TWO GENTLEMEN OF CHICAGO


The Troubadour Theater Company is back for more inspired silliness as they take on William Shakespeare’s Two Gentlemen Of Verona, retitled here Two Gentlemen Of Chicago, the better to feature a dozen or so Greatest Hits by the leading U.S. singles-charting group of the 1970s.
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SPRING AWAKENING


Spring has sprung in L.A. big time with the sensational Los Angeles intimate theater debut of Spring Awakening, the Steven Sater/Duncan Sheik musical adaptation of Frank Wedenkind’s groundbreaking 1891 drama.
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A ROOM WITH A VIEW


E. M. Forster’s A Room With A View now comes to glorious musical comedy life at San Diego’s Old Globe Theatre in a World Premiere adaptation by Jeffrey Stock and Marc Acito.
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PARADE


Thirteen years after its Broadway premiere, Jason Robert Brown and Alfred Uhry’s Tony-winning musical Parade at long last gets its first San Diego production—one so superbly staged and performed that it more than justifies a day trip to our neighbor to the South.
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GODSPELL


Broadway’s future headliners display the triple-threat gifts that will one day be taking them to the Great White Way in Godspell, the latest in a series of Grade-A productions to spotlight the rising stars of Cal State Fullerton’s elite Musical Theater BFA program.
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FIORELLO!


Here’s a trivia question for you: What do these eight Broadway musicals of the 1950s have in common?

Plain And Fancy, Pipe Dream, New Girl In Town, Oh, Captain!, Jamaica, La Plume De Ma Tante, Take Me Along, Redhead, and Fiorello!
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A CHORUS LINE


The first musical to explore the intimate stories of Broadway’s “gypsies,” 1975’s A Chorus Line forever changed the face of musical theater by revealing the hopes, fears, challenges, and dreams of a dozen and a half young dancers in dialog and song, in addition to dealing with issues of race and sexuality alongside big, flashy production numbers choreographed by the legendary Michael Bennett.
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SWEENEY TODD


Santa Monica’s venerable Morgan-Wixson Theatre once again stretches the definition of “community theater” with their production of Stephen Sondheim’s Sweeney Todd, proving that there are indeed exceptions to the rule (expressed to me just yesterday by the Artistic Director of one of our leading CLOs) that “community theaters should never do Sondheim.” The Morgan-Wixson not only can do Sondheim, they can do him quite excitingly indeed.
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