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Archive for Reviews – Page 2

HAPPY BIRTHDAY MCKENNA at the Hudson Backstage Theatre

Photo by Steven Silverman

Photo by Steven Silverman

Martίn Hernández – Stage Raw

Playwright-director Steven Silverman’s dark yet amiable comedy offers up a multi-ethnic family whose members, despite living or being raised in racially turbulent Chicago, have no apparent animus over each other’s skin colors. No, these folks are dealing with more explosive issues common to many a kith and kin, regardless of race, color, or creed – decades-old resentments, secrets that can tear them apart, and most important of all – who is bringing the cake to a three-year-old girl’s birthday party? Read more…

THE SECRET GARDEN at the Ahmanson Theatre

Photo by Matthew Murphy/MurphyMade.

Photo by Matthew Murphy/MurphyMade.

Rob Stevens – Haines His Way

The children’s rhyme “Mary, Mary, quite contrary, How does your garden grow?” is used several times to taunt young Mary. Unfortunately, her new garden grows quite contrary in this version masterminded by choreographer/director Warren Carlyle. His vision has taken most of the heart and soul out of the story, replacing them with a cold, calculating, sterile approach. Norman has trimmed her award-winning book in an effort to be politically correct. The opening scenes in India are so truncated as to leave new audiences mystified as to what is happening. Dialogue is replaced by a dancing interpretation of “cholera” that waves a red scarf over victim after victim. So much dialogue is missing from Act One, it often seems the show is now going to be a sung through musical. Joining colonial India in the PC Closet are Archibald’s hunchback and his son Colin’s wheelchair. This just adds more confusion to the plot for first timers since both items are mentioned, just never seen. Read more…

FOR THE LOVE OF A GLOVE at the Carl Sagan – Ann Druyan Theatre at the Center For Inquiry West

Photo courtesy of Julien Nitzberg

Photo courtesy of Julien Nitzberg

Martίn Hernández – Stage Raw

Mix a B-movie sci-fi plot with the life story of the “King of Pop,” add some inventive puppetry and a talented and uninhibited ensemble, and the result is a profane, hilarious, and razor-sharp skewering of the pop culture industry, systemic racism and religious hypocrisy. With director Julien Nitzberg’s clever book and lyrics, arranger/composer Drew Erickson’s and composers Nicole Morier’s and Max Townsley’s engaging music, Robin Walsh’s innovative puppets, and Chris Judd lively choreography, the piece also serves up a compassionate portrait of Michael Jackson, a child star who, like Peter Pan, was truly never allowed to grow up. Read more…

CALVIN BERGER at the Colony Theatre

Photo by Ashley Erikson

Photo by Ashley Erikson

Rob Stevens – Haines His Way

Edmond Rostand wrote his classic romantic comedy Cyrano de Bergerac in 1897. According to Wikipedia, the original French play has been translated at least 16 times since then…

The latest version to play locally is the 2006 musical Calvin Berger with book, music & lyrics all by Barry Wyner, currently playing at Burbank’s Colony Theatre. Wyner has set his misconceived adaptation in a contemporary high school. He has cherry picked his plot points from the original play like he was choosing items off a Chinese restaurant menu—one from column A, one from column B plus an appetizer and a dessert. His plot sets off on the wrong note from the start by giving his Cyrano, here named Calvin (Frankie A. Rodriguez), a best gal pal Bret (Corinne Miller) who pines for him as much as he pines for the seemingly unattainable Rosanna (Jasmine Sharma). The opening number, “Security Meltdown,” has Calvin obsessing over his extra-large nose (which is notably missing from the actor’s face) and Bret about her large behind. Read more…

Katie Buenneke – Theatre Digest

Nothing about this show was specifically bad, but I was underwhelmed. With book, music, and lyrics by [Barry] Wyner, it’s a musical adaptation of Cyrano de Bergerac, set in high school, and it manages to make me not hate the Cyrano character (Calvin here, played by Frankie A. Rodriguez), which is a rare feat. But the songs feel so self-contained, explaining their own context within the lyrics but lacking subtext, that they felt more designed for performance in a cabaret than part of an entire musical. Read more…

HOW I LEARNED TO DRIVE, Collaborative Artists Ensemble at the Sherry Theater

Photo by Mike Casey

Photo by Mike Casey

Deborah Klugman – Stage Raw

Paula Vogel’s play, How I Learned to Drive, knocked it out of the park for critical acclaim when it opened in 1997. Directed by Mark Brokaw at Manhattan’s Vineyard Theatre, the premiere featured Mary-Louise Parker as a woman recounting the pain of her teen and pre-teen years under the sway of her pedophile uncle, with David Morse as said predator, a soft-spoken well-mannered “Southern boy” infatuated with his prey. As written, the play is an exquisitely shaded portrait of co-dependence and obsession where, notwithstanding the disturbing nature of the material, the humanity of both principal characters is represented in all its compelling complexity. Read more…

Tracey Paleo – Gia On The Move

Confronting your past can be disturbing…Especially when the person you loved most and who you shared your most cherished childhood memories with, was the same person sexually abusing you. More…

The ‘R’ in SCR. A WW2 ‘Much Ado’. ‘Sunday’ starts Sondheim fest. The ‘Maggie’ musical.

Photo by Jenny Graham/SCR

Photo by Jenny Graham/SCR

Don Shirley – Angeles Stage

Plus Geffen’s ‘Breath,’ Kristina Wong, and more.

A flood of openings gushed through Greater LA theaters in February — although two of the new productions were delayed by an outbreak of COVID.

During the first weekend of the month, South Coast Repertory in Costa Mesa planned to activate the “repertory” in its name for the first time in the company’s 59-year history — with two different plays sharing the same stage and many of the same actors in alternating performances. “The Little Foxes” and “Appropriate” were waiting in the wings, united not only by a stage and actors and narrative similarities but also by a composite title — “Voices of America.”

Unfortunately, COVID barged in, canceling the entire opening weekend of both plays. Read more…

THE LIFESPAN OF A FACT at The Fountain Theatre

Photo by Jenny Graham

Photo by Jenny Graham

Steven Leigh Morris – Stage Raw

There couldn’t be a more worthy topic for a play in these fractious times: Where and how do we find truth? The question would be more potent if one could believe this play’s central premise.

The Lifespan of a Fact contains some scintillating, if inert, arguments: inert, because none of its three characters budges from their cemented, partly truthful, partly conflated, and partly nonsensical arguments. This is one of those plays where the co-authors say, well, believe what you want. Okay, thanks. Not exactly moving the dial, or even the dramatic action. It’s a bit like watching a block of ice remain frozen. You can observe it from a number of angles, which is interesting for a while, but when the theater lights dim at the end of the play, it’s still a block of ice. All that heat, and it hasn’t even dripped. Read more…

MUCH ADO ABOUT NOTHING at A Noise Within

Photo by Craig Schwartz

Photo by Craig Schwartz

Katie Buenneke – Stage Raw

I must start this review by confessing that this production of Much Ado About Nothing is a victim of my own expectations. Much Ado is my favorite Shakespearean text, and I’ve always respected the craft A Noise Within puts into their productions of the classics. I expected to love this show — but sadly, I was disappointed.

To me, a successful performance of this play hinges on the chemistry between Beatrice and Benedick; their bickering is a form of self-defense. Beatrice indicates that they had once been in a relationship, but it ended poorly. They duel, sparks flying, lashing out to cover their wounded hearts, and there’s delicious dramatic irony because the audience knows that their barbs are just a façade, and they’ll end up happily together by the end of the play. But the aforementioned sparks are absent here. Read more…

Patrick Chavis – LA Theatre Bites

Much Ado About Nothing @ A Noise Within – 9 out of 10 – Exceptional Show! LA Theatre Bites Recommended! More…

 

SUNDAY IN THE PARK WITH GEORGE at Pasadena Playhouse

Photo by Jeff Lorch.

Photo by Jeff Lorch.

Terry Morgan – ArtsBeat LA

As part of its “Sondheim Celebration” this year, the Pasadena Playhouse has a new production of Sunday, but although it is professionally done and largely enjoyable, a couple of issues in direction and performance keep this show from being everything it could be…

Alabado is terrific as Dot, an appealing combination of petulance and passion, and charming as the contented Marie. She sets the standard for singing high with the titular first number, and impresses throughout, especially in her duet with Phillips, “We Do Not Belong Together.” Phillips, unfortunately, while a good vocalist, seems mainly to be trying to copy Mandy Patinkin’s original performance in the role, and as a result doesn’t bring as much to the character as he might. Standouts in the great ensemble include Emily Tyra as Yvonne, the artist’s wife secretly jealous of Dot, and Liz Larsen as the Old Lady, whose tart delivery of her peevish character’s lines are delightful. Read more…

Peter Debruge – Variety

In the first act, Sondheim and Lapine’s musical focuses on the young painter, whose name they’ve anglicized to “George” (which rather unfortunately sounds like a goose honking, especially when repeated at the end of every line: “I know you’re near, George / I caught your eyes, George / I want your ear, George / I’ve a surprise, George”). Seurat died at age 31, never having sold a painting, and the show does several interesting things with a life that went largely unrecorded. Read more…

Rob Stevens – Haines His Way

Although the musical aspects of the production are top notch, there are problems with the staging by Lapine. The show basically still just feels like an upscale concert version of the musical. Ken Billington’s lighting design paints wonderful colors and Clint Ramos’s costumes are appropriate. The main problem is Beowulf Boritt’s scenic design. There is not much to it—mostly a scrim that acts as a screen for Tal Yarden’s projections. The orchestra is on stage and probably takes up at least half of the playing space. Boritt’s platform has a few steps up from stage level and it is disconcerting to watch people who are supposed to be in “a small suburban park on an island in the river” keep stepping up and down to enter or exit. The platform can barely hold the entire company and so it just looks overcrowded at times, especially for the Act One finale. Without a hint of scenery, instead of a breath-taking realization of the painting coming together, we just get a crowd of people on a platform. Read more…

Katie Buenneke – Theatre Digest

I had never seen this Sondheim classic before, but I’m glad I got to see it now. Some Sondheim shows are, I think, like Brussels sprouts; you might not like or appreciate them when you’re younger, and they have to be impeccably prepared to be palatable when you’re older. I don’t know that I’ll ever love this show, but I think this production, which I liked plenty, is as close as I’ll get (I’m more of a Company and Merrily We Roll Along gal). Read more…

tick, tick, Boom! at International City Theatre

Photo by Kayte Deioma.

Photo by Kayte Deioma.

Dana Martin – Stage Raw

Jonathan Larson’s semi-autobiographical rock musical tick, tick…Boom! opens the 2023 season at Long Beach International City Theatre. The production is earnest but struggles to find synthesis…

Ernesto Figueroa’s Jon is charming and gently guides the musical’s throughline, sometimes struggling to find the character’s emotional range. Samantha M. Lawrence is a versatile performer, who plays several characters throughout the evening including Jon’s girlfriend Susan. Phillip J. Lewis eases into his performance as Michael as the evening progresses. Individually each actor is vocally strong and has their moments to shine — but with little chemistry between them, they struggle with the story’s more intimate moments. Read more…

Patrick Chavis – LA Theatre Bites

tick, tick…Boom! @ International City Theatre in Long Beach – 7.8 out of 10 – Above Average! More…

Rob Stevens – Haines His Way

The lively musical was well directed by Kari Hayter who kept the momentum on high throughout the 90-minute running time. She was greatly aided by musical director Anthony Zediker on piano leading a four-piece onstage band. Ernesto Figueroa dominated the proceedings as composer Jon, nearing his 30th birthday with little to show for his composing career. Figueroa is never offstage, and his energy never flags. Read more…

 

HANSEL AND GRETEL, Storybook Theatre at Theatre West

Photo by Garry Kluger

Photo by Garry Kluger

Rob Stevens – Haines His Way

For my first theatre review of 2023, I ventured out to Theatre West in Hollywood and joined the lively audience for Storybook Theatre’s opening performance of Hansel and Gretel.

Lloyd J. Schwartz wrote the book (he also directed) and the music and lyrics for eight songs were provided by Hope and Laurence Juber. They are very aware of the age of their audience but don’t write down to them, instead they provide easy to understand dialogue and lyrics. When the titular hungry brother (Oscar Nava) and sister (Elise Walters) decide to run away from home so their out-of-work woodcutter father (David Mingrino) will hopefully stop worrying about feeding them, they make sure to tell the tiny tots in the audience not to follow their lead. They tell them they are in a story, and they are sure to get into trouble for what they are about to do. Read more…

KRISTINA WONG, SWEATSHOP OVERLORD at Kirk Douglas Playhouse, a co-production with East West Players

Kristina Wong. Photo by Javier Vasquez.

Kristina Wong. Photo by Javier Vasquez.

Tracey Paleo – BroadwayWorld

There are defining moments in our lives where we either shrink away in fear or make a stand at all costs. In 2020, at the beginning of a global health crisis, under the order of a shelter-in-place lockdown, Kristina Wong faced such a moment. And in that moment, Kristina Wong became a warrior.

It’s not that she meant to be one. No, not at all, in fact. In her one-woman show, Kristina Wong SWEATSHOP OVERLORD, the artist goes to great lengths to explain, as the crow flies, that single-handedly taking on the COVID-19 pandemic was no more than an offering of service to her fellow humans during a period of personal crisis. A way of reclaiming herself while feeling lost inside a contagion she did not start, and very likely would not survive as a creative talent with a show now canceled because of schools going entirely online, theaters closing, and public spaces barred from operating. Read more…

Socks Whitmore – Stage Raw

Before launching into a beat-by-beat replay of national events, Wong opens the show with a land acknowledgement, jokes about masking, and a complete list of content warnings, all delivered with her characteristic humor and spunk. Her re-enactment of her own life is delivered with hilarious over-dramatization and a plentitude of fourth-wall breaks, the script skillfully navigating between humor and pathos to hold equal space for the absurdity and grief of it all. One might imagine that much of what Wong shares is not dissimilar to the audience’s own pandemic life stories, but knowing the future takes no thrill away from the suspense; perhaps some of the hardest-hitting moments are the video clips pulled from the greatest moments of trauma and political unrest during the pandemic, their force magnified by our collective recognition. Various moments of audience participation enhance the show’s communal energy. (If you’re sitting in the front row, prepare for the potential of being interviewed and/or small objects flying over your head.) Read more…