PRIMARY TRUST


The Pulitzer Prize Board doesn’t always get it right but they most definitely did in 2024 when they opted for hope, healing, and heart over heavy-handedness in honoring Eboni Booth’s Primary Trust, now getting a much anticipated Los Angeles Premiere at the Mark Taper Forum, with the Pulitzer Prize for Drama.
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AIN’T MISBEHAVIN’


The “joint is jumpin’” like “nobody’s bizness” at the Nate Holden Performing Arts Center now that Ain’t Misbehavin’ has set up shop there to gift L.A. audiences with a bona fide entertainment bonanza.
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ASCENT


Henry Ong pays long overdue tribute to Qian Xuese, aka the “Father of Chinese Rocketry,” in Ascent, the much-missed playwright’s look back at not just one of the ugliest pages in American history but one with unmistakable parallels to today’s United States, brought to stunning life at the Skylight Theatre by director-dramaturg Diana Wyenn.
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FLOWER DRUM SONG

A hundred million miracles may be happening every day, but none are more miraculous where musical theater is concerned than the one that has transformed Flower Drum Song, splendiferously revived at Little Tokyo’s Aratani Theatre, from a show filled with antiquated stereotypes to one that can now take its place among Rodgers and Hammerstein’s finest.

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FOR WANT OF A HORSE


“Horsing around” takes on new meaning in Olivia Dufault’s For Want Of A Horse, Echo Theater Company’s provocative World Premiere look at a man with two loves, his wife Bonnie and a filly named Q-Tip.
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CLARA VS. INFINITY


The Curious Incident of the Dog in the Night-Time. Peter and the Starcatcher. And now Zack Rocklin-Waltch’s Clara vs. Infinity. Plays don’t get any more extraordinary than these.
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AMERIKA OR, THE MAN WHO DISAPPEARED

Writer-director Dietrich Smith takes a young German immigrant on the journey of a lifetime in his stage adaptation of Franz Kafka’s Amerika or, The Man Who Disappeared, the year’s most exhilarating theatrical adventure ride.

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KIM’S CONVENIENCE


As hard as I fell for Kim’s Convenience when I streamed the Canadian sitcom on Netflix a couple of years back, I was unprepared for how head over heels I would be for its inspiration, Ins Choi’s 2011 feel-amazing stage gem now paying a visit to the Ahmanson.
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