Crispin Glover’s Quirks Hit The Road

Crispin Glover, a character actor, also is quite the character. He once lived in an apartment painted all black, kept an operating table rumored to have been used for gynecological exams in his living room and gave new meaning to the word “hyper” when he greeted David Letterman with a kick-boxing move that got him booted from the show.

“Erotique” Aims for the Mind – and Misses

If male directors had made “Erotique,” the film would have been called soft-core porn. But because women were employed to direct the movie’s three vignettes, “Erotique” is being billed as “intelligent erotica.” Whatever. The result is the same – a film where sex is more important than content and where women’s – not men’s – bodies serve as the primary objects of titillation.

Culture Clash: Ethnic Portrayals and Television

I don’t necessarily love her semi-autobiographical show “All-American Girl” yet, but I relate to Margaret Cho, the star of ABC’s new comedy. Cho is Korean-American. I am Korean-American. She is the antithesis of the ideal Asian woman (geisha girl). No one would mistake me for Suzy Wong. She snorts when she laughs. I snort when I laugh. She’s big (chubby). I’m big (tall). Once, a Korean friend’s father helpfully advised me to “stop growing” if I wanted to land a husband. She’s not a doctor, but a comedian. I’m not a doctor, but a journalist – kind of like a comedian. Cho dates losers. When I date, they’re usually losers. She’s 25. I’m . . . well, never mind.

‘Forever Plaid’ Flaunts, Taunts Boy Wonders

“Forever Plaid” is a tribute to the guy groups of the ’50s and ’60s who dressed exactly alike, performed choreographed moves and sang beautiful, heartbreaking harmony. It also is a hilarious, quick-paced 90-minute musical comedy that sends up those groups as much as it pays homage to them. Like the songs, “Forever Plaid” is light and frothy. At Tuesday night’s opening at the Royal George Cabaret Theatre, the four starring actor; singers perfectly depicted the euphoria of being in front of an audience while conveying the pathos of being dead.