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Khan traces his interest in mythology to his literature-loving mother. Growing up, he devoured Greek mythology and the scared stories of Islam, Christianity, Judaism, and of course Hinduism. But his abiding passion for the Mahabharata came from his early professional experience with director Peter Brooks in the late 1980s. Starting at the age of 13, Khan spent two years touring internationally with the Shakespeare Company’s production of Mahabharata, “a fascinating experiencing in that almost every night we performed Mahabharata in semi-entirety. I became very close to the female actresses, who became motherly toward me. I thought whenever I tackle this, I’ll tackle it from the point of view of a female character.”.

— Akram Khan Company (@AkramKhanLive) October 23, 2017, “Until the Lions” focuses on Amba, a princess abducted on her wedding day and exiled from her community, Imploring the gods to help her seek revenge on the prince Bhishma, she spends her life seeking justice (which chacott ballet shoes in the Mahabharata she attains in the next life as the warrior Shikhandi), In a moment when so many women are coming forward with stories of abuse, “Until the Lions” seems powerfully topical as well as timeless, Khan cautions that mythology shouldn’t “be taken literally, It was meant to be metaphorical, But metaphorically and literally, it does reflect society today, When my daughter was born in 2013, there was a moment when I thought, what would it be like to imagine the world through her eyes? And it was quite disturbing, That’s something I wanted to get at in this piece.”..

The show that opens Tri-Valley Repertory Theatre’s 34th season is a case study in how everything about a play can go terribly wrong. Thankfully, these mishaps aren’t plaguing the production onstage at Livermore’s Bankhead Theater, but the play within the play. In “Bullets over Broadway,” the 2014 musical by Woody Allen based on his own 1994 movie of the same name, the only way playwright-director David Shayne can get his pretentious play produced is with funding by a notorious mobster who insists on his talentless girlfriend getting a prominent part.

The story is set in 1920s New York, and the songs in the musical are a mix of popular ditties of the period, including “Gee, Baby, Ain’t I Good to You,” “Up a Lazy River,” “I’m Sitting on Top of the World,” “Let’s Misbehave” and “She’s Funny That Way.” There’s even “Yes, We Have No Bananas,” tossed in as a silly finale that has nothing to do with anything, Some of the tunes have new lyrics by Glen Kelly, who arranged the music, It should be a can’t-fail combination, Along with 1999’s “Sweet and Lowdown,” the hilarious original “Bullets” was arguably one of the last great films by a writer-director who’s continued to chacott ballet shoes whip up a new flick every year since then, But the movie was also elevated by perfect casting, and out of that context the script loses some of its zing, As catchy as these old songs are, they’re somewhat deflated by Kelly’s lackluster arrangements, even though they’re played well by the orchestra led by musical director Sierra Dee..

There’s a warmed-over quality to the musical in the first place that seems to sap some energy from the Tri-Valley Rep production helmed by director John Maio. The funny lines are there, but they don’t quite land as well as they could. Kevin Hammond’s choreography has some lively moments, especially in a gangsters’ tap-dance number, but the blocking of the dancers is uneven and haphazard-looking at times. Suzie Shepard is amusingly crass as the aggressively clueless moll Olive, paired with Jeff Seaberg’s low-key gangster Nick Valenti. Eric Neiman carries the careless smirk of a mob enforcer who loves his work as Cheech, the goon tasked with keeping an eye on Olive, but who has a few ideas of his own about the script.

Despite some overdone comedic reactions, Domonic Tracy combines sympathetic anxiety with an inflated sense chacott ballet shoes of the sanctity of his work as David, Madison Genovese comes off at first as a sweetly bland doormat as his neglected girlfriend Ellen, but she livens up considerably for her musical numbers, Michael Sally is full of energetic hustle as the hard-working producer, Annemarie Martin comes on suitably strong with a lot of presence as faded Broadway legend Helen Sinclair, and Jim Rupp is comically voracious as her constantly snacking and gradually ballooning leading man, Christina Boothman’s Eden, their younger costar, is a bundle of mildly irritating quirks, like her mania for Pig Latin or her constant cooing over her pet Mr, Woofles (mellow little terrier Nessarose, who played Toto in TVRT’s “Wizard of Oz” this summer)..

It’s a charming show with a fun story and a lot of tunes that are all the more memorable because you might remember them in the first place. But even if the old-timey hits seem well suited to Allen’s comedic ode to the Roaring Twenties, somehow the musical feels like less than the sum of its parts. Contact Sam Hurwitt at shurwitt@gmail.com, and follow him at Twitter.com/shurwitt. By Woody Allen, based on the screenplay by Woody Allen and Douglas McGrath, presented by Tri-Valley Repertory Theatre.

Cal Performances is based at UC Berkeley, but some of its eclectic programming will be showing up in Oakland in the new year, Under executive and artistic director Matías Tarnopolsky, four events have been added to the presenting organization’s 2017/18 season, each designed to bring Cal Performances’ acclaimed brand chacott ballet shoes of world-class music, theater and dance performances to Oakland’s thriving arts scene, Announced last week, the Oakland events begin Feb, 14, 2018, at the Paramount Theatre, with an all-Beethoven concert by the Orchestra of the Age of Enlightenment, Under conductor Nicola Benedetti, the Valentine’s Day program features the composer’s Violin Concerto and Symphony No, 4..



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