ENTERTAINING MR. SLOANE


When Joe Orton’s Entertaining Mr. Sloane opened on London’s West End back in 1964, a certain Mrs. Edna Welthorpe was inspired to write the Editor of Plays And Players as follows:

“I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humour. Today’s young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that ordinary people will shortly strike back.”
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A MIDSUMMER NIGHT’S DREAM


It takes a good deal of chutzpah to chop an hour off the running time of William Shakespeare’s A Midsummer Night’s Dream, and a great deal of talent to pull it off, a feat which Vanguard Rep has performed to perfection—and to gales of laughter—in an open-air production certain to delight audiences of all ages, and that includes Shakespearephiles-and-phobes alike.
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BAKERSFIELD MIST


If there’s anyone with whom most Los Angeles theatergoers would surely not want to change places, it would probably be Maude Gutman of Bakersfield, the heroine of Stephen Sachs’ impressive World Premiere comedy Bakersfield Mist, now playing at the Fountain Theatre. Not only would the mere idea of living without a hundred or more plays to choose from each week be eminently resistible, a mere glance at the rundown knickknack-filled trailer Maude calls (mobile) home would provoke a spontaneous urge to hightail it back to L.A. asap.
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FOUR CLOWNS: ROMEO AND JULIET


When you think of clowns, you probably don’t think of Romeo And Juliet, and when you think of Romeo And Juliet, you probably don’t imagine Juliet telling her beloved, “You are the sun in the sky. I can’t wait for you to be that guy … who fucks me tonight.”
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SUPERIOR DONUTS


It’s taken a few years for Tracy Letts’ Superior Donuts to make it from Chicago to Broadway to Westwood—even San Diego beat the Geffen Playhouse to the punch—but for those in search of two-and-a-half hours of laughter with more than a bit of depth, the latest from Pulitzer-&-Tony-winning Letts proves well worth the wait.
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LOCKED AND LOADED

NOT RECOMMENDED

Despite the many positive reviews it has garnered during its extended run at the Santa Monica Playhouse, I did not enjoy Locked And Loaded, Todd Sussman’s existentialist dramedy. I found myself turned off from the get-go by its terminally ill, suicide-bound sexagenarian heroes, two men I wouldn’t enjoy spending time with in real life, let alone as characters in a play. Things perked up a bit, or at least at first, when a pair of hookers appeared magically at their doorstep, one of them sporting an irresistible Spanish accent. Unfortunately, her foulmouthed chick-with-a-dick companion proved entirely resistible, and though I kept hoping to be won over, I found myself less and less involved in the onstage action as the play went on to bizarre extremes, its characters engaging in a mock trial à la Sartre (not one of my favorite writers).
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LUV


This out-and-out hilarious blend of the absurd, the romantic, and the slapstick opens with a chance late night meeting between old school chums Harry Berlin (Michael Goldstrom) and Milt Manville (Rob Roy Cesar), reunited on a big city bridge for the first time in fifteen years. An overjoyed Milt can’t wait to update Harry on his life, which includes a wife, a home in the suburbs, a twenty-two carat gold watch, a designer suit, silk underwear, the works. As for his college friend’s sorry state of affairs, the crummily dressed Harry gives him the bad news. “It couldn’t be worse. I’m at the end of the line. Everything’s falling apart.” The worst of the worst had to be when a fox terrier peed all over the poor schlump’s gabardine pants, then turned right around and walked off. That’s why tonight, Harry confesses, “I was going to end it all, make one last stupid gesture of disgust and … that would be it.”
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ART


The stars of last fall’s Moonlight And Magnolias are reunited as best friends in the Hermosa Beach Playhouse production of Yasmina Reza’s Tony-winning Art, just one of several reasons not to miss this terrific revival of the 1998 Broadway smash.
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