In an era where film studios make movies based on old TV series and broadcast networks make TV movies about the making of ’70s sitcoms, it’s only natural that three of Broadway’s most recent successes — Thoroughly Modern Millie, The Producers and Hairspray — are based on big-screen favorites. Theater…
It’s been a little while — several months, at least — since I’ve seen a play performed as gracefully as Black Theatre Troupe’s production of The Sty of the Blind Pig. The four actors assembled to bring this dramedy to life are the only real reason to consider seeing Phillip…
Aside from a single, tatty staircase that could use a good coat of paint, David Weiss has created a plush, gorgeous set for his directorial bow with Nearly Naked Theater. Unfortunately, he’s filled this resplendent stage with an unremarkable performance of The House of Yes, playwright Wendy MacLeod’s spectacularly vulgar…
Arizona State University’s production of Anton Chekhov’s The Cherry Orchard is director Marshall Mason’s 180th theater production and, unfortunately, his last for the university. Mason will retire his post as ASU theater professor at the end of this semester and will leave the Valley, thus turning us back into what…
In a better world, Alicia Sutton would appear on stage constantly. She’d be handed her Actors’ Equity card, given her choice of roles, and would perform in a different production each month for one of our 70-odd local theater companies. She’d do Hedvig in The Wild Duck, and Nickie in…
Actors Theatre’s Stones in His Pockets is something of a conundrum: It’s a better-than-capably acted, expertly directed comedy that’s never more than amusing. It’s filled with goofy antics performed by silly characters (normally a winning combination in a comedy) who are often less than lovable. On opening night, this neatly…
There’s a moment in TheatreScape’s Eleemosynary that’s so moving, so perfectly theatrical, it nearly trumps all that came before it. Following her curtain call, tiny Michelle Chin, her eyes filled with tears, crosses the stage to retrieve the paper wings that are her character’s prized possession. The play is over;…
Regional and community theaters have an annoying habit of promoting their productions as “Tony Award-winning,” and of quoting reviews of the original New York cast, as if the quality of the original had anything at all to do with the local version. But early raves for Arizona Theatre Company’s It…
The theater year kicked off from the impossible heights of an excellent road company of The Producers and wound up, as ever, with a lot of cheesy Christmas shows. This was the year that Chicago’s eccentric Theatre Eclectic relocated to Phoenix, and Awake and Sing Productions bowed with an exquisite…
November 17: It must be Christmastime — I’m averaging three calls a day from publicists trying to persuade me to review their upcoming holiday shows. The woman from the Rockettes’ Radio City Christmas Spectacular called twice today. She didn’t laugh when I asked what’s Christmassy about a bunch of girls…
While the inanities of the Phoenix Festival of Lights schlepped noisily past last Saturday night, Nearly Naked Theatre wowed an almost full house with yet another fine piece of complex, compelling theater. This tireless troupe’s take on Joe Calarco’s smart, sexy Shakespeare’s R & J drowned out the idiotic honking…
Normally I cower under furniture when a Neil Simon play takes any local stage, but I’d heard that Shawna Quain was doing a bang-up job in the title role of Theater Works’ Sweet Charity, so I tucked away my fear of Simon and headed to Sun City. My source was…
Playwright Charlotte Mann has, according to her playbill bio, an outstanding handbag collection. What she doesn’t have, unfortunately, is a particularly engaging story to tell in Hysteric Studs, which is currently floundering on a late-night stage near you. I was surprised and sorry to see a mediocre production from Stray…
To this critic’s eye, a stage full of fake plants never looks like the real thing, and usually prefigures a production as false as silk-and-wire foliage. But D. Martyn Bookwalter’s gorgeous set for Arizona Theatre Company’s Talley’s Folly is as real as the people who walk through its lush, expertly…
It’s been said that Noel Coward’s Private Lives is foolproof; that it’s such a well-written, tightly strung play that even a third-rate company can’t mess it up. But this isn’t something that’s being said by people who’ve been to Phoenix Theatre recently. There, despite the efforts of one leading lady,…
Over at the Herberger Theater Center, Cathy Dresbach is playing an extraordinarily ordinary woman. In Actors Theatre’s Frame 312, Dresbach is pretending to be Lynette, a typical suburbanite with a house, a yard, and two grown children — an angst-ridden daughter hooked on antidepressants, and a greedy son whose marriage…
There are things about On Strivers Row — a handful of performances, a couple of funny line readings — worth waiting around for. But only if the many moments that surround these praiseworthy crumbs don’t drive you from Black Theatre Troupe’s borrowed space at Phoenix College, where the company is…
at the..
In a town where every arts organization is struggling to stay afloat, who would risk bankrolling an experimental, ethnocentric theater company devoted to producing the work of a single playwright? And who but a lunatic would invest in a theater company run by a man who refuses to promote the…
It’s a safe bet that one of the very first performances of the season will almost certainly live on as the best of the season, because it’s hard to imagine any other actor outshining Benjamin Stewart’s Big Daddy in Actors Theatre’s production of Cat on a Hot Tin Roof. Stewart’s…
Paula Vogel is some kind of a genius for having written a play about pedophilia that’s both amusing and provocative. While ASU’s mainstage production of How I Learned to Drive doesn’t entirely do Vogel’s work justice, it’s just sturdy enough to evoke the rage and ardor of the playwright’s bold,…
Phoenix Theatre’s excellent production of Chicago is both a pleasant entertainment and a shrewd example of this 83-year-old company’s talent for mounting crowd-pleasing retreads. Director/choreographer Michael Barnard has borrowed from Chicago’s original 1975 staging and from the recent film version, and jazzed it up with some swell tricks of his…
