ANDRÉ & DORINE


Not a single word needs to be spoken for Spain’s Kulunka Teatro to make theatrical magic with André & Dorine, now paying an all too brief visit to The Los Angeles Theatre Center in Downtown L.A.
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KING JAMES


Two young men forge a life-changing best-friendship thanks to their shared love of basketball (and more specifically of b-ball superstar LeBron James) in Rajiv Joseph’s heart-stopping brom-com King James, now bringing audiences to their feet at the Mark Taper Forum.
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THE DESPERATE HOURS

Joseph Hayes’ The Desperate Hours may have won a Tony as the Best Play of 1955, but the 67-year-old suspense melodrama is showing its age these days with its stilted dialog and Father Knows Best-meets-Dragnet characters, and some questionable casting choices don’t help its 2022 revival at the Group Rep.
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COME FROM AWAY


The 2017 Broadway Tony winner Come From Away has returned to the Ahmanson Theatre for a two-week run, once again proving that heroism, humanity, and heart can triumph over terror. Not only that, but this supremely feel-good musical remains one of the best directed and most powerfully performed National Tours I’ve seen in many a year.
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KING OF THE YEES


Sierra Madre Playhouse is back in business with Lauren Yee’s affectionate, affecting, winningly amusing tribute to her Chinese-American dad in King Of The Yees.
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BELOVED


The Road Theatre Company’s three-shows-in-a-row return season goes from good to better to best of all with the World Premiere of Arthur Holden’s Beloved, a suspense-filled, twist-packed stunner that will leave you blown-away and breathless.
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UNTITLED BABY PLAY

Performances are impeccable (and laughs are abundant, at least in Act One), but by the time Laila Ayad, Anna Rose Hopkins, Courtney Sauls, Sonal Shah, Jenny Soo, and Sarah Utterback finally take their bows (at close to 11:00 p.m. on Opening Night), a more suitable title for Nina Braddock’s Untitled Baby Play would be Interminable Baby Play.
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THE PLAY’S THE THING

There’s a reason why so-called “old chestnuts” are rarely revived, evidence of which can be found in Theatre 40’s mostly sluggish 2022 revival of Ferenc Molnar’s 1920s chestnut The Play’s The Thing.
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