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Theater Review: RIPCORD (The Roustabouts / San Diego)
A ROOM WITH A FEUD A hilarious cast makes David Lindsay-Abaire’s roommate rivalry irresistible Why grow old gracefully when you can do it on your own terms? Ripcord, David Lindsay-Abaire’s 2015 play now at The Roustabouts, yields hilarious results. The action centers on Abby Binder (Linda Libby) and her new roommate, Marilyn Dunn (Eileen Bowman),…
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Off-Broadway Review: MEMOIRS OF AMOROUS GENTLEMEN (The Night Egg at Culture Club)
THE PEN IS IS MIGHTIER Duncan Sheik’s seductive score elevates a sumptuous but emotionally uneven musical Reminiscent of the immersive experience of the most recent revival of Cabaret, which transformed the entire August Wilson Theatre into the Kit Kat Klub, Memoirs of Amorous Gentlemen similarly turns the main space within the Culture Club into “The…
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Off-Broadway Review: THE ASK (Theater 555 / New York)
THE COST OF CONVICTION Marilu Henner and Shannon Purser face off in a provocative debate that takes too long to get started Matthew Freeman’s new play, The Ask, now running at Off-Broadway’s Theater 555, begins with a seemingly straightforward encounter: Greta (Marilu Henner), a longtime donor to the ACLU, is meeting with Tanner (Shannon Purser),…
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Theater Review: ANY REBELLION OF WILL (Trap Door Theatre in Chicago)
WHERE THERE’S A WILL, THERE’S A WAY OUT A son gets the boot, his parents get their kicks, and the audience gets a riot In keeping with the expectation at Trap Door Theatre, when one walks into the performance space, the stage is occupied by performers: stage-center, a stone-faced woman in an enormous apron chops…
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Off-Broadway Review: A GHOST IN YOUR EAR (Audible Theater at Minetta Lane Theatre)
A GHOST OF A CHANCE TO KEEP YOUR COOL An inventive binaural ghost story gets under your skin—and into your ears—with unsettling intimacy Written and directed by Jamie Armitage in collaboration with sound designers Ben and Max Ringham, A Ghost in Your Ear at Audible Theater’s Minetta Lane Theatre offers a ghost story literally in…
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Theater Review: FRIDA…A SELF PORTRAIT (Shakespeare Theatre Company / Washington, DC)
FRIDA’S ART COMES TO LIFE Vanessa Severo transforms clothing, movement, and memory into an inventive and deeply affecting portrait of Frida Kahlo Frida Kahlo’s self-portraits reveal a woman who refused to separate her art from the physical pain, emotional turmoil, and fierce individuality that defined her life. In Frida…A Self Portrait, written and performed by…
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Opera Review: DON GIOVANNI (Lyric Opera)
A THIRD TIME IS TOO MUCH FOR THIS DON A superb cast cannot disguise the problems in Robert Falls’ revival of Mozart’s opera, whose treatment of sexual violence feels increasingly dated This Robert Falls-directed production of Don Giovanni was the first opera I reviewed upon my arrival in Chicago in 2014. I mostly loved it…
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Off-Broadway Review: CREATION STORIES AND ALL THE IMPORTANT IMPORTANTS (Lincoln Center Theater / LCT3)
THE ART OF CREATION, THE PAIN OF LONGING Mfoniso Udofia’s inventive new play finds extraordinary theatrical expression in a woman’s struggle with motherhood, grief, and self-forgiveness The world premiere of creation stories and all the important importants at Lincoln Center Theater begins with a nightmare. Haunted by the Raffia, a Nigerian earth spirit of creation,…
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Theater Review: DRACULA: A COMEDY OF TERRORS (Actors’ Shakespeare Project, Watertown)
A BLOODY HILARIOUS DRACULA A stellar cast vamps it up and camps it up to breathe life into a horror classic about the undead Dracula: A Comedy of Terrors, by Gordon Greenberg and Steve Rosen, is a lovingly constructed farce that, per the script, is “very loosely based on the novel Dracula by Bram Stoker.”…
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Dance Review: LITTLE WOMEN BALLET (Autumn Immersive Experience / Heritage Square Museum)
LITTLE WOMEN, GRAND AMBITIONS Literature, ballet, and Los Angeles history come together in an enchanting visit to the world of the March sisters With the publication of Little Women, Louisa May Alcott (1832–1888) established a new literary genre, the autobiographical novel, and set a standard for feminine creations in literature, one where they were no…
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Off-Broadway Review: GOOD TIME CHARLIE (The Public Theater)
A FAMILY AFFAIR, WITH LOVE AND RESERVATIONS Ryan J. Haddad’s affectionate tribute to his uncle celebrates the power of theater, though its homespun approach limits its emotional impact Good Time Charlie, which opened tonight at The Public Theater, is a loving tribute from playwright Ryan J. Haddad to his uncle Charlie, an older gay man…
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Theater Review: VLADIMIR (Shattered Globe Theatre, Chicago)
THE TRUTH HURTS— AND SILENCE KILLS Shattered Globe Theatre’s gripping political thriller confronts the cost of telling the truth in a world determined to suppress it Can you imagine a country where the president and his government seem physically incapable of telling a simple truth, comfortable with broadcasting obvious lies and meaningless explanations? In the…
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Theater Review: AMERICAN RHYTHM (Lamb’s Players Theatre / Coronado)
A CENTURY OF MUSIC, AND ALL THAT JAZZ From ragtime to rock, a talented ensemble celebrates 100 years of American music with inventive arrangements, dazzling dancing, and a few welcome surprises When it comes to musical tribute shows in San Diego, two names are pretty synonymous with the concept: Kerry Meads and Vanda Eggington. Between…
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Dance Review: OSCAR (The Australian Ballet at New York City Center)
A KISS, A SIGH, BUT WHERE’S THE DANCE? Christopher Wheeldon’s Oscar Wilde ballet offers a moving story and striking imagery, but too little of the athletic movement that makes ballet thrilling Ah, the biopic ballet. This time, it’s Oscar, the story of the life of Oscar Wilde, performed by The Australian Ballet on tour this…
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Album Review: PARTY TIME (Rob Dehlinger and The Alpha Rhythm Kings)
’TIS BRILLIG! Rob Dehlinger and The Alpha Rhythm Kings turn vintage swing and jump blues into an irresistible, foot-stomping celebration If you think swing music belongs to another era, Rob Dehlinger and The Alpha Rhythm Kings are here to change your mind. Their second full-length album, Party Time, is an irresistible, high-energy celebration of vintage…
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Cabaret Review: LAURA BENANTI: NOBODY CARES (National Tour at The Wallis / Beverly Hills & South Coast Rep / Costa Mesa)
NOBODY CARES? WE BEG TO DIFFER! Laura Benanti turns the indignities of aging, motherhood, and people-pleasing into an outrageously funny evening of songs and self-revelation From the time she was a young girl, Laura Benanti knew her destiny would lead her to starring in Broadway musicals. And at age 18, she stepped into the cast…
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Theater Review: I AM THE WIND (Theatre Y)
BLOWN AWAY Jon Fosse’s haunting meditation on life, companionship, and depression becomes an extraordinary theatrical experience in the hands of two remarkable actors In a misty space, two roughly hewn planks of wood swing from the ceiling, suspended by nautical ropes. Flanking the planks are wide swaths of white cloth stretching from ceiling to floor….
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Chicago Theater Review: KOWALSKI (Lookingglass Theatre Company)
A STREETCAR NAMED BRANDO Johnny Galecki’s marvelous Tennessee Williams anchors an enormously entertaining imagined encounter that offers more theatrical fun than insight In the summer of 1947, an up-and-coming young actor called Marlon Brando hitchhiked his way to Provincetown, Massachusetts, to audition for the part of Stanley Kowalski in A Streetcar Named Desire, the eagerly…
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Theater Review: ALL MY SONS (Lyric Stage, Boston)
WHAT’S BIGGER THAN THE FAMILY? Lyric Stage’s intimate production of Arthur Miller’s classic asks how far our responsibility extends beyond those we call our own Arthur Miller’s All My Sons is a haunting psychological American drama that takes place in 1947, capturing the postwar tension. The play is, first and foremost, a study of human…
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Theater Review: PETER PAN GOES WRONG (San Francisco Playhouse)
PETER PAN GOES WRONG GOES VERY, VERY WRONG A two-hour farcical flight to Neverland that you may wish had never taken off San Francisco Playhouse’s current fall offering is Peter Pan Goes Wrong, a comedy that, for me, produces considerably more aggravation than laughter. It’s brought to you by the same people who produced 2024’s…
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