ANGRY, RAUCOUS, AND SHAMELESSLY GORGEOUS


Generations clash to laughter-and-thought-provoking effect in the sensational Los Angeles Premiere of Pearl Cleage’s Angry, Raucous, and Shamelessly Gorgeous, now dazzling and delighting audiences at the Geffen Playhouse.
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ANTIGONE


Playwright Kenneth Cavander dusts the cobwebs off Sophocles’ Antigone in his contemporary adaptation of the 2500-year-old Greek tragedy … and the result is yet another Antaeus Theatre Company winner.

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RICHARD III

Ann Noble delivers a tour-de-force performance in the title role, but I found Guillermo Cienfuegos’s edgy, contemporary, stunningly staged take on William Shakespeare’s Richard III hard to follow (and most of its characters hard to distinguish one from another). Then again, that just might be me and my conflicted feelings about the Bard, particularly when he is in history play mode.
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UNCLE VANYA


Neil LaBute gives Anton Chekhov’s Uncle Vanya a more contemporary-sounding tweak in the Tony nominated playwright’s third visit to Santa Monica’s City Garage Theatre, and the result is a Vanya that even Chekhov “non-fans” like this reviewer can enjoy.
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CYMBELINE


Cymbeline may seem an unlikely title for a Western a la Gunsmoke, Bonanza, or The Rifleman, but William Shakespeare and the American West prove an inspired mix in Antaeus Theatre Company’s 2025-26 season opener.
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ONE MAN, TWO GUVNORS


The Swinging Sixties have rarely if ever swung as wildly and wackily as they do in the physical-comedy-packed screwball funfest that is the West End-to-Broadway smash One Man, Two Guvnors, A Noise Within’s couldn’t-be-more-fabulous 2025-2026 season opener.
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THE SEAGULL: MALIBU


Ellen Geer updates Anton Chekhov’s The Seagull from 1890s tsarist Russia to Malibu, California during the “It’s All About Me” 1970s, and the exhilarating result is The Seagull: Malibu, a romantic dramedy that’s both Chekhovian and Southern Californian, and a Summer Of 2025 treat no matter how you feel about Chekhov.
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MUCH ADO ABOUT NOTHING


Beatrice and Benedick are once again at it tooth and nail, but this time round she’s wearing a hoopskirt and he’s sporting a Civil War-era Army uniform as director Ellen Geer transposes the Shakespeare comedy classic from 16th-century Italy to 1860s Virginia while sprinkling in one I Love Lucy-inspired physical comedy bit after another.
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