MORE GUNS!
Sunday, November 25th, 2018Would the United States actually be safer if every single one of us owned a gun? Philip Labes and Michael O’Konis take that notion and run with it in their clever, tuneful, unexpectedly heart-filled More Guns! A Musical Comedy About The NRA, a Saturday night smash for Hollywood’s The Second City.
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SHE LOVES ME
Monday, November 19th, 2018Director-choreographer Cate Caplin and a pitch-perfect cast do everything right in Actors Co-op’s intimate revival of the 1963 Broadway charmer She Loves Me, perhaps better known today as the pre-Internet You’ve Got Mail.
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MIDDLE8
Monday, November 19th, 2018If Thornton Wilder were still alive to write a rock opera about five musicians dealing with issues of love, life, death, and what comes after, he might choose to title it Our Band. Stefan Marks calls his play-with-songs Middle8, and for anyone who’s seen the playwright-actor-director-musician-designer’s past work, it should come as no surprise that Middle8 is label-defyingly special.
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TWO MILE HOLLOW
Monday, October 29th, 2018Anton Chekhov meets Aaron Spelling in Leah Nanako Winkler’s Two Mile Hollow, an Artists At Play World Premiere whose first act is so deliciously, risk-takingly hilarious, one can’t help wishing there were about a quarter-hour less of Act Two.
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ROPE
Monday, October 1st, 2018Cohabitating young Londoners strangle a university classmate to death, hide the body in a living room trunk, then welcome the victim’s father, his aunt, a pair of fellow students, and the teacher whose beliefs inspired their cold-blooded act for a dinner soiree in Patrick Hamilton’s Rope, easily the darkest. deadliest, and most daring offering in Actors Co-op’s 27-year history.
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THE DIARY OF ANNE FRANK
Saturday, September 8th, 2018Director Stan Zimmerman’s high-concept, Latino-cast The Diary Of Anne Frank scores points for its thought-provoking premise. In execution, however, it proves a mixed bag at best.
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SPRING AWAKENING
Sunday, September 2nd, 2018Spring Awakening has arrived at Hollywood’s Lounge Theatre in what is easily the most “high-concept” of the fourteen productions I’ve seen. Promoted as “Spring Awakening For Gun Safety” and drawing overt connections between its 1891 teen protagonists and the 2018 world we live in, this thoroughly original vision is as stunningly directed and choreographed as it is strikingly designed and powerfully performed.
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