Regardless of my criticisms of Fallujah, if you are an opera lover; a history buff; a veteran or family/friend of one; a victim of PTSD; or if you have ever been curious about opera, what it’s like or if it’s still a relevant art form, GO!
I assume that most everyone reading my reviews here at the Post is old enough to remember the original Bat Boy article that ran in the Weekly World News back in 1992.
In ancient Greece, the Satyr Plays lay somewhere between the ever-popular comedies and tragedies. These early forms of farcical-satire took well-known, dramatic stories and infused them with overtly sexual, scatological humor, often filled with slapstick and visual puns.
Written by much buzzed about playwright Rajiv Joseph and premiering in 2009 (the same year as his Pulitzer Prize-nominated Bengal Tiger at the Baghdad Zoo, which just finished an accomplished run at The Long Beach Playhouse), Gruesome Playground Injuries explores the lives of two people, Doug and Kayleen, as they form a strange and indefinable bond that is held together by a long string of injuries of varying consequences.
It is with a heavy heart but a thankful soul that I must tell you Willie Loman is alive and unwell. This is true in the straightforward but deeply affecting revival of Arthur Miller’s masterpiece now on stage at the Long Beach Playhouse, and is sadly also true in living rooms across this country.
If we live a religious or pious life and/or die a righteous death, do we leave the world behind in peace or do our ties to this place and the people who remain here make the leaving of this world more complicated?
Abigail/1702 by Roberto Aguirre-Sacasa is an imagined sequel to Miller’s masterpiece, which follows up on one of The Crucible’s main instigators (Abigail Williams) 10 years after the events in Salem. Premiering in 2012 in New York City, Abigail receives its West Coast premier here in Long Beach at the International City Theatre (ICT) under the direction of ICT Artistic Director caryn desai.
By The Way Meet Vera Stark has within it the premise for a great play. It has humor, pathos and a topical subject to boot. Unfortunately, it is also wildly uneven. While a great play could (and still should) be written about the sometimes celebrated and always marginalized lives and careers of the many black actors who made films during Hollywood’s Golden Age, Vera Stark is not that play.
It is an unusually difficult task to sit down and talk about Les Miz with any sort of meaning or authority at this point in the musical’s history. Boublil and Schonberg’s musical adaptation of Victor Hugo’s famous novel turned 30 this year and it is a top contender for the most popular musical in the history of all time.
Few myths are as romantic, popular, or strange as the myth of Orpheus and Eurydice. Yet, in spite of how often the tale is told (and re-told) there is something in its bones that keeps us returning to it. Likely, it is the humanity that lies in Orpheus’s uncertainty that keeps us coming back for more. In Sarah Ruhl’s contemporary adaptation of the myth this uncertainty lies not just in Orpheus, but more importantly in Eurydice and her deceased father as well.