THE MERRY WIVES OF WINDSOR


Set in the Eisenhower 1950s and featuring a Goodness Gracious Great Bunch of Top 40 oldies, Will Geer’s Theatricum Botanicum’s The Merry Wives Of Windsor takes comedic flight as the inspired vision of director Ellen Geer, who’s not afraid to alter the text if it earns laughter to do Lucy and Ricky and Fred and Ethel proud.
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REMEMBERING THE FUTURE


Imagine if the person you were at age 18 could tell 58-year-old you exactly what they think of your life choices. Playwright Peter Lefcourt does precisely this in his entertaining new “existential comedy” Remembering The Future, now tantalizing audiences with “What ifs” at the Odyssey Theatre.
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THE METROMANIACS


The rhymes come fast and furious, and so do the laughs, in Theatre 40’s 2022-2023 season-opener The Metromaniacs, David Ives’ très délicieux updating of Alexis Piron’s early-18th-century French farce of a similar name.
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KING LIZ


Broadway star Sabrina Sloan sizzles as a powerhouse A-list sports agent named Liz Rico, and newcomer Evan Morris Reiser electrifies as a high school grad with NBA superstar potential, in Fernanda Coppel’s off-Broadway dramedy King Liz, now getting a largely absorbing Los Angeles Premiere at the Geffen Playhouse.
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GUESS WHO’S COMING TO DINNER


Guess Who’s Coming To Dinner, the sensational latest from Santa Monica’s Ruskin Group Theatre, proves as relevant in 2022 as it was sixty-five years ago when Katharine Hepburn won the second of her four Best Actress Oscars in the ground-breaking Stanley Kramer movie classic.
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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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GOD OF CARNAGE


Yasmina Reza’s God Of Carnage has returned to Los Angeles eleven years after it broke Ahmanson box office records, this time round at the Odyssey Theatre, an intimate setting that better suits Reza’s hilariously edgy comedy of manners (and lack thereof), terrifically performed by a crackerjack ensemble of four.
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TAMBO & BONES

Dave Harris’s Tambo & Bones, a Center Theatre Group World Premiere, takes black anger against white America to such extremes that sitting through ninety minutes of it had me wishing I were anyone other than inside the Kirk Douglas Theatre. And it didn’t help that at least forty-five of its ninety minutes are devoted to ear-splitting, N-word/expletive-filled rap.
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