I, DANIEL BLAKE

Brilliant performances and dazzling production design aside, Dave Johns’ unrelentingly bleak stage adaptation of I, Daniel Blake, Ken Loach’s Kafkaesque 2016 film about a good man living a British bureaucratic nightmare is the most depressing  90 minutes I’ve spent in a theater in a very long time.
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¡PASAJE!

If I were grading on good intentions alone, then J Quiroz and Asdru Sierra’s ¡Pasaje! would earn high marks. Unfortunately, this musical salute to la vida latina in South El Monte is no In The Heights.
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RENT

Jaxx Theatricals follows their Scenie-winning intimate stagings of Andrew Lippa’s Wild Party and Chess The Musical with an excitingly performed but overly choreographed revival of Jonathan Larson’s Rent.
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AMERICAN IDIOT


The Mark Taper Forum is back in business with an American Idiot revival so spectacular, the sex-drugs-and-rock-and-roll-packed musical extravaganza ought to follow in the footsteps of Deaf West’s Big River and Spring Awakening and become a Broadway must-see.
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BAT BOY: THE MUSICAL

A trio of topnotch star turns are the three best reasons to catch Morgan-Wixson Theatre’s over-the-top staging of the horror rock extravaganza that is Bat Boy: The Musical. (It would help too if you could understand what the characters are saying/singing.)
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GLORIA


Everyone’s out for their fifteen minutes of fame in Branden Jacobs-Jenkins’ ripped-from-today’s-headlines gut-puncher Gloria, now being given an electrifying Orange County premiere at Chance Theater.
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TROUBLE IN MIND

A stunning Kimi Walker delivers what may well be a career-best lead performance in Actors Co-op’s mostly successful revival of pioneer African-American playwright Alice Childress’s groundbreaking Trouble In Mind.
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THE LIGHT IN THE PIAZZA


Star turns don’t get more stunning than the pair delivered by Kim Huber and Valerie Larsen in Musical Theatre Guild’s spectacular one-night-only concert staged reading of Craig Lucas and Adam Guettel’s The Light In The Piazza.
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