AMERICA ADJACENT

The United States proves far from paradise for six Filipino women seeking a brighter future for their unborn (or recently born) infants in Boni B. Alvarez’s captivating and compelling hot-button-issue dramedy America Adjacent, a Skylight Theatre Company World Premiere.
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ATTACK OF THE SECOND BANANAS

Dueling divas get double-murdered in Gina Torrecilla’s Attack Of The Second Bananas, a World Premiere backstage comedy whodunnit that despite occasional bright moments mostly falls flat.
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CANYON

Memories of the way we were pre-Election 2016 ignite Jonathan Caren’s Canyon, the explosive latest from IAMA Theatre Company, Latino Theater Company, and the playwright who gave IAMA its much-awarded The Recommendation a half-dozen or so years back.
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MAN OF GOD

The discovery of a spy cam pointing up from inside the hotel bathroom toilet of four Korean-American teens on a mission trip to Thailand sets in motion a wild and unexpected chain of events in Anna Moench’s Man Of God, an East West Players World Premiere as funny, dramatic, and edge-of-your-seat gripping as it is a timely reminder that there are no age restrictions where the #metoo movement is concerned.
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LAST CALL

Anne Kenney is hardly the first writer to tackle the issues confronting adult children of aging parents but her theatrical debut, Last Call, an Open Fist Theatre Company World Premiere, is as perceptive and powerful as family dramas get.
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DEATH HOUSE

What starts off as a capital punishment-vs.-life imprisonment debate develops into something considerably deeper and more powerful in Jason Karasev’s profoundly moving Death House, a Road Theatre Company World Premiere.
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JOCASTA: A MOTHERF**KING TRAGEDY

Technical marvels and some inventive directorial touches aren’t enough to rescue The Ghost Road Company’s Jocasta: A Motherf**king Tragedy from its performance-artsy approach to Greek tragedy and its lackluster lead.
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SISTERS THREE

A pair of quirky contemporary adult siblings bearing more than a passing resemblance to Anne and Emily Brontë generate dramatic sparks aplenty in Jami Brandli’s Sisters Three, that is until Charlotte shows up near the end and the Inkwell Theater World Premiere turns from a mostly quite absorbing two-hander to a solo performance that goes off the deep end … way off.
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