Last Shift 2015 Directed by Anthony DiBlasi As others have said, predictable in places, but a great example of doing a lot with very little: one location, bright lighting, very small amount of cast members. Great to have in rookie…
If this is the golden age of television, it also has to be the Golden Age of Time Commitments. It's all very well and good to keep recommending these shows, but by gawd we'll talking 13-hour chunks of my life,…
Wendy MacLeod’s play “Women in Jeopardy!” started off with a familiar situation for many friends – watching their divorced friend find a new boyfriend “who we all thought was hideous. We could not fathom how she could be dating this man.” From there she combined the idea of the awful boyfriend with a crime story from her local paper, and out came this new work that previews Thursday, with an opening on Dec. 5, at The New Vic. The play is so new that, despite its premiere at Rochester, N.Y.’s Geva Theater, Ms. MacLeod is in town to work a little bit more on her play, trimming it down into a “lean, mean, comedy machine.”
The play stars Heather Ayers (“Sweeney Todd”) and Annabelle Gurwitch as Mary and Jo, two divorcees who do not like the new dentist that their friend Liz (DeeDee Rescher, last seen at ETC in “Good People”) has fallen in love with, called Jackson (Bill Salyers). His dental hygienist recently disappeared, and the two think that Jackson might be a serial killer. And Jackson’s swaggering arrogance only seems to confirm their suspicions. When he invites Liz’s daughter Amanda (Sophie Ullett) on a camping trip, the two friends need to both break the news to Liz and stop what they think is a crime about to happen. And that’s just the beginning of this whirlwind farce.
I wrote a story for Vox Orbis about Santa Barbara's brewing culture and if there really is such a thing as a "Central Coast Beer." tl;dr: Maybe so, Maybe no! “There’s definitely a West Coast style,” says Josh Ellis, owner…
My latest for Open Culture is on a cool series of animations of Walt Whitman, Emily Dickinson, and more.
My latest for Open Culture is about the Smithsonian's collection of Charles Darwin's writings, many of which survived because he gave it to his kids to draw on.
My latest for Open Culture is here: David Lynch offers a MA course in creativity and meditation (in Iowa).
While many choreographers would look to a 50th anniversary tour to program a greatest hits package, Twyla Tharp, who will be at The Granada Theatre tonight, does the opposite in a career of bold moves. Instead she’s created an evening of two new works. “Preludes and Fugues” raids the extensive pieces in J.S. Bach’s “Well-Tempered Clavier” and bears the influences of all those that came before her in modern dance: Merce Cunningham, Jerome Robbins, Martha Graham and George Balanchine. And “Yowzie” turns from classical to jazz, with bright costumes and a soundtrack of early ragtime and jazz.
“Preludes” is “the world as it ought to be,” she says, “and Yowzie is the world as it is.” Ms. Tharp is quoting herself, and it’s a phrase that graces the evening’s program in her artistic statement. That tension between fantasy and reality has long been part of her work.
The Santa Barbara International Film Festival honored movie star, writer, activist and feminist icon Jane Fonda at its annual fundraiser Saturday with the 10th annual Kirk Douglas Award for Excellence in Film.
The black-tie gala at the Bacara Resort & Spa recognized the iconic movie star in much the same way as the honors and tribute evenings that make up the February festival’s week-plus schedule.
Last week Santa Barbara audiences sat transfixed by the odd blend of dance and theater that was Adam Barruch’s “Sweeney Todd: The Demon Barber of Fleet Street” at the Lobero Theatre. In the audience watching the performance was Ensemble Theatre’s Jonathan Fox, who just that day was rehearsing his own version of Stephen Sondheim’s bloody and dark musical, set to open this coming Thursday. It was one of those weird coincidences in Santa Barbara theater than happens now and then – like two productions of “Other Desert Cities” in 2015, one at the Rubicon, one at PCPA – despite every company trying for a unique season.
“It’s kind of a funny story,” says Mr. Fox, just before rolling into a story of schedules, contracts, dropping a previous plan, and thinking of returning to the world of Stephen Sondheim. “A Little Night Music” was the first performance at The New Vic. Rick Mokler, some 20 years ago, had put on a production of “Sweeney Todd” at SBCC, but it had never returned to our city.