WEST SIDE STORY


Musical Theatre Of Los Angeles follows its much lauded 99-seat production of the mammoth Ragtime with yet another challenge—staging the Jerome Robbins-Arthur Laurents-Leonard Bernstein-Stephen Sondheim classic West Side Story with a 32-member cast and a 10-piece orchestra on a stage perhaps ¼ the size of most large theaters’.  The result is an intimate yet epic production which rates an A+ for ambitiousness and a solid B for execution, and one which confirms MTLA’s promise as a young and daring new musical theater company.
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SCROOGE IN ROUGE


I’ll make a prediction.  Scrooge In Rouge is likely to be the funniest, campiest, most delightful, most all-around entertaining Christmas show you’ll be seeing this holiday season.
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A MULHOLLAND CHRISTMAS CAROL


Three minutes before midnight on March 12, 1928, the St. Francis Dam (located 40 miles northwest of Los Angeles) burst catastrophically, resulting in a flood which took over 600 lives. The dam had been the brainchild of William Mulholland (of Mulholland Drive fame), who masterminded the 233-mile Los Angeles Aqueduct to transport water south from the Owens Valley in Central California and helped to transform Los Angeles from a chaparral-covered desert to the city we know today.
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INTO THE WOODS


Since its Broadway premiere 21 years ago, Stephen Sondheim and James Lapine’s Into The Woods has become one of the most performed musicals in the U.S.—in regional CLOs, on college and high school campuses, and in intimate theaters.  Its first act, which magically combines some of the best loved of Grimm’s Fairy Tales, and its second, which explores with considerable depth what happens after “happily ever after,” make for a show which retains its freshness and originality two decades after it first captivated Broadway audiences.
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SILK STOCKINGS


Silk Stockings was songwriter Cole Porter’s last Broadway musical. The 1955 production ran for over a year, but unlike Porter’s biggest smash, the twice Broadway-revived Kiss Me Kate, Silk Stockings has pretty much vanished from view and memory. Thus, Musical Theatre West’s revisal of the Cold War comedy comes as something of an event, especially with a much rewritten book by Stuart Ross of Forever Plaid fame, who also directs.
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LOVELACE A ROCK OPERA


The lights dim and the upstage screen is filled with image after image—Richard Nixon, protests against the Vietnam war, uniformed soldiers, Woodstock, Kent State, the Manson girls, John and Yoko, the first man on the moon…

The year is 1969 and Linda Boreman is having sex for the first time, in a Cutlass Supreme. 
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HAPPY DAYS


A StageSceneLA prediction: Happy Days The Musical is going to be a sold-out hit at La Mirada Theatre and a surefire smash on its soon-to-begin national tour.  Thanks to major rewrites, a bunch of new songs, Michele Lynch’s rockin’-&-rollin’ choreography, and the firecracker direction of Gordon Greenberg, the 2006 Falcon Theatre world premiere musical has gone from so-so to wow-wow!
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OKLAHOMA!


As the orchestra plays the final notes of the overture, the curtain rises on a middle-aged woman sitting alone on stage in front of a butter churn, her hands around the plunger, methodically moving it up and down. Behind the woman is a farmhouse and fields of corn as high as an elephant’s eye, and her long country dress tells us we are in the early 1900s.  From offstage comes a male voice singing a capella, “There’s a bright golden haze on the meadow…” The voice grows louder until the man enters, wearing a cowboy hat and chaps. “Oh what a beautiful morning… Oh what a beautiful day,” serenades the man to the farm woman, who continues her churning.
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