CALIFORNIA | LOCAL
December 8, 1995 |
Local residents' reaction was mixed Wednesday night to a proposal by Sherman Oaks Fashion Square to replace The Broadway store with Bloomingdale's. At the meeting, community activists and aides to City Councilman Michael Feuer learned from mall representatives of their plans to expand The Broadway store by 42,000 square feet to accommodate Bloomingdale's.
June 1, 1995 |
The Old Globe Theatre's shimmeringly lovely production of "Dancing at Lughnasa" offers a timely reminder of the quiet desperation of women in more limited times. The genteel poverty of the five hard-working Mundy sisters in 1936 Ballypeg, Ireland, is bluntly captured by Ralph Funicello's set--a poor, worn kitchen without walls, surrounded by the wilds of the fields outside. It suggests their absolute vulnerability to the vicissitudes of the outside world.
January 31, 1986 |
If power is the ultimate aphrodisiac, why is Sidney Lumet's "Power" (selected theaters) the sexless diatribe that it is, all high-tech visuals and no emotional grounding? Its sole juiciness comes from Gene Hackman as a raffish Southern media consultant, well-cured in bourbon and branch water. The outlandish daring of his performance is almost rave-up enough to recommend the movie. Almost.
January 12, 1996 |
With "Three Tall Women," a play first produced in Vienna in 1991, Edward Albee strides into the mature stage of an erratic career. And how better to show off accumulated wisdom and style than by focusing on the two big Ms--Mortality and Mother. It seems fair to speculate that Albee, now 67, has reached a point at which he can begin to understand the adoptive mother from whom he was estranged for most of his adult life.
April 13, 2001 |
Crossing from one gender to another is such a dramatic journey that it's surprising there haven't been more plays on the subject. Jane Anderson's "Looking for Normal," getting its world premiere at the Geffen Playhouse, manages the task of covering one such journey with a light touch, yet without making fun of the protagonist or anyone else. It also offers a compassionate and convincing case that human ties can transcend gender.
March 24, 1999 |
When Joe Orton saw Tom Stoppard's "Rosencrantz and Guildenstern Are Dead" in 1967, he acknowledged in his diary that Stoppard's riff on "Hamlet" contained "a wonderful idea . . . how I wish I'd stumbled upon it." Orton imagined richly ironic possibilities, with Shakespeare's graduate students yakking away while the world goes to hell. Four months later, the most notorious English dramatist of the '60s was murdered by longtime companion Kenneth Halliwell.
November 21, 1993 |
Thomas Wolfe was wrong: You can go home again. OK, maybe not to your home. But most definitely, to the Waltons' home. On Sunday night, the familiar white house will fill once again with the clan who personified family values two decades before the phrase existed.
December 15, 1993 |
Time was when Walton's Mountain was Spencer's Mountain. And John-Boy Walton was Clay-Boy Spencer. That was in Earl Hamner Jr.'s "The Homecoming," the novel on which the pilot film for "The Waltons" television series was based. The names were later changed, Michael Learned replaced Patricia Neal as the mother, and the fictional version of Hamner's semi-autobiographical book went into TV history. All the ingredients are there in Christopher Sergel's (a.k.a.
June 10, 1990 |
If Chekhov, that supreme painter of ironies, is looking down from the heavens, he is no doubt smiling with quiet pleasure over the casting of William Ball as Leonid Gaev, whose family loses its homestead and deficit-plagued property in "The Cherry Orchard" at the La Jolla Playhouse. It's perfect casting and not just because Ball lost his own cherry orchard of sorts four years ago.