DIE HEART: THE DIRECTOR’S CUT


The Troubies are back at the Colony Theatre for their annual spoofstravaganza, the “Director’s Cut” of December 2022’s Die Heart, and let me tell you I had even more fun the second time around (and not simply because heroic protagonist John McClane, played by national treasure Matt Walker, interrupted the mayhem and merriment to give a certain L.A. theater reviewer a shoutout).
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CRY IT OUT

Powerhouse acting honed during Cry It Out’s three-week run at Little Fish Theatre made me glad I got to experience the final performance of Molly Smith Metzler’s funny, compelling, deeply moving dramedy about modern-day motherhood and marriage.
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OUR TOWN

The Group Rep takes us back to Grover’s Corners, New Hampshire circa 1901 for a solid if not extraordinary revival of Thornton Wilder’s classic bit of Americana, the Pulitzer Prize-winning Our Town.
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AN INSPECTOR CALLS


Leave it to director Cate Caplin to take a play I had previously found to be heavy-handed and preachy, J.B. Priestley’s An Inspector Calls, and transform it into something quite magical at Theatre 40.
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THE PRINCE OF EGYPT


Casa 0101 provides proof positive that last year’s The Hunchback Of Notre Dame was no fluke, the Boyle Heights theater company returning this holiday season with their impressively staged and performed take on Stephen Schwartz, Philip LaZebnik, and The Book of Exodus’s The Prince Of Egypt.
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POINTY SCISSORS

Things go from bad to worse and from hilarious to hilariouser when a nincompoop barber accidentally sticks a pair of pointy scissors into a customer’s ear and then hides the body in the barber shop storeroom in Clara Rodriguez’s nonstop fun fest Pointy Scissors, a Theatre West World Premiere.

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SUFFS

Women’s History Month may not be until March but there are lessons to be learned in Suffs, Shaina Taub’s imperfect but educational and ultimately stirring double-Tony-winning musical about the women’s suffrage movement of the early 20th century.
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BORDER CRISIS

Considering how much of what’s coming out of Washington DC these days seems like théâtre de l’absurde, the time could hardly be riper for City Garage to debut Charles A. Duncombe’s absurdist comedy Border Crisis, though in the case of this contemporary adaptation of a 1967 Polish play, excellent intentions yield less than successful results.
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