BOEING-BOEING


Theatergoers wanting to start off the New Year with a good laugh—or a thousand of them—are hereby advised to head on over to the La Mirada Theatre For The Performing Arts where McCoy Rigby Entertainment is opening its 2013 season with Marc Camoletti’s saucy, sexy French farce Boeing-Boeing.
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THE MOTHERF**KER WITH THE HAT


The play with arguably the most unprintable title in Broadway history now gets its West Coast Premiere at South Coast Repertory, once again providing mainstream publications, broadcast media, and SCR with the following dilemma—how to write or talk about a comedy whose title New York publications censored as either The ___________ With the Hat or The [Expletive] With the Hat or The Mother With The Hat (say what?), and whose “official” title is for most media the still unprintable The Motherf**cker With the Hat. Perhaps that’s why, despite the star power of Bobby Cannavale, Chris Rock, and Annabella Sciorra in the original New York cast and a total of six Tony nominations, popular playwright Stephen Stephen Adly Guirgis’s Broadway debut closed after a grand total of 28 previews and 112 performances.

Fortunately for South Coast Rep, The Motherfucker With The Hat (there, I’ve written it and will write it again) has generated enough buzz (it was the 8th most produced play in the U.S. last year) that even lacking name stars, that buzz—plus the rave reviews this sensational production has already generated—is likely to keep every one of the Julianne Argyros Stage’s 336 seats filled throughout its three-week run.
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HEAVEN CAN WAIT


Jennifer Garner did it in 13 Going On 30. Robert Downey Jr. did it in Chances Are. Ellen Barkin did it in Switch. Warren Beatty did it in Heaven Can Wait, and before him Robert Montgomery in Here Comes Mr. Jordan.

What all these movie stars did was suddenly find themselves occupying someone else’s body in that ever popular genre—the body-switch flick.

Glendale native Tommy Kearney now returns to his home turf in Glendale Centre Theatre’s tiptop revival of Harry Segall’s 1930s body-switch gem Heaven Can Wait, adapted for the screen as both Here Comes Mr. Jordan and Heaven Can Wait, and if for no other reason than to see Kearney’s star-making performance as pugilist Joe Pendleton, this is one production comedy lovers won’t want to miss.
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THE GAYEST CHRISTMAS PAGEANT EVER


Though it’s now too late for L.A. theatergoers to catch this holiday season’s return engagement of Joe Marshall’s The Gayest Christmas Pageant Ever!, this reviewer did manage to squeeze in the final performance of this hilarious (and much improved for 2012) December gem.
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SHERLOCK’S LAST CASE


The world’s most famous detective pays North Hollywood a visit as The Group Rep presents Charles Marowitz’s delightful Sherlock’s Last Case as their end-of-year offering. Though not the inspired staging Actor’s Co-op gave us a few years back, director Larry Eisenberg and a talented cast offer Angelinos a crowd-pleasing comedy at a time when most L.A. stages are dark for the holidays.
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DIRTY FILTHY LOVE STORY


The dirt and filth in Rob Mersola’s hilarious World Premiere comedy Dirty Filthy Love Story isn’t what its title may lead you to expect, though there is indeed plenty of R-rated raunch once the sexual sparks ignite between its in-love-&-lust protagonists.
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CYMBELINE


William Shakespeare’s Cymbeline has the reputation of being one of the Bard’s “problem” plays, but you’d never guess that from Fiasco Theater’s astonishingly accessible, amazingly inventive six-actor production, now arriving intact at Santa Monica’s The Broad Stage from an off-Broadway run that won over even the toughest New York critics.
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LA ZIZANIE AU CONSULAT (Mayhem At The Consulate)

RECOMMENDED
The laughter has a distinctively Gallic flavor to it in Euro-Theatre’s production of La Zizanie Au Consulat (Mayhem At The Consulate), Jean-Louis Darville’s World Premiere French-language screwball comedy, debuting tonight at Hollywood’s Assistance League Theatre. Though last night’s preview seemed technically quite a ways from being ready for Opening Night, the English-subtitled* farce had this French-speaking reviewer laughing from start to finish, thanks to Darville’s silly but très amusant script and all-around sparkling performances from its cast of ten native French speakers.
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