THERE’S TALENT SOMEWHERE IN THIS FAMILY With West Side Story lighting up Broadway only blocks from their home, the Candelarias are inspired that Chita Rivera has cracked open the doors of opportunity for Latino performers like siblings Alejandro, Francisco, and Rebecca. As Tony and Maria sing, “There’s a place for us:somewhere.” The Old Globe’s Somewhere…
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Off-Broadway Theater Interview: CARLO ALBAN (writer and performer of INTRINGULIS)
THE UNDOCUMENTED Intringulis, an autobiographical play written and performed by Carlo Alban, is now in production at Off Broadway’s INTAR. Stage and Cinema caught up with Carlo recently to discuss the evolution of the project and the plight of undocumented workers in the United States. * * * * * * * * * *…
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Chicago Theater Review: RED (Goodman Theatre)
A PALE SHADE OF RED The closing stage picture in John Logan’s 2010 Tony-winning Red at the Goodman is about as thrilling and breathtaking as theater gets: as Abstract Expressionist painter Mark Rothko (Edward Gero) examines one of his paintings commissioned by an upscale restaurant in New York, the spectacular lighting (Keith Parham) and set…
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Movie Review: 50/50 directed by Jonathan Levine
50% CHANCE OF LIVING; 90% CHANCE OF OFFENDING WOMEN If you hear the movie press machine tell it, I’m supposed to come away from 50/50 talking about how it’s a new type of cancer movie – frank, funny, and unconventionally moving – based on the real-life cancer experiences of its screenwriter, Will Reiser. Instead, I…
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Off Broadway Theater Review: LIDLESS (Page 73)
IN OVERPRAISE OF YOUNGER PLAYWRIGHTS One approaches Frances Ya-Chu Cowhig’s Lidless with high expectations. The play has won the prestigious David C. Horn Yale Drama Prize as well as UT Austin’s Keene Prize where Cowhig received an MFA. Blackburn finalist, commissions, fringe prizes, and residencies confirm Cowhig as a writer the American Theatre has anointed…
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Chicago Theater Review: STARTING HERE, STARTING NOW (Theo Ubique Cabaret Theatre)
REVUE REVIEW Richard Maltby, Jr., and David Shire are not household names among the teams of composers who have contributed to the American musical stage. Although their collaboration goes back to their college days at Yale, they only have two Broadway shows to their credit: Baby (1983), a favorite among regional theaters, and Big (1996),…
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San Diego Theater Review: WALTER CRONKITE IS DEAD (San Diego Repertory Theatre)
THE UPS AND DOWNS OF SPENDING TIME WITH STRANGERS It’s everyone’s social nightmare brought to life: being trapped next to the annoying stranger who won’t shut up. But when it’s someone like the uptight, instantly off-putting Margaret (Ellen Crawford) getting trapped by a high-spirited í¼ber-Walmart-shopper-type like Patty (Melinda Gilb), this nightmare is a delicious delight…
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Off Broadway Theater Review: SEPTIMUS & CLARISSA (Ripe Time)
WHO’S AFRAID OF ADAPTING VIRGINIA WOOLF? Virginia Woolf’s Mrs. Dalloway beautifully intertwines the inner and outer worlds of her characters, seamlessly sweeping from description to dialogue, from one character’s consciousness to another’s, from the past to the present. Ripe Time physicalizes not only the narrative of Woolf’s post-WWI classic, but her evocative style in the…
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Off Broadway Theater Review: DUBLIN BY LAMPLIGHT (Inis Nua Theatre)
SHINES BRIGHT BUT GOES DIM In Michael West’s Dublin by Lamplight, a community theater’s idealistic mission to establish an “Irish National Theatre of Ireland” crosses commedia style with the grim poverty of the nation in 1904, making for a decidedly mixed evening’s entertainment. Philadelphia-based Inis Nua Theatre brings spectacular life to the stock characters of…
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Chicago Theater Review: THE AMISH PROJECT (American Theater Company)
FORGIVE AND FORGET The Amish people of Nickel Mines, Pennsylvania, taught the world a sobering lesson in 2006 when they instantly forgave the man who murdered five girls in their one-room schoolhouse. They offered condolences to – and even shared donations meant for the victims’ families – with the murderer’s widow. Here was a man…
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Los Angeles Theater Review: POOR BEHAVIOR (Mark Taper Forum)
ON ONE’S VERY BEST POOR BEHAVIOR Ian is a monster. Oh, not your fire-eating dragon sort of monster. Quite possibly you’ve met this kind of monster yourself. He’s British; he’s smart; he’s opinionated; he’s articulate; he is, more often than not, an alcoholic, although the kind of alcoholic who, you are bound to admit, can…
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Off Broadway Theater Review: AFTER (Partial Comfort)
NO EXONERATION FOR AFTER For the past decade, Partial Comfort has gained a reputation as one of the leaders in NYC’s downtown theater scene as a producer of new American plays. Instead of following the boundary breaking legacies of Albee, Shepherd, and Fornes, Partial Comfort’s production of Chad Beckim’s After, up and running at The…
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Off Broadway Theater Review: THE LIFE AND DEATH OF KING JOHN (New York Shakespeare Exchange)
THE KING YOU LOVE TO HATE Critics have thrown stones at The Life and Death of King John for centuries, but New York Shakespeare Exchange delivers such a clear, astute, and enjoyable production of the play that one must wonder what is wrong with all those literary pundits. Far from a muddled mess, the play…
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Off-Broadway Review: ARIAS WITH A TWIST (Abrons Arts)
THE ETERNALLY UNMISSABLE SHOW An alluring voice reverberates across the intimate, pitch black theater. This sultry sound is the product of a mysterious Z chromosome, the audience is informed, rather than the usual Xs and Ys that define a body as male or female. This voice belongs to none other than legendary drag diva Joey…
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Regional Theater Review: GUYS AND DOLLS (Theatre at the Center in Munster, Indiana)
GREAT DAME Were the masterpiece from the golden age of Broadway Guys and Dolls an actual guy or doll, he or she could score Social Security next year; but make no mistake, this 1950 hoofer is no worse for the wear, thanks to Frank Loesser’s timeless score and Jo Swerling and Abe Burrows’ cheeky book…
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