NEWSIES

A sensational Dillon Klena and a terrifically talented young cast of singing-dancing newsboys make Moonlight Stage Productions’ Newsies an infectiously entertaining (and unashamedly pro-labor) treat.
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DISNEY BEAUTY AND THE BEAST

A luminous Susan Egan’s return to the role that made her a Broadway star is just one reason not to miss 5-Star Theatricals’ five-star revival of Disney Beauty And The Beast, though it is easily Egan’s incandescent star turn that gives the production’s two-weekend run at Thousand Oaks Civic Arts Plaza event status.
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MARY POPPINS

In-the-round staging proves a perfect fit for Mary Poppins at Glendale Centre Theater, placing the emphasis firmly on P.L. Travers’ storytelling, the Sherman Brothers’ hum-along songs, a bunch of infectious dance numbers, and leading lady Deborah Robin, quite possibly the best of the seven Marys I’ve seen on stage.
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MUTT HOUSE

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I defy anyone to resist the canine charmers of Mutt House, or their human companions, or the songs, or the laughter, or the romance, or the heart of this Kirk Douglas Theatre guest production, as gem-perfect an L.A. World Premiere musical as I’ve seen in at least a dog’s year.
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CRY IT OUT

You don’t have to be a stay-at-home nursing mom to fall in love with Molly Smith Metzler’s Cry It Out, but if you are, this one’s especially for you, and it’s about time.
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BIG FISH

Chance Theater takes full advantage of Big Fish The Musical’s newly revised “small cast edition” to transform an overblown Broadway flop into an intimate gem that could touch even a heart of stone.
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ARRIVAL & DEPARTURE

A deaf New York film professor and a hearing-impaired bookkeeper fall head over heels into adulterous love in Arrival & Departure, playwright Stephen Sachs’ 21st-century updating of Noel Coward’s über-romantic cinematic classic Brief Encounter, a compelling, excitingly staged, terrifically acted Fountain Theatre World Premiere whose script could still use some work.
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LYSISTRATA UNBOUND

Drama, dance, and Greek-style tragedy merge in Lysistrata Unbound, playwright Eduardo Machado and director-choreographer John Farmanesh-Bocca’s stunning reenvisioning of Aristophanes’ 2400-year-old tale of a woman who takes antiwar protests to a decidedly personal level.
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