THE WATER TRIBE

Playwright Don Cummings could well have titled his strange-but-never-boring new play Trainwreck rather than The Water Tribe because like an accident about to happen, you simply can’t take your eyes away from its hot mess of a female protagonist or Hannah Prichard’s tornado of a lead performance.
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DOGFIGHT

USC freshman Lily Castle is pure perfection opposite sophomore Terry Mullany in young River Phoenix mode in Dogfight, the Louise Lortel Award-winning Outstanding Musical of 2012 and the latest example of Musical Theatre Repertory at its student-directed, student-performed, student-designed best.
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THE LAST SHIP

Sting celebrates his working-class Northern English roots in The Last Ship, the pop superstar’s gloriously scored-and-sung new(ish) musical, now bringing Ahmanson audiences to their feet.
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RED INK

What’s been happening to print journalism since the Internet took control could drive a newspaper person crazy, or so a certain alternative press reporter discovers quite literally in Steven Leigh Morris’s brand new play Red Ink, the exciting, adventurous latest from Playwrights’ Arena.
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IT’S ONLY A PLAY

If you love live theater and the people who make it, you will absolutely adore Morgan-Wixson Theatre’s delectable latest, and even if you don’t know Ben Brantley from Ben Franklin, you’ll have a smashingly good time at Terrence McNally’s It’s Only A Play.
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NOWHERE ON THE BORDER

Playwright Carlos Lacámara puts a personal face on the hot-button issue of illegal immigration in Nowhere On The Border, a Road Theatre Company drama that works best when focusing on its odd couple of 50something adversaries.
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EARTHQUAKES IN LONDON

Epic in its scope and timeframe, intimate in its intersecting family dramas, bleak in its depiction of a world doomed by climate change, and as thrillingly theatrical as stage storytelling gets, Rogue Machine’s West Coast Premiere of Mike Bartlett’s Earthquakes In London is sure to be one of the season’s most talked-about productions.
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FIREFLIES

An oversexed Martin Luther King-like preacher and his overstressed wife find the cracks in their marriage increasingly tough to overlook in Fireflies, Donja R. Love’s overwrought Civil Rights-era two-hander whose melodramatic overload proves distressingly underwhelming.
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