Posts Tagged ‘Los Angeles Theater Review’

RIGHTEOUS AMONG US

Sometimes it pays to stick around for Act Two, which is why I urge you to resist the temptation to exit Little Fish Theatre after Righteous Among Us’s talky, overpadded first act because if you do, you’ll be richly rewarded when Amy Tofte’s tale of Holocaust heroism both real and invented takes dramatic, compelling flight.
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THE COTTAGE


Noel Coward meets Oscar Wilde meets Hollywood screwball masters Howard Hawks and Preston Surgis in the 1920s English countryside in Sandy Rustin’s The Cottage, a guaranteed laugh-getter from Torrance Theatre Company.
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THE TYPIST


A jaded novelist and the cockeyed optimist he hires to type his latest opus try hard not to fall hard for each other in 1961 Greenwich Village in Shem Bitterman’s edgy and entertaining World Premiere two-hander The Typist, now playing at the Hudson Guild Theatre.
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SWEENEY TODD


Leave it to La Mirada Theatre and McCoy Rigby Entertainment to deliver a Sweeney Todd so spectacular and innovative, it’s not hyperbole to call it Broadway-caliber nor to imagine its two sensational leads winning Tony awards for their star turns as The Demon Barber Of Fleet Street and his partner in murder, mayhem, and meat pies.
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THE CIRCLE

Issues of familia, cultura, and política come to a head over the course of one tumultuous weekend in Stacey Martino Romero’s powerful if overlong World Premiere dramedy The Circle, now playing at the Greenway Court Theatre.

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WHAT OPA DID

Audiences in search of uplifting, escapist entertainment in the dismal times we’re living through will not find it in Christopher Franciosa’s Holocaust drama What Opa Did, a Theatre 40 World Premiere not done any favors by James Paradise’s misguided direction.
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BROWNSTONE


The walls of a century-old Upper West Side apartment have much to talk about in Catherine Butterfield’s Brownstone, a trio of fascinating tales all taking place in a single residence but at three distinct periods of time.
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LIFELINE


A suicide hotline center provides the backdrop for Robert Axelrod’s Lifeline, a Road Theatre Company World Premiere dramedy as compelling as it is funny as it is ultimately quite moving thanks to a terrific script, a fabulous cast, a sensational production design, and Ken Sawyer in the director’s chair.
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