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Egan Millard

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It’s hard to imagine a better choice for the Anchorage Concert Association’s 2014/2015 season opener than “Les Miserables,” the epic tale of love and loss amid the Paris Uprising of 1832....

Egan Millard

It’s hard to imagine a better choice for the Anchorage Concert Association’s 2014/2015 season opener than “Les Miserables,” the epic tale of love and loss amid the Paris Uprising of 1832. The show is one of those rare feats of artistic complexity and gravity in the mostly shallow canon of global pop culture; it appeals to nearly every demographic, from seasoned theatergoers who appreciate the show’s operatic elements to young people who first encountered it through “Glee” or the 2012 film starring Hugh Jackman. “Les Miserables” deserves praise for bringing high music and drama back to the masses, and ACA is smart to take advantage of its crossover appeal with this specially commissioned show produced by Los Angeles-based Plan-B Entertainment ...

Egan Millard

“The Rocky Horror Show” is actually a lot like a church in that there are two kinds of people who attend: the once-a-year passive participant and the devotee who goes as often as possible and knows every ritual response and action.

Out of reverence, the faithful followers who stage the show often try to recreate the 1975 film version (“The Rocky Horror Picture Show,” shown at midnight screenings around the globe for decades) as closely as possible, from the design of Frank’s Sonic Oscillator to the shade of dye in Columbia’s hair...

Egan Millard

In the coming days, the Alaska Department of Law is expected to issue a memo to local clerks stating what most Americans already believe: Same-sex couples must be granted the same legal privileges, including the right to marry, that opposite-sex couples have. That memo will rectify an injustice that has festered in our state since territorial days and confirm that this debate is over, that those who want the government to discriminate against LGBTQ people have lost.

I and many other LGBTQ Alaskans, along with our straight allies, will celebrate this moment, and rightly so. However, I’ll celebrate it not as a grand victory but as a temporary solution that will allow us to move toward a much more significant goal: getting the government out of marriage altogether...

Egan Millard

As with many plays, the title of Christopher Durang’s “Vanya and Sonia and Masha and Spike” is a microcosm of the work itself. It’s rambling, mismatched and humorous for reasons that aren’t immediately obvious. As such, it’s also a signal that the play is not, as it is often advertised, a gut-busting screwball comedy. It’s an unusual -- and, at times, unsettling -- pastiche of one-liners, minor tragedies, Chekhov references, stage antics and genuine reflection on our swiftly changing world. It’s difficult to wrap one’s mind around, even when staged well...

Egan Millard

In her column in Wednesday’s Alaska Dispatch News , Elise Patkotak­ rails against unnamed Christians ­who she claims are defying Jesus’ teachings – some by yelling viciously at refugee children, some by not using their positions of power to denounce those protesters. However, even a passing glance at the facts reveals that the exact opposite is true: Christian individuals and groups are leading the effort to care for the migrant children caught in the middle of the border dispute. Sadly, in her rush to decry Christians as hypocrites and bigots, Ms. Patkotak engages in hypocrisy and bigotry herself, insulting the very people who are doing the most good in this situation...

Egan Millard

Those of us with hypercritical minds might walk into NETworks’ touring production of “ Memphis ” at the Center for the Performing Arts with a few questions weighing us down. Is a feel-good, dance-driven musical the best way to explore America’s complex history of racism? Do we really need another story about racial persecution told from the perspective of a white person? And isn’t this just a blatant ripoff of “Hairspray”?

For now, forget those. You’ll have plenty of time to debate them over a pint at Humpy’s after the show. And once the powerhouse opening number, “Underground,” starts, you’ll have trouble even remembering them...

Egan Millard

Those of us with hypercritical minds might walk into NETworks' touring production of "Memphis" at the Alaska Center for the Performing Arts with a few questions weighing us down. Is a feel-good, dance-driven musical the best way to explore America's complex history of racism? Do we really need another story about racial persecution told from the perspective of a white person? And isn't this just a blatant rip-off of "Hairspray"?

For now, forget those. You'll have plenty of time to debate them over a pint at Humpy's after the show. And once the powerhouse opening number, "Underground," starts, you'll have trouble even remembering them...

Egan Millard

When a thunderstorm clears the steamy Southern air near the end of "Cat on a Hot Tin Roof," it releases most of the pent-up tension and aggression the characters have been bristling with the entire play. And one could feel a cathartic collective exhale from the audience in the Sydney Laurence Theatre, where Perseverance Theatre is staging its production of the Tennessee Williams classic...

Egan Millard

You've probably heard the famous quote that's been attributed, over the decades, to Steve Martin, Frank Zappa, Laurie Anderson, Martin Mull, Thelonious Monk and many others: "Writing about music is like dancing about architecture." If that's true (as I would agree it is), then writing about dance is an even more absurd endeavor -- like sculpting about psychiatry, perhaps. You get the point: Language falters when trying to describe an art form intended to relay truths too intangible for words...

Egan Millard

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