LOVE AMONG THE RUINS


Star power lights up the El Portal stage in Love Among The Ruins, as delectable an evening or afternoon of live theater as any playgoer could wish for.
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ON YOUR FEET!

Three star-caliber performances, several topnotch supporting turns, and some exciting Latin dance numbers designed to get you On Your Feet! do their best to overcome the substandard production values given The Story of Emilio and Gloria Estefan’s non-Equity tour at the La Mirada Theatre For The Performing Arts.
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LIFE SUCKS


Uncle Vanya has probably never made audiences laugh as loudly and as often as he and his fellow Chekhovians do in Aaron Posner’s Life Sucks, the Stupid F***ing Bird playwright’s contemporary take on a 124-year-old Russian classic, now getting a fabulous Interact Theatre Company Los Angeles Premiere at the Broadwater Mainstage.
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HADESTOWN


A nearly brand-new cast makes Hadestown’s two-week return to the Ahmanson not only a must-see for anyone who thrilled to the Best Musical Tony winner last year, but also a thrilling introduction to Anaïs Mitchell’s electrifyingly original musical smash for those discovering it for the first time.
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FOLLIES (CONCERT VERSION)


With a now basically unaffordable original Broadway cast of 47 (and opulent sets and costumes to match), Stephen Sondheim and James Goldman’s Follies turned out to be the ideal rarely-staged gem for Musical Theatre Guild to introduce audiences to its best-ever new space at Santa Monica’s The Broad Stage, a one-night-only concert version that more than earned Sunday’s extended standing ovation.
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THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME


An English teenager on the autism spectrum sets off on the most remarkable of coming-of-age journeys in The Curious Incident Of The Dog In The Night-Time, ingeniously directed, gorgeously designed, and excitingly performed by some of Chance Theater’s best and most popular stars (and one very impressive newbie).
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KILL SHELTER: THE RED CAST


A return visit to Theatre Of NOTE to catch the “Red Cast” in Ashley Rose Wellman’s Kill Shelter provides additional proof that (to quote from my original review) this is “not only one of the most remarkable new plays I’ve seen in a very long time, it’s the best Theatre of NOTE production I’ve reviewed since the company’s streak of winners in the mid-2010s.”
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TOWARDS ZERO

Haphazard casting and shaky direction make Agatha Christie’s Towards Zero the weakest Theatre 40 production since the company’s return to live, in-person programming over two years ago.
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