THE RESCUED
Saturday, September 22nd, 2018
Abuse survivors living in a group home would seem unlikely to inspire a comedy as sweet and touching and funny as Julie Marie Myatt’s The Rescued, but the Road Theatre Company’s latest World Premiere proves an utterly charming if still-a-bit-in-need-of-a polish gem.
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SENSE AND SENSIBILITY
Wednesday, September 19th, 2018
The Dashwood sisters fall truly, madly, deeply in love once again as South Coast Repertory treats Jane Austen fans to Sense And Sensibility, its daringly cast and deliciously performed 2018-2019 season opener.
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NATIVE GARDENS
Monday, September 10th, 2018
Racism, sexism, ageism, and a fence add up to one of the year’s funniest—and most button-pushing—comedies in Karen Zacarías’s Native Gardens, now getting its most star-studded production to date at the Pasadena Playhouse.
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THE CHALK GARDEN
Tuesday, August 28th, 2018
Brits don’t get more delightfully eccentric than the residents of Mrs. St. Maugham’s Sussex manor house in Enid Bagnold’s 1955 charmer The Chalk Garden, the latest Theatricum Botanicum gem.
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YELLOW FACE
Saturday, August 18th, 2018
Tony-winning playwright David Henry Hwang blurs fact and fiction in the most devilishly clever of ways while tackling issues of racism and race in his 2007 off-Broadway hit Yellow Face, now provoking gales of laughter, plenty of post-performance discussion, and an unexpected tear or two at Beverly Hills Playhouse.
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THE MOTHERF**KER WITH THE HAT
Tuesday, August 7th, 2018
Stephen Adly Guirgis’s The Motherf**ker With The Hat proves a terrific showcase for the young professional actors studying at the Gloria Gifford Conservatory at the school’s spiffy new digs on Hollywood Theatre Row.
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SCREWBALL COMEDY
Friday, July 27th, 2018
If Ben Hecht and Charles MacArthur (The Front Page, Twentieth Century) were alive today, they might have written Screwball Comedy, a Norm Foster/Theatre 40 gem that more than does justice to the genre whose name it bears.
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THREE DAYS IN THE COUNTRY
Sunday, July 15th, 2018
Unrequited love has rarely been as delightful to witness as it is in Three Days In The Country, playwright Patrick Marber’s tasty new “version of” Ivan Turgenev’s considerably older (by about a hundred seventy years), longer (by an hour and a half), and stodgier (or so I’m told) A Month In The Country, and a glorious return to partner-cast form for L.A.’s crème-de-la-crème Antaeus Theatre Company.
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Since 2007, Steven Stanley's StageSceneLA.com has spotlighted the best in Southern California theater via reviews, interviews, and its annual StageSceneLA Scenies.
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