THE BEST BOARDING HOUSE IN DELAWARE


Playwright Marja-Lewis Ryan is back, and reunited with her One In The Chamber star Heidi Sulzman in The Best Boarding House In Delaware, not only the year’s most deliciously dark comedy but one that marks the return to the stage of the exquisite Leigh Taylor-Young.
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YOU CAN’T TAKE IT WITH YOU


Inspired direction and an all-around fabulous cast overcome community theater design limitations in You Can’t Take It With You, the latest crowd-pleaser from Santa Monica’s now 80-year-old Morgan-Wixson Theatre.
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HONOUR

A husband’s midlife crisis gives Marcia Cross and Matt Letscher the chance to show off their considerable acting chops, but Joanna Murray-Smith’s Honour, the first production to be staged in Ruskin Group Theatre’s gorgeous new home, proves a rather chilly affair given the play’s potentially fiery subject matter.
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UNCLE VANYA


Neil LaBute gives Anton Chekhov’s Uncle Vanya a more contemporary-sounding tweak in the Tony nominated playwright’s third visit to Santa Monica’s City Garage Theatre, and the result is a Vanya that even Chekhov “non-fans” like this reviewer can enjoy.
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SYLVIA SYLVIA SYLVIA

Haunted house stories can be both thrilling and entertaining. There is, unfortunately, little fun to be had inside the Beacon Hill apartment occupied by blocked, depressed writer Sally in the present day and in the 1950s by her more celebrated (albeit equally depressed) 20th-century counterpart in Sylvia Sylvia Sylvia, Beth Hyland’s downer of a World Premiere at Westwood’s Geffen Playhouse.

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WHAT OPA DID

Audiences in search of uplifting, escapist entertainment in the dismal times we’re living through will not find it in Christopher Franciosa’s Holocaust drama What Opa Did, a Theatre 40 World Premiere not done any favors by James Paradise’s misguided direction.
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AN INSPECTOR CALLS


Leave it to director Cate Caplin to take a play I had previously found to be heavy-handed and preachy, J.B. Priestley’s An Inspector Calls, and transform it into something quite magical at Theatre 40.
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BORDER CRISIS

Considering how much of what’s coming out of Washington DC these days seems like théâtre de l’absurde, the time could hardly be riper for City Garage to debut Charles A. Duncombe’s absurdist comedy Border Crisis, though in the case of this contemporary adaptation of a 1967 Polish play, excellent intentions yield less than successful results.
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