BETRAYAL


The aftermath of Harold Pinter’s seven-year love affair with the wife of a close friend serves as point of departure for his 1978 three-hander Betrayal, the fascinating latest from City Garage.
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MIDDLE OF THE WORLD


An Uber ride through the traffic-jammed streets of Midtown Manhattan proves life-changing for both driver and passenger in Juan José Alfonso’s Middle Of The World, a compelling, thought-provoking, surprise-packed Rogue Machine Theatre West Coast Premiere now playing at the Matrix.
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TWELVE ANGRY JURORS


Reginald Rose’s Emmy-winning tale of a single dissenting juror’s quest for truth and justice keeps audiences on the edge of their seats for ninety electrifying minutes in the Group Rep’s pulse-pounding revival of Twelve Angry Jurors.
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THE MANOR: MURDER AND MADNESS AT GREYSTONE


The Manor: Murder and Madness at Greystone is back for the first time since its last pre-Covid run, exciting news for L.A. theatergoers eager to return to the L.A. mansion where the titular “murder” and “madness” actually occurred.
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LA COCINA


The high-stress, high-intensity back-of-house goings-on at a classy New York City eatery come excitingly to life in Tony Menéses’s La Cocina, the latest from North Hollywood’s Loft Ensemble, and a particular treat for fans of Hulu’s The Bear.
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THE HALF-LIGHT


Four emotionally scarred individuals get a second chance at happiness in Monica Wood’s The Half-Light, a Theatre 40 West Coast Premiere whose touching performances and message of hope make this heartstrings-tugger a bona fide audience-pleaser.
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INSULTED. BELARUS


A nation’s failed efforts to unseat one of the world’s most reviled dictators comes to stunning, gut-punching life in City Garage Theatre’s English-language World Premiere of Andrei Kureichik’s Insulted. Belarus, an eye-opener to those like myself who knew little to nothing about recent events in Europe’s 13th largest country.
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MAMA MAMA CAN’T YOU SEE


Wars past and present merge into an uber-theatrical fever-dream mix of life-or-death drama and mesmerizing modern dance in Stan Mayer and Cecilia Fairchild’s Mama Mama Can’t You See, now blowing audience minds at Studio/Stage.
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