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[title of show]


In the spring of 2004, New York City writing partners Hunter Bell and Jeff Bowen sat down to create a new musical in just three weeks, that being precisely the period of time remaining before the New York Musical Theatre Festival’s submission deadline. Joined by friends (and fellow performers) Susan Blackwell and Heidi Blickenstaff, the quartet met the deadline with a 90-minute musical about itself, from its first spark of inspiration to its opening night on Broadway.  As for the show’s title, having rejected such candidates as Festival Of Dreams, Your Arms Too Short To Write This Musical, and RENTT (with two t’s), the creative team decided to stick with what was on the application form: [title of show]. And wonder of wonders, their dream became a reality. 
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THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE


Every musical theater aficionado has his or her own pet shows, ones that can be seen again and again without ever losing their appeal, especially when new performers put their stamps on favorite roles. My own personal favorites include The Last Five Years, The Light In The Piazza, and The 25th Annual Putnam County Spelling Bee, all of which I have reviewed in numerous productions since StageSceneLA’s 2007 premiere.
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HELLO, DOLLY!


When was the last time you saw a production of Hello, Dolly!?
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OPUS

Tales of rock bands’ acrimonious breakups are the stuff of legend—think Smashing Pumpkins, The Doors, Talking Heads, Pink Floyd, and of course The Beatles. Michael Hollinger’s Opus, now in its Los Angeles premiere at the Fountain Theatre, makes it clear that the world of classical music is no less volatile—and perhaps even more so.
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BEYOND


Beyond is like nothing you’ve ever seen before in a Los Angeles theater—a spectacular blend of glitz, glamour and feathers galore, Paris via Las Vegas transported to NoHo, replete with statuesque sequined dancing showgirls, aerialists soaring above the stage, gorgeous costumes, and did I mention feathers?
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THE WHO’S TOMMY


The Chance Theater tackles its most ambitious musical yet with The Who’s Tommy. Under Oanh Nguyen’s inspired direction, the resulting production is quite possibly the Chance’s most thrilling musical ever, topping even last year’s Hair for visual and audio excitement.  With state-of-the-art sound, lighting, and video design and a couldn’t-be-better cast, The Chance’s The Who’s Tommy (quite a mouthful) achieves the nearly impossible. It replicates the rock concert/rock theater experience in a 49-seat house.  Spectacle and intimacy in equal measure—I can’t recall another show quite like it.
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A CHORUS LINE


Try to think of a musical where the hopes, fears, challenges, and dreams of a dozen and a half characters are explored in dialog, song, and dance … and chances are the first (and possibly only) show that will come to mind is A Chorus Line, the first Broadway musical to explore the intimate stories of Broadway’s “gypsies”—while dealing with race and sexuality and featuring big, flashy production numbers to boot.  Just as Oklahoma! and West Side Story revolutionized Broadway in the 1940s and ‘50, so too did A Chorus Line change the face of musical theater two decades later.
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CHiPs THE MUSICAL


The zanies who call themselves the Troubadour Theater Company are back with CHiPs The Musical, the award-winning ensemble’s first show not based on the hits of a major recording artist or group. Instead, the Troubies’ takeoff on the late-‘70s/early-‘80s action TV series has catchy original music composed by Henry Phillips, with Rick Batalla taking care of book and lyrics.  In all other respects however, CHiPs The Musical is exactly the madness and merriment we’ve come to expect from Troubies’ Artistic Director Matt Walker and company.
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