CAMBODIAN ROCK BAND

The Cambodian genocide may seem the least likely of subject matters for a raucous rock-music comedy, but this is precisely what Lauren Yee has pulled off in Cambodian Rock Band, her most accomplished, fulfilling play to date.
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ANNIE GET YOUR GUN

Candlelight Pavilion treats audiences to a crowd-pleasing revival of Irving Berlin’s 1948 classic Annie Get Your Gun, the song-and-dance tale of legendary 1880s “cham-peen” sharpshooter Annie Oakley as reimagined by Oscar-Emmy-Tony winner Peter Stone.
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STEEL PIER

Few musicals have faded into obscurity more unjustly than John Kander and Fred Ebb’s Steel Pier, just one reason to celebrate its two-decade-awaited West Coast Premiere, and don’t let the term “student production” scare you away. Though its cast may be younger than many of the characters they are playing, in all other respects this UCLA Department Of Theater stunner is second to none.
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UNEMPLOYED ELEPHANTS – A LOVE STORY

Playwright Wendy Graf proves herself as adept at the romcom two-hander as she is at her dark, dramatic solo pieces in Unemployed Elephants – A Love Story, a Victory Theatre World Premiere sparked by Maria Gobetti’s deft direction and a couple of couldn’t-be-better leads.
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EL NIÑO

No one mines more laughs from dysfunction than Justin Tanner, and if you don’t believe me, check out the latest from the playwright who gave the world Voice Lessons, Teen Girl, Oklahomo!, Space Therapy and more, and whose latest, El Niño, proves the perfect Rogue Machine follow-up to the darkness and depravity of Ruth Fowler’s bled for the household truth.
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THE GRADUATE

Melanie Griffith delivers a superstar turn as befits a Best Actress Oscar nominee, director Michael Matthews once again proves himself an L.A. theater superstar, and newcomer Nick Tag reveals emerging-star power in Laguna Playhouse’s The Graduate, a production so stellar you might just think you’re seeing a Broadway show.
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A RAISIN IN THE SUN

A Raisin In The Sun, Lorraine Hansberry’s piercing look at racial discrimination, gender roles, family values, and burgeoning African-American identity in the pre-Civil Rights Era 1950s gets revived to powerful effect at Pasadena’s A Noise Within.
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A STREETCAR NAMED DESIRE

Tennessee Williams’s A Streetcar Named Desire undergoes a radical reinvention at The Theatre @ Boston Court where director Michael Michetti has transposed the seven-decade-old classic to 21st-century New Orleans to stunning effect.
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