I just returned from New York and am happy to report that new plays (as opposed to musicals) are alive and well on Broadway. If you are in New York anytime soon, DO NOT MISS Tracy Letts' outstanding new play "AUGUST: OSAGE COUNTY." This dark family drama is funny, smart, engaging, and the acting ensemble from Chicago's Steppenwolf theater provides a master class in acting. I do not recall being more excited about a new American play since "Angels in America." I will be shocked if this play does not win the Pulitzer and Best Play Tony Award next year. If you are in New York and can only see one show this season - without question, this is the one to see.
I also enjoyed Connor McPherson's engaging new drama "THE SEAFARER." Irish actor Jim Norton gives an amazing performance amidst many strong performances from the talented cast. ""THE SEAFARER" has much more humor than McPherson's prior works, but retains the depth that permeates his writing.
By contrast, I was disappointed in Tom Stoppard's new play "ROCK 'N ROLL," which suffers from the bombastic and unemotional direction by Trevor Nunn. It is not a bad play or production, but the other two plays mentioned above are head and shoulders in quality above this one.
New musicals in New York this season? Let's not go there. I did not even use my ticket to "YOUNG FRANKENSTEIN," because those whose opinions I trust have trashed the show, and the snippets from the show I have seen are painfully bad. Two off-broadway musicals I did see ("MAKE ME A SONG" and "THE GLORIOUS ONES") were lifeless and disappointing.
As for Los Angeles right now, my highest recommendation goes to "QUALITY OF LIFE" at the Geffen Playhouse which is a moving and well written play that is performed by a dream cast. If you have not seen this show, try to catch it before it disappears in a few weeks.
Finally, a quick word on the Broadway-bound new musical "A CATERED AFFAIR" now playing at the Old Globe in San Diego. This show seems to be splitting opinion among its viewers, but count me in the group that found the show to be an uninvolving and cold show which finds merit only in the wonderful performance given by Faith Prince. The New York crowd is hoping this is the musical that will emerge as the best of the season when it hits New York in the spring. IMHO, I don't think so.
Wednesday, November 07, 2007
Sunday, September 30, 2007
Oct '07/ Four Great Shows on Los Angeles Stages
After a very dry summer for quality theater offerings in Los Angeles, I am happy to report that there a number of outstanding shows are now playing on our local stages, each of which I highly recommend
Now playing at the Kirk Douglas Theater in Culver City is "CLAY," a one person hip hop musical that began its theatrical life in Chicago. "Clay" is written and performed by the enormously talented Matt Sax, who gives a multi-faceted performance that harbors well for his future as a performer. One person shows commonly leave me cold and disappointed because the form usually lacks a sense of real theatricality. Such is not the case here, as Matt Sax creates a fully realized musical play - he simply plays all of the roles. It takes some time for this show to get moving, but I am convinced that is intentional. By the end of the show you are left both musically and emotionally rewarded. Unless you have a total aversion to the hip-hop musical form, I highly recommend that you catch this show now, before it and its talented writer/performer leave town with this exceptional work. You can catch "CLAY" through October 14.
Fresh and unconventional theater is also to be found at UCLA Freud Playhouse until October 14 in the form of the National Theatre of Scotland's offering of "BLACK WATCH," which is part of the new season of UCLA Live Peformance Series. Prior to seeing this show, I have never seen a depiction of war on stage that has worked for me as theater, so I did not expect much from this show. Instead, this play about the Scottish Black Watch military crew's actions in Iraq offers an insightful and probing look at violence, the military mentality and the folly that is the current war in Iraq. This is a loud and very physical show, but those attributes help establish the right mood and setting for this work. The cast imported from the UK is solid, with a particularly exciting performance by Emun Elliot as Fraz. Catch this show before it travels to its next stop in New York City.
More traditional in form, the West Coast premier of another Chicago-originated play entited "AND NEITHER HAVE I WINGS TO FLY" is now playing through November at the Road Theatre Company in NoHo's Lankershim Arts Center. I saw and fell in love with this wonderful play a few years back at the Victory Gardens Theater in Chicago. I believe there were hopes that this play would be taken to Broadway (or at least off-Broadaway) from Chicago, but much to my dismay, that never came to fruition. No matter. This is a fine play that is as good as or better than any drama currently playing in New York. I am also happy to report that the Road Theatre production is top-notch, and brings this stirring drama to life. A special treat is to see the playwright, Ann Noble, playing the lead role of Eveline; she infuses her poetic language with a multi-layered nuanced performance. The setting is a family home in County Dublin, Ireland in the 1950's, and by the end of the evening you will feel as though you are a part of the family depicted in the show. The sets, direction and acting are all of the highest quality and do justice to this solid drama. A few years back, the Road Theater presented an outstanding production of another play by Ms. Noble entitled "The Pagans." It is heartening to reoprt that this play and production is even better,
But that is not all folks. There are even more riches to be found in our local theaters right now. The East West Players production of Julia Cho's "DURANGO," can be seen at this Company's Little Tokyo theater through October 14. Like, "And Neither Have I Wings To Fly", this show provides a family drama that is touching, sincere and presented in a sensitive production that touches the mind and heart. A family road trip provides the setting for reflection, revelation of secrets and conflict that ring true. I was impressed with Ms. Cho's "Piano Teacher" earlier this year at South Coast Rep, but "Durango" is a work of even greater depth. Playing the sons that try to live up to the lofty demands of their Korean-born father, actors Jin Suh and Ryan Cusino give outstanding performaces that capture a brothers' relationship with each other, and with their father, that is painful and real.
I cannot remember any recent time in which there was much high quaity theater playing simultaneously in the LA area. I would recommend any of the above four shows without reservation. Lest you think that my ability to provide negative criticism has fallen by the wayside, I can also tell you that unless you are a masochist, you would do well to avoid the Geffen Playhouse's miscast and insipid "THIRD" by Wendy Wasserstein, and South Coast Rep's lame, limp and misdirected production of "A LITTLE NIGHT MUSIC." But these theatrical misfires cannot dim the brilliance of the above mentioned shows that deserve your time and attention, both of which will be highly rewarded.
Now playing at the Kirk Douglas Theater in Culver City is "CLAY," a one person hip hop musical that began its theatrical life in Chicago. "Clay" is written and performed by the enormously talented Matt Sax, who gives a multi-faceted performance that harbors well for his future as a performer. One person shows commonly leave me cold and disappointed because the form usually lacks a sense of real theatricality. Such is not the case here, as Matt Sax creates a fully realized musical play - he simply plays all of the roles. It takes some time for this show to get moving, but I am convinced that is intentional. By the end of the show you are left both musically and emotionally rewarded. Unless you have a total aversion to the hip-hop musical form, I highly recommend that you catch this show now, before it and its talented writer/performer leave town with this exceptional work. You can catch "CLAY" through October 14.
Fresh and unconventional theater is also to be found at UCLA Freud Playhouse until October 14 in the form of the National Theatre of Scotland's offering of "BLACK WATCH," which is part of the new season of UCLA Live Peformance Series. Prior to seeing this show, I have never seen a depiction of war on stage that has worked for me as theater, so I did not expect much from this show. Instead, this play about the Scottish Black Watch military crew's actions in Iraq offers an insightful and probing look at violence, the military mentality and the folly that is the current war in Iraq. This is a loud and very physical show, but those attributes help establish the right mood and setting for this work. The cast imported from the UK is solid, with a particularly exciting performance by Emun Elliot as Fraz. Catch this show before it travels to its next stop in New York City.
More traditional in form, the West Coast premier of another Chicago-originated play entited "AND NEITHER HAVE I WINGS TO FLY" is now playing through November at the Road Theatre Company in NoHo's Lankershim Arts Center. I saw and fell in love with this wonderful play a few years back at the Victory Gardens Theater in Chicago. I believe there were hopes that this play would be taken to Broadway (or at least off-Broadaway) from Chicago, but much to my dismay, that never came to fruition. No matter. This is a fine play that is as good as or better than any drama currently playing in New York. I am also happy to report that the Road Theatre production is top-notch, and brings this stirring drama to life. A special treat is to see the playwright, Ann Noble, playing the lead role of Eveline; she infuses her poetic language with a multi-layered nuanced performance. The setting is a family home in County Dublin, Ireland in the 1950's, and by the end of the evening you will feel as though you are a part of the family depicted in the show. The sets, direction and acting are all of the highest quality and do justice to this solid drama. A few years back, the Road Theater presented an outstanding production of another play by Ms. Noble entitled "The Pagans." It is heartening to reoprt that this play and production is even better,
But that is not all folks. There are even more riches to be found in our local theaters right now. The East West Players production of Julia Cho's "DURANGO," can be seen at this Company's Little Tokyo theater through October 14. Like, "And Neither Have I Wings To Fly", this show provides a family drama that is touching, sincere and presented in a sensitive production that touches the mind and heart. A family road trip provides the setting for reflection, revelation of secrets and conflict that ring true. I was impressed with Ms. Cho's "Piano Teacher" earlier this year at South Coast Rep, but "Durango" is a work of even greater depth. Playing the sons that try to live up to the lofty demands of their Korean-born father, actors Jin Suh and Ryan Cusino give outstanding performaces that capture a brothers' relationship with each other, and with their father, that is painful and real.
I cannot remember any recent time in which there was much high quaity theater playing simultaneously in the LA area. I would recommend any of the above four shows without reservation. Lest you think that my ability to provide negative criticism has fallen by the wayside, I can also tell you that unless you are a masochist, you would do well to avoid the Geffen Playhouse's miscast and insipid "THIRD" by Wendy Wasserstein, and South Coast Rep's lame, limp and misdirected production of "A LITTLE NIGHT MUSIC." But these theatrical misfires cannot dim the brilliance of the above mentioned shows that deserve your time and attention, both of which will be highly rewarded.
Friday, December 22, 2006
Top 10 Theater Productions of 2006
1. Sweeney Todd (NY/ Broadway) ****
2. Coast of Utopia: Voyage (NY/ Lincoln Center) ****
3. Shining City (NY/ Manhattan Theatre Club) ****
4. Rabbit Hole (NY/ Manhattan Theatre Club) ***1/2
5. All My Sons (LA/ Geffen Playhouse) ***1/2
6. Spring Awakening (NY/ Atlantic Theater) ***1/2
7. Awake and Sing (NY/ Lincoln Center) ***1/2
8. History Boys (NY/ Broadway) ***1/2
9. Lieutenant of Inishmore (NY/ Broadway)***1/2
10. Joe Turner's Come and Gone (LA/ Fountain Theater) ***1/2
Honorable Mentions
Blue Door (LA/ South Coast Rep); Eurydice (LA/ Circle X); Fences (LA/ Pasadena Playhouse); Man of No Importance (LA/ Musical Theater Guild); Jitney (LA); Super Vision (LA/ Redcat); Urinetown (LA/Interact)
Remarkable Returns to Shows First Viewed In Prior Years
Drowsy Chaperone (NY/ Broadway); Doubt (LA/Ahmanson)
Dear Theater Fans:
2006 was a very good year for theater in New York, but the same cannot be said for Los Angeles theater. This year's Top 10 list is dominated by Broadway productions, both new shows and revivals, with more Broadway shows landing in my top 10 this year than in any year in recent memory. By contrast, only two Los Angeles productions made this year's top 10, and both of those were revivals of modern classic dramas. If this year's list seems more geographically limited than in the past, the explanation is that my theatergoing was limited in 2006 to shows in New York and Los Angeles - no trips to London, Chicago or DC for me this year.
Two superlative productions on Broadway towered over all other shows I viewed in 2006, one a musical revival ("Sweeney Todd"), the other the first part of a new (to the US) Tom Stoppard trilogy ("Coast of Utopia: Voyage"). British director John Doyle's conceit of having the actors double as the on-stage orchestra worked perfectly for "Sweeney," and the entire show was an amazing conceptual revisioning of an often performed Sondheim show. It was mesmerizing from beginning to end. The same can be said for "Voyage" in which the dazzling production (headed by director Jack O'Brien) was outdone by the even more dazzling writing by Stoppard. I cannot wait to see parts 2 & 3 of this eight-hour-plus epic in 2007.
In addition to "Voyage," this year saw an abnormally high number of great dramatic plays, both new and revivals. In the new column were "Shining City," expertly directed by Robert Falls and starring Broadway's best current male actor - Brian O'Byrne; "Rabbit Hole" with a brave performance by Cynthia Nixon and seemless direction by Daniel Sullivan; Nicholas Hytner's UK National Theater import "History Boys"; and the audacious and very funny "Lieutenant of Inishmore."
As for dramatic play revivals, Arthur Miller's "All My Sons" at the Geffen Theater, led by an oustanding performance from Laurie Metcalf, provided a production of a play I have seen many times, but seemed like a different play than all of the prior productions. The Fountain Theater's production of August Wilson's "Joe Turner's Come and Gone" was a moving and apt tribute to the master playwright who sadly passed away in 2006. And Bartlett Sher, director of last year's #1 show, once again displayed his directorial skills with his illuminating revival of Odet's "Awake and Sing," centered by a bravura performance from Zoe Wannamaker.
The sole new musical to make this year's list is "Spring Awakening," which I saw off-Broadway before its recent move to a much larger Broadway house. This is a fresh, vibrant rock musical that while not perfect, is a refreshing departure from just about every new musical to hit Broadway in the past several years. If you are in New York, do yourself a favor and see this show which provides hope that the future of musical theater will not be populated only with revivals and new shows that parody the form.
I attended 87 productions in 2006, up just 4 from last year. I am keeping with the blog format for this year's list, and hope you find it convenient. For those who have visited this site over the past year, my updates to this blog have been admittedly scattered. I will try to do better in 2007. Before closing this year's theater letter, I wanted to mention how thrilled and pleased I was with the new screen adaptation of the stage musical "Dreamgirls." Although I liked that show on stage, the material works even better as a movie. And Jennifer Hudson's performance - in a word, incredible. Run and see "Dreamgirls" in the midst of what I hope is a great holiday and new year.
2005's Top 10 Acting Performances
1. Christine Ebersole (Grey Gardens)
2. Cynthia Nixon (Rabbit Hole)
3. Zoe Wanamaker (Awake and Sing)
4. Ian McDiarmid (Faith Healer)
5. Adolphus Ward (Joe Turner's Come and Gone)
6. Jennifer Ehle (Coast of Utopia: Voyage)
7. Laurence Fishburne (Fences)
8. Laurie Metcalf (All My Sons)
9. Mary Louise Wilson (Grey Gardens)
10. Frances de la Tour (History Boys)
2006's Biggest Disappointments
"The Cherry Orchard" starring Annette Benning at the Mark Taper Forum was an impossible ticket to score due to her presence. You could have had my ticket, and I would have preferred to have slept at home rather than in my seat at the Taper.
"Company" has its fans, but I thought this Broadway revival was the worst of the many productions I have seen of this show. John Doyle's actors as orchestra concept felt like an out of place gimmick that caused this production to feel removed and chilly. Note to Mr. Doyle: that chill was perfect for "Sweeney Todd," but made for Company that I would rather not have visited.
"Light In The Piazza," in the form of the current national touring company was beyond disturbing to me. A horribly miscast Christine Andreas in the lead role of Margaret turned my #1 show of last year into a mediocre event that reveals just how critical Victoria Clark's performance was to this show.
"Little Dog Laughed" may have left many people laughing off and on Broadway, but I was not one of them. A trite, overworn plot with trite, overworn sitcom-ish jokes about gay people does not a funny evening make, IMHO.
"Vertical Hour," in its world premiere Broadway engagement, left me wishing I was horizontal so that I could catch up on my sleep without being intermittently woken by some fine acting by the talented Bill Nighy. Julianne Moore was beyond awful, and I kept wanting to go on stage to rescue her from this mess of a play by one of my favorite playwrights, David Hare.
"Wedding Singer" proves that just when you think Broadway musicals cannot get any more trite and unimaginatively derivative, they do.
"Zhivago" at La Jolla Playhouse was said to be Broadway bound. Yeah, right, like the Titanic was bound for New York. In addition, [reread comment above for "Wedding Singer," starting with the word "proves"].
2. Coast of Utopia: Voyage (NY/ Lincoln Center) ****
3. Shining City (NY/ Manhattan Theatre Club) ****
4. Rabbit Hole (NY/ Manhattan Theatre Club) ***1/2
5. All My Sons (LA/ Geffen Playhouse) ***1/2
6. Spring Awakening (NY/ Atlantic Theater) ***1/2
7. Awake and Sing (NY/ Lincoln Center) ***1/2
8. History Boys (NY/ Broadway) ***1/2
9. Lieutenant of Inishmore (NY/ Broadway)***1/2
10. Joe Turner's Come and Gone (LA/ Fountain Theater) ***1/2
Honorable Mentions
Blue Door (LA/ South Coast Rep); Eurydice (LA/ Circle X); Fences (LA/ Pasadena Playhouse); Man of No Importance (LA/ Musical Theater Guild); Jitney (LA); Super Vision (LA/ Redcat); Urinetown (LA/Interact)
Remarkable Returns to Shows First Viewed In Prior Years
Drowsy Chaperone (NY/ Broadway); Doubt (LA/Ahmanson)
Dear Theater Fans:
2006 was a very good year for theater in New York, but the same cannot be said for Los Angeles theater. This year's Top 10 list is dominated by Broadway productions, both new shows and revivals, with more Broadway shows landing in my top 10 this year than in any year in recent memory. By contrast, only two Los Angeles productions made this year's top 10, and both of those were revivals of modern classic dramas. If this year's list seems more geographically limited than in the past, the explanation is that my theatergoing was limited in 2006 to shows in New York and Los Angeles - no trips to London, Chicago or DC for me this year.
Two superlative productions on Broadway towered over all other shows I viewed in 2006, one a musical revival ("Sweeney Todd"), the other the first part of a new (to the US) Tom Stoppard trilogy ("Coast of Utopia: Voyage"). British director John Doyle's conceit of having the actors double as the on-stage orchestra worked perfectly for "Sweeney," and the entire show was an amazing conceptual revisioning of an often performed Sondheim show. It was mesmerizing from beginning to end. The same can be said for "Voyage" in which the dazzling production (headed by director Jack O'Brien) was outdone by the even more dazzling writing by Stoppard. I cannot wait to see parts 2 & 3 of this eight-hour-plus epic in 2007.
In addition to "Voyage," this year saw an abnormally high number of great dramatic plays, both new and revivals. In the new column were "Shining City," expertly directed by Robert Falls and starring Broadway's best current male actor - Brian O'Byrne; "Rabbit Hole" with a brave performance by Cynthia Nixon and seemless direction by Daniel Sullivan; Nicholas Hytner's UK National Theater import "History Boys"; and the audacious and very funny "Lieutenant of Inishmore."
As for dramatic play revivals, Arthur Miller's "All My Sons" at the Geffen Theater, led by an oustanding performance from Laurie Metcalf, provided a production of a play I have seen many times, but seemed like a different play than all of the prior productions. The Fountain Theater's production of August Wilson's "Joe Turner's Come and Gone" was a moving and apt tribute to the master playwright who sadly passed away in 2006. And Bartlett Sher, director of last year's #1 show, once again displayed his directorial skills with his illuminating revival of Odet's "Awake and Sing," centered by a bravura performance from Zoe Wannamaker.
The sole new musical to make this year's list is "Spring Awakening," which I saw off-Broadway before its recent move to a much larger Broadway house. This is a fresh, vibrant rock musical that while not perfect, is a refreshing departure from just about every new musical to hit Broadway in the past several years. If you are in New York, do yourself a favor and see this show which provides hope that the future of musical theater will not be populated only with revivals and new shows that parody the form.
I attended 87 productions in 2006, up just 4 from last year. I am keeping with the blog format for this year's list, and hope you find it convenient. For those who have visited this site over the past year, my updates to this blog have been admittedly scattered. I will try to do better in 2007. Before closing this year's theater letter, I wanted to mention how thrilled and pleased I was with the new screen adaptation of the stage musical "Dreamgirls." Although I liked that show on stage, the material works even better as a movie. And Jennifer Hudson's performance - in a word, incredible. Run and see "Dreamgirls" in the midst of what I hope is a great holiday and new year.
2005's Top 10 Acting Performances
1. Christine Ebersole (Grey Gardens)
2. Cynthia Nixon (Rabbit Hole)
3. Zoe Wanamaker (Awake and Sing)
4. Ian McDiarmid (Faith Healer)
5. Adolphus Ward (Joe Turner's Come and Gone)
6. Jennifer Ehle (Coast of Utopia: Voyage)
7. Laurence Fishburne (Fences)
8. Laurie Metcalf (All My Sons)
9. Mary Louise Wilson (Grey Gardens)
10. Frances de la Tour (History Boys)
2006's Biggest Disappointments
"The Cherry Orchard" starring Annette Benning at the Mark Taper Forum was an impossible ticket to score due to her presence. You could have had my ticket, and I would have preferred to have slept at home rather than in my seat at the Taper.
"Company" has its fans, but I thought this Broadway revival was the worst of the many productions I have seen of this show. John Doyle's actors as orchestra concept felt like an out of place gimmick that caused this production to feel removed and chilly. Note to Mr. Doyle: that chill was perfect for "Sweeney Todd," but made for Company that I would rather not have visited.
"Light In The Piazza," in the form of the current national touring company was beyond disturbing to me. A horribly miscast Christine Andreas in the lead role of Margaret turned my #1 show of last year into a mediocre event that reveals just how critical Victoria Clark's performance was to this show.
"Little Dog Laughed" may have left many people laughing off and on Broadway, but I was not one of them. A trite, overworn plot with trite, overworn sitcom-ish jokes about gay people does not a funny evening make, IMHO.
"Vertical Hour," in its world premiere Broadway engagement, left me wishing I was horizontal so that I could catch up on my sleep without being intermittently woken by some fine acting by the talented Bill Nighy. Julianne Moore was beyond awful, and I kept wanting to go on stage to rescue her from this mess of a play by one of my favorite playwrights, David Hare.
"Wedding Singer" proves that just when you think Broadway musicals cannot get any more trite and unimaginatively derivative, they do.
"Zhivago" at La Jolla Playhouse was said to be Broadway bound. Yeah, right, like the Titanic was bound for New York. In addition, [reread comment above for "Wedding Singer," starting with the word "proves"].
Sunday, August 20, 2006
August 2006 NY & LA Theater Recommendations
New York Theater Recommendations:
There are two musicals and two plays currently on Broadway that I would recommend. As for musicals, if you have not seen it, be sure to catch the amazing "SWEENEY TODD" production before it closes in September. The director's unique and refreshing concept for this revival comes to life with a multi-talented, hard-working cast that plays their own instruments. This show should have received the Best Musical Revival Tony Award in June, but was robbed by the much inferior "Pajama Game."
The other "don't miss" musical on Broadway is "THE DROWSY CHAPERONE," which should have won the Best Musical Tony Award, but lost it to the fun, but inferior, "Jersey Boys." "Chaperone" is one of the wittiest and entertaining new musicals of the past decade. I have seen the show 4 times, and each time I see it, my appreciation for this work grows.
As for plays, I highly recommend "THE LIEUTENANT OF INISHMORE." If you appreciate dark humor, this is the show for you. It is funny, smart and well written. "THE HISTORY BOYS" (playing through October), is also a London import well worth catching, although I enjoyed this show more for the outstanding production than the sometimes facile writing.
Coming this fall to Broadway are two new musical I caught during their off-Broadway runs: "GREY GARDENS" and "SPRING AWAKENING." Though neither are perfect shows (at least not off-Broadway), both have much to offer. The performances of Christine Ebersole and Mary Louise Wilson lift "Gardens" beyond its limitations (which are particuarly evident in a weak first act) as written, and "Spring Awakening" is the freshest and most exciting rock musical since "Rent."
Los Angeles Theater:
I wish there was much to recommend in the Los Angeles area right now, but sadly that is not the case. Hopefully, things will improve in the fall. Do catch the Kander & Ebb musical "CURTAINS" in its pre-Broadway run at the Ahmanson. It is a flawed show, but much of the score is quite nice, and its cast includes many of Broadway's finest musical theater talents. David Hyde Pierce is particularly strong in the lead role, and deserves the standing ovations that I suspect he receives at every performance. Before it leaves town, you should also see "TICK, TICK BOOM" at the Coronet Theater. It is a memorable production of a show that nevertheless plays like a Jonathan Larson (creator of "Rent") song cycle with a patched together book. Despite that, it is an energetic show with a good cast, with an especially winnning performace by Tami Tappan Damiano.
There are two musicals and two plays currently on Broadway that I would recommend. As for musicals, if you have not seen it, be sure to catch the amazing "SWEENEY TODD" production before it closes in September. The director's unique and refreshing concept for this revival comes to life with a multi-talented, hard-working cast that plays their own instruments. This show should have received the Best Musical Revival Tony Award in June, but was robbed by the much inferior "Pajama Game."
The other "don't miss" musical on Broadway is "THE DROWSY CHAPERONE," which should have won the Best Musical Tony Award, but lost it to the fun, but inferior, "Jersey Boys." "Chaperone" is one of the wittiest and entertaining new musicals of the past decade. I have seen the show 4 times, and each time I see it, my appreciation for this work grows.
As for plays, I highly recommend "THE LIEUTENANT OF INISHMORE." If you appreciate dark humor, this is the show for you. It is funny, smart and well written. "THE HISTORY BOYS" (playing through October), is also a London import well worth catching, although I enjoyed this show more for the outstanding production than the sometimes facile writing.
Coming this fall to Broadway are two new musical I caught during their off-Broadway runs: "GREY GARDENS" and "SPRING AWAKENING." Though neither are perfect shows (at least not off-Broadway), both have much to offer. The performances of Christine Ebersole and Mary Louise Wilson lift "Gardens" beyond its limitations (which are particuarly evident in a weak first act) as written, and "Spring Awakening" is the freshest and most exciting rock musical since "Rent."
Los Angeles Theater:
I wish there was much to recommend in the Los Angeles area right now, but sadly that is not the case. Hopefully, things will improve in the fall. Do catch the Kander & Ebb musical "CURTAINS" in its pre-Broadway run at the Ahmanson. It is a flawed show, but much of the score is quite nice, and its cast includes many of Broadway's finest musical theater talents. David Hyde Pierce is particularly strong in the lead role, and deserves the standing ovations that I suspect he receives at every performance. Before it leaves town, you should also see "TICK, TICK BOOM" at the Coronet Theater. It is a memorable production of a show that nevertheless plays like a Jonathan Larson (creator of "Rent") song cycle with a patched together book. Despite that, it is an energetic show with a good cast, with an especially winnning performace by Tami Tappan Damiano.
Sunday, February 05, 2006
A Dull "Earnest"; "Hedda" Has a Future; "Two And Only" Amuses
Now playing at the Ahmanson theater is Sir Peter Hall's stiff and arch production of Oscar Wilde's "The Importance of Being Earnest." Sir Peter should be banned from the Ahmanson because he has once again brought to that venue an entertaining script with his bland and boring direction. Lynne Redgrave chews up the scenery when she is on stage, but does it in a way that is out of synch with the other actors, none of whom have anything close to the panache called for to make this show work. A major disappointment.
By contrast, a major surprise just closed at South Coast Rep in Orange County- Jeff Whitty's funny and moving take on the place where fictional characters go to thrive or perish. Well served by nimble direction of Bill Rauch, and an able group of comedic actors, I thoroughly enjoyed this show well beyond what I expected from the gimmicky plot description. This show deserves a long and happy life beyond SCR, and provided a nice way fro LA area theater to start the new year.
I was also surprised by how much I enjoyed "Jay Johnson: The Two and Only" at the Brentwood Theater at the VA grounds in Brentwood. Although the show lags a bit when Jay is not performing his considerable ventriloquism skills, Jay is one supremely talented ventriloquist who creates funny and original characters. The showplays through mid-Februarybefore heading for Broadway, so try to catch it if you can.
Other recent shows I have seen that left me bored and/or disappointed were "Permanent Collection" at the Kirk Douglas, and "Book of Liz" at the Blank Theater. The first took itself too seriously, the second was just too silly for my taste.
By contrast, a major surprise just closed at South Coast Rep in Orange County- Jeff Whitty's funny and moving take on the place where fictional characters go to thrive or perish. Well served by nimble direction of Bill Rauch, and an able group of comedic actors, I thoroughly enjoyed this show well beyond what I expected from the gimmicky plot description. This show deserves a long and happy life beyond SCR, and provided a nice way fro LA area theater to start the new year.
I was also surprised by how much I enjoyed "Jay Johnson: The Two and Only" at the Brentwood Theater at the VA grounds in Brentwood. Although the show lags a bit when Jay is not performing his considerable ventriloquism skills, Jay is one supremely talented ventriloquist who creates funny and original characters. The showplays through mid-Februarybefore heading for Broadway, so try to catch it if you can.
Other recent shows I have seen that left me bored and/or disappointed were "Permanent Collection" at the Kirk Douglas, and "Book of Liz" at the Blank Theater. The first took itself too seriously, the second was just too silly for my taste.
Sunday, December 18, 2005
10 Best Theater Productions of 2005
The Top 10 Theater Productions of 2005
1. The Light in The Piazza (dir/ Bartlett Sher) (NY) ****
2. Billy Elliott (dir/ Stephen Daldry) (London) ****
3. Pillowman (dir/ John Crowley) (NY) ***1/2
4. Dessa Rose (dir/ Graciela Daniele) (NY) ***1/2
5. Yellowman (dir/ Shirley Jo Finney) (LA) ***1/2
6. Altar Boyz (dir/ Stafford Arima) (NY) ***1/2
7. Urinetown (dir/ Eric Schaffer) (DC) ***1/2
8. Long Bridge Over Deep Waters (dir/Bill Rauch)(LA) ***1/2
9. The Drowsy Chaperone (dir/ Casey Nicholaw) (LA)***1/2
10. Mary Stuart (dir/ Phyllida Lloyd) (London) ***1/2
Dear Theater Fans:
If 2004 stood out as a year of outstanding new dramas, 2005 was remarkable for providing an unusually large number of outstanding new musicals, an occurrence that is exceedingly rare in this day and age.
The show that towers above all others in 2005 is an exquisite production of an intelligent, moving and beautiful show - Lincoln Center's The Light In The Piazza. Perhaps no show can truly be perfect, but this one comes closer to absolute perfection than any musical in recent memory. Victoria Clark's headlining performance is transcendent and should not be missed if you are in the New York area.
A close second to Piazza is yet another new musical, Billy Elliott, which is currently playing in London. The creators turned a successful film into an even more successful stage musical which tugs at the heartstrings in ways that feel entirely genuine. The show rests on the young shoulders of its title character, and the young performer I saw in London (Leon Cooke) carried the production to exciting heights. One can only hope that the producers bring this one to America soon, and that they are able to cast a young powerhouse in the lead role.
Other new musicals that made this year's top 10 include Dessa Rose, Altar Boyz, and US premiere (at the Ahmanson in LA) of the witty and entertaining The Drowsy Chaperone. All three shows offered something unique in a genre in which that quality is all too often lacking. Unique is also the right word for the re-invention of Urinetown that was accomplished at DC's Signature Theater.
The UK's National Theater production of Pillowman on Broadway took the highest play honors for 2005. The cast, headed by the outstanding Billy Crudup, was amazing in this chilling and challenging show. Together with last year's Doubt, Broadway had two of the finest new plays in many years running simultaneously. Also making the top 10 were the Los Angeles productions of Yellowman at the Fountain Theater, and Cornerstone's creative and engaging Long Bridge Over Deep Waters. London's Donmar Wharehouse expertly cast production of Mary Stuart rounded out this year's list.
I attended only 83 productions in 2005, down considerably from last year's 113 and a testament to my attempt to emphasize quality over quantity in my theatergoing activities. To those who have been receiving these year end reports for years, I hope you like the new "blog" format. I try to update this blog every month or two, in the event you want to check out my current rantings and ravings on shows I have seen.
Honorable Mentions
All Shook Up (NY); Apollo Part 1: Lesbensrum (Kirk Douglas); Golda's Balcony (Geffen); Measure for Measure (Old Globe of London at UCLA Live); Theater For A New Ear (UCLA Live)
Remarkable Returns to Shows First Viewed In Prior Years
Big River (Ahmanson); Doubt (NY)
2005's Top 10 Acting Performances
1. Victoria Clark (The Light In The Piazza)
2. Bob Martin (Drowsy Chaperone)
3. Mark Rylance (Measure for Measure)
4. Billy Crudup (Pillowman)
5. Harriet Walter (Mary Stuart)
6. Chris Butley (Yellowman)
7. Tovah Feldshuh (Golda's Balcony)
8. La Chanze (Dessa Rose)
9. Michael Stuhlberg (Pillowman)
10. Kelly O'Hare (The Light In The Piazza)
2005's 10 Biggest Disappointments
Thom Pain (based on nothing) which deserves a truth in advertising award for its title, as it was truly based on nothing, had nothing to say and was a major pain to endure; the NY Times rave for this off-Broadway witless drek remains beyond my grasp.
Happy End, which left me quite happy at its end; it was from the beginning to the end that left me considerably less than happy at this Pacific Resident Theater production.
We Will Rock You, a Las Vegas production whose tackiness made even the ultra-tasteless Vegas look classy and restrained by comparison.
Doubt at the Pasadena Playhouse, which was so bad that one would surely "doubt" that this was the same show that is currently playing on Broadway (directed by Doug Hughes, and the #1 show on last years' list) and is one of the finest Broadway dramas of the decade.
Hillbilly Antigone at the Lookinglass Theater in Chicago sounded like a dreadful title - the show was even more dreadful.
Nine Parts of Desire by the Geffen Playhouse left me only with the desire to bolt from the theater at the first opportunity.
Dead End was precisely that at the Ahmanson. A snooze-o-rama of the highest degree.
Open Window a Deaf West production at the Pasadena Playhouse was a major disappointment from the people who created Big River. This was one window that would have best been left closed to audiences.
Woman In White the new Andrew Lloyd Webber show that I caught in London failed to meet my extremely low expectations; its silly set projections that replace stage scenery still have me dizzy.
Grand Tour from the Colony Theater revived a failed Jerry Herman musical, apparently just to prove that this was one show that was best left forever undiscovered.
Sunday, November 20, 2005
Surprise: "Drowsy" Its Not; "Measure" Is A Joy; and "Cat" Stinks
The rather ho-hum fall Los Angeles theater scene gets a jot of much needed energy with the newly arrived "The Drowsy Chaperone" at the Ahmanson Theater. It would not be fair to tell much of what happens in this show. Part of the fun is figuring that out for yourself, so mumis the word here. In an age when irony has all too often become the mainstay of new musicals, this is one funny show that gets by on being unique and sincere in contrast to the ironic focus of shows like "The Producers" and "Spamlot," shows which lack, and are limited by their lack, of an emotional core.
Bob Martin (also co-credited with the show's book) is beyond perfection as the Man In the Chair. He is the emotional core of the show, and he play the role to laughs and tears. The other standout in the cast is Sutton Foster as Janet. She again proves that she is a Broadway star who can sell a song like almost no other.
Quibbles? Okay, a few. I thought Troy Britton Johnston is particularly weak as Janet's love interest, and he cannot hold a candle to Ms. Foster's star presence. Also, the ending seems a bit rushed and loses some impact as a result. But these quibbles are minor. This is one funny, heartfelt and enjoyable show. It is being billed as a "love letter" to the theater. That phrase is often used to compensate for the mustiness of a dated show. Not so here; "Drowsy Chaperone" is a genuine love letter of the highest order. I am not a fan of fluffy, old-fashioned musicals that lack a decent plot and real emotion. This show made me understand why so many people beg to differ with me on this topic.
Also playing for a few more performnces at UCLA's Freud Playhouse is London's Globe Theater production of "Measure for Measure." I must confess that this has never been one of my favorite Shakespeare shows. The last production I saw was Sir Peter Hall's soporific production which played at the Ahmanson some years back. If I had let these views result in missing this show, I would have been much the worse for that decision. This "Measure" is expertly performed in "original practices" (yes, all female roles are played by men), and several of the performances are downright sublime. Chief among those great performances are outgoing Artistic Director Mark Rylance's Duke, and Colin Hurley's comedic Lucio. Never I have seen "Measure" done with such comic flair> This comedic take on the show leads one to forget whatever flaws this show may have. This show is playing at UCLA only until November 26; if you are reading this before then, call for tickets now.
Both shows reported on above subverted my expectations in what both would yield, and did so in a very positive way. I love it when that happens.
Now comes the bad news, arriving in the form of "Cat On A Hot Tin Roof" at the Geffen Playhouse, starring John Goodman (as Big Daddy) and Brenda Fricker (as his maternal counterpart). Almost nothing is right about this production, except for the set and the sharply remodeled theater in which the production is housed. The direction is all over the map, and as a result, this version of the classic does not know what it want to be. Goodman, who seems a natural for Big Daddy, is so one note in his performance that he has no impact. Fricker seems lost, and the actors playing Brick and Maggie seem like they are out of a community theater production. Don't even start me on the bad and inconsistent accents that eminate from the stage. My expectations were again subverted, but this time for the worse.
Bob Martin (also co-credited with the show's book) is beyond perfection as the Man In the Chair. He is the emotional core of the show, and he play the role to laughs and tears. The other standout in the cast is Sutton Foster as Janet. She again proves that she is a Broadway star who can sell a song like almost no other.
Quibbles? Okay, a few. I thought Troy Britton Johnston is particularly weak as Janet's love interest, and he cannot hold a candle to Ms. Foster's star presence. Also, the ending seems a bit rushed and loses some impact as a result. But these quibbles are minor. This is one funny, heartfelt and enjoyable show. It is being billed as a "love letter" to the theater. That phrase is often used to compensate for the mustiness of a dated show. Not so here; "Drowsy Chaperone" is a genuine love letter of the highest order. I am not a fan of fluffy, old-fashioned musicals that lack a decent plot and real emotion. This show made me understand why so many people beg to differ with me on this topic.
Also playing for a few more performnces at UCLA's Freud Playhouse is London's Globe Theater production of "Measure for Measure." I must confess that this has never been one of my favorite Shakespeare shows. The last production I saw was Sir Peter Hall's soporific production which played at the Ahmanson some years back. If I had let these views result in missing this show, I would have been much the worse for that decision. This "Measure" is expertly performed in "original practices" (yes, all female roles are played by men), and several of the performances are downright sublime. Chief among those great performances are outgoing Artistic Director Mark Rylance's Duke, and Colin Hurley's comedic Lucio. Never I have seen "Measure" done with such comic flair> This comedic take on the show leads one to forget whatever flaws this show may have. This show is playing at UCLA only until November 26; if you are reading this before then, call for tickets now.
Both shows reported on above subverted my expectations in what both would yield, and did so in a very positive way. I love it when that happens.
Now comes the bad news, arriving in the form of "Cat On A Hot Tin Roof" at the Geffen Playhouse, starring John Goodman (as Big Daddy) and Brenda Fricker (as his maternal counterpart). Almost nothing is right about this production, except for the set and the sharply remodeled theater in which the production is housed. The direction is all over the map, and as a result, this version of the classic does not know what it want to be. Goodman, who seems a natural for Big Daddy, is so one note in his performance that he has no impact. Fricker seems lost, and the actors playing Brick and Maggie seem like they are out of a community theater production. Don't even start me on the bad and inconsistent accents that eminate from the stage. My expectations were again subverted, but this time for the worse.
Wednesday, July 13, 2005
New York Spring/Summer 2005 Theater Report
I cannot recall a year in recent memory when there was as many solid new musicals and plays as is the case in New York this year. Be assured that if you are in New York any time soon, there is a good variety of outstanding shows from which to choose. In the event you need some assistance, note the following.
There are three "don't miss," superlative new shows now playing on Broadway, two plays and one musical. The plays are the Tony and Pulitzer Prize winning "Doubt" and the Royal National Theater production of "Pillowman." Both shows have ostensibly dark central elements (child sexual molestation and general child torture, respectively), but "Pillowman" is by far the darker, more disturbing and more challenging show. But unless you cannot handle a film like "The Silence of the Lambs," don't let that scare you off from seeing this unique, well acted, well directed, psychologically probing show. It provides a thrill ride in the form of a theater seat. Billy Crudup, Michael Stuhlbarg and Jeff Goldblum give especailly noteworthy performances.
If you cannot handle a film like "The Silence of the Lambs," then you may want to skip "Pillowman," but by all means catch the amazing production of "Doubt" at the Walter Kerr Theater. An extremely well written play, this production elicts earth shattering performances frm Cherry Jones and Brian O'Byrne that should not be missed by anyone who treasures great acting. "Doubt" has already turned a profit, and is playing to sold out audiences. Bravo!
The don't miss musical - "The Light In The Piazza" now playing at Lincon Center is perhaps the most beautifully staged musical I have seen. This show entirely transports viewers to Italy in the early 1950's with the captivating story of an American mother and daughter's travels in Florence and Rome. The book is filled with nuances rarely seen in musicals today and the score is ravishing in its beauty. The acting and singing is top notch by all, but the central and Tony winning performance of Victoria Clark left this viewer in awe. I cannot imagine this wonderful show ever being done as good as or better than what you will find on stage at Lincoln Center right now.
The above "don't miss" shows are a tad on the heavier side. For a refreshing and light sorbet-of-a-show, catch "Altar Boys" a Christian boy band satire that provides catchy lyrics, solid musical performances and many laughs. I have seen it twice and would not hestitate to head back to this Altar for another round.
In the category of nice shows that have their merits, but suffer from being highly overrated are this year's Tony winning best musical "Spamalot," and the mildly charming "25th Annual Putnam County Spelling Bee." Most viewers will enjoy both shows, but trust me, a better time is being had by the viewers of the other four shows listed above. In the same category as these two shows, although not really overrated since it was not highly rated at tjhe outset, is "Dirty Rotten Scoundrels."
Having said all of this, all of the shows listed above are better than most of what New York theater has had to offer in the recent past. Most years, New York offers one or two excellent new shows (if that), mixed in with mediocre to painfully poor productions. This year is an exception and theatergoers in New York are the lucky beneficiaries of this good fortune.
Ratings: "Doubt" ****
"Pillowman" ****
"The Light In The Piazza" ****
"Altar Boys" ***1/2
"Spamalot" ***
"25th Annual Putnam County Spellin Bee" ***
"Dirty Rotten Scoundrels" ***
Up next post ......a note from a Chicago "Dollhouse" and a Pasadena "Purlie"
There are three "don't miss," superlative new shows now playing on Broadway, two plays and one musical. The plays are the Tony and Pulitzer Prize winning "Doubt" and the Royal National Theater production of "Pillowman." Both shows have ostensibly dark central elements (child sexual molestation and general child torture, respectively), but "Pillowman" is by far the darker, more disturbing and more challenging show. But unless you cannot handle a film like "The Silence of the Lambs," don't let that scare you off from seeing this unique, well acted, well directed, psychologically probing show. It provides a thrill ride in the form of a theater seat. Billy Crudup, Michael Stuhlbarg and Jeff Goldblum give especailly noteworthy performances.
If you cannot handle a film like "The Silence of the Lambs," then you may want to skip "Pillowman," but by all means catch the amazing production of "Doubt" at the Walter Kerr Theater. An extremely well written play, this production elicts earth shattering performances frm Cherry Jones and Brian O'Byrne that should not be missed by anyone who treasures great acting. "Doubt" has already turned a profit, and is playing to sold out audiences. Bravo!
The don't miss musical - "The Light In The Piazza" now playing at Lincon Center is perhaps the most beautifully staged musical I have seen. This show entirely transports viewers to Italy in the early 1950's with the captivating story of an American mother and daughter's travels in Florence and Rome. The book is filled with nuances rarely seen in musicals today and the score is ravishing in its beauty. The acting and singing is top notch by all, but the central and Tony winning performance of Victoria Clark left this viewer in awe. I cannot imagine this wonderful show ever being done as good as or better than what you will find on stage at Lincoln Center right now.
The above "don't miss" shows are a tad on the heavier side. For a refreshing and light sorbet-of-a-show, catch "Altar Boys" a Christian boy band satire that provides catchy lyrics, solid musical performances and many laughs. I have seen it twice and would not hestitate to head back to this Altar for another round.
In the category of nice shows that have their merits, but suffer from being highly overrated are this year's Tony winning best musical "Spamalot," and the mildly charming "25th Annual Putnam County Spelling Bee." Most viewers will enjoy both shows, but trust me, a better time is being had by the viewers of the other four shows listed above. In the same category as these two shows, although not really overrated since it was not highly rated at tjhe outset, is "Dirty Rotten Scoundrels."
Having said all of this, all of the shows listed above are better than most of what New York theater has had to offer in the recent past. Most years, New York offers one or two excellent new shows (if that), mixed in with mediocre to painfully poor productions. This year is an exception and theatergoers in New York are the lucky beneficiaries of this good fortune.
Ratings: "Doubt" ****
"Pillowman" ****
"The Light In The Piazza" ****
"Altar Boys" ***1/2
"Spamalot" ***
"25th Annual Putnam County Spellin Bee" ***
"Dirty Rotten Scoundrels" ***
Up next post ......a note from a Chicago "Dollhouse" and a Pasadena "Purlie"
Wednesday, June 29, 2005
"Apollo" Soars; "Ghost" Needs Work or Will Disappear
"Apollo: Part 1: Lebensraum"
Playing through July 3 at the Kirk Douglas Theater in Culver City is "Apollo-Part 1: Lebensraum," by far the best play of the inaugural season at the Douglas. In a very untraditional and inventive way, "Apollo" focuses on the space race to the moon with an interesting (and to this reviewer, unknown) twist - it focuses on former Nazi war criminals who were extricated from post-war Germany by the US government to work at NASA. The play is well acted, visually stunning and extremely compelling.
It is worth noting how this play succeeds beyond another well done political play now playing at the Taper, "Stuff Happens" (see June 11 posting for review). "Stuff Happens" suffers at times from playing too much like a recitation of recent headlines. The problem is that the events depicted have happened too recently to allow for a powerful philosophical perspective. By contrast, "Apollo," while admittedly somewhat one-sided in perspective, uses its tilted perspective to illustrate a well known historical event with disturbing dimensions that have been hidden from the public psyche. Viewers owe a debt of gratitude to Director Nancy Keystone and the Critical Mass Performance Group for a well researched play which is performed in a unique and intellectually stimulating fashion.
I should note that the audience with which I saw "Apollo" seemed split over the show. If my audience barometer was working correctly that night, I would say 1/4 of the audience wanted the play to end 10 minutes into the first act, 1/2 if the audience thought the play was interesting but too odd for their tastes, and the remaining 1/4 (the group to which I belonged) thought "Apollo" was one of the finest originals plays to premiere in Los Angeles in years. This group eagerly awaits "Apollo: Part 2," which I understand will delve into the civil rights movement's intersection with the race to the moon.
Rating: ***1/2
"The Ghost And Mrs. Muir"
Another World Premiere, this one a musical entitled "The Ghost and Mrs. Muir" is playing at the Noho Arts Center in North Hollywood. "Ghost" is a well cast and well produced little show that works well in its charming, recently remodeled theater. Rumor is the show is aiming to work its way to Broadway. I fear more work than is possible is needed to make this show succeed on a Broadway stage. Why not just keep this show where it works best - in a small house where one forgives most of this show's unfixable shortcomings? If you are looking for a nice little musical in the Valley, see this show now before its ambitions overtake its appealing elements.
Rating: ***
Next posting: My New York Spring/Summer Theater Report
Playing through July 3 at the Kirk Douglas Theater in Culver City is "Apollo-Part 1: Lebensraum," by far the best play of the inaugural season at the Douglas. In a very untraditional and inventive way, "Apollo" focuses on the space race to the moon with an interesting (and to this reviewer, unknown) twist - it focuses on former Nazi war criminals who were extricated from post-war Germany by the US government to work at NASA. The play is well acted, visually stunning and extremely compelling.
It is worth noting how this play succeeds beyond another well done political play now playing at the Taper, "Stuff Happens" (see June 11 posting for review). "Stuff Happens" suffers at times from playing too much like a recitation of recent headlines. The problem is that the events depicted have happened too recently to allow for a powerful philosophical perspective. By contrast, "Apollo," while admittedly somewhat one-sided in perspective, uses its tilted perspective to illustrate a well known historical event with disturbing dimensions that have been hidden from the public psyche. Viewers owe a debt of gratitude to Director Nancy Keystone and the Critical Mass Performance Group for a well researched play which is performed in a unique and intellectually stimulating fashion.
I should note that the audience with which I saw "Apollo" seemed split over the show. If my audience barometer was working correctly that night, I would say 1/4 of the audience wanted the play to end 10 minutes into the first act, 1/2 if the audience thought the play was interesting but too odd for their tastes, and the remaining 1/4 (the group to which I belonged) thought "Apollo" was one of the finest originals plays to premiere in Los Angeles in years. This group eagerly awaits "Apollo: Part 2," which I understand will delve into the civil rights movement's intersection with the race to the moon.
Rating: ***1/2
"The Ghost And Mrs. Muir"
Another World Premiere, this one a musical entitled "The Ghost and Mrs. Muir" is playing at the Noho Arts Center in North Hollywood. "Ghost" is a well cast and well produced little show that works well in its charming, recently remodeled theater. Rumor is the show is aiming to work its way to Broadway. I fear more work than is possible is needed to make this show succeed on a Broadway stage. Why not just keep this show where it works best - in a small house where one forgives most of this show's unfixable shortcomings? If you are looking for a nice little musical in the Valley, see this show now before its ambitions overtake its appealing elements.
Rating: ***
Next posting: My New York Spring/Summer Theater Report
Saturday, June 11, 2005
"Stuff Happens," Especially in Act 2/ "Habitation" Drags On
The Mark Taper Forum is the host of the American premiere of "Stuff Happens", David Hare's dramatization of the events leading up to the Iraqi war, with outgoing a Taper Artistic Director in the Director's seat. Davidson has assembled an expert cast for this interesting, yet overly long, political drama. Although there is not a weak link in the cast, special mention is due for the outstanding performances turned in by Dakin Mathews as Dick Cheney, John Michael Higgins as Donald Rumsfeld and Stephen Spinella as French Foreign Minister Domininque de Villepin.
The first act is long on exposition, but short on involving drama, save for some electrifying moments courtesy of Collin Powell as played by Tyrees Allen. But commencing with the "Enter The French" segment in act 2, the show speeds along to its compelling conclusion. It is only in the Powell scene in act 1 and in act 2 that Hare seems to be going beyond a summary of news items, but the top-notch cast, direction and staging make the entire evening seem well worth the price of admission. The Taper deserves praise for taking on an intelligent, politically charged work at a time when political heroism seems to be in missing in action.
"Stuff Happens" is at the Taper through July 17.
Rating: ***
Through next weekend, "The Habitation of Dragons," a play by one of America's finest writers, Horton Foote, is at the Crossley Theater in Hollywood. The play has received strong reviews form the local press, and I was impressed by a local version of his play several years back. However, for this revieiwer, the acting was painfully bad and failed to convey the poetry of Foote's dialogue. I could not wait for Act 1 to end, then I darted for the parking lot.
Rating: *
Coming soon: My Spring/Summer 2005 New York Theater Report
The first act is long on exposition, but short on involving drama, save for some electrifying moments courtesy of Collin Powell as played by Tyrees Allen. But commencing with the "Enter The French" segment in act 2, the show speeds along to its compelling conclusion. It is only in the Powell scene in act 1 and in act 2 that Hare seems to be going beyond a summary of news items, but the top-notch cast, direction and staging make the entire evening seem well worth the price of admission. The Taper deserves praise for taking on an intelligent, politically charged work at a time when political heroism seems to be in missing in action.
"Stuff Happens" is at the Taper through July 17.
Rating: ***
Through next weekend, "The Habitation of Dragons," a play by one of America's finest writers, Horton Foote, is at the Crossley Theater in Hollywood. The play has received strong reviews form the local press, and I was impressed by a local version of his play several years back. However, for this revieiwer, the acting was painfully bad and failed to convey the poetry of Foote's dialogue. I could not wait for Act 1 to end, then I darted for the parking lot.
Rating: *
Coming soon: My Spring/Summer 2005 New York Theater Report
Tuesday, June 07, 2005
Cornerstone Theater's "The Long Bridge Over Deep Waters"
Don't miss Cornerstone Theater's production of its latest Community Bridge show "The Long Bridge Over Deep Waters" playing Thursday through Sunday at the John Anson Ford Theater in Hollywood. An expertly directed, world premiere production of a heartfelt and intelligent show about how faith unites and divides people in Los Angeles with obvious implications as to how faith unites and divides people throughout the world. In light of recent world events, I cannot imagine a more timely and important topic than that dealt with in this show. The acting, by a mixture of theaters pros and community novices, is right on the mark. One of the finest works ever done by Cornerstone, this show uses humor and emotion to tell a series of stories that are compelling and instructive on the ways and means of faith and religion.
Hats off to everyone involved in this beautifully staged wonderful production.
Rating: ***1/2
Hats off to everyone involved in this beautifully staged wonderful production.
Rating: ***1/2
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