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Tag: love

“Dancing Lessons” Shimmies and Shakes, at Center REP, Walnut Creek

“Dancing Lessons” Shimmies and Shakes, at Center REP, Walnut Creek

Millennial Notes Mark St. Germain Asks: Do We Have the Strength to Change? by Beau McGlasson Dance is pure human expression. It’s the carefree wildness of a club at 1 A.M., the controlled passion of tango. You can dance on your own to Robyn or tangle yourself in your lover’s arms. Dancing expresses frustration or liberation. “Dancing Lessons,” the hilarious play by Mark St. Germain at Center REP, poignantly examines two people—a dancer who has injured her leg and a…

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“Hedda Gabler” Surprises and Charms, at Pear Theatre, Mountain View

“Hedda Gabler” Surprises and Charms, at Pear Theatre, Mountain View

Millennial Notes Ibsen Reveals Dark Side of Marriage by Rachel Norby “Hedda Gabler,” the story of a woman trapped in the strict confines of a patriarchal society, comes to life at the Pear Theatre. Pencil skirts, leggings, and color photographs indicate that the story takes place in the present day, rather than in Henrik Ibsen’s 1891 Norway. Skillfully acted, we feel unsymathetic toward almost every character, making Ibsen’s story of the Colonel’s daughter deeply human and unsettling. From the start,…

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“Uncle Vanya”—A Vibrant Cage Match of Discontent, at Cutting Ball, S.F.

“Uncle Vanya”—A Vibrant Cage Match of Discontent, at Cutting Ball, S.F.

Millennial Notes Chekhov Pits City Dreamers against Country Workers by Carly Van Liere The set itself a cage, metal bars and shelves lining two parallel sides of the stage, the audience sits, divided into two, facing itself. The characters bounce off the walls and climb the structure, hands stretched wide as they palm and grasp the handle bars, reaching for an idyllic past or perhaps the future. Director Paige Rogers cleverly subtitles her production: “family baggage minus the handles.” The…

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“Cavalleria Rusticana” & “Pagliacci”—Stellar Singing and Acting from S.F. Opera

“Cavalleria Rusticana” & “Pagliacci”—Stellar Singing and Acting from S.F. Opera

Director Jose Maria Condemi’s Chivalrous Rustics & Sad Clowns Come Alive by Pamela Feinsilber It’s not often that San Francisco audiences are offered the most popular “double bill” in opera: “Cavalleria Rusticana” by Pietro Mascagni and “Pagliacci” by Ruggero Leoncavallo. While these one-act operas are sometimes presented separately, they’ve been together since both composers (Leoncavallo wrote his libretto, as well) entered a new-talent competition in Rome in 1890. Now there’s a fine new production of “Cav/Pag,” in the aficionados’ shorthand,…

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