STEPHEN SCHWARTZ


Upright Cabaret’s Wicked Summer Nights came to a smashing conclusion with a star-studded tribute to mega-composer/lyricist Stephen Schwartz at Hollywood’s Ford Amphitheatre on Sunday, August 23, produced by power duo Chris Isaacson and Shane Scheel, and directed by Broadway’s sensational Billy Porter.
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THE RECEPTIONIST


A middle-aged man in a business suit sits alone on the edge of a blackened stage, illuminated by a sole spot, and quietly describes the humane way to kill a fish which has been wounded by the fisherman’s hook in such a way that it cannot be thrown back into the water to carry on its submarine life. He then comments somewhat ambiguously, albeit ominously, about “people who don’t like what we do to people over there.”
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ANITA BRYANT DIED FOR YOUR SINS


If every man’s life is a story, then the time has come to write mine,” types fifteen-year-old Horace Poore from his tree house at the start of Anita Bryant Died For Your Sins, Brian Christopher Williams’ terrific memory play. Under West Coast Ensemble Co-Artistic Director Richard Israel’s inspired direction, and with a star-making turn by the brilliant young Wyatt Fenner, Anita Bryant Died For Your Sins shapes up to be this summer’s most talked-about and praised new play.
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WHAT THE BUTLER SAW


Here’s a question for theater aficionados? Can you think of a play which deals with, features, or mentions all of the following: depravity, disguises, gender identity, the government, hanky-panky, hermaphroditism, homosexuality, incest, insanity, marriage, mistaken identities, nymphomania, pederasty, psychiatry, rape, religion, reunited orphan siblings, slapstick, and transvestitism? Who could possibly have found a way to put all of the above into one play—and make it one of the most laugh-out-loud hilarious screwball farces ever?
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LEGALLY BLONDE


Having conquered both Harvard Law School and Hollywood in the movie smash that made Reese Witherspoon an A-list star, Legally Blonde’s Elle Woods then went on to take Broadway by storm as the heroine of 2007’s Legally Blonde The Musical. Now, the not-so-dumb-blonde has arrived at Hollywood’s Pantages Theatre in a textbook example of how to turn a hit celluloid romcom into a nigh-on-perfect Broadway musical.
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TREEFALL


At some time in the perhaps not so distant future, after a series of “ecological events” has altered civilization as we know it, a trio of teenage boys have set up house in a primitive one-room mountain cabin somewhere in the Pacific Northwest. Despite the cataclysms that have befallen society, the “family unit” has somehow found a way to survive in Henry Murray’s Treefall, now in its world premiere engagement by Rogue Machine.  Though a post-apocalyptic nightmare fairy tale would not be my usual theatrical cup of tea, the performances of its talented, charismatic young cast, the contributions of a superb design team, and some ultimately moving, thought-provoking writing make Treefall an absorbing piece of theater.
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THE MUSIC MAN


If you want to know why The Music Man is one of the three longest-running musicals of the 1950s, head on up to Solvang for proof positive that Meredith Willson’s biggest hit is also one of the best Broadway musicals ever.
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THE MYSTERY OF IRMA VEP


A young woman arrives at a grand and stately manor, the second wife of its handsome owner, only to be surrounded by memories of wife number one, particularly those brought up by the mansion’s sinister housekeeper. (That’s Alfred Hitchcock-Daphne DuMaurier’s Rebecca, right?) Among the household staff is a hunchback swineherd who turns into a werewolf whenever the moon is full.  (What?  You don’t remember that from Rebecca?)  Another household worker is rumored to be one of those “beings who never die,” aka a Vampire.  (Now that sounds like Dracula!)  Our widowed, remarried hero journeys to Cairo where his presence brings a long-dead Egyptian mummy back to life. (What kind of movie mishmash is this? Have we died and gone to horror movie heaven, or hell?)
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