DORIS AND ME

Scott Dreier brings Doris And Me, his captivating musical tribute to Hollywood’s all-time number-one female star, to Burbank’s Colony Theatre for two hours of movie-and-music nostalgia to do Doris Day proud.
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MARY POPPINS

In-the-round staging proves a perfect fit for Mary Poppins at Glendale Centre Theater, placing the emphasis firmly on P.L. Travers’ storytelling, the Sherman Brothers’ hum-along songs, a bunch of infectious dance numbers, and leading lady Deborah Robin, quite possibly the best of the seven Marys I’ve seen on stage.
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THREE DAYS IN THE COUNTRY

Unrequited love has rarely been as delightful to witness as it is in Three Days In The Country, playwright Patrick Marber’s tasty new “version of” Ivan Turgenev’s considerably older (by about a hundred seventy years), longer (by an hour and a half), and stodgier (or so I’m told) A Month In The Country, and a glorious return to partner-cast form for L.A.’s crème-de-la-crème Antaeus Theatre Company.
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ONE FLEW OVER THE CUCKOO’S NEST

The audience is locked up side by side with the loonies in After Hours Theatre Company’s über-immersive One Flew Over The Cuckoo’s Nest, and if Dale Wasserman’s stage adaptation of Ken Kessey’s novel isn’t ideally served by this you-are-there approach or the production’s younger-than-written crazies, One Flew Over The Cuckoo’s Nest The Experience is a theatrical adventure you won’t want to miss.
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WOOD BOY DOG FISH

Wood Boy Dog Fish, Rogue Artists Ensemble’s deliciously twisted take on Carlo Collodi’s Pinocchio has moved uptown and upscale from the Bootleg to Toluca Lake, terrific news for those who like their fairy tales dark and dirty and theatrically magical.
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HONEYMOON IN VEGAS

Musical Theatre Guild has concluded its 20th-anniversary with a Honeymoon In Vegas so thrillingly staged, choreographed, and performed that yesterday’s audience could be excused for forgetting that they were seeing a mere “concert staged reading” put together in a mere twenty-five hours from table read to showtime.
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WEST SIDE STORY

Glendale Centre Theatre presents West Side Story as you may never have seen it before–up close and in the round. Terrific lead and supporting performances guarantee GCT yet another hit, and whenever the production’s top-drawer dance ensemble launch into one of Jerome Robbins’s iconic dance numbers as adapted by Orlando Alexander, the show takes particularly high flight.
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NATIVE SON

Lead performances are powerhouse and production design one of the year’s most electrifying, but Richard Wright’s 20th-century classic Native Son is ill-served at Antaeus Theatre Company by Nambi E. Kelley’s 21st-century stage adaptation’s temporal zigzags, sledgehammer approach to issues of race, and the addition of a “character” not found in the original novel.
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