Opera review: 'Tamerlano' at L.A. Opera

For all the work’s virtues, the main reason that Los Angeles Opera has mounted a production of Handel’s “Tamerlano” is that tenor Plácido Domingo recently added the role of Bajazet to his repertory.

Bajazet is not the title character, but he may be opera’s first truly heroic tenor. The role provides a wide range of emotion that Domingo exploited with compelling power at the opera's opening Saturday at the Dorothy Chandler Pavilion.

Domingo's voice may be too robust, lush and big to be ideal for works by baroque composers such as Handel. But the famed tenor was able to invest the part with great sympathy and appeal.

The plot hinges on Tamerlano’s love for Asteria, the daughter of defeated Turkish sultan Bajazet. Tamerlano means to marry her instead of his betrothed, Irene. Unknown to him, however, Asteria and Andronico, one of his allies in the war, are already in love. The feints and stratagems of working out this complicated love triangle inspired Handel’s rich score.     

The young soprano Sarah Coburn was an effective Asteria, singing her lines and negotiating the complicated embellishments with a precision and accuracy shared by her colleagues.

Theater review: 'Love's Labour's Lost' at the Broad Stage

This scenically alluring touring production from England of “Love’s Labour’s Lost,” which opened Friday at the Broad Stage in Santa Monica, put me in mind of an Elizabethan greeting card — or at least one of those gift shop facsimiles that bring on a sudden overpowering urge for tea and scones with jam.

Shakespeare’s Globe Theatre of London, an outdoor venue on the south bank of the River Thames, strives to give its audience an imaginative approximation of the way Shakespeare’s plays were performed in their own time. The atmospheric productions at this popular tourist destination tend to be sparely appointed, the better to throw into relief the frolicsome period costumes. Music and dance lend a Renaissance conviviality. And the actors pull out all the stops to amuse the groundlings while endeavoring to impress the more poetic sensibilities of the grandees.

As a sprightly if somewhat superficial example of the house style, this “Love’s Labour’s Lost,” directed by Shakespeare’s Globe artistic director Dominic Dromgoole, is broad, joshing and better at coloring in a picture than finely sketching its details. Yet the relentlessly lively, almost manic tempo is perhaps necessary when dealing with an antique theatrical work that’s really more of a verbal opera, composed in a lyrical dialect that isn’t always easy for contemporary theatergoers to decipher.

Simon Rattle is back in LA. with the Berlin Philharmonic

Angelenos remember Simon Rattle when. We know enough not to trust Wikipedia, which states that the Liverpool-born conductor made his U.S. debut with the Los Angeles Philharmonic in 1979. In fact, he appeared at the Hollywood Bowl three years earlier, as a 21-year-old with the London Schools Symphony Orchestra. He was still startlingly young when he began his 13-year stint as principal guest of the L.A. Philharmonic in 1981.

Now he is Sir Simon, music director of the mighty Berlin Philharmonic. It hasn’t been all Sunny Sir Simon, as the German capital dubbed him when he took over in 2002. But the orchestra, which appears with Rattle at Walt Disney Concert Hall on Monday and Tuesday nights, is now thriving, breaking new ground with its digital concert hall, outreach programs to schools and prisons, new music projects and a general attitude of waking classical music up to smell the coffee while honoring its incomparable tradition.

And, based on a brief conversation I had with Rattle for an Arts and Books article as he prepared for his U.S. tour, he is as hopeful, thoughtful and funny as ever. Having recently had his contract in Berlin extended until 2018, he has a mandate to continue the change he has brought to what is often considered the world’s most desirable orchestral job.

Click here for the full story.

-- Mark Swed 

Photo: Rattle in Berlin last April. Credit: John MacDougal/Getty Images

Art review: 'Kandinsky' at the Solomon R. Guggenheim Museum

Just over a year ago, New York's Solomon R. Guggenheim Museum completed a three-year restoration project for its great landmark building by Frank Lloyd Wright. Among much else, the beautifully done project put a grayish white skin on the original corkscrew building, visually separating it from the undistinguished annex added in the rear in 1992.

The renovation was done in time for the Guggenheim's 50th anniversary celebration -- and, happily, in time for the celebratory Vasily Kandinsky retrospective, on view now. Kandinsky (1866-1944) was among the small handful of authentic revolutionaries in Modern art. The big retrospective draws heavily on the incomparable Kandinsky collections at museums in Munich, Paris and New York, but the relationships between his achievements and Wright's remarkable building are one of the unique pleasures of seeing the show at the Guggenheim.

I'll have a full review of the Kandinsky retrospective in Sunday's paper.

-- Christopher Knight

Photo: Vasily Kandinsky, "Impression III (Concert)" 1911. Credit: Guggenheim Museum

Lee Strasberg: The acting legacy lives on

This year marks the 40th anniversary of the Lee Strasberg Theatre & Film Institute, the school founded in 1969 by the legendary acting guru, who died in 1982, and his wife, Anna Strasberg, who is still carrying the torch of Method training with her son David Lee Strasberg, the institute's chief executive and creative director.

For some, the Method is a relic, a throwback to a mid-20th century form of neurotic realism. Yet no one can deny the effect that Method actors have had on American theater, film and television. I can't say I became a theater critic because of such Strasberg-trained talents as Geraldine Page, Kim Stanley, Paul Newman, Dustin Hoffman, Ellen Burstyn, and Robert De Niro, but the startling psychological reality they brought to their roles confirmed me in my admittedly odd choice of professions. Estelle Parsons, currently on tour in Tracy Letts' "August: Osage County," gives a pretty good indication of the way Strasberg encouraged his students not simply to express the feelings of their characters but to live through them, no matter how ferocious or painful.

For a feature in this Sunday's Arts & Books, I sat down with David Lee Strasberg to see whether the Method has evolved under this new generation of Strasberg leadership. I was particularly interested to hear how the Institute has addressed criticism of his father's pedagogy. And I was just as eager to find out how notable acting instructors from outside the institute assess the current place of the Method in 21st century acting training.

When it comes to the Method, everybody has a strong opinion, though respect clearly outweighed derision. Most experts are more familiar with Strasberg's long tenure as artistic director of the Actors Studio than they are with his still-flourishing school. Yet Los Angeles-based private instructor Sharon Chatten, who has taught at the institute and now operates out of the Sharon Chatten Studio, assures that the institute's faculty “know what they’re doing. It’s not just a name. They know the work.” 

-- Charles McNulty

Photo: Estelle Parsons. Credit: Joan Marcus / Center Theatre Group

Music review: Gustavo Dudamel and Gil Shaham play Mozart and Berg

The great 20th century conductor Bruno Walter claimed he wasn’t ready to conduct Mozart until he was 50. This refined, unfussy musician believed the heaven-sent symphonies of a young composer who died at 35 were wasted on the young, with their immature tendencies to romanticize, their childish swagger, their puppy love.

Gustavo Dudamel, 28, opened and closed a Los Angeles Philharmonic program in Walt Disney Concert Hall Thursday night with two late, major Mozart symphonies – the “Prague” and “Jupiter.”  In an act of great seriousness, he used these scores to make an Alban Berg sandwich. The filling was Berg’s elegiac 12-tone Violin Concerto, written in “memory to an angel,” and the wondrously affecting swan song of the Austrian composer who died at 50 in 1935. The violinist was the still youthful Gil Shaham, 10 years Dudamel’s senior.

Obviously, we have no way of knowing whether Walter would have thought that Thursday’s performances had too much musical baby fat.

But I thought about this once-perfect Mozartean on Thursday. Dudamel uses a slightly smaller orchestra for the symphonies than was the custom in Walter’s day. And Dudamel upended the fast movements with rhythmically precise swift punches the way early musickers sometimes do with their flexible period instrument ensembles.

But, somehow, this Venezuelan, who has conducted the Vienna Philharmonic only a time or two (and most recently in Tchaikovsky and Stravinsky), excavated a long-lost Viennese character out of his new orchestra.

Opera broadcasts from La Scala, Barcelona returning to local cinemas

Now that the Metropolitan Opera no longer has the monopoly on opera broadcasts to cinemas, fans can look forward to a greater variety of productions from outside the Peter Gelb Ministry of Music.

Starting Dec. 7, Laemmle Theaters in Southern California will screen broadcasts of opera productions from Milan's La Scala and Barcelona's Gran Teatre del Liceu. The season of programs, which runs through July 1 and includes six productions, features such vocal luminaries as Plácido Domingo, Diana Damrau, Jonas Kaufmann, Ben Heppner and Erwin Schrott.

The participating Laemmle cinemas are: the Sunset 5 in West Hollywood, Town Center 5 in Encino and Playhouse 7 in Pasadena. This will be the second year that Laemmle Theaters has participated in the opera broadcasts, which are organized by Emerging Pictures.

Kicking off the series on Dec. 7 will be a live broadcast of La Scala's opening night production of Bizet's "Carmen," conducted by Daniel Barenboim, and starring  Kaufmann, Schrott, Anita Rachvelishvili and Adriana Damato. The live broadcast begins at 9 a.m., with a rebroadcast at 4:30 p.m.

Verdi’s "Il Trovatore" is next, with a live broadcast from the Gran Teatre del Liceu on Dec. 22 at 11 a.m. (A rebroadcast will play at 4:30 p.m.)

The remainder of the series runs from April to July.

LACMA loses 23% of its investments in meltdown year

No arts nonprofit is apt to show a rosy balance sheet for the year of the great economic meltdown, unless by rosy one means red ink.

In the case of the Los Angeles County Museum of Art, which recently posted on its website the audited financial statement for the 2008-09 fiscal year ending June 30, the bad news includes a 23% decline in the value of its cash and investment portfolio, from $254.7 million to $196 million.

Barbara Pflaumer, the museum's chief spokeswoman, said that by quickly reining in spending when the economy tanked, including a hiring freeze, canceling some exhibitions and postponing a $50-million segment of its ongoing expansion and renovation program, LACMA avoided "any major hiccups that kept us from operating on a normal basis" and managed to escape the large-scale layoffs that have hit many other big museums, including L.A.'s J. Paul Getty Trust and New York's Metropolitan Museum of Art.

With L.A. County footing nearly a third of the bill, LACMA's expenses -- including such mandatory costs as depreciation and interest on its $385-million debt -- came to $74.1 million for the year, down a tick from $74.4 million in 2007-08.

Eight jobs were lost, however -- six by layoffs, and two via retirement vacancies that won't be filled  -- leaving a LACMA staff of about 350. An additional 16 openings won't be filled until finances improve.

Of greatest concern, LACMA saw donations shrink from $129.7 million to $29 million. This is while the museum is trying to reel in major gifts to fund the $450-million campus "transformation" campaign that's in the second of three planned phases, with about $134 million still to go.

On the positive side, LACMA was able to acquire new art valued at $42.8 million via purchases and donations, down slightly from $45.7 million the previous year. And attendance grew to 853,000 from 825,000, Pflaumer said. Maybe $12 general admission for a day looking at art -- and free for those 17 and under -- has its appeal in a rotten economy.

Click here for the full story.

-- Mike Boehm

Art review: Bruce Conner at Michael Kohn Gallery

The first exhibition of Bruce Conner's work since his death last year zeros in on the 1970s. It's a peculiar choice for a show and one that Conner, an irascible malcontent, would probably love.

His works from that decade are not as revered as his groundbreaking movies from the '50s, his gnarly assemblages from the '60s, his rollicking collages from the '80s or his mesmerizing inkblot drawings from the '90s and on. The '70s seemed to catch Conner in a rut, stubbornly persisting against the futility of it all and never breaking through to an aesthetic resolution that would make it all worthwhile.

 At Michael Kohn Gallery, the 45 paintings, drawings, photographs, sculptures, books, lithographs and movie brought together for Bruce Conner in the 1970s make you think of the legendary artist's work from that decade differently. Rather than being the low point of a long career filled with highlights, the '70s represent the purest expression of Conner's profound suspicion of anything that smacks of success, stinks of inauthenticity or reeks of entitlement. It's all about defiance and rejection.

At the same time, he never romanticized failure for its own sake. His handcrafted abstractions, made with common felt-tip pens on ordinary sketchbook pages, begin with small, meaningless marks. Slowly, restlessly and intuitively, they worm their way toward something like the grungy underside of cosmic insight. Call it gutter sublime. It's also there in Conner's modestly sized two-tone paintings, in which exhaustion is palpable and despair too close for comfort.

His point-blank photographs feature famous and forgotten members of San Francisco punk bands performing as if their lives depended on it. Conner's pictures are intimate and alien, matter-of-factly capturing the way disdain and desire energized these misfits.

The paralysis and insanity of full-blown paranoia are a hairbreadth away from many of the works in the smartly selected show, and their menacing proximity gives Conner's powerfully conflicted works their bite and bravery.

– David Pagel

Michael Kohn Gallery, 8071 Beverly Blvd., L.A., (323) 658-8088, through Dec. 19. Closed Sundays and Mondays. www.kohngallery.com

Image: Roz of the punk rock band Negative Trend, 1978. Credit: From Michael Kohn Gallery.

Art review: Tom Wudl at L.A. Louver Gallery

Some artists work with their ears to the ground, listening to the buzz to try to make their works relevant. Others pay no attention to external interruptions, concentrating instead on the voices in their heads. That's what Tom Wudl does. His paintings, drawings and prints describe a world so dense with detail that it's a treat to visit, a delight to contemplate and a joy to know.

 At L.A. Louver Gallery, Wudl's first solo show in four years features 15 intimate works on paper and canvas. Most measure no more than 4 or 5 inches on a side.

Only one is bigger than a sheet of notebook paper. It's a fanciful, multi-eyed portrait of Wudl's teenage son, and its dreamy virtuosity is intoxicating. The rest of the works in "Specimens From the Flowerbank World" are inspired by the Flower Ornament Sutra, a revered Huayan Buddhist scripture.

Many depict solitary roses, their soft pink petals and vivid blue grounds made up of tiny club motifs, like those found on playing cards. Glistening jewels, floating eyeballs and other types of flowers also appear, as if orbiting a central rose or simply floating before the vastness of infinity, which is also abuzz with Wudl's ubiquitous clubs.

Every work is exquisite, so fantastically rendered and precisely crafted that many seem to have been made with the aid of a microscope. But none are fussy, precious or breathless. That's the magic of Wudl's art. He manages to make intense concentration and laser-sharp focus look relaxed, not quite casual but serene and welcoming.

Laurel and Hardy even appear in one drawing, adding just the right touch of comic relief at just the right moment. Unlike much art based in painstaking devotion, Wudl's never gets portentous or overzealous. Its vitality is mature and seasoned, a pleasure to breathe in and be in the company of.

– David Pagel

L.A. Louver Gallery, 45 N. Venice Blvd., Venice, (310) 822-4955, through Dec. 31. Closed Sundays and Mondays. www.lalouver.com

Image: "Waking." Credit: from L.A. Louver Gallery.

Monster Mash: Shroud of Turin controversy; Green Day revisits hit single; new curator at Whitney

-- Real or fake?: A researcher claims to have discovered text that authenticates the Shroud of Turin. (Forbes)

-- Back in the studio: The rock band Green Day is recording a new version of its hit song "21 Guns" with the cast of the stage musical "American Idiot." (Playbill)

-- New job: Scott Rothkopf will leave his position as senior editor of Artforum to become a curator at the Whitney Museum of American Art in New York. (New York Times)

-- Tooting his horn: Composer Edward Elgar ("Pomp and Circumstance") was apparently a terrible trombone player. (The Independent)

-- High-tech: Two instruments that were aboard the Hubble Space Telescope go on display at the National Air and Space Museum and are scheduled to tour California. (BBC News)

-- Antitrust: Ambassador Theatre Group’s purchase of Live Nation’s UK theaters is being investigated by Britain's Office of Fair Trading. (The Stage News)

-- For the kids: Oxford will be getting a new children's museum dedicated to the art of storytelling. (The Guardian)

-- Art in motion: New York's Metrocard becomes art, sort of. (New York Times)

-- And in the L.A. Times: Times music critic Mark Swed reviews Philip Glass's latest opera; theater critic Charles McNulty reviews "Equivocation" at the Geffen Playhouse.

-- David Ng

Photo: an image of the Shroud of Turin. Credit: Ellen Jaskol / For The Times

Digital map reveals Israeli archaeology

A searchable map detailing 40 years of Israeli archaeological work in the West Bank and East Jerusalem, developed for the USC Digital Library, has won the 2009 Open Archaeology Prize from the American Schools of Oriental Research.

A nonprofit organization founded in 1900 and located at Boston University, the American Schools of Oriental Research support the study and public understanding of peoples and cultures of the Near East. The prize, to be presented today at a professional meeting in New Orleans, recognizes “the best open-access, open-licensed, digital contribution to Near Eastern archaeology by an ASOR member.”

Project leaders Lynn Swartz Dodd of USC and Rafi Greenberg of Tel Aviv University are expected to accept the award on behalf of an international team composed of Americans, Israelis and Palestinians.

Pulitzer Prize-winning 'Ruined' to open Geffen Playhouse's 2010-11 season

Lynn Nottage's "Ruined," which won the Pulitzer Prize for drama this year, will have its L.A. premiere at the Geffen Playhouse. A spokeswoman for the company said the drama is scheduled to open the Geffen's 2010-11 season.  

"Ruined" will be a co-production with Seattle's Intiman Theatre, where it is set to run July 2 to Aug. 8. The Geffen's season usually begins in August or September, but the company said no opening date had been set yet for the drama.

Kate Whoriskey, the Intiman's incoming artistic director, is expected to stage the play in Seattle and L.A., according to the Geffen. 

In February, Whoriskey directed the New York production of "Ruined" at the Manhattan Theatre Club, where it quickly became one of the most talked about plays of the season. (The play originated at the Goodman Theatre in Chicago in November 2008, also under Whoriskey's direction.) In April of this year, "Ruined" won the Pulitzer Prize for drama. 

The play focuses on the matron of a Congolese brothel who tries futilely to keep the outside war at bay. But violence keeps intruding thanks to the constant foot traffic of both women and men through the brothel doors.

In an interview with The Times this year, Nottage said: "I knew I wanted to tell a story that was not agitprop, that was universal, epic and unabashedly theatrical. Something truthful and yet joyful. And I didn't know how I was ever going to do that."

The Geffen said that Nottage may be "intimately involved" with the productions in Seattle and L.A. 

Nottage is no stranger to L.A. theater. Local audiences may remember her play "Intimate Apparel," which ran at the Mark Taper Forum in 2004 and starred Viola Davis. Her work has also been produced by South Coast Repertory in Orange County.

-- David Ng

Photo: Lynn Nottage, on the set of the New York production of her drama "Ruined." Credit: Jennifer S. Altman / For The Times

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Theater review: 'Three Tall Women' at El Centro Theatre

Edward Albee devotees needn't be urged to see "Three Tall Women" at the El Centro Theatre. However, those wary of America's most unpredictable living playwright may require nudging to sample the rewards that this suave West Coast Ensemble staging of Albee's 1994 Pulitzer winner delivers.
 
Consider Eve Sigall, whose arresting performance as A, the eldest titular female, easily justifies attendance. Either 92 or 91 (there is early Alzheimer's afoot), A centers Albee's deeply personal study, based on his own adoptive mother, and Sigall, pitched directly between Ruth Gordon and Piper Laurie, nails each hairpin turn.
 
Her caretaker is B (Jan Sheldrick), an acerbically sympathetic fiftysomething given to knitting and zingers. We gradually discern that A is who B will become, just as C (Leah Myette), a brusque 26-year-old legal aide, is who B used to be.
 
Their symbiotic trek around A's history comprises the occasionally baffling, often darkly funny Act 1. In Act 2, Albee deepens his syntax, the women now redrawn as specific versions of A.  With the advent of A's silent, long-estranged son (Michael Geniac), a moving meditation on mortality emerges.
 
Director Michael Matthews keeps the mood as dove-toned yet skewed as designer Kurt Boetcher's fractured bedroom set, with assets in Tim Swiss' subtle lighting, Sharon McGunigle's archetypal costumes and Rebecca Kessin's evocative sound.

Ultimately, though, it's all about A and the selves she incites. Besides the remarkable Sigall, company stalwart Sheldrick sometimes exposes technique as B, but her arch deadpan is richly apt, and Myette does everything possible to humanize C's pat, youthfully impatient character. Their mutual affinity reflects Albee's mordant lyricism, and recommends this thoughtfully elegant reverie.

– David C. Nichols

"Three Tall Women," El Centro Theatre, 804 N. El Centro Ave., Hollywood. 8 p.m. Thursdays through Saturdays, 3 p.m. Sundays. Ends Dec. 20. $20. www.westcoastensemble.org or (323) 460-4443. Running time: 2 hours, 10 minutes.

Photo: Leah Myette, Eve Sigall and Jan Sheldrick. Photo credit: Carla Barnett.

Theater review: 'Post' at Complex (The Flight) Theater

The suicide rate for members of the Army is expected to top last year’s record-breaking total. “Post,” a minimalist drama written by and starring Donavon Thomas at The Flight Theater, imagines one scenario behind that grim statistic.  

Readjusting to civilian life after a rough tour of Iraq, Michael (Thomas) moves in with fellow vet and longtime friend Chuck (Nathanyael Grey), who works as an EMT. Michael’s dad (David Pantsari) hopes the boys will take care of each other, but just the opposite happens when Chuck’s stalled crush on vegan baker Autumn (Jamie Renee Smith) gets waylaid by Michael. We’re in for a classic love triangle going bad, fueled by PTSD, alcohol and soy bacon.
 
This production, played out in an appropriately dumpy apartment set, is clearly meant to showcase Thomas’ talents. As a performer, he’s an appealing presence, goofy and vulnerable. (The ensemble finds a nice rapport, and an easygoing humor carries some of the flatter scenes.) Director Timothy Gagliardo accentuates the playfulness — there’s a very funny Halloween scene — but lets too much air into the scenes, leaving us to wait for the inevitable violence rather than be surprised by it.

As a writer, Thomas is still discovering how to generate event. The play feels more like a series of improvs than a narrative with a point of view, and it’s not evident what questions “Post” wants to frame. Did war break these men? Are some people just bad? We’re left with loss but not much insight. 

– Charlotte Stoudt

“Post” Complex (The Flight) Theater, 6476 Santa Monica Blvd., Hollywood. 8 p.m. Thursdays through Saturdays, 7 p.m. Sundays. Ends Dec. 20. $10-$15. Contact: www.plays411.net. Running time: 2 hours, 30 minutes.

Photo: David Pantsari, Donavon Thomas, Nathanyael Grey. Photo credit: Ravi Gahunia.

Art review: Lee Mullican at Marc Selwyn Fine Art

In 1959, L.A. painter Lee Mullican spent a year in Rome, soaking up the sights and sounds of the city and looking at its artistic treasures. He also painted furiously, churning out works on canvas and paper that are a little looser and freer and more fluidly animated than his usual tautly structured compositions.

At Marc Selwyn Fine Art, five of Mullican's Rome paintings fill the main gallery with an abundance of fun, bustling energy. All are on paper. One's backed by canvas. Four are approximately 5 by 7 feet. One runs nearly 12 feet long.

The palette is black and white, painted and drawn with charcoal, ink and tempera, except for one, in which gray graphite lines are softened by watercolor washes in a deliciously rich range of golden yellows and lovely blues.

The surfaces of all of Mullican's works are jampacked with swift little marks — mostly circles, semicircles and rectangles, but sometimes triangles and odd polygons as well as stray lines. These rudimentary units resemble the letters of the alphabet after they've been tossed in a food processor or run through a paper shredder.

It's amazing how much energy and movement Mullican gets out of such basic forms and common materials. His abstract compositions never depict anything realistic (although sometimes you swear you see body parts in them). They are urgent and unfussy, like everyday street graffiti. Yet they are also erotic, their sensuality and charge as electrifying as any finely rendered illusion.

The fun Mullican must have had that year in Rome lives on these works, which look as fresh, sumptuous and spunky as the day they were made.

– David Pagel

Marc Selwyn Fine Art, 6222 Wilshire Blvd., Suite 101, L.A., (323) 933-9911, through Dec. 5. Closed Sundays and Mondays. www.marcselwynfineart.com

Image: Untitled painting from about 1959. Credit: Robert Wedemeyer / from Marc Selwyn Fine Art.

Theater review: 'Noises Off' at A Noise Within

Producing “Noises Off,” Michael Frayn’s 1982 farce within a farce, is not for the faint of heart.  The show calls for a dauntingly elaborate set, massive set changes over two intermissions, and a serendipitous conjunction of director, actors, designers and techies, all of whom must meet the comedy’s frenetic demands without a lapse.

The necessary requirements are blissfully exceeded in the current production at A Noise Within.  Cavorting on Adam Lillibridge’s Broadway-ready set, director Geoff Elliott and a superb cast hit the banana peel running and never let up.

In this case, slimy spilled sardines substitute, malodorously, for the banana peel. That’s appropriate, considering that “Nothing On,” the play-within-this-play, is a low-rent sex comedy that could be mounted on a Siberian glacier and still stink on ice.

The first act revolves around an ill-fated dress rehearsal just hours shy of opening. Act II takes us backstage a month into the tour.  And we’re back onstage in Act III for closing night, a disaster of Chernobyl-esque proportions.

It doesn’t help that Dotty Otley (Deborah Strang), the show’s cue-challenged star, couldn’t remember a line if it were tattooed on her forearm. But the real problem is backstage hanky-panky. Director Lloyd Dallas (played by director Elliott in neatly ironic casting) has been carrying on with vapid bombshell  Brooke (Emily Kosloski) and naive stage manager Poppy (Lenne Klingaman).  Dotty’s jealous lover, Garry Lejeune (Mikael Salazar, in a particularly riotous turn), has it in for Frederick (Stephen Rockwell), a clueless Method wannabe who has gotten overly cozy with Dotty. Gossip-extraordinaire Belinda (Jill Hill) fans the flames with reports of salacious scandal.  And the entire company, including hard-pressed jack-of-all-trades Tim (Shaun Anthony) keeps constant tabs on doddering drunk Selsdon (Apollo Dukakis), who is always on the brink of a bender.

Frayn’s wryly reductive classic gives us a behind-the-scenes glimpse of a theatrical hothouse, where titanic egos and meager talents clash, hilariously.  In a smoothly trouble-free production, Elliott and company bake the turkey to a golden brown, just in time for your holiday enjoyment.

– F. Kathleen Foley

“Noises Off,” A Noise Within, 234 S. Brand Blvd., Glendale. $40-$44.  In repertory.  Ends Dec. 20.  Call (818) 240-0910 Ext. 1 for dates and times.  Running time:  2 hours, 30 minutes.

Photo: Deborah Strang, Jill Hill and Emily Kosloski. Photo credit: Craig Schwartz.

Art review: Jeff Koons at Gagosian Gallery

Andy Warhol was fascinated by boredom for two perfectly good reasons: It allowed him to see things he otherwise would have missed, and it meant that, overall, things were going pretty well if life's daily dramas were not overwhelming, debilitating or too upsetting.

At Gagosian Gallery, 10 new paintings by Jeff Koons flesh out both aspects of Warhol's love affair with boredom. If Warhol is the father of Pop Art, Koons is a chip off the old block, an unparalleled imitator whose imitations are so cockeyed and corny that they come off as originals, weird as that is.

Despite their size (approximately 9 by 12 or 9 by 7 feet), flashy colors (metallic silver, verdant green, fleshy pink), sexy subjects (naked models posing languorously in luscious landscapes) and painterly flourishes (juicy smears of semi-translucent pigment), Koons' pictures are boring.

To look at them is to see too many easy nods to works by too many other artists, including heavyweights Roy Lichtenstein, Sigmar Polke and Cy Twombly, super-heavyweights Georges Seurat and Gustave Courbet, and lightweights Christopher Wool and James Nares, not to mention Koons' own over-designed porn pictures of himself and his ex-wife, Cicholina. His new paintings seem to suffocate under the preposterously long list of sources.

And then they get interesting.

Theater review: 'The Browning Version' at Pacific Resident Theatre

For academically inclined middle-class Brits, a teaching post at an elite English boarding school might have an understandably seductive appeal. But as a retiring classics teacher surveys his life in Terence Rattigan's incisive 1948 drama, "The Browning Version," it's all too apparent that the school's cocoon-like insularity and well-ordered routines  have become his personal quicksand.

In Pacific Resident Theatre's intimate revival, Marilyn Fox's pitch-perfect staging nails the emotional delicacy in the descent and resurrection of Andrew Crocker-Harris (Bruce French). Facing his final days as a faculty member and an empty road ahead, Andrew has already conceded that he's wasted his life. Mocked as a tyrannical pedant by his students, betrayed by his serial adulterer wife (effectively brittle, frustration-driven Sally Smythe), and humiliated by his headmaster (Orson Bean, in a superbly oily, condescending turn), French's Andrew embodies in the subtlest inflections both full awareness and resigned acceptance of his pathetic circumstances.

This English upper-lip reserve plays like ice compared with the fire in Edward Albee's later American take on academia-induced stagnation, "Who's Afraid of Virginia Woolf." Yet beneath its genteel veneer,  Rattigan's play seethes with condemnation and scorn for England's rigid class system. Playing to a different national sensibility, director Fox (with support from associate director Dana Dewes) impeccably retains the accents, manners and subtext, but focuses on the simpler but more fundamental heart of the play: a brilliant mind rescued from despair by a simple act of kindness.

Opera review: Philip Glass' 'Kepler' has U.S. premiere at BAM

The starry sky is regular subject, spiritual circumstance or actual setting of Philip Glass’ work. His latest opera, “Kepler,” given its American premiere at the Brooklyn Academy of Music Wednesday night, is about the German astronomer who identified the elliptical orbits of our solar system. The composer couldn’t have been more at home.

Among Glass’ 23 operas are “Galileo Galilei” and two others based on Nobel laureate Doris Lessing's “Canopus in Argos” series of science-fiction novels. “The Voyage” opens with Stephen Hawking meditating on space-time and an alien spaceship crashing onto Earth; it ends with Columbus taking his final journey on his deathbed into outer space.

Astronauts in space ships, nebbishes having out-of-body experiences, pensive mystics pondering unknown realms, an ancient Egyptian king becoming one with the sun -- these are situations enhanced by Glass’ repetitive melodies, moody harmonies and propulsive rhythms.

But in “Kepler,” Glass’ yin-yang style gains new advances. More than ever before, the same kind of music can express going somewhere or nowhere, a physical or spiritual state, a secular and sacred condition.