REAL WOMEN HAVE CURVES

Real women not only have curves, they join forces to bring audiences a female-fueled revival of Josefina López’s Real Women Have Curves, a Garry Marshall Theatre crowd-pleaser if there ever was one.
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SHOWPONY

Workplace tensions explode when the acquisition of an African-American-owned company by a major New York advertising agency adds racial sparks to already rampant sexism in Judith Leora’s scathingly funny World Premiere comedy Showpony, the latest from Burbank’s Victory Theatre Center.
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MAME

Musical Theatre Guild treated lucky L.A. audiences to a one-night-only concert staged reading of Jerry Hermans’s Mame that proved not only a terrifically directed-and-performed look back at the 1500-performance 1966 Broadway smash but illustrates to perfection precisely why MTG is a SoCal treasure.
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ALWAYS … PATSY CLINE

Cori Cable Kidder reprises her Ovation Award-nominated, Scenie-winning star turn as Patsy Cline opposite SoCal musical theater treasure Ann Myers in Glendale Centre Theatre’s Always … Patsy Cline for two hours of country music memories backed by a live band. Need I say more?
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MERRILY WE ROLL ALONG

Ingenious staging and a talented young cast make Stephen Sondheim and George Furth’s Merrily We Roll Along, a guest production at the Colony Theater, the summer’s brightest musical comedy surprise.
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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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