CLARA VS. INFINITY


The Curious Incident of the Dog in the Night-Time. Peter and the Starcatcher. And now Zack Rocklin-Waltch’s Clara vs. Infinity. Plays don’t get any more extraordinary than these.
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MEAN GIRLS


It’s taken eight years for Mean Girls to make it from Broadway to La Mirada for its Southern California Regional Premiere, and McCoy Rigby Entertainment has pulled out all the stops to deliver not only a fabulously directed, choreographed, and performed crowd-pleaser but a freshly designed one as well.
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ENGLISH


You don’t have to have made a lifetime career out of teaching English to speakers of other languages as I have to be blown away by the Broadway production of Sanaz Toossi’s extraordinary Pulitzer Prize-winning play English, now paying a must-see visit to The Wallis in Beverly Hills.

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REEFER MADNESS


Women cry for it, men die for it, and the audience goes wild for it in Wisteria Theater Company’s wickedly entertaining take on Reefer Madness The Musical, Kevin Murphy and Dan Studney’s tuneful stage adaptation of what is surely one of the worst movies ever made.
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SOMEBODY TO LOVE


Four college besties set off on a decades-long journey through life at the Rubicon Theatre in Somebody To Love, a crowd-pleasing World Premiere jukebox musical that with some script tweaking could have legs on the regional theater circuit.
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AMERIKA OR, THE MAN WHO DISAPPEARED

Writer-director Dietrich Smith takes a young German immigrant on the journey of a lifetime in his stage adaptation of Franz Kafka’s Amerika or, The Man Who Disappeared, the year’s most exhilarating theatrical adventure ride.

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DEATH OF A SALESMAN

Geoff Elliott’s magnificent star turn as Willy Loman, nearly a dozen impeccable supporting performances, and inspired direction and design by an all-star A Noise Within team add up to as brilliant a revival of Death Of A Salesman as any Arthur Miller aficionado could ever hope to see.

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MONTY PYTHON’S SPAMALOT


Monty Python’s Spamalot is back, and the Hollywood Pantages has got it, guaranteeing L.A. audiences not only the wildest, wackiest, and winningest of musical comedy rides but a spectacular new scenic design and even more flashy dancing than the 2005 Broadway original.
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