EVERYTHING’S COMING UP ROSIE

A couple of luminous Broadway stars shone brightly this past Sunday in Everything’s Coming Up Rosie, Sterling’s Upstairs At The Federal’s one-night-only salute to Rosemary Clooney, a celebration of both the lady of song and the ten years that Michael Sterling has treated L.A. to the crème-de-la-crème of musical theater talent in an intimate supper club setting.
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A FEW GOOD MEN

An edge-of-your-seat suspense-filled script, a mystery it would take a Sherlock Holmes to solve, courtroom sequences that would do Perry Mason proud, razor-sharp direction by Tony Pauletto, a topnotch production design, and crackerjack performances by a cast of twenty-four, most particularly by KC Clyde in the role that scored a pair of Toms (Hulce and Cruise) respective Tony and Golden Globe nominations, all of the above add up to a NoHo Arts Center guest production of Aaron Sorkin’s A Few Good Men that rivals work being done by L.A.’s finest intimate theater companies.
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THE ARMADILLO NECKTIE

From the moment the lights go up on a mobile command center somewhere in the Iraqi desert where a hooded man finds himself strapped to a chair, a pair of jumper cables attached to his nuts by a military officer whose first words are “Whatsup, mothafucka?” you know you’re no longer at your grandparents’ Lonny Chapman Theatre as The Group Rep debuts Gus Krieger’s outrageously dark, outrageously foul-mouthed, outrageously funny The Armadillo Necktie.
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A THORN IN THE FAMILY PAW

Life’s many obstacles prove no match for the ties that bind—promises, responsibilities, guilt, laughter, and above all love—in Garry Michael Kluger’s heart-and-humor-filled A Thorn In The Family Paw, a Theatre West World Premiere that already feels like a contemporary classic.
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AS YOU LIKE IT

For those of us who prefer our Bard Of Avon short and sweet, Denise Devin is back with another of her hour-long Shakespeare Short Cuts, the result of which is an As You Like It exactly as you (and I) like it.
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HEDDA GABLER

RECOMMENDED

Some of L.A.’s finest stage stars take center stage in Andrew Upton’s 2002 version of Henrik Ibsen’s Hedda Gabler, and while the age-blind casting of most of the play’s lead roles proves problematic, the Antaeus Company’s latest partner-cast revival nonetheless offers Los Angeles theatergoers some of the finest acting in town.
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JOHN IS A FATHER

They write country songs about hard-living, heavy-drinking heartbreakers like John. Julie Marie Myatt has written John Is A Father, a play with the heart, humor, and emotional wallop of her unforgettable The Happy Ones, albeit on a smaller scale, and if you happen to miss Sam Anderson’s masterful performance in the title role, trust me, you’ll be kicking yourself when awards season arrives.
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BIRDER

Rising at the crack of dawn to gaze up at our fine feathered friends in the sky is to Roger, the 40something protagonist of Julie Marie Myatt’s quietly compelling Birder, what a flashy new sports car or extramarital fling is to other men his age, a way of dealing with a pesky case of midlife crisis.
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