FREE MAN OF COLOR


“Thirty-four years before the end of slavery, I stood before my graduating class and wondered about my soul.”

The speaker is John Newton Templeton, a young ex-slave and the first man of color to attend Ohio University—over three decades before the Emancipation Proclamation.
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PARASITE DRAG


The storm clouds on the Central Illinois horizon pale beside the shadows of abuse, adultery, addiction, illness, incest, and suicide in Parasite Drag, Mark Roberts’ slice of Midwest life now getting its Southern California Premiere at the Elephant Theatre Company. Electrically directed by David Fofi in association with Don Foster and powerfully performed by a quartet of topnotch actors, Parasite Drag mixes dramatic confrontations with biting dollops of humor to gripping effect.
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THE LAST ROMANCE


Life begins at eighty or so for the two lead characters in The Last Romance, Joe DiPietro’s charming, funny, andvery romantic new comedy now in its West Coast Premiere at San Diego’s Old Globe Theatre. Like DiPietro’s earlier Over The River And Through The Woods, The Last Romance offers some of the best comedic roles ever for septuagenarian and even octogenarian actors, and was written especially for two of them, Marion Ross of TV’s Happy Days fame and WWII vet Paul Michael, her real life partner.
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ROBIN AND THE 7 HOODS


Take a couple dozen songs written by multiple Oscar winners Sammy Cahn and Jimmy Van Heusen, hire a couple dozen Broadway and regional theater triple-threats to perform them to Tony-winning director/choreographer Casey Nicholaw’s fancy footwork, string them together with a plot suggested by a 1962 Frank Sinatra flick, call the confection Robin And The 7 Hoods—and you’ve got the thoroughly enjoyable World Premiere (and possibly Broadway-bound) new musical now delighting audiences at San Diego’s Old Globe Theater.
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SHAKE


There’s something about Reverse Chronology that can work magic with a tale of innocence lost. Take for example Harold Pinter’s Betrayal or Stephen Sondheim’s Merrily We Roll Along, the former beginning with the end of a marriage and ending with the characters’ first meeting, the latter starting off with three irreparably estranged friends and climaxing with the threesome as starry-eyed best-friends-forever.  There’s something particularly poignant about a happy ending when you already know the disillusionment yet to come.
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BOYS’ LIFE


Howard Korder writes insightfully—and hilariously—about the male psyche in his 1988 comedy Boys’ Life, smashingly revived (and smoothy updated to the 21st Century) by Crown City Theatre Company. Impeccably acted and directed, this is a production which ought to disprove once and for all any notion of Los Angeles not being the great theater town it is. 
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IN THE HEIGHTS

When West Side Story premiered on Broadway in 1957, one might have assumed that sometime over the following half century, another hit Broadway musical would center on Latino life in New York City, or on Latino life anywhere for that matter. It would, after all, make sense for a musical as revolutionary as West Side Story to engender others that followed its ground-breaking example, right?
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THE GOOD BOOK OF PEDANTRY AND WONDER


In 1879, British lexicographer James Murray was hired by Oxford University Press to edit a new dictionary of the English language, a task expected to take about ten years and result in a 7,000-page tome. Holed up in a corrugated-iron garden shed on the grounds of Mill Hill School, Murray began the monumental undertaking with the help of a small team of assistants. Neither the linguist nor the dons of Oxford could have imagined that it would take until 1928 for the dictionary to be completed (nearly a decade after Murray’s death) and that the final product would end up a twelve-volume tome instead of the initially planned four volumes.
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