CARDENIO

Art imitates life as Stephen Greenblatt and Charles L. Mee imitate Shakespeare (albeit in contemporary prose) in Cardenio, and while the playwriting duo’s take on the Bard’s mismatched-lovers comedies is a bit hit-and-miss, its City Garage debut is nothing if not a feast for the eyes.
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THE HUMAN COMEDY


Smalltown America circa WWII has rarely been brought to life as charmingly and powerfully, or staged as imaginatively as it is in Actors Co-op’s captivating World Premiere adaptation of William Saroyan’s The Human Comedy.
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THE LIFESPAN OF A FACT


A simple fact-finding assignment pits Gen Z against Gen X and accuracy against truth in The Lifespan Of A Fact, the very funny—and very discussion-prompting—latest from the Fountain Theatre.
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LOVE AND INFORMATION


Eight actors play over a hundred characters in four dozen mostly comedic vignettes over the course of a briskly moving seventy-five minutes in Caryl Churchill’s Love and Information, the provocative, mind-blowing latest from Antaeus Theatre Company.
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GREY GARDENS


Trisha Rapier delivered a dazzling star turn in Musical Theatre Guild’s one-night-only staging of Grey Gardens, an award-caliber performance made even more remarkable given the rehearsal-time limit for an Actors’ Equity-sanctioned concert staged reading: 25 hours max.
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THE SECRET GARDEN


Inspired direction, stunning performances, a striking production design, and sumptuous orchestrations add up to something Los Angeles musical theater lovers have been waiting decades to experience, a Broadway-caliber revival of the Tony-winning The Secret Garden.
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FOR THE LOVE OF A GLOVE


Aliens from outer space give five boys from Indiana voices that will propel them to the top of the charts in For The Love Of A Glove, Julien Nitzberg’s shamelessly irreverent, gleefully filthy, 100% unauthorized look at the controversial life of a certain King Of Pop, now eliciting shocked laughs galore in downtown-adjacent Echo Park.
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COME GET MAGGIE

Rogue Machine Theatre’s World Premiere 1950s sci-fi spoof Come Get Maggie has almost everything a new original musical ought to have. It’s funny, it’s quirky, it’s clever, and it’s terrifically performed. What it lacks is an infectiously hummable score.
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