FAITHLESS


A pair of 30something siblings summoned to their widowed stepfather’s home confront a family crisis involving their adopted teenaged sister in Jon Klein’s absorbing family dramedy Faithless, a laughter-and-discussion-provoking Victory Theatre Center World Premiere.
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THREE

If you’re a die-hard Chekhov fan, Nick Salamone’s 20th/21st-century “queer meditation” on the Russian playwright’s 124-year-old classic Three Sisters, a Playwrights’ Arena/Los Angeles LGBT Center World Premiere, will likely be more up your alley than it was mine.
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SUKKOT


Few situations are riper for raucous laughter, long-festering rage, and buckets of tears than the much dreaded family reunion, and since almost everybody on this planet has attended at least one (if not dozens) of them, expect to find much to identify with and relish in Matthew Leavitt’s marvelous new family-reunion dramedy Sukkot.
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BISEXUAL SADNESS


A bi woman about to marry the man of her dreams fears losing the community of gay women who welcomed her during her lengthy relationship with a lesbian in India Kotis’s Bisexual Sadness, a laughter-and-drama-packed Road Theatre World Premiere guaranteed to get you thinking and talking about sexuality and gender in new and unexpected ways.
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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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TOWARDS ZERO

Haphazard casting and shaky direction make Agatha Christie’s Towards Zero the weakest Theatre 40 production since the company’s return to live, in-person programming over two years ago.
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OUR DEAR DEAD DRUG LORD

The four complex, authentic teen characters Alexis Scheer has created and the direction, performances, and design of Our Dear Dead Drug Lord’s West Coast Premiere at the Kirk Douglas Theatre are all so rave-worthy, it’s disappointing that the play’s gratuitously violent, deliberately unintelligible, and “WTF is that supposed to mean?” last twenty minutes are not.
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HUNGRY GHOST

A pregnant woman is visited nightly by the Stevie Nicks-loving adult ghost of her as yet unborn child in Hungry Ghost, Lisa Sanaye Dring’s surreal, supernatural head-scratcher of a play now getting its Skylight Theatre Company World Premiere.
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