THE FEEL GOOD STORY AMERICA NEEDS RIGHT NOW


Things get wild and crazy when six Americans held hostage by a band of Sudanese terrorists are reunited in New York for a 60 Minutes-style TV newsmagazine feature in The Feel Good Story America Needs Right Now, Mark Wilding’s latest World Premiere adventure in comedic mayhem at Theatre West.
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THE PETERSON SHOW


The laughs come fast and furious amidst resurrected childhood traumas when five Cosby Show-style sitcom siblings find themselves reunited decades later in Janine Nabers’ The Peterson Show, the latest World Premiere Echo Theater Company must-see.
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THE BED TRICK


HBO’s The Sex Life Of College Girls meets William Shakespeare’s All’s Well That Ends Well in Chance Theater’s California Premiere of Keiko Green’s overlong but devilishly clever The Bed Trick.
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FRANKENSTEIN: RESURRECTION

Gothic horror isn’t really my cup of tea, but if it’s among your favorite theatrical genres, you just might find The Nocturne Theatre’s World Premiere Gothic horror musical Frankenstein: Resurrected right up your dark alley.
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A CASE FOR THE EXISTENCE OF GOD


A pair of single fathers from mirror-opposite backgrounds bond against all odds over parenthood, financial challenges, and a shared “specific kind of sadness” in Samuel D. Hunter’s deeply moving two-hander, A Case For The Existence Of God, the fifth of Hunter’s 15 “Idaho Plays” to get a pitch-perfect Los Angeles Premiere at Rogue Machine Theatre.
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LITTLE SHOP OF HORRORS


Understudy Matthew Taylor Smith got shot out of a cannon and stuck a show-stopping landing as Seymour Krelborn at the post-Opening Night matinee of La Mirada Theatre’s absolutely sensational big-stage revival of the cult classic to end all cult classics, Little Shop Of Horrors.
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CATCH ME IF YOU CAN


Teen con artist Frank Abagnale, Jr. is back in action and once again scamming his way across the country in the Colony Theatre’s exuberant, crowd-pleasing revival of the 2011 Broadway musical based on Steven Spielberg’s popular 2002 biopic.
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MARISOL

I can’t fault the talent that’s gone into bringing Open Fist Theatre’s revival of José Rivera’s Obie-winning Marisol to nightmarish life, but I found the Puerto Rican playwright’s vision of a dystopian New York City under siege almost as torturous to sit through as the unrelenting, apocalyptic horrors its titular heroine has to endure in scene after excruciating scene.
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