Phoenix is lousy with Shakespeare this week. At Herberger Theater Center, Arizona Theatre Company’s The Two Gentlemen of Verona trods the boards. Macbeth is snorting and pawing the ground at Arizona State University’s Paul V. Galvin Playhouse. And over at Planet Earth Multi-Cultural Theatre, both Hamlet and Macbeth–by way of…
The Two Gentlemen of Verona is not the most amusing of William Shakespeare’s comedies. It’s clumsily constructed and makes an awkward shift into melodrama toward the end of the first act. All that makes Arizona Theatre Company’s colossal production of the 16th-century satire all the more impressive. Frankly, I’ve had…
It’s becoming more difficult to crow about live theatre in Phoenix. For a couple of years, it looked like the local theatre scene was evolving away from the sort of mask-and-wig clubs that trotted out another production of Blithe Spirit every season. Small, daring new troupes were unfolding every couple…
All in the Timing, a collection of six short one-acts now being staged by Actors Theatre of Phoenix, exploded off-Broadway a couple of seasons ago. It snagged a spot on Time magazine’s 1995 “Ten Best” list and made an overnight star of its author, David Ives. Critics heaped praise on…
It’s no mystery why Lionel Bart’s Oliver! is occasionally trotted out for another go-around. This classic British musical, adapted from Charles Dickens’ 1838 novel Oliver Twist, features some wonderfully bent characters and a magnificent score. The real puzzle is why Southwest Shakespeare Company is producing this show, which has no…
There are better reasons to strap on a bustle than Christopher Hampton’s Les Liaisons Dangereuses. Something, perhaps the popularity of the film versions, has convinced theatre producers that people want to see this play. But while both the 1988 movie based on Hampton’s dramatization and 1989’s Valmont were small masterpieces…
Nowadays, send-ups of old movie musicals tend to play about as well as the films they spoof. There are enough such satires that they’ve become a subgenre themselves; we’ve seen so many stage, film and television takeoffs on Busby Berkeley, et al., that the lines between the parodies and their…
Opening night of Guv: The Emperor Strikes Back, the New Scottsdale Playhouse was half empty when the curtain rose on this much-anticipated sequel to 1990’s Guv: The Musical. Perhaps all the local Democrats had headed for Sun City to witness President Clinton’s campaign stop there. It’s just as well. Watching…
Immediately before the opening-night performance of Planet Earth Multi-Cultural Theatre’s production of Shakespeare’s The Tempest, downtown was appropriately drenched by one of Phoenix’s surprise monsoon thunderstorms. Through much of the first act, audience members dried out in Planet Earth’s stuffy, hangarlike theatre space, while the usual suspects romped through a…
About two thirds of the way into Christopher Durang’s 1987 comedy Laughing Wild, the Infant of Prague appears. He comes not as a miraculous apparition or an ornate symbol of retribution, but as a guest on a daytime talk show. While He is grilled by a woman who may or…
Anne Coe is a captivating conversationalist. Her passion for environmental issues is evident in her dialogue and in her artwork, and she can hold forth for hours on aspects of life in the desert you’ve never considered before. Too bad her paintings are so lousy. Coe’s current exhibition, on display…
Artist Linda Mundwiler used to collect pieces of dead birds. Today she gathers lists of stupid questions about her art instead. Among her favorites are: Do you ever paint the tender moments?” Do you do a lot of drugs before you paint?” Don’t you ever paint in earth tones?” (Her…
It’s just before midnight on a Saturday evening, and Rose Johnson is putting the finishing touches on a 25-foot mural outside her downtown Phoenix art studio. Inside, Johnson’s studio-mate, Anne Thompson, is displaying glass etchings and mixed-media paintings. Around the corner, at arty hangout Metropophobobia, a group of volunteers is…
Canadian artist ManWoman is accustomed to giddy questions about his peculiar name. He responds politely when asked how he’s listed in the telephone book (“ManWoman”); whether his friends call him Man (“No, because then strangers would have to call me Mr. Woman”); and what his mother calls him (Nothing: “She…
Lee Breuer is pretty sure that if he gathered together 1,700 press agents, gave them each a copy of his bio and asked them to write an ending to his story, not one of them would place him in a Phoenix suburb, teaching interdisciplinary theatre art on a university campus…
