THE TRAGEDY

Whether you find The Tragedy, D.G. Watson’s twisty-turny tale of three young Hollywood talent managers in search of the stroke of genius that will save their floundering business a piece of theatrical brilliance or a hallucinogenic hot mess may depend on how many shrooms you’ve consumed before lights-up. In either case, this often outrageously funny Ammunition Theatre Company World Premiere is like nothing else now playing on L.A. theater stages.
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SOMETHING ROTTEN

Something may have been rotten in the state of Denmark back when The Bard ruled London, but there’s nothing at all rotten going on at the Ahmanson Theatre as Center Theatre Group welcomes the Broadway National Tour of 2015 Best Musical Tony nominee Something Rotten, a musical theater buff’s dream come true and just as much fun for those who couldn’t put a last name to Chita, Patti, or Bernadette if their lives depended on it.
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ROTTERDAM

Imagine that your husband, wife, boyfriend, or girlfriend suddenly announced that they were no longer the person you believed them to be, could you still remain coupled, or would this be a deal-breaker? It is precisely this question that lies at the heart of Jon Brittain’s Olivier Award-winning Rotterdam, now getting a riveting, thrillingly staged West Coast Premiere at Skylight Theatre on Vermont.
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THE WILD PARTY

Musicals don’t get much wilder, nor university productions much finer than the USC School Of Dramatic Arts’ sensational staging of Andrew Lippa’s The Wild Party, concluding its sold-out five-performance run this afternoon at USC’s intimate McClintock Theatre.
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LITTLE WOMEN [a multicultural transposition]

If Meg, Jo, Beth, and Amy March had come of age in post-WWII L.A. as the Mayeda sisters, offspring of a Japanese-American father and a Chinese-American mother, Louisa Mae Alcott’s classic novel might look and sound just like Little Women [a multicultural transposition], Velina Hasu Houston’s unabashedly G-rated World Premiere rewrite that had me in its spell from ebullient start to heartwarming finish.
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THIS LAND

At once epic and intimate, Evangeline Ordaz’s This Land weaves two centuries of Watts history—from the Mexican ranchers who seized Tongva Indian land in the 1880s, to the white homeowners who took flight in the 1950s when blacks moved in, to the Latinos who became the majority four decades later, to today’s white gentrifiers—into two absorbing, illuminating hours of Los Angeles theater at its best.
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BRIGHT STAR

There’s no brighter star lighting up L.A. stages this month and next than the dazzling Carmen Cusack, reprising her Tony-nominated star turn as Alice Murphy in Steve Martin and Edie Brickell’s Bright Star, a musical so stunningly staged and gorgeous to the ear that it’s easy to go easy on its Stella Dallas/Imitation Of Life-style soap.
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RUNAWAY HOME

A fourteen-year-old far too smart, self-assured, and resourceful for her own good takes to the streets of New Orleans three years after Hurricane Katrina lay waste to the city’s Lower Ninth Ward in Jeremy J. Kamps’ Runaway Home, a Fountain Theatre World Premiere that proves every bit as compelling a slice-of-post-Katrina-life as it is a bona fide crowd-pleaser.
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