TACOS LA BROOKLYN


A 20something Korean-American taco stand owner finds himself on the receiving end of a Chicana influencer’s social media campaign against gentrification in Joel Ulloa’s hilarious, conversation-starting culture-clash comedy Tacos La Brooklyn, thrillingly staged at the Los Angeles Theatre Center by Latino Theater Company in association with East West Players.
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LOVE AMONG THE RUINS


Star power lights up the El Portal stage in Love Among The Ruins, as delectable an evening or afternoon of live theater as any playgoer could wish for.
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LIFE SUCKS


Uncle Vanya has probably never made audiences laugh as loudly and as often as he and his fellow Chekhovians do in Aaron Posner’s Life Sucks, the Stupid F***ing Bird playwright’s contemporary take on a 124-year-old Russian classic, now getting a fabulous Interact Theatre Company Los Angeles Premiere at the Broadwater Mainstage.
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HADESTOWN


A nearly brand-new cast makes Hadestown’s two-week return to the Ahmanson not only a must-see for anyone who thrilled to the Best Musical Tony winner last year, but also a thrilling introduction to Anaïs Mitchell’s electrifyingly original musical smash for those discovering it for the first time.
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FOLLIES (CONCERT VERSION)


With a now basically unaffordable original Broadway cast of 47 (and opulent sets and costumes to match), Stephen Sondheim and James Goldman’s Follies turned out to be the ideal rarely-staged gem for Musical Theatre Guild to introduce audiences to its best-ever new space at Santa Monica’s The Broad Stage, a one-night-only concert version that more than earned Sunday’s extended standing ovation.
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THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME


An English teenager on the autism spectrum sets off on the most remarkable of coming-of-age journeys in The Curious Incident Of The Dog In The Night-Time, ingeniously directed, gorgeously designed, and excitingly performed by some of Chance Theater’s best and most popular stars (and one very impressive newbie).
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KILL SHELTER: THE RED CAST


A return visit to Theatre Of NOTE to catch the “Red Cast” in Ashley Rose Wellman’s Kill Shelter provides additional proof that (to quote from my original review) this is “not only one of the most remarkable new plays I’ve seen in a very long time, it’s the best Theatre of NOTE production I’ve reviewed since the company’s streak of winners in the mid-2010s.”
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BIRDS OF NORTH AMERICA


A lifetime of failed opportunities to connect weighs heavy on the hearts of the father-daughter protagonists of Anna Ouyang Moench’s haunting Birds Of North America, exquisitely acted by Arye Gross and Jacqueline Misaye at the Odyssey Theatre.
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