THE LAST FIVE YEARS


Jayde Mitchell and Jackie Bonsignore and Bryan Mittelstadt and Margaret Berkowitz deliver four breakout star turns in the eighteenth production I’ve seen of Jason Robert Brown’s mesmerizing romantic musical two-hander The Last Five Years, Sierra Madre Playhouse’s first traditional stage production since its reimagining as a performing arts center and one I made it a point to see with two equally fabulous casts.
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MONSTERS OF THE AMERICAN CINEMA


What starts out a sitcom-style two-hander about a precocious teen being reared by his late father’s gay black husband ends up something far darker and deeper and more powerful in Christian St. Croix’s Monsters Of The American Cinema, the latest in a string of world-class Rogue Machine winners.
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CONEY ISLAND LAND, OR THE GREAT EXISTENTIAL ACTUALITY AT THE END OF THE UNIVERSE


High school sweethearts reunite for the first time since their breakup thirty years earlier in Timothy Braun’s absorbing World Premiere two-hander Coney Island Land, or The Great Existential Actuality at The End of The Universe, a terrifically acted and designed guest production at North Hollywood’s Theatre 68 Complex.
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SEX WITH STRANGERS


Sexual sparks fly when a one-flop-wonder of a novelist and a best-selling chronicler of a year’s worth of one-night stands find themselves the only guests in a rural bed-and-breakfast in Sex With Strangers, Laura Eason’s provocative, conversation-provoking two-hander, now playing at the McCadden Place Theatre.
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THE SOUND INSIDE


Amy Brenneman delivers a bravura performance opposite gifted newcomer Anders Keith in Adam Rapp’s unnerving, electrifying The Sound Inside, a phenomenal season opener for the Tony-winning Pasadena Playhouse.
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THE TURN OF THE SCREW


Michael Mullen and Shayna Gabrielle deliver bravura performances at Sierra Madre Playhouse in Jeffrey Hatcher’s adeptly adapted retelling of Henry James’ classic horror novella The Turn Of The Screw.
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BLUE


Award-winning L.A. stage star June Carryl proves herself a playwright to be reckoned with in Rogue Machine’s Blue, a ripped-from-today’s-headlines stunner now riveting audiences in the Matrix Theatre’s ultra-intimate Henry Murray Stage.
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KISS OF THE SPIDER WOMAN


You may have read Manuel Puig’s novel. You might have watched its Oscar-winning movie adaptation. If you’re a musical theater buff, you’ve probably seen it set to the songs of Kander and Ebb. But chances are you haven’t experienced the powerful theatrical two-hander Puig himself adapted from his book, just one of many reasons not to miss Kiss Of The Spider Woman’s stunningly acted, directed, and designed debut at A Noise Within.
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