Posts Tagged ‘Los Angeles Theater Review’

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT


Rarely has so much entertainment value been packed into just ninety minutes plus intermission than in La Mirada Theatre and McCoy Rigby Entertainment’s thrillingly directed and performed revival of the international musical smash Joseph And The Amazing Technicolor Dreamcoat.
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BACK PORCH


Playwright Eric Anderson pays affectionate tribute to William Inge in Back Porch, the play Inge might himself have written had mid-20th-century Middle America not kept the gay Kansan locked tightly in the closet.
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A TRANSPARENT MUSICAL

Center Theatre Group celebrates diversity just in time for Pride Month with A Transparent Musical, an exhilarating but overlong adaptation of the hit TV series Transparent.
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NO PLACE LIKE GANDERSHEIM

A terrific cast score plenty of laughs in No Place Like Gandersheim, Elizabeth Dement’s time-traveling screwball feminist farce, but the Skylight Theatre World Premiere tries too hard to do too much for it to work the way it should.
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A SOLDIER’S PLAY


Whodunnits don’t get any more edge-of-your-seat, and National Tours don’t get any more spectacular, than Roundabout Theatre Company’s Tony-winning revival of A Soldier’s Play, Charles Fuller’s eye-opening look at racism on a segregated WWII-era military base, now keeping audiences on the edge of their seats at the Ahmanson.
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VANYA AND SONIA AND MASHA AND SPIKE


Christopher Durang’s trio of hilariously squabbling siblings are back (along with a sexy boy toy named Spike) in Pacific Resident Theatre’s winning take on Vanya And Sonia And Masha And Spike.
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3: BLACK GIRL BLUES


TV star Danielle Moné Truitt returns to her stage roots with 3: Black Girl Blues, an alternately hilarious and devastating one-woman show about a trio of grade school best friends whose lives follow drastically different paths from their teen years on.
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THE BOTTOMING PROCESS

Nicholas Pilapil’s The Bottoming Process may start off as an engaging contemporary gay romcom in the same vein as Fire Island and Bros but what it ends up being is a playwright’s rancor-fueled diatribe.
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