ONCE UPON A MATTRESS

RECOMMENDED
If America is the land of opportunity, nowhere is this more true than in the world of community theater. There’s probably nowhere else in the world where software developers, college math teachers, office workers, Air Force officers, and children’s book illustrators are offered so many opportunities to take to the stage and enjoy the delights of performing live theater—without having to quit their day jobs.
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ART


The stars of last fall’s Moonlight And Magnolias are reunited as best friends in the Hermosa Beach Playhouse production of Yasmina Reza’s Tony-winning Art, just one of several reasons not to miss this terrific revival of the 1998 Broadway smash.
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THE LIGHT IN THE PIAZZA


Adam Guettel and Craig Lucas’s The Light In The Piazza is the most exquisite new musical to grace Broadway in the past ten years. How’s that for a reason to catch its first big-stage L.A.-area production since the National Tour played the Ahmanson in 2006—especially one as gorgeous as that of Civic Light Opera Of South Bay Cities?
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THE TAMING OF THE SHREW


Any director tackling Shakespeare is likely to want to put his or her personal stamp on the tragedy or comedy in question, be it the gazillionth Hamlet or the ump-ump-umpteenth Taming Of The Shrew. Stephanie A. Coltrin is no exception, and under her imaginative direction, Hermosa Beach Playhouse’s Taming Of The Shrew becomes a broadly-played comedic delight.
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THE ODD COUPLE


How many plays can you think of that have generated a film adaptation (and a 30-years-later sequel), a long-running sitcom, a short-running African American-cast sitcom, an animated children’s series, an alternate version with the male and female roles reversed, and an updated version with an all new title?
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BAREFOOT IN THE PARK


There’s a fine line in theater between “period” and “dated.” A play that’s dated is one that’s no longer appropriate for a contemporary audience and may even be offensive to current sensibilities. On the other hand, a period play delights us with its look back at the way we were, as seen through then-contemporary eyes. That’s why, when someone recently described Neil Simon’s Barefoot In The Park as “dated,” my immediate response was, “No, it’s not dated at all. It’s period.”
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THE 1940s RADIO HOUR


Anyone under the age of seventy may find it hard to believe there was home entertainment before television, but in the 1930s and ‘40s radio ruled the airwaves with variety shows which brought the voices of stars like Frank Sinatra, Dinah Shore, and Betty Grable into living rooms across America.
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MOONLIGHT AND MAGNOLIAS


Diehard Gone With The Wind fans may well have seen the 1939 classic 1939 times, but few may be aware of the five days movie mogul David O. Selznick shut himself, director Victor Fleming, and script doctor Ben Hecht inside his office, the three men subsisting entirely on a diet of bananas and peanuts, as Hecht rewrote the entire script of Gone With The Wind, a book he’d never read. Or at least that’s how Hollywood scuttlebutt would have it.

Playwright Ron Hutchinson imagines what might have transpired behind those closed doors in his hit comedy Moonlight And Magnolias, now making its Hermosa Beach Playhouse debut in a delightfully fresh new production. Once again HBP Artistic Director Stephanie A. Coltrin proves herself one of the most reliable directors in town, eliciting splendid performances from Patrick Vest (Selznick), Cylan Brown (Fleming), Joel Bryant (Hecht), and Nicole Wessel (Selznick’s harried secretary Miss Poppenghul). Moonlight And Magnolias is a show which will entertain and elucidate anyone who’s ever seen GWTW, and that’s just about everyone on the planet, right?
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