A “beguiling interactive adaptation” of the Aladdin story is this week's Pick of the Week. It features with Bruce Vilanch and Ben Vereen, among others. Warm feelings also for the just-closed Bash at Hollywood's Theatre Asylum and Second City's A Christmas Carol: Twist Your Dickens at the Kirk Douglas Theatre. See below for all the latest new theater reviews.
This week's stage feature takes a look at current shows at the Broad Stage and Wallis Annenberg Center for the Performing Arts, and how such multi-purpose performance venues are the architectural wave of the future.
NEW THEATER REVIEWS, scheduled for publication Dec. 19, 2013:
PICK OF THE WEEK: ALADDIN AND HIS WINTER WISH Wit and the magic of a well-designed spectacle combine in the beguiling, interactive adaptation, embellished with comic characters, polished performances and colorful tech and costumes. Directed by Bonnie Lythgoe, Kris Lythgoe's engaging script preserves the basic story of a penniless youth (Jordan Fisher) who garners wealth and the hand of a beautiful princess (Ashley Argota) via a dusty old lamp and a genie (Ben Vereen). It elaborates on this with zany subplots involving the boy's humongous, man-crazed mom (Bruce Vilanch); his clueless, clownish brother, Wishee Washee (Ben Giroux); and his narcissistic evil nemesis (Josh Adamson), whose dastardly stratagems provoke the audience simultaneously to boos and laughter. When his luck runs low, Aladdin turns to the Slave of the Ring, a captivating siren portrayed by dancer Vanessa Nichole. If this sounds like appropriate fare for the kiddies but perhaps not for you, a mature adult, be assured: This is family entertainment in the best sense. In fact, a few of the jokes may sail over the youngsters' heads. Designer Chris Wilcox's dazzling lighting augments a storybook set nearly as vivid as any Disney cartoon. An on-the-mark company of dancers, including children, execute Spencer Liff's snazzy dance steps. One caveat: The vocals are fine, but the inclusion of popular songs from other sources (e.g., “You Don't Know Me,” sung by Fisher's Aladdin) struck an odd note; I would have preferred something more original. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena; Thurs.-Sat., 3 & 7 p.m.; Sat.- Sun., 11 & 3 p.m.; Tues., Dec. 24, 3 p.m.; through Dec. 29. (626) 356-PLAY, pasadenaplayhouse.org (Deborah Klugman)
GO: BASH
If any production inaugurating a new stage company is tantamount to the raising of an aesthetic flag, the banner flying over newly minted Eleventh Story Productions' crack revival of Neil LaBute's harrowing, 1999 triptych of modern morality plays is the blackest of Jolly Rogers. Originally subtitled Latter-Day Plays, the one-acts use twin prisms of true blue American Mormonism and bleak Euripidean tragedy to refract LaBute's tales about acts of supreme savagery committed by otherwise blandly unassuming individuals. In “Iphigenia in Orem,” John Delbarian plays a traveling salesman who matter-of-factly regales an unseen listener with the story of the apparently senseless death of his infant daughter. “A Gaggle of Saints” features a pair of betrothed college students (Zach McFarlane and Yelizaveta Rybalchenko), who relate how a romantic weekend road trip consummated their engagement with a brutal Central Park attack carried out by the fiancé and several frat brothers. In “Medea Redux,” Shanté DeLoach plays a single mother in police custody methodically recounting the shocking chain of events that led to her unthinkable crime. Under Abanoub Andraous' austere but sensitive direction, an outstanding ensemble skillfully hits all of LaBute's poisoned nuances to realize the playwright's profoundly disturbing meditation on the thin line that separates Apollonian rationality from the basest of Dionysian passions and violence. Asylum Lab, 1078 Lillian Way, Hlywd.; closed. (323) 962-1632, theatreasylum-la.com. (Bill Raden)
CABURLESQUE CHRISTMAS: HOLIDAYS AT THE KNOCK SHOP If you can imagine what a Yuletide stag party would be like, you'll have a good idea what's offered in this high-octane, irreverent Xmas show. Featuring a cast with names like Madame Mistletoe, Side Pipin' Sally, Ditzy Dreidel and Ming Long Dong, it's an hourlong mix of burlesque, cabaret and bawdyhouse humor and hijinks, with a dash of soft striptease and a tasteful bit of lap-dancing tossed in. The host/emcee for the evening (or is he a procurer?) is Papa Clause, decked out in Santa-suit red, who despite his best efforts often fails to keep his “gals” in check when they troll the audience for willing participants; and they don't share their attentions with just the guys, either. The eight-member cast's vocal skills aren't quite as stimulating as their attire or physical assets, but they jiggle and bounce their way through traditional numbers like “Rudolph the Red-Nosed Reindeer” and “White Christmas.” It's certainly a reasonable way to ease holiday boredom. Archway Studio/Theatre, 305 S. Hewitt St., dwntwn.; Fri.-Sat., 8 p.m.; Sun., 2 pm.; though Dec 22. (213) 237-9933, ArchwayLA.com. (Lovell Estell III)
GO: A CHRISTMAS CAROL: TWIST YOUR DICKENS!
Like the Ghost of Christmas Past, the Second City's twist on the Dickensian classic is back to remind you that you've been naughty. Very naughty, in fact, judging by the responses from audience members, who are (anonymously) asked to write down “the worst thing you've ever done.” Some of those responses are incorporated into the performance; the rest are displayed in the lobby. Penned by The Colbert Report alums Peter Gwinn and Bobby Mort, the show satirizes both the original Victorian tale and other holiday staples such as A Charlie Brown Christmas and It's a Wonderful Life. Reprising his role as Scrooge, a caustic and curmudgeonly Ron West is so over-the-top as the classic meanie that you can't help but laugh at him. He's surrounded by a cast with solid comic chops, including standouts Amanda Blake Davis (as Tiny Tim and others) and Frank Caeti (especially in his role as the planted heckler). Though some bits fall flat (such as the Sinatra-esque Gino Santini mangling holiday hits), the anachronistic interjections, improv elements and running gags keep the good times rolling. Director Marc Warzecha's efficient transitions, aided by excellent design elements, support the comic energy put forth by the actors to provide some needed holiday laughter. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; Mon. (Dec. 23 only), 8 p.m.; Tues., Wed., Fri., 8 p.m.; Thurs., 7 & 10 p.m.; Sat., 5 & 9 p.m.; Sun., 3 & 7 p.m. (no performances Dec. 24-25); through Dec. 29. (213) 628-2772, centertheatregroup.org. (Mayank Keshaviah)
KAWL RADIO PRESENTS IT'S A WONDERFUL LIFE Apparently writer-actor Jim Martyka decided that what the world needs now is an adaptation of the ever-popular Frank Capra Christmas movie It's A Wonderful Life as a staged radio play. But he sought to improve this visually boring format by adding a framing device: a corny and stereotypical backstage backstory about the employees of the fictional, failing radio station. The adaptation, though pedestrian, is straightforward, but director Erin Scott has chosen to put the focus on the foibles and failings of the radio actors. Their busy byplay constantly threatens to overwhelm the main plot and stop it in its tracks, robbing it of both atmosphere and resonance. In short, it's a muddle that might appeal to die-hard fans of the original movie but may leave others wondering, “What's the point?” Theatre Unleashed at the Belfry Theatre, Upstairs at the Crown, 11031 Camarillo St., N. Hlywd.; Thurs.-Sat., 8 p.m.; through Dec. 21. (818) 849-4039, theatreunleashed.com. (Neal Weaver)
GO: IMPRO THEATRE'S JANE AUSTEN UNSCRIPTED See theater feature.
GO: PARFUMERIE See theater feature
WALKING' IN A WINTER ONE-HIT WONDERLAND
The 10th anniversary of the Troubadour Theater Company's A Christmas Carol-inspired holiday spectacular feels a bit like a drunk relative recounting an inside joke at a family reunion. Directed by Matt Walker, the show cycles through video footage and oddball characters from previous “Troubie” seasonal productions, revealing the origin story of one in particular: the Winter Warlock (Beth Kennedy), the gangly antagonist from the 1970 stop-motion classic Santa Claus Is Comin' to Town, who in this version must be dissuaded, Scrooge-like, from quitting show business. Riffs on overnight sensations from the likes of Right Said Fred, Modern English and Gotye provide the soundtrack, but several punchlines fall flat, until their flatness becomes the joke. The self-referential gags may please the company's fans, but the diluted source material — a dozen forgettable bands and an overexposed morality tale — underserves the ensemble, whose sharpness is blurred here. Troubadour Theater Company at the Falcon Theatre, 4252 Riverside Drive, Burbank; Thurs.-Sat., 8 p.m.; Sun., 4 & 7 p.m.; Wed., Dec. 18, 8 p.m.; Dec. 28, 4 p.m.; Jan. 4, 4 p.m.; Wed., Jan. 8, 8 p.m.; Wed., Jan. 15, 8 p.m.; Sun., Jan. 19, 4 p.m.; no 7 p.m. shows Jan. 12 and 19; through Jan. 19. (818) 955-8101, falcontheatre.com. (Jenny Lower)
ONGOING SHOWS REGIONWIDE:
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