HARVEY


Mary Chase’s 1944 Pulitzer Prize-winning comedy classic about a man and an invisible six-foot-one-and-a-half-inch-tall rabbit called Harvey returns 81 years after its Broadway debut to close out Whittier Community Theatre’s 101st season on a delightfully (and thought-provokingly) winning note.
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BECKY’S NEW CAR


Great play. Great direction. Great cast. Great design. Theatre 40’s intimate revival of Becky’s New Car, Steven Dietz’s unorthodox look at marital devotion and extramarital hanky-panky has everything it takes to make it one of Theatre 40’s most all-around fabulous productions in years.
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NOISES OFF


Westwood’s esteemed Geffen Playhouse and Chicago’s illustrious Steppenwolf Theatre Company join creative forces to give L.A. audiences a fabulously entertaining revival of what may well be the most inventive and uproarious farce ever written, Michael Frayn’s Noises Off.
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FAKE IT UNTIL YOU MAKE IT

Multiple mistaken identities, a slew of slammed doors, and plenty of physical comedy spark Larissa FastHorse’s hilarious if not quite fabulous World Premiere satiric culture-clash farce Fake It Until You Make It at the Mark Taper Forum.
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THE PLAY THAT GOES WRONG


Everything goes right where laughter is concerned in The Play That Goes Wrong, the West End-to-Broadway comedy smash that that just might set a laughs-per-minute record at the La Mirada Theatre.
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THE CURIOUS SAVAGE


It’s not the crazies who should be committed in John Patrick’s 1950 comedic gem The Curious Savage, the auspicious start to what promises to be the best season in years for North Hollywood’s the Group Rep.
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SANTASIA – A HOLIDAY COMEDY


Santasia – A Holiday Comedy is back at Sherman Oaks’ Whitefire Theatre for its 25th annual mash-up of  madcap SNL-style skits, clever Claymation videos, hilarious Broadway musical parodies, nostalgic Christmases memories, and Brandon Loeser in drag, the best possible news for audiences seeking holiday comedy rated R-for-language and H-for-heart.
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MRS. DILBER’S CHRISTMAS CAROL

It’s a clever, promising premise, and were it given less over-the-top treatment, Arthur M. Jolly’s Mrs. Dilber’s Christmas Carol just might be a winner, but excessively broad performances squander much of the good cheer Jolly’s script might otherwise inspire. (It would help too if you could understand more than half of what the actors are saying.)
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