CAT’S PAW

Suspense dramas don’t much more edge-of-your-seat nor subject matter more hot-button than William Mastrosimone’s 1986 eco-terrorism thriller Cat’s Paw, updated by the author in 2011, more relevant than ever in 2017, and the terrific latest from Actors Co-op.
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CAROUSEL

Anyone curious about why Time Magazine named Rodgers & Hammerstein’s Carousel the 20th Century’s Best Musical need look no further than Musical Theatre West’s superb 21st-Century revival. Director Joe Langworth, choreographer Daniel Smith, and an all-around brilliant cast give us a Carousel still “fresh and alive and gay and young,” even at seventy-two years of age.
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CAT ON A HOT TIN ROOF

Cameron Watson directs two equally sensational ensembles in Antaeus Theatre Company’s pitch-perfect intimate revival of Tennessee Williams’ Cat On A Hot Tin Roof, not only one of the finest productions now playing around town but (sound the trumpets!) the very first to grace the brand-spanking-new Kiki & David Gindler Performing Arts Center in Beautiful Downtown Glendale.
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FINDING NEVERLAND

It’s telling that the Best Picture Oscar-nominated Finding Neverland scored not a single Tony nomination when set to music on Broadway in 2015. Despite a number of memorable moments (and an Act One finale that may well inspire longer, louder, more deserved cheers than any in recent memory), Finding Neverland The Musical substitutes broad comedy, generic songs, and cartoonish supporting characters for the subtlety and depth that made Finding Neverland The Movie one of 2005’s most acclaimed films.
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LOVE ALLWAYS

Gloria Gifford directs half-a-hundred of her attractive young acting students in assorted scenes from five 1970s Renée Taylor-Joseph Bologna TV specials, compiled as Love Allways, a Los Angeles Premiere that proves a mixed bag of Love Boat-style winners, losers, and in-betweeners. The good news is that you’re never far from the next winner, including the show-opening “Herb, Erica, Stuart, & Joanne” and the evening’s grand finale “Tony & Madelaine” (assuming you attended the performance reviewed here).
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ON THE TWENTIETH CENTURY

SoCal musical theater lovers are hereby advised to head on down to San Diego and catch Cygnet Theatre’s heavenly revival of the multiple Tony-winning On The Twentieth Century, not only a once-in-a-blue-moon chance to see the Cy Coleman-Betty Comden-Adolph Green gem but a terrific showcase for local stage stars too often overlooked the city’s higher-profile regional theaters.
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AMERICAN IDIOT

Cupcake Theater follows its family-friendly welcome-back-to-the-sixties Hairspray revival with the sex, drugs, and rock-and-roll of Green Day’s American Idiot, every bit the crowd-pleaser of its predecessor (but with parental discretion advised).
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THE CRUISE

An estranged father and son attempt a shipboard reconciliation in Jonathan Ceniceroz’s The Cruise, Latino Theatre Company’s enjoyable but less than satisfying World Premiere comedy, now playing at the Los Angeles Theatre Center downtown.
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