DIE, MOMMIE, DIE!


Silver screen goddess Angela Arden lives again in Celebration Theatre’s hilariously over-the-top revival of Die, Mommie, Die!, Charles Busch’s affectionately acidic tribute to the bevy of fading female icons who made their last defiant stand in 1960s La La Land.
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PICASSO AT THE LAPIN AGILE


Albert Einstein and Pablo Picasso square off to both whimsical and profound effect in Picasso At The Lapin Agile, Steve Martin’s delightful theatrical soufflé now getting a splendid, star-studded revival at San Diego’s Old Globe.
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DOG SEES GOD: CONFESSIONS OF A TEENAGE BLOCKHEAD

Teens play teens, and winningly so, in Worst First Kiss Productions’ terrific intimate staging of Bert V. Royal’s hilarious, thought-provoking, ultimately transformative Dog Sees God: Confessions Of A Teenage Blockhead, a sold-out guest production this weekend only at Hollywood’s The Blank Theatre.
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VANYA AND SONIA AND MASHA AND SPIKE

Vanya, Sonia, and Masha Hardwick, Christopher Durang’s hilariously squabbling siblings, are back (along with Masha’s sexy boy toy Spike), and hallelujah for that, as Santa Monica’s Edgemar Center For The Arts gives the 2013 Best Play Tony Award winner Vanya And Sonia And Masha And Spike a 99-seat staging well worth its back-for-2017 extension.
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GULF VIEW DRIVE

Rubicon Theatre Company treats Ventura audiences—and anyone else in search of a delightful, nostalgic, emotionally potent trip back to the Eisenhower ‘50s—to Gulf View Drive, the third and final installment of Arlene Hutton’s Ovation Award-winning Nibroc Trilogy.
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THE LAST VIG

Supporting performances are uniformly terrific and design elements as good as it gets, but with a low-energy Burt Young slowing things down to a snail’s pace, audiences in search of theatrical sparks had best look elsewhere than writer-director David Varriale’s potentially entertaining Mafia comedy The Last Vig*.
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THE ROOMMATE

Jen Silverman reinvigorates the surefire (if overly familiar) odd-couple comedy in The Roommate, a South Coast Repertory West Coast Premiere that may well defy credibility in its final scenes but never fails to entertain, particularly as performed by a crackerjack couple of SoCal stage treasures.
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BLACK COMEDY

An inspired concept and some virtuoso physical comedy make the first two-thirds of Peter Shaffer’s Black Comedy a one-of-a-kind Glendale Centre Theatre treat before the laughter gets derailed by a jarring second-act tonal shift and some unexpected (and decidedly unpleasant) character twists.
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