CAROLE COOK DIED FOR MY SINS

A sumptuous production design and a theatrical venue in L.A.’s hip Los Feliz district help distinguish Mason McCulley’s Carole Cook Died For My Sins from the slew of autobiographical solo performances on stage each summer at the Hollywood Fringe Festival.
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I, DANIEL BLAKE

Brilliant performances and dazzling production design aside, Dave Johns’ unrelentingly bleak stage adaptation of I, Daniel Blake, Ken Loach’s Kafkaesque 2016 film about a good man living a British bureaucratic nightmare is the most depressing  90 minutes I’ve spent in a theater in a very long time.
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AMERICAN IDIOT


The Mark Taper Forum is back in business with an American Idiot revival so spectacular, the sex-drugs-and-rock-and-roll-packed musical extravaganza ought to follow in the footsteps of Deaf West’s Big River and Spring Awakening and become a Broadway must-see.
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PASCAL AND JULIEN


A boy in search of a father. A man who wants nothing more than to be left alone with his crossword puzzles. A year of unexpected changes in both their lives. This is Daniel Keene’s Pascal and Julien, the magical U.S. Premiere from the 24th Street Theatre.
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A GOOD GUY


Playwright David Rambo tackles the hot-button topic of school shootings from the point of view of a teacher who takes matters into her own hands in A Good Guy, a gripping, suspenseful, surprise twist-packed Rogue Machine World Premiere.
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CLARKSTON


No one writes with more insight, depth, and compassion about ordinary lives in the American Northwest than prolific Idaho playwright Samuel D. Hunter, whose unique talents are once again on display in the West Coast Premiere of Clarkston, the latest Echo Theater Company spellbinder.
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DUEL REALITY


The most thrilling seventy-five minutes of live theatrical entertainment you’re likely to experience this or any year can now be had at the Ahmanson where eleven superhumanly gifted performers take death-defying flight in Duel Reality.
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HUMAN ERROR


A fertility clinic snafu wreaks hilarious havoc on the lives of two married couples, one Red State, one Blue State, in Rogue Machine Theatre’s Los Angeles Premiere of Eric Pfeffinger’s smart, topical, and very, very funny Human Error.
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