Intrepid’s Midsummer Life Could Be a Dream (sha boom)

By Bill Eadie | September 9, 2012 |
A Midsummer Night's Dream, The Musical

If you enjoyed MixTape, which just started its third year of performances downtown, or if you liked Mamma Mia, the ABBA sensation that’s still going strong in New York and on tour, you have a good chance of liking Intrepid Shakespeare Company’s production of A Midsummer Night’s Dream. Some of you are undoubtedly scratching your heads and saying, “Huh?” about now.  After all, we’re talking Shakespeare, not pop music, here. But, A Midsummer Night’s Dream is one of Shakespeare’s most popular comedies, and it’s particularly amenable to theatrical messing around.  There seems to be no such thing as a “standard”…

Provocative homage to Marvin Gaye highlights choreographer’s showcase

By Kris Eitland | August 27, 2012 |

  His religious father beat him mercilessly when he was a child and finally shot him to death in 1984.  But you didn’t need to know a thing about the soul singer Marvin Gaye to feel the range of emotion in Universal (Marvin’s Remix,) a provocative dance drama choreographed by Lavina Rich. The piece wasn’t all about Marvin. Rather, it exposed the hypocrisy and seedy side of average people. Rich’s distinct style and superb performances made it the highlight of the Choreographer’s Showcase “Archives” at the 10th Avenue Theater last weekend. Over the last decade, Rich has studied, performed and presented work…

ion’s Mystery Plays is for Genre Junkies

By Bill Eadie | August 26, 2012 |
The Mystery Man

Mystery Plays were medieval pageants that were acceptable to church authorities because they were moral fables based on Biblical tales. Mr. Aguirre-Sacasa’s mystery plays are also moral fables, but his Bible is the horror genre itself, as taken from its most populist master practitioners: Rod Serling’s “The Twilight Zone,” Alfred Hitchcock, H. P. Lovecraft, and Stephen King.

Kent Nagano Triumphs in SummerFest Finale

By Ken Herman | August 26, 2012 |
Kent Nagano

Ending a summer concert with a blinding display of fireworks is a widespread tradition, but Friday’s (August 24) grand finale of the La Jolla Music Society’s SummerFest 2012 kept all of the dramatic fireworks on the Sherwood Auditorium stage. Under the demanding baton of guest conductor Kent Nagano, the festival chamber orchestra tore into what could have been just another neat program of standard repertory and kept us alert with consistently exhilarating playing. From the breakneck tempo of Rossini’s Overture to The Barber of Seville, a felicitous program-opener, Nagano pushed his 40-member ensemble beyond their evident comfort zone. He demanded…

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