KILL SHELTER: THE RED CAST


A return visit to Theatre Of NOTE to catch the “Red Cast” in Ashley Rose Wellman’s Kill Shelter provides additional proof that (to quote from my original review) this is “not only one of the most remarkable new plays I’ve seen in a very long time, it’s the best Theatre of NOTE production I’ve reviewed since the company’s streak of winners in the mid-2010s.”
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BIRDS OF NORTH AMERICA


A lifetime of failed opportunities to connect weighs heavy on the hearts of the father-daughter protagonists of Anna Ouyang Moench’s haunting Birds Of North America, exquisitely acted by Arye Gross and Jacqueline Misaye at the Odyssey Theatre.
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HOW IT’S GON’ BE


A black teenager comes of age to both heartbreaking and heartwarming effect in JuCoby Johnson’s How It’s Gon’ Be, a dramatic stunner as universal as it is specific, and the latest must-see from Echo Theater Company.
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MEASURE STILL FOR MEASURE


Rehearsals for Shakespeare’s Measure For Measure have life imitating art in Jessica Kubzansky’s Measure Still For Measure, a sensational Boston Court World Premiere that takes backstage drama to a whole new level.
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THE SOUND INSIDE


Amy Brenneman delivers a bravura performance opposite gifted newcomer Anders Keith in Adam Rapp’s unnerving, electrifying The Sound Inside, a phenomenal season opener for the Tony-winning Pasadena Playhouse.
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BLOOD AT THE ROOT


Headline-making real-life events propel Dominique Morisseau’s hot-button Blood At The Root, an Open Fist Theatre Company Los Angeles Premiere given electrifying theatricality by director Michael A. Shepperd, choreographer Yusuf Nasir, and a cast of gifted young up-and-comers.
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WALKING IN SPACE


Four young adult siblings confront their drug-addicted mother to shattering effect in Walking In Space, Gary Michael Kruger’s powerful, fact-based follow-up to his Best-of-2016 winner A Thorn In The Family Paw.
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THE BLUEST EYE

Performances are uniformly topnotch and the A Noise Within season opener is imaginatively directed and stylishly designed. I only wish I had enjoyed Lydia R. Diamond’s undoubtedly faithful stage adaptation of Toni Morrison’s downer of a novel The Bluest Eye even half as much as the Grade A treatment it’s been given.
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