Posts Tagged ‘Los Angeles Theater Review’

LYSISTRATA UNBOUND

Drama, dance, and Greek-style tragedy merge in Lysistrata Unbound, playwright Eduardo Machado and director-choreographer John Farmanesh-Bocca’s stunning reenvisioning of Aristophanes’ 2400-year-old tale of a woman who takes antiwar protests to a decidedly personal level.
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jackbenny

The singing, songwriting twins known professionally as jackbenny (and individually as Jack and Benny Lipson) have set up monthly residency at Silver Lake’s Lyric Hyperion Café, guaranteeing audiences two hours a month of original music, laughter, an occasional cover, and a guest artist (or two or three) to spice up the already savory mix.
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YANKEE DOODLE DANDY

A talented cast do their best to breathe life into Musical Theatre West’s Yankee Doodle Dandy, a well-intentioned but ill-conceived look back at the life of George M. Cohan, the father of 20th-century musical comedy.
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CABARET

Michael Matthews takes Cabaret, a director’s show if there ever was one, and transforms it into the summer’s most spectacular intimate musical, an almost perfect rendition of the 20th-century Broadway classic, a production blessed by superb performances, breathtaking choreography, and the most jaw-dropping design I may ever have seen at Celebration Theatre.
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100 APRILS

The victims and the perpetrators of the mass murder of a million-and-a-half Armenians haunt a dying septuagenarian circa 1982 in Leslie Ayvazian’s edifying, impressively performed, if problematic World Premiere drama 100 Aprils, the latest from Rogue Machine.
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THE BLADE OF JEALOUSY

The Blade Of Jealousy, Henry Ong’s contemporary updating of a 17th-century Spanish screwball farce, proves a misfire for the writer of the justly lauded Sweet Karma, a misdirected, overacted, and mostly laugh-free World Premiere now playing Sundays at Sherman Oaks’ Whitefire Theatre.
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MARY POPPINS

Santa Monica’s Morgan-Wixson Theatre delivers the family entertainment goods with a supercalifragilisticexpialidocious Mary Poppins, once again proving that you don’t need Broadway-budget spectacle to get audiences cheering.
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OUR VERY OWN CARLIN MCCULLOUGH

Amanda Peet takes a trio of characters we’ve seen before–a parent, a prodigiously talented child, and a dedicated coach–and weaves them together into the cliché-defying Our Very Own Carlin McCullough, as riveting a World Premiere as I’ve seen at the Geffen Playhouse, or just about anywhere else for that matter.
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