John Hilton

UCLA's Center for the Art of Performance Will Present EVERYTHING THAT RISES MUST CONVERGE
by Chloe Rabinowitz - Mar 3, 2020

UCLA's Center for the Art of Performance (CAP UCLA) will present Jennifer Koh & Davóne Tines' Everything That Rises Must Converge on Friday, Apr 17, 2020 at 8 p.m. at Royce Hall. Tickets starting at $28 are available now at cap.ucla.edu, 310-825-2101 and the Royce Hall box office.

Orpheum Launches Campaign to Restore the Mighty Wurlitzer Organ
by BWW News Desk - Jun 6, 2017

In honor of the historic Orpheum Theatre's 90th birthday, the Orpheum Theatre Group launched a campaign on Friday, June 2nd to restore the theatre's Mighty Wurlitzer organ to its 1928 splendor.

BWW Reviews: Theatre Memphis Spikes the Eggnog with A CHRISTMAS CAROL
by Joseph Baker - Dec 12, 2014

As my hand was turning to mincemeat while writing personal notes in Christmas card after Christmas card, I persevered, knowing that at the end of my travails there would be a reward: A much anticipated performance of Theatre Memphis' annual 'gift' to Memphis, Charles Dickens' venerable A CHRISTMAS CAROL. I must admit: I have not attended every performance of that classic since its inception. I have, however, infrequently stopped to hang my wreath at its door; and I've seen some fine 'Ebeneezers' over the years (I recall a former teaching colleague, Tom Ford, offering a tight, clipped interpretation and, of course, one of the best and most frequent of the actors donning those tattered gloves, Memphis acting favorite Barry Fuller). As I wrote card after card, I began to think about all the other interpretations of A CHRISTMAS CAROL that I have encountered through the years - Seymour Hicks; Reginald Owen (in the role MGM intended for an ailing Lionel Barrymore, who had become famous for his radio performance and who would have, no doubt, been superior; a not-all-that-bad consolation prize was his equally tight-fisted 'Mr. Potter' in Frank Capra's IT'S A WONDERFUL LIFE); Orson Welles (in a Mercury Theatre radio performance); Sir Ralph Richardson (a beautiful audio recording); Alastair Sim (in the early 1950's British film and offering my favorite interpretation of the role; Danny Peary, in his fascinating ALTERNATE OSCARS, selects him as Best Actor for that performance); and, certainly, George C. Scott, in what was considered to be the version to end all versions. (And does anyone recall Jim Backus' 'Mr. Magoo' in a delightful animated musical television special back in the 1960's?)