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Theater Review: EVERY SATURDAY NIGHT (San Francisco Bay Area Theatre Company)
A HOUSE THAT JAZZ BUILT An exuberant musical recalls the Fillmore’s glory days Now playing at The Strand Theater in San Francisco is an original and vibrant new musical produced by the San Francisco Bay Area Theatre Company. Every Saturday Night: A Harlem of the West Musical is set here in the Fillmore District and…
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Theater Review: & JULIET (North American Tour / McCallum Theatre / Palm Desert)
POP GOES THE SHAKESPEARE A dazzling cast and spectacular production numbers can’t disguise the musical’s lack of dramatic depth What if Juliet had decided that Romeo simply wasn’t worth dying for? That is the premise of & Juliet, the candy-colored jukebox musical that opened Tuesday at the McCallum Theatre in Palm Desert, where the national…
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Theater Review: ASSIMILATION (Word for Word / San Francisco)
ONE FOR THE HEART A tender romance outshines a less engaging character study Word for Word is known for staging fiction by renowned authors, literally ‘word for word.’ This time, the company pairs works by E. L. Doctorow and Tatyana Tolstaya, both of Russian descent. Their separate stories are each about Russians who have immigrated…
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Theater Review: BOBBY ROBOTOWITZ (IAMA Theatre Company / Los Angeles)
WHAT’S BOT TO LOVE? A virtual companion becomes all too real in Matt Schatz’s intimate, thought-provoking play about AI, loneliness, and the dangers of digital devotion What begins as an amusing technological flirtation gradually raises some uncomfortable questions about just how much of ourselves we’re willing to surrender in Bobby Robotowitz by Matt Schatz. This…
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Opera Review: QUEENEY TODD: THE DEMON BOTTOM OF FLEET STREET (Heartbeat Opera, NY)
A CUT ABOVE THE REST Heartbeat Opera’s gloriously filthy Halloween extravaganza gives Sondheim’s demon barber a decidedly different kind of clientele After sunset, the official hours of Judson Memorial Church may be over. But inside, worship is very much in session with the delightfully deranged Queeney Todd: The Demon Bottom of Fleet Street. A musical…
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Theater Review: MUD ROW (Remy Bumppo / Chicago)
BUILT ON SHAKY GROUND The direction dazzles, the acting impresses, but the writing falls short It doesn’t help Mud Row that it’s the second Dominique Morisseau play performed on a Chicago stage this year, after the excellent Confederates at RedTwist. The two plays share a great deal in common, both thematically and (especially) in how…
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Concert Review: 007: JAMES BOND FOREVER (New York Pops / Carnegie Hall)
FROM CARNEGIE WITH LOVE Lena Hall brings power, style, and versatility to a celebration of six decades of James Bond music The James Bond franchise includes twenty-five films produced in sixty-four years. The films’ theme songs have been sung by major artists and sometimes became major hits. So it’s not surprising that when Tony Award-winner…
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Theater Review: THE WINTER’S TALE (Chicago Shakespeare Theater)
A TALE OF TWO PLAYS A gripping first act gives way to overplayed comedy before Edward Hall finds an enchanting, bittersweet finale The Winter’s Tale has long been considered one of William Shakespeare’s problem plays, whiplashing as it does between an intense drama and a light-hearted pastoral, and throwing in a sixteen-year gap into the…
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Theater Review: HOUSE OF THE EXQUISITE CORPSE VI: LULLABIES (Rough House Puppet Arts / Chicago)
A LITTLE PEEP GOES A LONG WAY The artistry is extraordinary, even when individual stories fall short It begins like clockwork when October comes around: there’s a fresh nip in the air, the leaves start to turn, the streaming services are suddenly inundated with scary movies, and that unholy blend of cloves, ginger, cinnamon, nutmeg,…
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Off-Broadway Review: AFTERMATH (A.R.T./New York Theatres)
THE TROUBLE WITH AFTERMATH David Zax’s drama about a journalist’s return from Taliban captivity raises more questions than it answers There are many plays about war and what happens afterward. They are generally distinguished by the events and people they portray. Unfortunately, the most outstanding feature of David Zax’s Aftermath is that it makes no…
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Theater Review: HEARTBREAK HOUSE (Antaeus Theatre Company / Glendale)
A HOUSE NOT QUITE WORTH LOSING Antaeus assembles a superb cast for Shaw’s comedy of a doomed society, but the production lacks the grandeur and dread to make its downfall devastating In 1920 the Theatre Guild asked George Bernard Shaw for the rights to revive The Devil’s Disciple. He offered them the premiere of Heartbreak…
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Broadway Review: OTHER DESERT CITIES (Hudson Theatre)
DAZZLED IN THE DESERT A star-studded revival of Jon Robin Baitz’s family drama impresses even as its political conflicts feel increasingly distant Have you ever felt dazzled and detached—at the same time—while watching the performance of a play? I found myself in that conundrum while sitting through the powerful revival of Other Desert Cities, which…
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Cabaret Review: 37TH NEW YORK CABARET CONVENTION (Mabel Mercer Foundation / Rose Theater, Jazz at Lincoln Center)
THREE NIGHTS, ONE GRAND SONGBOOK A generous feast of cabaret favorites, delivered with warmth, wit, and occasional excess FIRST NIGHT ONCE IN A BLUE MOON: A TRIBUTE TO MABEL MERCER Years have gone by since the influential and revered cabaret singer Mabel Mercer held court with elegant, minimalist performances of standards and lesser-known treasures she…
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Theater Review: PHANTOM (North Shore Music Theatre / Beverly, MA)
WHO COULD EVER HAVE DREAMED UP YOU? Yeston and Kopit’s alternative to Andrew Lloyd Webber’s musical gives familiar characters new depth and humanity Growing up singing along to Andrew Lloyd Webber’s The Phantom of the Opera, it wasn’t until recently that I learned there was a second musical adaptation of Gaston Leroux’s story: Maury Yeston…
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Theater Review: INTO THE WOODS (Desert Theatricals / Rancho Mirage Amphitheater / Palm Desert)
An Enjoyable Journey Into the Woods Be careful what you wish for. It’s the enduring lesson at the heart of Stephen Sondheim and James Lapine’s Into the Woods, the Tony Award-winning musical that opens Desert Theatricals’ eighth season at the Rancho Mirage Amphitheater, running through Sunday evening, October 25. With its brilliant score, clever storytelling,…
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Theater Review: RORSCHACH (Skylight Theatre Company / Los Angeles)
INKBLOTS AND FLAT LINES Strong performances and striking visuals cannot disguise the shortcomings of Kelly Younger’s predictable new play What do you see when you look into an inkblot? In the world premiere of Rorschach at the Skylight Theatre, playwright Kelly Younger and director Cameron Watson hope you see a funny, tender exploration of love…
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Off-Broadway Review: PHYL (Mint Theater Company at Theatre Row)
A WOMAN OF INDEPENDENT MEANS A once-scandalous play receives a glorious revival, with a captivating leading lady and a first-rate ensemble Playwright Cicely Hamilton distrusted convention, challenged inherited assumptions, and refused to mistake tradition for truth, which may explain why her play Phyl was originally banned and branded “scandalous!” Hamilton died in 1952 at the…
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Theater Review: THE SITAYANA (OR, “HOW TO MAKE AN EXIT”) (CHUANG Stage in Boston)
HER SIDE OF A VERY OLD STORY A woman’s perspective on an ancient classic of Indian literature The Sitayana (or, “How to Make an Exit”), written by the late, beloved, and influential Chicago playwright Lavina Jadhwani, reimagines the events of the classic Ramayana as they might have been experienced by Sita, the wife of Prince…
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Theater Review: THE OUTSIDERS (National Tour / Segerstrom Center for the Arts / Costa Mesa)
NOTHING GOLD CAN STAY Danya Taymor’s electrifying staging and committed young cast bring S. E. Hinton’s teenage world to life, even when the score fails to match its emotional force Actors in their twenties play the boys in The Outsiders, and they commit to every certainty of being 14. A dirty look from a rich…
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Theater Review: DEAD GIRL’S QUINCEAÑERA (Goodman Theatre / Chicago)
A PARTY WITH TOO MANY UNINVITED GUESTS Insightful, hilarious, and ultimately undone by its own ambitions Phanésia Pharel’s Dead Girl’s Quinceañera, now being performed at the Goodman Theatre, is several genres fused into one wobbly script. It’s a satire of a police procedural, a send-up of true crime podcasts, a coming-of-age story, a socioeconomic study,…
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