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Regional Theater Review: PRIDE AND PREJUDICE (South Coast Rep in Orange County)
NOT YOUR MOTHER’S DARCY AND ELIZABETH South Coast Repertory’s Pride and Prejudice, written for the stage by Joseph Hanreddy and J.R. Sullivan from Jane Austen’s masterpiece, brings out a side of this classic story that this reviewer has never seen (but always wanted to). It seems that a Mr. Bingley (Brian Hostenske) lets a manor…
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Los Angeles Theater Review: A WIDOW OF NO IMPORTANCE (East West Players)
IDENTITY CRISIS In a Mumbai flat, Deepa Kirpalani (Lina Patel), who lost her husband two years earlier, lives under the strict Hindu rules of widowhood. She never leaves her home, wears all white, goes without jewelry or make-up, and spends her days praying for moksha – liberation from the endless cycle of death and rebirth….
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Los Angeles Theater Review: THE TEMPEST (Zombie Joe’s Underground Theater Group)
PROSPERO IS UP TO HIS OLD TRICKS There seems to be a plan afoot at Zombie Joe’s Underground Theatre Group to give us The Complete Abridged Works of William Shakespeare, a project that could happily go on for years. Purists, who object to cutting even one line of the Bard’s work, may be dismayed, but…
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Theater Review: THE CHANTEUSE AND THE DEVIL’S MUSE (Bootleg Theater)
DANSE MACABRE At Bootleg Theater, David J‘s The Chanteuse and the Devil’s Muse is not so much a play as it is an art installation. But, as an art installation, it has a terrible beauty and some moments of bizarre theatrical innovations that linger in the memory. While it purports to be an investigation of…
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SF Bay Area Review: A DELICATE BALANCE (Aurora Theatre Company in Berkeley)
WELL-BALANCED THEATRE WITH INDELICATE REALITIES The exhilarating production of A Delicate Balance, directed by Tom Ross, epitomizes what Barbara Oliver had in mind for the Aurora Theatre Company when it opened two decades ago in Berkeley: she believed the text of the play to be the true star. Having premiered on Broadway in 1966 with…
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Theater Review: GHOST LIGHT (New Theatre at the Oregon Shakespeare Festival)
GHOST LIGHT LEAVES US IN THE DARK Assassin Dan White ensured Harvey Milk’s legacy when he shot the openly gay San Francisco politician. The gay community continues to hold Milk as a martyr to their cause, and the artistic world has kept Milk’s spirit alive in book (The Mayor of Castro Street), documentary (The Times…
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Los Angeles Theater Review: SEASCAPE (Theatre West)
AMPHIBIANS MORE EVOLVED THAN HUMANS Theatre West’s production of Edward Albee’s Seascape is a study in contrasts. Things either work, and work beautifully, or are muddled and miss the mark, creating an enjoyable but not completely satisfying evening. Nancy and Charlie are on the verge of retirement. Their kids are grown and independent, and it…
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Regional Theater Review: LOVE’S LABOR’S LOST (Elizabethan Stage at Oregon Shakespeare Festival)
LOVE’S LABOR’S LOST, FOUND, LOST, LOST, AND FOUND [England, 1593] I’m not so sure that this William Shakespeare has a future as a playwright. Oh, the man can write, but his newest play, Love’s Labor’s Lost (LLL) is a near disaster of storytelling. Surely, he had a bona fide hit with last year’s The Taming of…
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Theater Review: TO CARRY THE CHILD (Collaborative Artists Ensemble at the Raven Playhouse)
TOUCHING MOMENTS DO NOT SUSTAIN FAMILY DRAMA In Collaborative Artists Ensemble’s production of Jon Courie’s new play, To Carry the Child, the oldest daughter, Ashley (Meg Wallace), her life in shreds, is facing a serious disease and finds her lover, Diane (Justine Woodford) running from the crisis. She returns to her family home in Caraprice…
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Off Broadway Theater Review: CRANE STORY (The Cherry Lane Theatre)
ARCANE CRANE Jen Silverman’s Crane Story borrows storytelling stage conventions from both east and west. A raised empty platform acts as the main acting area surrounded by wooden paneling. There are drums, puppets, small musical instruments, and an ensemble of seven performers who act as characters, puppeteers, musicians, and stage crew. Such eastern stage traditions…
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Los Angeles Theater Review: CABARET (Reprise)
THE HAPPIEST CORPSE I’VE EVER SEEN How many reasons do you need to rush out and get tickets for the Reprise revival of Cabaret? Let me offer a few. First of all, this is 2011, and a better time to see Cabaret could not be imagined. That may be Berlin at the dawn of Nazism…
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Los Angeles Theater Review: TROJAN WOMEN (AFTER EURIPIDES) (Getty Villa)
HIGH CULTURE UNDER A MALIBU SKY Anne Bogart is not one to shy away from her own directorial eccentricities. As the American Theater’s Queen of Deconstruction, she has had a formidable career looking with fresh eyes at old texts, investigating them and re-inventing them and, at her best, encouraging audiences to look at the plays…
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Los Angeles Theater Review: WHAT’S WRONG WITH ANGRY? (Celebration Theatre)
WHAT’S WRONG? IT’S ALL RIGHT In thousands of YouTube videos, out-and-proud adults tell marginalized queer youth that life will get better. Yet the “It Gets Better” campaign advocates for a rather troublesome passivity. Hopes are pinned on an ambiguous future, and the question of exactly how things will get better remains unanswered. In a stunning…
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Movie Review: DRIVE directed by Nicolas Winding Refn
THE OBJECT OF CRITICS’ AFFECTION It boils down to this: Drive is a decent film, but I find the critical adoration being heaped upon it as bordering on reactionary. It’s fun to watch a team play in its throwback uniforms one game each year, and yes, Drive’s combination of sun-tinged neo-noir, eye-contact chemistry, gear grinding…
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Los Angeles Theater Review: THE ELABORATE ENTRANCE OF CHAD DEITY (Geffen Playhouse)
WHEN YOU USE MACE, USE WITH DISCRETION Playwright Kristoffer Diaz has an ear for unleashing the poetic possibilities in “street-smarts” vernacular; and director Edward Torres has an eye for how to turn a simple idea into an explosively theatrical metaphor; and, together, they have made of Diaz’s hip-hop comedy The Elaborate Entrance of Chad Deity…
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Los Angeles Theater Review: WHAT THE MOON SAW, OR “I ONLY APPEAR TO BE DEAD–” (Son of Semele)
A NEARLY MAGICAL EVENING News reporters ask one passerby after another, “Where were you when the Moon fell?” Yet the Moon has not fallen. She perches on a white chiffon-covered platform, plunking out a minor-key refrain on her accordion and singing a plaintive tune that begs those below to recognize her. The shining Moon is…
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Regional Theater Review: MILK LIKE SUGAR (La Jolla Playhouse)
UNLIKEABLE CHARACTERS STILL LEAVE A RESONATING MESSAGE In Milk Like Sugar, Kirsten Greenidge’s sharply-written world premiere at La Jolla Playhouse, three African-American, inner-city high school girls, Annie, Margie, and Talisha (aka T), have formed a tight posse in order to survive the harsh realities of tenement life. With absent brothers and uneducated mothers (one of…
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Regional Theater Review: JULIUS CAESAR (New Theatre at Oregon Shakespeare Festival)
GREAT CAESAR’S GHOST As directors continue to re-invent theatre, especially the classics, there is a bent to color-blind and gender-bending casting. The mixed-color cast on hand exemplifies just how powerful this mechanism can be: the story of a small group of people who take government into their own hands via assassination becomes a universal examination…
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Regional Theater Review: WILLFUL (Oregon Shakespeare Festival)
AMBIGUITY WITH PURPOSE If you read the spiritual/psychotherapeutic tome A Course In Miracles, it states that miracles occur as a result of a shift in perception; that meaning lies not in the actual events in our lives, but rather in our interpretation of these events. Willful, the site-specific theatrical event at Oregon Shakespeare Festival, takes…
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Off Broadway Theater Review: THE COMPLETE & CONDENSED STAGE DIRECTIONS OF EUGENE O’NEILL, VOLUME ONE: EARLY PLAYS/LOST PLAYS (The New York Neo-Futurists at the Kraine Theater)
THE WEIGHT OF HIS ELOQUENCE Theatrical gimmicks are often a lot of fun. The 39 Steps delivered them with panache, and Story Theater taught us never to underestimate the range of the audience’s imagination. Currently, The New York Neo-Futurists are serving up a new theatrical gimmick in their production of The Complete & Condensed Stage…
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