It’s brilliant that the premiere San Diego Fringe Festival is presenting what amounts to a Philip-Dimitri Galas retrospective. An incandescently talented artist, Galas invented his own genre, “avante-vaudeville,” to describe his combination of physical theater and explosive, poetic language, and the term seems Fringe-perfect.
For his finale after four superb Old Globe Theatre summer seasons, Adrian Noble finesses the early Tom Stoppard gumdrop, Rosencrantz and Guildenstern Are Dead, a mixture of Shakespeare and Samuel Beckett with plenty of Abbott and Costello thrown in. As always, Noble aces it. Gonna miss the guy.
How better to kick off San Diego’s first-ever Fringe Festival than with a play that’s zany and bawdy, features human and puppet grotesques, and has a century-old absurdist pedigree? “Ubu Roi” (King Ubu) by French author Alfred Jarry premiered officially in 1896 (unofficially, Jarry staged it as a puppet play in 1888 when he was […]
The silent world of the deaf is explored in in several of its variations by Nina Raine’s play Tribes, now at the La Jolla Playhouse. If this hero can survive in this train wreck of a family, there’s hope for us all.
Portia is the golden girl who rules The Merchant of Venice in Adrian Noble’s bracing production, now at the Old Globe Theatre for the summer…
If you choose to attend one production this summer, consider Moonlight’s terrific rendering of South Pacific, the rare musical play that balances saccharine comedy with serious themes and stage craft, and an ocean of memorable songs. Even if you’ve seen the Rodgers & Hammerstein gem before, or the film, or read James Michener’s book, Tales of the South Pacific, which sparked them all, you should drive to Vista to experience this production outdoors, especially when a heat wave makes normally cool nights feel like the breezy tropics.