The Odd Couple has been around so long you could almost call it a period piece: the swingin’ ’60s music, the smoke-filled poker games, the divorce-American-style oneliners.
Moxie Theatre’s production, directed by Dana Harrel, basks in all of Puerto Rican playwright Rivera’s sensual poetry and magical realism, some of it more distracting than conducive to the storytelling.
The appeal of San Diego Repertory Theatre's The Federal Jazz Project, a sometimes-thrilling collaboration between Culture Clash co-founder Richard Montoya and the sublime trumpeter Gilbert Castellano
The trappings and doings at the mansion ooze opulence and preciousness in Act 1, in spite of the limitations of the tiny stage, before turning to something out of a pathetic reality show about the fallen rich in Act 2. An unlikely story for a musical? Not here, where the denouement is as harrowing as a tragic opera.
Whether Henrik Ibsen intended A Doll’s House to be a proto-feminist work remains a topic for literary debate. But there’s no question that the tense and revelatory story is ultimately one of Nora Helmer’s self-awakening.
Abraham Lincoln wasn’t the only one to have a gun pointed at him in a theater. Should you find yourself in the audience at Cygnet Theatre’s Assassins, you’ll have six or seven guns pointed at you—only nobody pulls the trigger.
The new musical comedy by Robert L. Freedman and Steven Lutvak will go as far as Jefferson Mays can carry it, and that could be all the way to New York.
Yet the achievement of Hall’s play, currently occupying the Lyceum Space in a San Diego Repertory Theatre production directed by Roger Guenveur Smith, is how it shows us not King the martyr-to-be, but King the man. This MLK, portrayed with a mixture of honest weariness and fire by Larry Bates, is as human as any of the Lorraine Motel room-renters.