IT’S JUST SEX

A dinner party that morphs into a spouse-swapping swingers’ bash may well be the hook that has attracted audiences to Jeff Gould’s It’s Just Sex – A Comedy About Lust & Trust since its World Premiere at the Whitefire back in 2002, but it’s the playwright’s perceptiveness about male-female relationships, the depth he gives his characters, and the unexpected life changes each couple ends up undergoing that has turned It’s Just Sex into L.A.’s longest-running comedy (factoring in its later runs at the Zephyr and the Two Roads), sent it off-Broadway in 2013, and have now brought it back to NoHo’s Secret Rose Theatre with an upcoming Las Vegas run likely in the cards.
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BULRUSHER

The power of live theater to transport an audience to another time, another place, while exploring and revealing the mysteries of the human heart, is made gorgeously, magically clear in Skylight Theatre Company and Lower Depth Theatre Ensemble’s co-production of the Los Angeles premiere of Eisa Davis’s Pulitzer Prize finalist Bulrusher.
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REGRETS ONLY

It’s a measure of how much times have changed over the less than eight years since Paul Rudnick’s Regrets Only debuted off-Broadway that Rudnick’s contemporary comedy has already become what some critics might call “dated” … and it’s a measure of Rudnick’s comedic mastery that this matters not a whit, not with characters as wedding-cake delectable as those now onstage at San Diego’s Diversionary Theatre, and certainly not in a production as pitch-perfect as the one Jessica John has directed for America’s third-oldest continuously-producing LGBT theater.
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PSYCHE: A MODERN ROCK OPERA

NOT RECOMMENDED

A sensational cast, phenomenal choreography, a spectacular production design, and Michael Matthews’s imaginative direction do everything possible to make the most of Cindy Shapiro’s Psyche: A Modern Rock Opera. Unfortunately, the gifted team’s best efforts can’t rescue “Psyche The Musical” from its ponderous libretto, mostly tedious tunes, and lyrics that clunk where they should soar.
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THOROUGHLY MODERN MILLIE

For a Broadway hit that won six Tony awards (including Best Musical of 2002), Thoroughly Modern Millie has made relatively few Southland appearances in the intervening twelve years, just one of many reasons to celebrate the Thoroughly Modern (circa 1922) Miss’s arrival at Glendale Centre Theatre under the thoroughly marvelous co-direction of Danny Michaels and Orlando Alexander.
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MEET & GREET

“A+ CAST PLUS BOFFO SCRIPT EQUALS FRINGE FEST SMASH” is how I concluded my review of Meet & Greet, Stan Zimmerman and Christian McLaughlin’s outrageously funny tale of a quartet of fictional Broadway/Hollywood divas vying for a sitcom pilot lead, when it played this past June at the Hollywood Fringe Festival.  Now, Meet & Greet is back for a second run at Theatre Asylum, and as evidenced by the nonstop laughter at yesterday’s SRO matinee, Meet & Greet 2.0 is even more outrageously funny the second time around than it was the first.
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OKLAHOMA!

Director-choreographer Dan Mojica and an exciting young cast offer Welk Theatre San Diego audiences an Oklahoma! certain to delight both blue-haired Welk regulars and the Glee generation of its late teens-early 20s ensemble, sixteen talented performers who enrich the Rodgers & Hammerstein classic with a freshness and life belying its 71 years of age.
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BROADWAY BOUND

Neil Simon plays don’t get any finer than his semi-autobiographical 1986 dramedy Broadway Bound, nor intimate theater revivals any more flawless than the Broadway Bound revival now playing at West L.A.’s Odyssey Theatre under Jason Alexander’s inspired direction.
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