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Los Angeles Theater Review: DEVILS LOVE AT MIDNIGHT and ROMEO AND JULIET (Zombie Joe’s)
THE ZOMBIE JOE AESTHETIC With each new production, inch by inch, layer by layer, we get closer and closer to tasting the artichoke heart of Zombie Joe. It is not a question anymore of which production is better; it is a question of how complex the new images are and how they sustain the mystique…
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NYC Fringe Review: CIVILIAN (Bleecker Street Theatre)
THEATER OF GOOD INTENTIONS No matter how worthy Civilian is, with its interviews of veterans returning from Iraq and Afghanistan, one cannot call this play effective theatre. There have been several moving documentaries of real soldiers being interviewed on HBO and fine war plays written by imaginative writers, but this “documentary drama” by playwright and…
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Theater Review: VIVIEN (Rogue Machine in Los Angeles)
THE MANY FACES OF VIVIEN LEIGH The one woman play Vivien, presented by Rogue Machine at Theatre Theater, is a stunning showcase of two talents, both of which make this a recommended outing: the superlative acting of Judith Chapman and the extraordinary directorial guidance of Elina de Santos. Unfortunately, Rick Foster’s play is more like…
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LA Theater Review: STONES IN HIS POCKETS (The Zephyr Theatre)
TOO MANY STONES, NOT ENOUGH POCKETS Marie Jones’s Stones In His Pockets is one of those plays that separate the boys from the men. Fifteen characters that range in age, gender, accent, and change with rapid-fire succession, played by two actors. It is a surefire gauge to differentiate between the good and the great. And…
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Off-Broadway Theater Review: FREUD’S LAST SESSION (Marjorie S. Deane Little Theater)
A CLASH OF THE MINDS Mark St. Germain based his play Freud’s Last Session on a book by Armand M. Nicholi, Jr. entitled The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex and The Meaning of Life. All of the weighty issues in the book’s title are skillfully investigated and cleverly…
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Theater Review: BEAU JEST (Glendale Centre Theatre)
THIS BEAU IS JEST FINE Do you ever just want to go home, eat your mother’s comforting chicken soup, put on your oldest fuzzy slippers and find some old-fashioned comedy on AMC? Well, you’ll get no soup or slippers at Beau Jest, but you will be glad you got away from home for this old-fashioned,…
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Bay Area Theater Review: SEVEN GUITARS (Marin Theatre Company)
SEVEN GUITARS HITS A POWERFUL CHORD Late playwright August Wilson’s reputed knack for capturing time, place, and character crystallizes unforgettably in the Marin Theatre Company’s production of Seven Guitars, which is bolstered by understated yet effective direction by award-winning Broadway veteran Kent Gash. It succeeds as riveting, quality theatre while remaining uncompromisingly true-to-life. In a…
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Chicago Theater Review: THE ADVENTURES OF PINOCCHIO (Chicago Shakespeare Theater)
CARLO COLLODI’S CLASSIC TALE COMES TO LIFE At the heart of Chicago’s Navy Pier lies the stunning Chicago Shakespeare Theater. On a recent Wednesday morning, this 500-seat space was packed with eager families and young summer campers for The Adventures of Pinocchio. Despite some narrative rockiness in this new musical, it is thrilling to see…
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Chicago Theater Review: THE ORIGINAL GREASE (American Theater Company)
IN THE BEGINNING, IT WAS EVEN GREASIER Apparently Los Angeles is not the only city prone to over-praise its local theater. American Theater Company’s The Original Grease has been receiving consistently strong reviews and national attention for its return to the “gritty” musical that started at Chicago’s Kingston Mines Theatre Company in 1971. While a…
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Theater Review: THE MERCHANT OF VENICE (The Porters of Hellsgate in North Hollywood)
AN OUNCE OF MISSTEPS IS WORTH THIS POUND OF FLESH Before you run off to see The Porters of Hellsgate production of William Shakespeare’s The Merchant of Venice — and I surely hope that you do — let us clear something up once and for all regarding the nature of its topicality. It would be…
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Movie Review: ONE DAY directed by Lone Scherfig
SOMEHOW, IT WORKS We’ve reached the point that a significant portion of the English-speaking world (specifically, that bankrupt, riot-helmented, penalty-kick-blowing island named England) has reduced all acting to one thing — the ability to perfect the British accent. The land of Olivier has ceased caring about things like sympathy, emotion, delivery, comic timing. They are…
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Chicago Theater Review: THE LAST ACT OF LILKA KADISON (Lookingglass Theatre Company)
NOTHING FEEDS YOUR HEART LIKE A GOOD STORY Truth be told, The Last Act of Lilka Kadison chronicles an entirely conventional story – but Lookingglass Theatre’s production elevates this historical melodrama to a work of theatrical magic. Written by Nicola Behrman, David Kersnar, Abbie Phillips, Heidi Stillman, and Andrew White, The Last Act of Lilka…
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LA Theater Review: A MEMORY OF TWO MONDAYS (Ruskin Theatre in Santa Monica)
THANKS FOR THE MEMORY Occasionally, I attend theater with no intention of reviewing a show, but afterwards my spirit is so refreshed by an uplifting and inspiring experience that an urgent plea for your attendance is my only priority. It was at the Ruskin Theatre that my need for ensemble acting of the highest order…
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Theater Review: SANDRA BERNHARD: I LOVE BEING ME, DON’T YOU? (REDCAT)
I HAD A GAY OLD TIME A letter to Sandra Bernhard: Dear Sandy: Oh my God, it thrilled me to no end when I was assigned to review your latest show at REDCAT: Sandra Bernhard: I Love Being Me, Don’t You? Ever since you took off your clothes and sang, all feline-like, to a tied-up…
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Chicago Theater Review: MIDDLETOWN (Steppenwolf)
STEPPENWOLF PROVES ITS WORTHY REPUTATION Will Eno’s Middletown suggests that life is a black hole; there will always be a gulf between reality and our perception of it, between our desire for human connection and our ability to actually connect. Loneliness pervades this small mid-American town. Yet in a beautiful production, Steppenwolf fosters an inspiring…
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Opera Review: TROUBLE IN TAHITI (Pacific Opera Project)
NO TROUBLE HERE Although the run of Pacific Opera Project’s Trouble in Tahiti was two days long, I had to check out this new company whose mission it is to use local talent and bring affordable opera to Los Angeles. With only one piano accompanying five singers in the overheated Santa Monica Playhouse, there were…
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Festival Review: LAST YEAR AT MARIENBAD (1961, d. Alain Resnais)
[NOTE: Film Critic Kevin Bowen is visiting his hometown – El Paso, Texas – and attending the third annual Plaza Classic Film Festival. The festival, running from Aug. 4 to Aug. 14, features 80 classic films. Bowen will write sporadic reports based on his viewing of the classic films as watched at the festival.] NOT…
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Festival Review: THE AWFUL TRUTH (1937, d. Leo McCarey)
[NOTE: Film Critic Kevin Bowen is visiting his hometown – El Paso, Texas – and attending the third annual Plaza Classic Film Festival. The festival, running from Aug. 4 to Aug. 14, features 80 classic films. Bowen will write sporadic reports based on his viewing of the classic films as watched at the festival.] THE…
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Movie Review: 30 MINUTES OR LESS (nationwide)
A TASTY TICKING CLOCK Like any good pizza delivery driver with a bomb vest strapped to his body, 30 Minutes or Less knows how to get there, get the job done, and get it over with a second to spare. When it comes to explosives, every second counts, and there aren’t many films with such…
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LA Theater Review: FEAR FACTOR: CANINE EDITION (Hollywood Fringe / Edmonton Fringe Festival)
DOG GONE Having immersed myself in forty Fringe shows this year, I have become highly suspect of those shows that bounce from Fringe to Fringe across the land, cross-promoting like oversexed insects until they garner enough publicity to hype unsuspecting theatergoers into believing that their pablum is actually worth the attention – which, of course,…
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