GREEN CORRIDORS

Natalka Vorozhbyt’s Green Corridors, a series of vignettes revolving around four Ukrainian women fleeing their war-torn land, works better as a showcase for City Garage’s unique style and sensibility than as a play for those who prefer more traditional linear realism to existential dreamscape theater.
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ENEMY OF THE PEOPLE


Tests that reveal contaminated water in the local hot springs pose an existential threat to townspeople whose livelihoods depend on tourist dollars in Bart DeLorenzo’s electrifying contemporary adaptation of Henrik Ibsen’s ahead-of-its-times 1882 shocker Enemy Of The People.
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NEXT TO NORMAL


Next To Normal has arrived at the Hudson Backstage for an all-too-short 4-performance run that more than does justice to the powerful, deeply moving multiple Tony Award winner.
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TREASURE ISLAND

Dialog scenes get bogged down in nautical jargon, 18th-century slang, and outdated grammar, much of it unintelligible to 21st-century ears, but whenever action sequences take over, Theatricum Botanicum audiences are treated to the swashbucklingest adventure story ever to unfold under Topanga skies.
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KIMBERLY AKIMBO


Theatre Palisades and director Cate Caplin have another winner on their hands with Kimberly Akimbo, Pulitzer Prize-winning playwright David Lindsay-Abaire’s quirky comedy about a soon-to-turn-16-year-old who’s got more on her plate than your average high schooler.
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RIDE THE CYCLONE



Triple-threat performances by a super-talented Gen Z cast score a solid A from this Boomer, but having now seen two different productions of Brooke Maxwell and Jacob Richmond’s Ride The Cyclone, the best I can give the musical itself is a C-.
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FROZEN


The Broadway musical Frozen may not be nearly as preschool-kids-friendly as Disney’s The Little Mermaid or Beauty And The Beast, but Torrance Theatre Company once again gives professional regional theaters stiff competition with their splendidly performed and gorgeous-to-look-at big-stage production of the 2018 Broadway hit.
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MARY POPPINS


Carter Thomas not only proves himself a director par excellence, he gives silver screen greats like Gene Kelly, Donald O’Connor, and Dick Van Dyke a run for their dance showmanship as Bert (the role Van Dyke originated on screen) in Highlands Theater’s magical and mesmerizing revival of the Broadway smash Mary Poppins.
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