SOFT POWER

A New York cast and production team bring Los Angeles audiences the World Premiere latest from Tony-winning playwright David Henry Hwang and Tony-winning composer-lyricist Jeanine Tesori, the crowd-pleasing East-meets-West “play with a musical” Soft Power, as audacious in concept as it is for the most part effective in execution.
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THE UNAUTHORIZED MUSICAL PARODY OF CLUELESS

East Coast transfer student Tai Frasier may have been clueless when she showed up at Beverly Hill High just aching for a makeover, but the folks at Rockwell prove themselves masterful movie spoofers once again with their riotous, rollicking latest, The Unauthorized Musical Parody Of Clueless.
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WHAT HAPPENED WHEN

The survivor of a horrific childhood is visited by ghosts of his dark and desolate past in Daniel Talbott’s memory play What Happened When, now getting an exquisitely designed Echo Theater Company West Coast Premiere unfortunately made more cryptic than already written by one bad casting choice.
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PIGS AND CHICKENS

The Office meets A.I. meets Orwell’s Big Brother in Marek Glinski’s entertaining if a tad over-complicated satirical absurdist black comedy Pigs And Chickens, the latest Ensemble Studio Theatre/LA World Premiere.
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THE MADRES

Playwright Stephanie Alison Walker pays tribute to the women who would not be silenced when their sons and daughters started disappearing by the thousands during the “dirty war” waged by the Argentine military dictatorship on its own citizens beginning in the mid-1970s in The Madres, another powerhouse Skylight Theatre World Premiere.
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CABARET

USC’s Musical Theatre Repertory once again rivals the finest intimate professional theater in town with its all-around smashing student-performed, student-directed, student-designed revival of the 1966 Kander and Ebb classic Cabaret.
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AN UNDIVIDED HEART

Pedophile Catholic priests and toxic waste-dumping chemical plants form the backdrop of Yusuf Toropov’s An Undivided Heart, a Circle X. Theatre Co./Echo Theater Company World Premiere that despite occasional tonal inconsistency and lack of clarity proves a powerful indictment of church-and-corporation-sanctioned abuse.
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BINGO HALL

A high school boy navigating unrequited feelings for a female best friend while making college plans either to stay close to home or to travel thousands of miles away is a tale, if not as old as time, at least as ancient as the John Hughes 1980s, but it feels fresh and new when the high schooler in question has only ever known life on a New Mexico Indian reservation in Dillon Chitto’s World Premiere comedy Bingo Hall.
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