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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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Regional Theater Review: THE AFRICAN COMPANY PRESENTS RICHARD III (Oregon Shakespeare Festival)
A MISSED OPPORTUNITY We learn very little about the history of the African Company (the world’s first known African-American theater company) and even less about Richard III in The African Company Presents Richard III. The very title sounds thrilling as we expect that an actual company of modern African actors will be guest artists at…
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LA Theater Review: THE COMEDY OF ERRORS (Los Angeles Theatre Ensemble)
A COMEDY OF EXCELLENCE Cue the epic battle underscoring, full orchestra and chorus. A lanky gaoler lopes onstage, indicates a prisoner’s head, clumsily hoists an ax from the prop box, and – after a few awkward missteps – finally manages to split a watermelon rolling about on the ground. Triumph! Shakespeare’s stage directions for this…
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Theater Review: STRANGER THINGS (The Ghost Road Company in Los Angeles)
A PUZZLE TO RELISH SOLVING As both theatergoer and theater writer, this reviewer is decidedly unenthusiastic about absurdist, avant-garde, or post-modern theatre. It’s not so much the concept or ideas behind these movements as it is the execution. Playwrights and theatre companies get so caught up in approaching the presentation of their story – vignettes,…
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Regional Theater Review: STEEL MAGNOLIAS (Rubicon Theatre Company in Ventura)
DROOPING MAGNOLIAS One of six female denizens at a rural beauty salon in Louisiana states that, from the Southern male’s point of view, “You either shoot it, stuff it or marry it.” Well, that’s exactly what can be said about Robert Harling’s Steel Magnolias, the much-too-often-produced comedy/tearjerker lately receiving a diverting but uneven outing at…
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Regional Theater Review: MY FAIRYTALE (PCPA Theaterfest in Santa Maria and Solvang, CA)
AN UGLY DUCKLING OF A MUSICAL In Stephen Schwartz’ musical My Fairytale, now receiving its American premiere at PCPA in Solvang, well-known storyteller Hans Christian Anderson has an idea for an opera which will star singing sensation Jenny Lind. His pitch about a Chinese Emperor is quickly ditched by the Royal Theatre Management, but Lind…
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Los Angeles Theater Review: MY NAME IS RACHEL CORRIE (The Will Geer Theatricum Botanicum)
A PATCHWORK OF THE PERSONAL AND POLITICAL My Name is Rachel Corrie is a solo show comprised of a patchwork of actual e-mails and diary entries by a young female activist in Gaza who was tragically run over by an Israeli bulldozer in 2003. Edited together by Alan Rickman and Katherine Viner, it is not…
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LA Theater Review: WONDERLUST (Theatre of Note)
SCIENCE, GOD, AND LOVE: BEGIN ARGUING Buried somewhere in the convoluted twists, turns and ramblings of playwright Cody Henderson’s Wonderlust lives a great story waiting to be told. Actually, you could say it has been told: think Mamet’s Oleanna slammed together with Lawrence and Lee’s Inherit the Wind – except instead of a college professor,…
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Regional Theater Review: CAROLINE, OR CHANGE (PCPA Theaterfest in Santa Maria, CA)
THE ONLY THING THAT MAY NEED A CHANGE IS THE TITLE We hear that that the only thing constant is change, yet we struggle against change, we fight against change, and some are even willing to succumb to the unyielding stress of determined apathy rather than change. We live in a world that must change…
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Movie Review: THE DEBT directed by John Madden
LOVERS OF COLD WAR SPY THRILLERS OWE IT TO THEMSELVES TO SEE THE DEBT Split between two settings, two time periods, and two casts, it’s no wonder that John Madden’s The Debt divides so easily into two levels of quality. There’s one part that I like to call a classy, sexy Cold War spy thriller….
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Off Broadway Theater Review/Commentary: TEMPORAL POWERS (The Mint Theater Company)
A PLAYWRIGHT REBORN Sometimes you walk into a theater and, for some uncanny reason, begin to anticipate that something very fine is about to happen. And when those expectations are met, it’s like falling in love for the first time — and indeed, you remember why you fell in love with live theatre in the…
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Off Broadway Theater Review: HERO – THE MUSICAL (David H. Koch Theater at Lincoln Center)
KOREAN BROADWAY (SORT OF) Hero: The Musical starts off with a bang. Literally. Several loud gunshots tear holes into the front curtain, which cinematically transforms into a stellar Big Dipper that emblazons a rich blue sky. The constellation rises and the astonishingly exquisite beauty of a forest in 1909 appears. A soaring, powerful male ensemble…
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Chicago Theater Review: 1001 (Collaboraction)
WHAT ARE ANY OF US BUT A COLLECTION OF STORIES? Collaboraction’s 1001 spins the audience into a delightful vertigo. This whirling postmodern adaptation of The Arabian Nights collapses time and space, drawing vital connections across wildly disparate cultures and eras. Jason Grote’s poetic new play cleverly paces itself. After a shocking nuclear explosion, the collection…
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Chicago Theater Review: PORNOGRAPHY (Steep Theatre)
FOR THOSE WHO LIKE TO WATCH The rumblings of the elevated train beside Steep Theatre are chillingly atmospheric for the Midwest premiere of Simon Stephens’ Pornography. After all, this collection of monologues and two-person scenes are unified by an intense week in London in 2005, which included the Live 8 Concert, the G8 summit,…
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Off-Broadway Theater Review: OLIVE AND THE BITTER HERBS (Primary Stages)
THE BITTERER, THE BETTER There are two brands of Charles Busch plays: the ones he stars in, which are filled with campy homoeroticism and often performed in downtown theatre dives, and the ones he does not star in, which are safe, commercial and mainstream, and usually performed uptown. As a performer, Mr. Busch is a…
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