ALL MY SONS


It’s been nearly sixty-five years since Broadway audiences first thrilled to Arthur Miller’s All My Sons, decades during which countless actors have put their stamp on the now iconic roles of factory owner Joe Keller, Joe’s son Chris, Chris’s fiancée Ann Deever, and Ann’s brother George. It’s a sure bet, however, that few if any of them have ever looked like Alex Morris, A.K. Murtadha, Linda Park, and James Hiroyuki Liao—and for obvious reasons. The Kellers and Deevers are Caucasian. Morris, Murtadha, Park, and Liao are not.
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DUSK RINGS A BELL


Playwright Stephen Belber starts off his latest with a classic romantic setup—then throws the audience an unexpectedly serious curve—in Dusk Rings A Bell, his not quite perfect but nonetheless highly affecting two-hander, now playing at Hollywood’s Blank Theatre in an exquisitely acted and directed West Coast Premiere.
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THE DINOSAUR WITHIN


An aging, wheelchair-bound 1960s movie goddess longs for a return to past glories. Her greatest fan, a young Australian aborigine hoping to break into the movie biz in Hollywood, still mourns the death of his two older brothers to suicide. A newspaper reporter remains incapable of recovering from the disappearance of his ten-year-old son years before.

The lives of these three disparate characters intersect in both “The Dreamtime” and “The Dream Factory” in John Walch’s powerful, engrossing, deeply moving The Dinosaur Within, now getting its most major production to date at Pasadena’s Theatre @ Boston Court under the inspired direction of Michael Michetti.
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THE TRAGEDY OF THE COMMONS

Stephen Metcalfe’s gripping new drama The Tragedy Of The Commons takes as its title a term coined in the early 1960s by sociobiologist Garrett Hardin, though it’s not until late in the play that its protagonist explains Hardin’s concept: (read more)

HOW THE WORLD BEGAN


Ask a big city Blue State high school science teacher and a rural Bible Belt high school student how the world began and you’ll probably get two quite different answers. Put this teacher and this student in the same classroom in small town Kansas and sparks are likely to fly.
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THE WAR CYCLE: GOSPEL ACCORDING TO FIRST SQUAD


Let’s say you want to tell a gripping, “ripped from today’s headlines” war story—and you’re operating on a tight budget. You can spend $11,000,000 as Kathryn Bigelow did for The Hurt Locker (and that’s cheap for a Hollywood flick).  Or how about this for a suggestion?  For maybe one-tenth of one percent of that budget, you can produce The War Cycle: Gospel According to First Squad, currently generating equivalent sparks at The Powerhouse Theatre. Talk about a no-brainer!
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RABBIT HOLE

RECOMMENDED
For a play that won the 2007 Pulitzer Prize for Drama, David Lindsay-Abaire’s Rabbit Hole has had surprisingly few local productions in the ensuing years, perhaps a result of its seemingly grim subject matter. For that reason alone, the play’s arrival at Theatre Palisades is good news for L.A. theatergoers. Though this high-end community theater production doesn’t reach the heights of the Chance Theater’s award-winning 2008 production, it is one worth checking out, whether you’ve seen last year’s Oscar-nominated film adaptation, a previous live staging, or this is your first exposure to Rabbit Hole.
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TRYST


George Love has never met a woman he couldn’t seduce, wed, fleece, and abandon (all in short order), and he has never met a woman more ripe for seduction than Adelaide Pinchin. It’s no wonder, therefore, that this master of the romantic con makes the plump, plain, downright pathetic London seamstress his latest target in Karoline Leach’s Edwardian thriller Tryst, now making a welcome return to L.A. area stages at San Pedro’s Little Fish Theatre.
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