BEAST ON THE MOON

Richard Kalinsoki’s Beast On The Moon may have been performed in over twenty countries and translated into nineteen languages, but its latest incarnation at International City Theatre reveals flaws both in the play itself and in the production now on stage in Long Beach.
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FRANKENSTEIN

Playwright Nick Dear humanizes the monster commonly if incorrectly known as Frankenstein in his 2011 stage adaptation of the Mary Shelley classic, an A Noise Within season opener as compelling as it is unexpectedly poignant.
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DOPE QUEENS

Dope Queens, Grafton Doyle’s seamy dissection of the go-nowhere lives of three drug-addicted, fresh-out-of-prison LGBTQ street walkers (two of them gender non-conforming POCs and one a GWM) is not just a major downer, it’s an overwrought, all-over-the-place two-acter that overstays its welcome by at least half an hour.
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AN ENEMY OF THE PEOPLE

Ellen Geer updates Henrik Ibsen’s An Enemy Of The People to 1980 and Americanizes it to South Fork, South Carolina in a problematic World Premiere adaptation that would probably work better if its Theatricum Botanicum cast didn’t have a week off between each performance.
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APPLE SEASON

Childhood abuse survivors return to the Oregon farm they once called home in E.M. Lewis’s compact dramatic gem Apple Season, a National New Play Network Rolling World Premiere now riveting audiences at Atwater Village Theatre.
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GOOD BOYS

An explicit sex tape involving a prep school jock and a young woman decidedly not his girlfriend sets off a chain of events that will forever change the lives of one entitled Washington DC family in Roberto Aguirre-Sacasa’s suspenseful, provocative Good Boys, now riveting audiences at Pasadena Playhouse.
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ANNE, A NEW PLAY

Anne Frank is alive and well and living in Paris when first we meet her in Anne, A New Play, Nick Blaemire’s trimmed-down adaptation of a 2014 Dutch-language hit whose powerful U.S. Premiere more than merits a visit to the Museum Of Tolerance.
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LADIES

An all-female creative team join forces to bring a quartet of mid-18th-century pre-feminist Englishwomen to sporadically intriguing but too often meandering 21st-century life in Kit Steinkellner’s Ladies, a Boston Court Pasadena World Premiere.
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