Karen WeinsteinMusicLos Angeles,
It’s still the same old story, a search for love and glory. Okay, so I paraphrased it. To hear playwright Sarah Ruhl and composer Matthew Aucoin tell it, Orpheus (Joshua Hopkins) is a god when he is creating music, ...
Karen WeinsteinTheaterLos Angeles,
The title is personal, the play is personal, and so is this review. “What the Constitution Means to Me,” is the autobiographical story of author Heidi Schreck. It is particularly timely with the senate impeachment trial filling the airways, ...
Karen WeinsteinMusicLos Angeles,
Call it a chestnut or a war horse, if you must, in order to polish your sophistication credentials. “La Bohème,” done well, is some of the most moving music on an opera stage. It is ...
Karen WeinsteinTheaterLos Angeles,
Here is the question: What would you think if you saw “A Play is a Poem” and did not know it was written by Ethan Coen? If you had been living under a rock and had never heard of ...
Karen WeinsteinTheaterLos Angeles,
In what can be construed as a forward or prelude, John Leguizamo announces he is about to “undue your entire education.” Had you used some of that education to peruse the program you would have come across a daunting ...
Karen WeinsteinTheaterLos Angeles,
Alas, sometimes a title gives away the plot. Maybe it is foolish to expect more from a play written by a committee, namely Henry Lewis, Jonathan Sayer, and Henry Shields. It is summer and once again theatrical producers are ...
Karen WeinsteinTheaterLos Angeles,
How you react to “Happy Days” at the Taper may depend on how you feel about revisiting absurdist theater. If you were around in the ‘60’s you probably saw “Happy Days,” along with “Krapp’s Last Tape” and “Waiting for ...
Karen WeinsteinTheaterLos Angeles,
Smart, sassy, entertaining, funny, heart wrenching. The adjectives do not exactly capture the whole of Falsettos, the Lincoln Center production currently at the Ahmanson. Falsettos is an amalgamation of two, one act, musical plays: “March ...
Karen WeinsteinTheaterLos Angeles,
“Nanny was like the government if it really worked.” That pretty much sums up the story of Nanny, the heart of Ruben Santiago-Hudson’s 2001 autobiographical spoken ballad currently playing at the Taper. The story is ...
Karen WeinsteinMusicLos Angeles,
If you are feeling jaded by seeing too many Bohemes, Butterflies, and Carmens, but are unable to cuddle up to late 20th and 21st century works, you should definitely give LA Opera’s ...
