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      <title>Scene4 Magazine | Qreviews</title>
      <link>http://www.scene4.com/qreviews/</link>
      <description>QREVIEWS—Short, little reviews on theatre, film, the arts and media. To post a new article or a comment to an existing article, click on the &quot;Post A New Article&quot; link on the right sidebar.</description>
      <language>en</language>
      <copyright>Copyright 2008</copyright>
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         <title>Looking Up by Carla Cantrelle</title>
         <description><![CDATA[Running February 16-March 2, 2008, at Theatre for the New City in NYC.  This two-actor show about finding love takes place in a bar that hosts a trapeze act(!).  Wendy (Cantrelle), the trapezista, looks down to find Jack the bartender (Bryant Mason) looking up at her, and together they brave a relationship filled with homilies about "hanging in" and "working without a net" (the symbolical wordplay gets thick during the show's 80 minutes).  Too often Cantrelle settles for stock relationship scenarios without digging deeply, which deprives the script of any real bite or surprise.  Still, the show is pleasant enough, especially with actual trapeze work done live onstage.
<em>Michael Bettencourt</em>]]></description>
         <link>http://www.scene4.com/qreviews/2008/02/looking_up_by_carla_cantrelle.html</link>
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         <pubDate>Thu, 21 Feb 2008 13:15:20 -0800</pubDate>
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         <title>Virgin Love Vexed</title>
         <description><![CDATA[Hey, you must be an "Angeleno" and I'm not. And that means that you live in a town with tons of live theater and other than the road shows, very few worth seeing. If you knew better, you would have known that you were watching a "commedia" form that was pretty well carried off by the Montalban company. As I said before, the script was weak but the actors were fine and entertaining and the production was solid. Your major concern was the traffic and the ticket price and if you had gotten there righteously on time (which I understand isn't considered "cool" in this town)  you would have gotten the whole show and not missed the prologue and maybe understood what you were seeing. But, hey, you're an Angeleno, what do you know?
<em>Larry Marcus</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/11/virgin_love_vexed.html</link>
         <guid>http://www.scene4.com/qreviews/2007/11/virgin_love_vexed.html</guid>
        
        
         <pubDate>Mon, 05 Nov 2007 16:32:01 -0800</pubDate>
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         <title>Review of Virgin Love from 11/2</title>
         <description><![CDATA[I just had to give my review. This was the all time worst play I have ever seen. It was poorly written, the songs and dialogue were crude (a song about an itchy crotch/catching an std?), and the actors all seemed to shout their lines. I'm glad my date and I didn't speed through traffic just to get there in time. We arrived at 8:30 and saw maybe 20-25 other people in attendance. There was no need to pay extra for the center tickets. The theater itself and stage props were just about the only positive things going for it. I'm all up for raunchy/bawdy humor, but this was far from it. It was a mighty bore. I would have rather stayed home and watched repeats on TV.
<em> jeepgirl</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/11/review_of_virgin_love_from_112.html</link>
         <guid>http://www.scene4.com/qreviews/2007/11/review_of_virgin_love_from_112.html</guid>
        
        
         <pubDate>Mon, 05 Nov 2007 15:48:34 -0800</pubDate>
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         <title>Hamlet vs Hamlet</title>
         <description><![CDATA[There are two masterful film versions of this great play: one by Olivier and one by Branagh. The major difference between the two is this—Branagh does the play justice, almost an unedited version of the play, with magnificent cinematography, production design, and brilliant editing and of course, superb acting. 48 years earlier, there's Olivier. Given even a different sensibility at a different time, his production doesn't compare. But neither does Branagh's performance. Now put Olivier in Branagh's film and you would have one of the greatest films ever made.
<em>Mel Silverman</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/11/hamlet_vs_hamlet.html</link>
         <guid>http://www.scene4.com/qreviews/2007/11/hamlet_vs_hamlet.html</guid>
        
        
         <pubDate>Mon, 05 Nov 2007 15:37:42 -0800</pubDate>
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         <title>Virgin Love in LA</title>
         <description><![CDATA[Weak script and only a few good tunes, but on the whole the performances were solid especially Lawrence Smilgys and Nicole Ortega and lots of kudos to the director, Felipe Alejandro, who really knows how to handle "commedia." Set and costumes were fine too. Nice outing for this young company as it moves to the main stage in the Montalban. Keep it coming.
<em>Larry Marcus</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/11/virgin_love_in_la.html</link>
         <guid>http://www.scene4.com/qreviews/2007/11/virgin_love_in_la.html</guid>
        
        
         <pubDate>Mon, 05 Nov 2007 15:25:19 -0800</pubDate>
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         <title>Leonardo DiCaprio’s &quot;The 11th Hour&quot; Calls Forth Humanity’s Finest Hour </title>
         <description><![CDATA[In this summer's blockbuster hit Transformers, "Decepticons" from an alien species, wreak havoc on Earth – things look bad, humanity seems doomed. But just in the nick of time, against all odds, our young heroes save the planet. 
It’s an enduring Cliché: From Superman and Wonder Woman to Batman and Spiderman, we love to watch our celluloid heroes save us from whatever creatures are threatening our world.  In Leonardo DiCaprio's new documentary, <em>The 11th Hour</em>, the creatures are us.  And the ways in which we are wreaking havoc on planet Earth are far more frightening than anything dreamed up by Hollywood:  
--Injecting poisons into the atmosphere causing our children to choke and wheeze in an epidemic of asthma. 
--Dumping toxic chemicals into the oceans, killing 90 percent of the big fish. 
--Poisoning our food supply with pesticides, mercury, herbicides and more. 
--Hacking down whole forests vital to the sustainability of life on Earth. 
--Burning huge fossil fuel reserves, creating emissions that disrupt the fragile atmospheric balance that regulates temperature and makes Earth habitable. 
-- Contaminating our drinking water, melting our icecaps and killing off species forever. 
How would we react if an alien species did this to our planet? 
“Would we be outraged? I’m sure we would,” Leonardo said when I asked him this question at a Beverly Hills press conference. 
“We face a convergence of crises, all of which are a concern for life,” he says in the documentary. “Every living system is in decline – the forest cover, the soil, the oceans. There isn't one living system that is stable or improving. And those systems are required for life."  Life on Earth in peril? In a fiction film, people would be gathered around their TV sets, brows furrowed in worry, clutching their children to their breasts, anxiously awaiting some glimmer of hope for how humanity can fight back. But this is real. So is public anxiety even higher?  Not according to the Project for Excellence in Journalism.  Their analysis shows that so far global warming hasn’t even ranked with Anna Nicole Smith and Paris Hilton in the top-ten news stories.   
]]></description>
         <link>http://www.scene4.com/qreviews/2007/08/leonardo_dicaprios_the_11th_ho.html</link>
         <guid>http://www.scene4.com/qreviews/2007/08/leonardo_dicaprios_the_11th_ho.html</guid>
        
        
         <pubDate>Wed, 22 Aug 2007 23:07:01 -0800</pubDate>
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         <title>Fringe NYC 2007: DIRT </title>
         <description><![CDATA[Christopher Domig executes this one-person show by Robert Schneider (originally written in German in 1993, translated by Paul Dvorak).  DIRT is a monologue by Sad (short for "Saddam"), an Iraqi living illegally in some modern city, and in this cry from the heart by this accomplished actor we are tutored about the deforming pressures of racism and intolerance on those who are considered outside the family, the state, and the nation.  While its ideas and images are relevant and powerful, DIRT is essentially a lecture delivered through theatre devices and thus not very dramatic, which makes the 70-minute running time feel longer than it is.
<em>Michael Bettencourt</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/08/fringe_nyc_2007_dirt.html</link>
         <guid>http://www.scene4.com/qreviews/2007/08/fringe_nyc_2007_dirt.html</guid>
        
        
         <pubDate>Sun, 19 Aug 2007 14:15:27 -0800</pubDate>
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         <title>Fringe NYC 2007: BOMBS IN YOUR MOUTH</title>
         <description><![CDATA[This two-hander by Corey Patrick (who also acts in it, with Cass Buggé) details how Danny and Lilly handle the death of their father, who was, at least as they tell it, a pathetic monster.  Danny stayed in Minnesota to care for the father during his five years of falling apart while Lilly ran away to Manhattan and a life.  As is usual in this genre of dead-parent family-dysfunction plays, there is much sturm and much drang, with accusation leading to revelation and ending with a hang-dog redemption.  While well-acted and paced, it doesn't deliver much because there is not much to deliver.  So families can be nasty and tender with each other — so what else is new?
<em>Michael Bettencourt</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/08/fringe_nyc_2007_bombs_in_your.html</link>
         <guid>http://www.scene4.com/qreviews/2007/08/fringe_nyc_2007_bombs_in_your.html</guid>
        
        
         <pubDate>Sun, 19 Aug 2007 14:12:29 -0800</pubDate>
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         <title>Potomac Theatre Project</title>
         <description><![CDATA[The Potomac Theatre Project (Cheryl Faraone, Jim Petosa, and Richard Romagnoli, directors) returns to New York City after a 20-year hiatus in Washington DC with a clean, sharp production of Anthony Minghella's "The Politics of Passions" and Howard Barker's "No End Of Blame," both plays running in rep.  The members of PTP's company, most of whom
hail from Middlebury College's theatre program (PTP got its start at Middlebury College in Vermont, and the college is a continuing financial contributor), have excellent stage presence, right down to the practiced ease of their British and Hungarian accents.  Stage and lighting design were simple and spare, using common objects and defined lighting to set place and time.  "No End Of Blame" added rear projections of the cartoons of Bela Veracek, the play's protagonist, and were integrated neatly into the flow of the play's action.  Special mention should be made of Alex Draper's performance as Bela Veracek, which he delivered with an affecting combination of pug.
<em>Michael Bettencourt</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/06/potomac_theatre_project.html</link>
         <guid>http://www.scene4.com/qreviews/2007/06/potomac_theatre_project.html</guid>
        
        
         <pubDate>Fri, 29 Jun 2007 08:44:50 -0800</pubDate>
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         <title>The U.S. vs. John Lennon  </title>
         <description><![CDATA[Don't look for anything groundbreaking in this documentary now out on dvd.  It's been known for quite a while now through the FOI act that Lennon was a target of the Nixon administration due to his political activities.  The film details the atmospherics and circumstances surrounding Lennon's and Yoko Ono's deportation proceedings in New York.  Not a lot is revealed that we didn't already know.  Yoko perhaps unintentionally is portrayed as little more than an elaborate armpiece for Lennon through archival clips rather than the great muse and the woman "who broke up the Beatles". Commenatry is provided by the players of that era as well as by some individuals not even remotely associated with Lennon.  G. Gordon Liddy unbelievably comes across as a half way respectable figure as an apologist for the criminality and excesses of the Nixon regime.  Go figure.  Again perhaps not the intent of the filmmaker.  For Lennon fans, the film is soundtracked with his music.

<em>Les Marcott  </em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/03/the_us_vs_john_lennon.html</link>
         <guid>http://www.scene4.com/qreviews/2007/03/the_us_vs_john_lennon.html</guid>
        
        
         <pubDate>Sun, 25 Mar 2007 20:09:45 -0800</pubDate>
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         <title>Leonard Cohen I&apos;m Your Fan  </title>
         <description><![CDATA[Now out on DVD, this gem of a film is a must see for the long term Cohen fan as well as a starting point for the newly initiated admirer of the man's work and art.  The film flows chronologically through Cohen's life and career beginning with his celebrated Canadian poet days down through his songwriting and performing period and ending with his association with a Buddist monastery.  Interspersed with revealing commentary by the man himself are musical performances of his songs interpreted by a fine cast of performers.  Rufus Wainwright and family provide several of the numbers.  Nick Cave along with the delightful Perla Batalla give a mesmerising rendition of "Suzanne".  The Handsome Family provide a stellar performance of "Famous Blue Raincoat".  The only down note if there is one in the film is the insistence of Bono of U2 to yet again appear in another documentary about a celebrated literary or musical figure and offer his "unique" commentary.  After all, I thought he was too busy saving the world. 

<em>Les Marcott</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/03/leonard_cohen_im_your_fan.html</link>
         <guid>http://www.scene4.com/qreviews/2007/03/leonard_cohen_im_your_fan.html</guid>
        
        
         <pubDate>Sun, 25 Mar 2007 20:08:09 -0800</pubDate>
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         <title>Trip To the Lighthouse Springs a Leak  </title>
         <description><![CDATA[Turn Virginia Woolf's 1927 novel To the Lighthouse into a theater piece?   My first thought, NO WAY.  Each of the book's three sections is written in a different style, and as with most of Ms. Woolf's writing, the story line is slim,  the main emphasis on inner states, thoughts, sensory impressions.  Still, I was anxious to see how Adele Eding Shank dealt with the problem. She represents each section of the book by a different theatrical style: the first a fairly straightforward narrative (interspersed with an on-stage string quartet), though the actors often speak their inner thoughts directly to the audience; the second run as a pastiche of slide show, stage action without dialog and light show, the string quartet driving the whole: the third as a Philip-Glass-like opera.  General consensus has been that the dinner scene in Act I worked best--with 9 dinner guests miming conversation while speaking their inner thoughts about the gathering and each of the other guests. By contrast, the concluding intentionally discordant faux opera, was often marked by downright bad singing, surely the low point of the evening.  Long before that, however, before we had even reached the dinner party, the fellow sitting to my right began slow rhythmic breathing.  I glanced past him to his companion, hoping she might elbow him back to consciousness. Alas she too had left us.  I glanced to my left.  The woman sitting there had her head on her shoulder, eyes shut.  As I surveyed the rows in front of me, I noticed many nodded heads, closed eyes and slow breathing theatergoers. Surely, not a good sign, I thought, as I let my eyelids flutter down and drifted off.

<em>Rich Yurman</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/03/trip_to_the_lighthouse_springs.html</link>
         <guid>http://www.scene4.com/qreviews/2007/03/trip_to_the_lighthouse_springs.html</guid>
        
        
         <pubDate>Thu, 08 Mar 2007 15:31:13 -0800</pubDate>
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         <title>&apos;Love, Lies&apos; and resourcefulness</title>
         <description><![CDATA[A fledgling company trying to help get momentum going at the Ricardo Montalbán Theatre in Los Angeles is on the boards again with a new name and a new presentation. The  Nosotros American Latino Theatre, which presented a double bill of one-acts in the fall, is back as the Ricardo Montalbán Repertory Theatre Company, with another double bill of one acts — this one improving promisingly upon the fall's.
The first, more intriguing play echoes Jesus' final days. The central character in Arthur Meiselman's "The Wafer" is a revolutionary (Antonio Vega) who plans to sacrifice himself, believing that his execution will prompt the .people of his un-named country to rise up against their oppressors.
Also set, during a time of repression, Katrina Elias' "Red Columbian Sky" envisions a fading prostitute (Estrella Tamez) — is she an angel of death? — who comforts such men as the young reslstance flghter (Michael Kours) who's just been savagely beaten. 
Company leaders David Llauger-Meiselman and Felipe Alejandro directed the respective plays,  which were presented under the banner title "Love, Lies and Revolution."
As in the fall, the audience is placed on the long-underused Montalbán Theatre's stage which has been sealed off from the much larger auditorium to create a 160 seat performing space. Production values are limited, but this company makes an art of resourcefulness.
At once stylish and pulse-pumping, Llauger-Meiselman's staging of his father's "The Wafer" incorporates big-screen video reports (by brother Erik Llauger-Meiselman) on the sharply dressed thugs who are in power. Some scene-tweaking obscures the story line, but Vega's performance — virile and commanding, yet humanized by doubt — galvanizes the piece.
The magic realism of "Sky," unfortunately, is only fitfully effective, which leaves it less successful at conveying the presentation's overarching thoughts about the sometimes high cost of trying to change the world.
<em>Daryl H. Miller/Los Angeles Times</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/02/love_lies_and_resourcefulness.html</link>
         <guid>http://www.scene4.com/qreviews/2007/02/love_lies_and_resourcefulness.html</guid>
        
        
         <pubDate>Fri, 09 Feb 2007 11:02:40 -0800</pubDate>
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         <title>Babel</title>
         <description><![CDATA[Golden Globes; Oscars? Someone please explain why this two hour exercise in Kate Blanchette bleeding and screaming while Brad Pitt shouts into a telephone and various third world people act like fools and maniacs has gotten to be  this year's hottest pick for so many awards. Throw in a Japanese sub-plot (perhaps the most compelling part of the film, but so loosely connected to the rest it seems an afterthought) and what I saw was an unimpressive mess. Tell me what I missed.
<em>Rich Yurman</em>
]]></description>
         <link>http://www.scene4.com/qreviews/2007/01/babel.html</link>
         <guid>http://www.scene4.com/qreviews/2007/01/babel.html</guid>
        
        
         <pubDate>Sun, 28 Jan 2007 22:11:30 -0800</pubDate>
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         <title>Neanderthals Invent Show Business In “UG”!  </title>
         <description><![CDATA[At the Attic Theatre and Film Center in L.A., opening night of UG was tremendous, vibrant, and funny.  The singing and choreography were thoroughly top notch, with no punches pulled even though the theatre is relatively small.  UG is a visual thrill; the ensemble is very strong.  The music and dance numbers are crisply done.  I had loads of fun watching this show, and find myself humming the lead over and over again.
<em>Robert Axelrod</em>]]></description>
         <link>http://www.scene4.com/qreviews/2007/01/ug.html</link>
         <guid>http://www.scene4.com/qreviews/2007/01/ug.html</guid>
        
        
         <pubDate>Sun, 21 Jan 2007 16:58:56 -0800</pubDate>
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