COMPANY

Director Kristin Towers-Rowles makes Stephen Sondheim and George Furth’s 1970 Broadway classic Company seem fresh and new in the terrifically performed and choreographed revival it’s now being given at Santa Monica’s Morgan-Wixson Theatre.
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33 VARIATIONS

Actors Co-op’s intimate revival of Moisés Kaufman’s 33 Variations is not only one of the year’s finest 99-seat productions, it is among the all-time best I’ve seen at the Co-op since first discovering the Hollywood theatrical gem over two decades ago.
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COLLECTIVE RAGE: A PLAY IN FIVE BOOPS


Five very different Bettys learn to love their pussies, and each other, in Collective Rage: A Play In Five Boops, a tangy new Jen Silverman comedy that may not be to everyone’s taste, but offers enough delicious dialog and tasty performances to keep adventurous Boston Court audiences entertained and ultimately maybe even quite moved.
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A GENTLEMAN’S GUIDE TO LOVE AND MURDER

Homicide has rarely been as hilarious as it is in A Gentleman’s Guide To Love And Murder, the murderously mirthful quadruple-Tony-winning Best Musical of 2014, now paying a crowd-delighting weeklong visit to the Segerstrom Center For The Arts.
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42nd STREET

There may be only a third as many hoofers onstage as in the original Broadway production and painted scrims may take the place of a more three-dimensional scenic design, but with one Harry Warren-Al Dubin song smash after another, a book as cleverly written as Michael Stewart and Mark Bramble’s, direction as sharp and choreography as imaginatively tweaked as DJ Gray’s, and above all a cast as all-around terrific as the twenty-two on stage at Candlelight Pavilion Dinner Theatre and 42nd Street makes for yet another crowd-pleasing Candlelight hit.
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ONCE ON THIS ISLAND

The sights, the sounds, and the colors of the Caribbean fill the Cerritos Performing Arts Center as 3-D Theatricals treats its audiences to Lynn Ahrens’ and Stephen Flaherty’s tale of star-crossed island lovers, the magical musical Once On This Island.
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WITNESS FOR THE PROSECUTION

A couple of miscast lead roles undermine credibility throughout what would otherwise be a satisfactory production of Agatha Christie’s Witness For The Prosecution at The Group Rep.
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DIE, MOMMIE, DIE!


Silver screen goddess Angela Arden lives again in Celebration Theatre’s hilariously over-the-top revival of Die, Mommie, Die!, Charles Busch’s affectionately acidic tribute to the bevy of fading female icons who made their last defiant stand in 1960s La La Land.
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