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Theater Reviews

Another hit at Lamb’s Players

By Charlene Baldridge | Theater Review

On the heels of its magnificent “Shadowlands,” Lamb’s Players Theatre in Coronado continues its string of extraordinary productions with the San Diego premiere of Lauren Gunderson’s “Silent Sky,” an absolutely delectable, mind-expanding examination of the early days of women in astronomy.

The most-produced living American playwright in 2016, Gunderson has several works seen or about to be seen in San Diego theaters, among them “Emilie: La Marquise du Chatelet …” at New Village Arts last season, and “The Revolutionists” to be seen at Moxie Theatre in May.

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‘Skeleton Crew’ shines

By Charlene Baldridge | Theater Review

In association with Moxie Theatre, The Old Globe presents the West Coast premiere of Dominique Morisseau’s suspenseful coffee/locker room play, “Skeleton Crew,” through May 7 in the Sheryl and Harvey White Theatre.

The work features a tight ensemble of four actors, possibly the best in regards to chemistry and balance that the Globe has assembled in many years.

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Idea is more intriguing than play

By Charlene Baldridge | Theater Review Theatregoers with knowledge of Ira Aldridge (1807-67) eagerly looked forward to The Old Globe’s opening of Lolita Chakrabarti’s 2012 London play “Red Velvet.” Aldridge, who has a San Diego theater company named for him, was a great African-American actor who in 1833 became the first to play Othello au naturel on the London stage.

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A life-changing road trip

By David Dixon Numerous theatrical adaptations of popular novels —“Frankenstein,” “War Horse” and “The Curious Incident of the Dog in the Night-Time,” for example — were all successfully brought to the stage. In the same vein, a live interpretation of Luis Alberto Urrea’s 2009 book, “Into the Beautiful North,” is now playing at the San Diego Repertory Theatre’s Lyceum Stage.

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‘Shadowlands’ is a ‘must-see’

By Charlene Baldridge | Theater Review

The time is right for Lamb’s Players Theatre to produce the San Diego professional premiere of William Nicholson’s “Shadowlands.”

The production — directed by longtime Lamb’s associate artist Kerry Meads — is a must-see for lovers of C.S. Lewis with fine acting and meaningful, affecting work. It continues through April 9 at the Coronado theater.

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Who’s conning whom?

By Charlene Baldridge | Theater Review

Here’s a fascinating and disconcerting play — “Sex With Strangers” — that explores love, sex, creativity and con-artistry.

Playwright Laura Eason, director Delicia Turner Sonnenberg and two of San Diego’s most capable actors — Lisel Gorell-Getz and Connor Sullivan — illuminate the issues for playgoers who attend the San Diego Repertory Theatre production through March 19 in the Lyceum Space. The play originated at Chicago’s Steppenwolf Theatre in 2009.

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Diversionary presents Kron in repertory

By Charlene Baldridge | Theater Review

They call it the San Diego revival of Lisa Kron’s “2.5 Minute Ride.” Early in the script’s development, La Jolla Playhouse presented the monologue, featuring the playwright in the role of memoirist.

Diversionary Theatre in University Heights — which recently received the San Diego Critics Circle Don Braunagel Award for Outstanding Small Theater — currently presents Kron’s one-woman “2.5 Minute Ride” and her six-actor “Well,” also autobiographically based, in rotating repertory through March 19.

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‘Bad Jews’ good

By Charlene Baldridge

Joshua Harmon’s “Bad Jews,” seen in its opening performance Jan. 21 at Cygnet Theatre, is set in a present day studio apartment on New York’s Upper West Side.

Billed as 90 minutes in length, it is played without interval, causing one to opine that if there were an interval, some in the audience might flee because the play’s invective, however hilarious, is sometimes challenging, especially to those who spend a lot of time and energy avoiding confrontation.

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Looking back at San Diego’s theater highlights of 2016

Posted: January 13th, 2017 | Arts & Entertainment, Featured, Theater Reviews | No Comments

By Charlene Baldridge Theater critics are usually given complimentary tickets for a performance near the opening of each production. A ticket to see another performance is ordinarily at the critic’s expense. The Dec. 21 deluge did not matter. I had purchased a ticket to see ion theatre’s “The Normal Heart” again before it closed and nothing would dissuade me.

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