BOB’S HOLIDAY OFFICE PARTY
Friday, December 11th, 2009
Bob’s Holiday Office Party is back for its fourteenth year, wilder and crazier than ever!
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ARIAS WITH A TWIST
Wednesday, November 25th, 2009
The proscenium of the Roy and Edna Disney/CalArts Theater has been reduced to about one-sixth its normal size, your second clue that you’re in for something completely different tonight. (The first clue was the young, trendy, a tad pansexual audience milling around the theater’s lobby, bar, and art gallery pre-performance.) Then, as music from another time, another place fills the auditorium, one reduced-size curtain rises only to reveal another, which opens to reveal yet another and another and another … until finally, you see before you a lifelike tuxedoed marionette coaxing out notes on the trumpet, a sensual, dreamlike tune with a 1940s Latin sound. Stars spin around the scrim which separates the audience from the mini-trumpeteer, colored lights flashing and galaxies exploding. We are told that we’re about to meet “an astrologer, a time-traveler, a polymorph.”
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DAVID BURNHAM CABARET
Sunday, November 22nd, 2009
From Fontana farm boy to CLO favorite to Broadway star. That’s the journey David Burnham has been on since his growing-up years spent halfway between San Bernardino and Rancho Cucamonga, and quite a journey it has been. A little less than six years ago, Burnham was starring down in Long Beach in Musical Theatre West’s production of Hot Mikado, following appearances in MTW’s La Cage Aux Folles and Children Of Eden. He then strutted his dramatic stuff in The Woman In Black at NoHo’s The Road Theatre, one of a long list of pre-Broadway credits. The Great White Way came calling in 2005 when Burnham appeared in the original cast of the multiple-Tony-winning The Light In The Piazza, and when the National Tour played the Ahmanson with Burnham as Fabrizio, it was a fanfare-worthy homecoming for the local boy turned Broadway star. Then came Burnham’s year as Fiyero in the Broadway production of Wicked, all of the above adding up to more than enough reason for Fontana’s favorite son to headline his very own cabaret show at L.A.’s Upright Cabaret.
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HAMLET, SHUT UP
Friday, November 20th, 2009
For everyone who’s ever said, “Wouldn’t it be great if Shakespeare didn’t have all that Elizabethan English and iambic pentameter?”, Sacred Fools has concocted the perfect solution. Hamlet Shut Up is the world famous action/ghost/lust/revenge/murder-packed tale of the Prince Of Denmark unsullied by the spoken word—and what a brilliantly conceived and executed concoction it is!
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LA RONDE DE LUNCH
Friday, November 13th, 2009
Peter Lefcourt skewers Hollywood deal-making—brilliantly—in La Ronde De Lunch, the funniest show you’re likely to see this fall and one of the most terrifically performed comedies of this or any season.
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PO BOY TANGO
Wednesday, November 11th, 2009RECOMMENDED
East meets West in Kenneth Lin’s Po Boy Tango, a culture-clash dramedy now getting its West Coast premiere at Little Tokyo’s East West Players.
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HAMLET
Friday, October 30th, 2009RECOMMENDED
Since William Shakespeare’s Hamlet is considered by many to be the greatest play ever written, with just about every major stage actor having at one time or other tackled its title role, it’s noteworthy to say the least whenever a theater company takes on the challenge of staging it. John Gielgud, Laurence Olivier, Peter O’Toole, Richard Burton, Ralph Fiennes, and Broadway’s latest Hamlet, Jude Law, are hard acts to follow. Nevertheless, on a shoestring budget and without a single “name” in their cast, the Knightsbridge Theatre’s National American Shakespeare Company has staged a highly commendable Hamlet featuring excellent work by a young actor named Joshua Hayden as the Prince Of Denmark.
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NEVER LAND
Thursday, October 8th, 2009NOT RECOMMENDED
Take some of L.A.’s finest actors, including the extraordinary Shannon Holt, the ever reliable William Dennis Hunt, and Lisa Pelikan, so memorable as Amanda Wingfield in the Colony Theatre production of The Glass Menagerie a few years back. Surround them with a design team made up of some of our city’s most gifted artists, Jared A. Sayeg on lighting and Cricket S. Myers on sound, to name just two. Then, saddle them with one of the longest and most perplexing plays you’re likely to see this or any year and the result is Phyllis Nagy’s Never Land, a production that seemed to me as if it would Never End.
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