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When we fall in love we become different people, leaving old ways behind to face the unknown. Something like this happens to Lisa and Giorgi in Alexandre Koberidze’s WHAT DO WE SEE WHEN WE LOOK AT THE SKY?, an observational

In our season of anticipation and joy at the return of live theater, Dominique Morisseau’s PARADISE BLUE meets and exceeds audience expectations. Set at the end of the 1940s at the Paradise—a Detroit nightclub run by the temperamental trumpet player

The blues—the seminal American art form and musical forebear of so much that followed—would appear to be the most direct of lyrical projects. But according to Richard Wright, as an instrument of affect, “the blues possess unconscious elements of surrealism”—and

A celebration of self-dramatization as theory, practice, and salvation, MIGUEL’S WAR is the story of Miguel Jelelaty Obeid—conference interpreter, singer, musician, provocateur. Growing up queer in Lebanon, he was a young militia member in the 1980s during the country's civil

In the name of finding himself, X (Will Krisanda) is disappearing. An unsuccessful actor who typically auditions for bit parts in indie productions as "sad trans" or "trangender best friend," he chose his moniker not as a conversation starter, but

Holding on to their snobbery if not their pride, the bourgeois mother and daughter at the center of Ulman’s tragicomic farce EL PLANETA have been on an irrevocable economic slide since the recent death of the family patriarch, forcing Leonor

It isn't hard to love a town for its greater and its lesser towers, its pleasant parks or its flashing ballet. Or for its broad and bending boulevards, where the continuous headlights follow, one dark driver after the next, one

For George Balanchine, the American ballet world was a blank slate. Arriving in New York in 1933 at the behest of patron Lincoln Kirstein—co-founder, with Balanchine, of the School of American Ballet (1934) and the New York City Ballet (1948)—the choreographer

Dropping like a Hammer Film Production from the 1970s or an errant episode of Dark Shadows, Bruce LaBruce’s new SAINT-NARCISSE takes the titular myth to its queer conclusion when long lost twin brothers Dominic and Daniel—the former a leather-clad biker,

THE NOWHERE INN—a meta-documentary devised by Annie Clark and Carrie Brownstein—finds the close friends on tour, Clark as herself and her musical persona St. Vincent and Brownstein as a film director looking for the story, any story, behind the songs. As