I LOVE YOU BECAUSE


I Love You Because is one of the funniest and most delightful new musicals of the past few years.  It has one of the most tuneful, memorable scores you’re likely to hear this year or next.  It’s also the most unabashedly romantic musical comedies ever.  Its San Diego premiere at North Coast Repertory is a reminder that yes, indeed, there are times that big city L.A. theater is trumped by its neighbor to the south.
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LITTLE SHOP OF HORRORS


In my July review of Musical Theatre West’s big-stage, big-budget production of Little Shop Of Horrors, I wrote, “Little Shop Of Horrors is that rarity in musical theater—a show which works equally well in a tiny space and on a Broadway-sized stage, one which can delight and entertain whether performed by teenagers, amateurs, or … A-List professionals,” a comment proved spot-on by the intimate theater revival just opened at the Knightsbridge. Though it doesn’t have the big bucks behind it that MTW’s did, and though its leads haven’t yet starred on Broadway or been TV regulars, under Jaz Davison’s nothing-short-of-inspired direction, this may well be the most exciting Little Shop I’ve seen.
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LUCKY STIFF


Glendale Centre Theatre follows its sensational staging of Footloose The Musical with Lucky Stiff, an absolutely delightful, albeit smaller scale musical treat, and the first collaboration of Ragtime’s Lynn Ahrens and Stephen Flaherty.  Though it is based on Michael Butterworth’s novel The Man Who Broke The Bank At Monte Carlo, movie fans will most likely be reminded of Weekend At Bernie’s. You remember Bernie, the corpse that Andrew McCarthy and Jonathan Silverman had to convince everyone was hale and hearty and having the time of his life?  Well, the “stiff” in Lucky Stiff is murder victim Anthony Hendon, who has left a $6,000,000 fortune to his British nephew Harry Witherspoon on one condition:  Harry must take Uncle Anthony’s corpse on one last vacation to Monte Carlo.
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BLOCK NINE


If ever a production could be called unique, then Tom Stanczyk’s Block Nine is just that production.  Press materials describe it as “an unapologetically same-sex, retro-noir 1930s gangster homage” and “an exploration of sexuality, gender, stereotype, romance and aggression (in) an underworld full of guns, jail breaks, booze and bodies.” How’sthat for something out of the ordinary?
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VISITING MR. GREEN


The “Odd Couple Two-Hander” has become something of a Colony Theatre specialty over the past few years. Take a mismatched duo, put them in the same space, and watch the sparks fly.  The two characters can be the same sex or opposite, they can be the same age or decades apart, and the space in which they find themselves can be indoors or outdoors. All that is required is that those sparks start flying.
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BRIGHT IDEAS


Remember Beverly Sutphin, the sociopathic serial killer heroine of John Waters’ movie Serial Mom?  Well, dear old Bev may just have met her match in Genevra Bradley, a mother who will do anything—and I do mean anything—to get her 3-year-old son into Bright Ideas, the most prestigious preschool in town.
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ADELINE’S PLAY


In the final five days of the homestretch of StageSceneLA’s 2nd calendar year, just when I think that there can’t possibly be another truly great new play (and production) to add to my upcoming Best Of 2008-9 lists, along comes Kit Steinkellner’s Adeline’s Play, the best World Premiere I’ve seen this year in a production which could not be better.  Blessed with six performance gems and directed with love and finesse by Amanda Glaze, Adeline’s Play is the kind of play you find yourself enjoying so much that you simply can’t bear to see it end.
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OEDIPUS THE KING. MAMA


The Troubadour Theater Company is back with Oedipus The King, Mama, one of their funniest shows ever and of those I’ve seen the best danced bar none.
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