THE RAINMAKER


There aren’t many plays from the 1950s that hold up as well as L. Richard Nash’s 1954 folksy romance The Rainmaker. Not only does The Rainmaker not seem dated, it’s as funny and heartwarming as any play being premiered today, and despite its 1950s Midwest setting, it might as well be taking place somewhere in middle America circa 2008. As the second production of A Noise Within’s “Season Of Awakenings,” The Rainmaker is sure to charm audiences of all ages.
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BLITHE SPIRIT


As long as there’s been theater, there have surely been comedies about ghosts come back to haunt the people on stage and amuse those in the audience who are watching their shenanigans.  Movies like the 1937’s Topper, which spawned not one but two TV series (and is scheduled for a 2010 Steve Martin remake) have continued the tradition on the big and small screen. When there’s only one character who can see the ghost(s) in question and the people around him/her suddenly find our hero(ine) talking to the air and see objects floating around the room, hilarity is sure to ensue.
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THE KING AND I


What would CLOs do without Rodgers and Hammerstein?  There’s scarcely a season in which a regional Civic Light Opera doesn’t present at least one of their Big 5—Oklahoma!, Carousel, South Pacific, The King And I, or The Sound Of Music.  Fortunately for lovers of contemporary musicals, these Golden Oldies do hold up rather well, thank you. Theatergoers are assured of recognizing most if not all of the songs, the roles created by R & H offer actors some of the best in musical theater of any era, and the themes which R & H snuck in (racism, domestic violence, cross-cultural understanding, etc.) remain valid even half a century or more later.
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THE ALL NIGHT STRUT


Long Beach is indeed a-jumpin’ with International City Theatre’s absolutely terrific revival of The All Night Strut. Music, song, and dance from the big band and swing era combine under the sensational direction of Lance Roberts (who also choreographed the many fabulous dance sequences), with a smashing quartet of triple-threat performers singing such standards as “Ain’t Misbehavin’,” “As Time Goes By,” and “It Don’t Mean A Thing (If It Ain’t Got That Swing.”
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HAMLET


Michael Michetti + Hamlet @ A Noise Within = A sure-to-be-talked-about event.
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PUSH


In Las Vegas, a “push” happens when a dealer and a player tie. It’s not the same as losing, but tell that to the player who’s only broken even.

Playwright Kristen Lazarian explores a marital “push” in her provocative new drama Push, getting its Los Angeles premiere at Beverly Hills’ Theatre 40.
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LEADING LADIES


Actors Co-op has found the perfect complement to the concurrently running drama of The Elephant Man—Ken Ludwig’s hilarious gender-bending Leading Ladies.  What better way to put an end to the post-summer blues than by spending a couple hours with the oddest couple of men in drag since Tony Curtis and Jack Lemmon put on lipstick and hose in Some Like It Hot? Unlike Tony and Jack, though, our two unlikely “heroines” are not on the run from the mob but rather in search of a few million dollars to be inherited if only they can convince a dying woman that they are her lone (and long lost) female relatives. Here’s how it goes:
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GIRL’S ROOM


Take West Side Story’s original Maria and A Chorus Line’s original Cassie and star them together in 2008 and you have, as Girl’s Room’s publicity proclaims, two veritable Broadway legends sharing the same stage for the first time, and more than enough reason to catch Joni Fritz’s ingratiating dramedy during its limited engagement at the El Portal.
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