Posts Tagged ‘Los Angeles Theater Review’

IT’S ONLY A PLAY


Torrance Theatre Company closes its 2023-24 season with the most impeccably cast, directed, performed, and designed of the three productions I’ve seen of Terrence McNally’s backstage comedic gem It’s Only A Play.
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THE ALTRUISTS

A talented bunch of recent AAMDA grads have joined creative forces at this year’s Hollywood Fringe Festival to bring audiences The Altruists, Nicky Silver’s outrageously funny skewering of liberal causes gone berserk.
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DURAN DURANTONY & CLEOPATRA


William Shakespeare meets The Troubies meet one of the 1980s’ most iconic rock bands in Duran DurAntony & Cleopatra, the latest musical-spoofy treat from Troubadour Theater Company “in cahoots with” the Colony Theatre.
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JELLY’S LAST JAM


A year after its record-breaking Sondheim Celebration, Pasadena Playhouse gives Jelly Roll’s Jam as spectacularly staged and phenomenally performed a 33rd-anniversary revival as any lover of rarely produced musicals could wish for.
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DISNEY THE LITTLE MERMAID


Get ready to stand up and cheer director Glenn Casale’s ingeniously reconceived, spectacularly staged revival of Disney The Little Mermaid at La Mirada Theatre for the Performing Arts, the absolute best of the now eight productions I’ve seen of this most enchanting of musicals.
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YOU CAN’T TAKE IT WITH YOU


Few golden age Broadway comedies hold up anywhere near as marvelously as George S. Kaufman and Moss Hart’s 1936 classic You Can’t Take It With You, the playwriting duo’s laugh-packed look at a charmingly eccentric multi-generational family residing together in perfect, if oddball, harmony in a large New York City home in the mid-1930s.
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THE EXPLORERS CLUB


Things get wild and wacky when a comely female anthropologist is proposed for membership in a heretofore all-male scientific society in Nell Benjamin’s madcap Victorian romp The Explorers Club, now getting a delectably acted West Coast Premiere at Theatre 40.
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MY WHITE HUSBAND

Despite a promising setup, Leviticus Jelks’s My White Husband turns out to be an awkward mix of 1950s sitcom spoofery, marital discord dramatics, sex comedy raunch, network TV politics, and Black Lives Matter activism.
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