THE WOMAN IN BLACK

Theatre Unleashed offers Halloween season audiences an entertaining and occasionally shiver-and-gasp-worthy intimate staging of the three-decades-long-running West End smash “ghost play” The Woman In Black minus the full quotient of horror-movie chills a bigger-bucks production could provide.
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YOHEN

Danny Glover gives East West Players/Robey Theatre Company’s revival of Philip Kan Gotanda’s Yohen plenty of movie-star box-office draw, but Gotanda’s delicate, perceptive “portrait of a marriage” and Yohen’s luminous leading lady June Angela deserve better than Glover’s lackadaisical performance as a retired African-American soldier estranged from his Japanese wife of thirty-plus years.
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REDLINE

A decades-estranged father and son meet for the first time since a car crash ripped their family to shreds in Christian Durso’s gripping, emotionally-charged Redline, an IAMA Theatre Company World Premiere that held me in its grip from the bombshell revelation that sets it in motion to its life-and-death final seconds.
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DEAD BOYS

An über-macho 20something and his not-nearly-so-manly former schoolmate find themselves possibly the only two people left alive on earth in Dead Boys, Matthew Scott Montgomery’s funny, touching, romantic, edge-of-your-seat hour-long look at racism, homophobia, and the apocalypse now.
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HEISENBERG

Tony-nominated Denis Arndt and his Broadway leading lady Mary-Louise Parker light up the Mark Taper Forum stage as mismatched misfits made for each other in the Manhattan Theatre Club production of Simon Stephens’ Heisenberg, an East-to-West Coast transfer that allows Angelinos to experience the same theatrical alchemy that only months ago filled seats on New York’s Great White Way.
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CONSTELLATIONS

Ginnifer Goodwin and Allen Leech lend their considerable movie/TV star power, charisma, and talent to the Geffen Playhouse Los Angeles Premiere of Constellations, Nick Payne’s brain-teasing look at the multitude of possibilities inherent in a single romantic relationship.
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ACTUALLY


We all know that “No” means “No,” but what’s a college student to think and do when the young woman with whom he thinks he’s having consensual, albeit drunken sex tells him “Actually, um…” mid-coitus?

Anna Ziegler takes this question as her point of departure in Actually, the New York playwright’s darkly comedic, compellingly dramatic look at sex, race, gender, and booze now getting a first-class co-World Premiere* production at the Geffen.
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UNCANNY VALLEY

Hot topics don’t get much hotter than artificial intelligence, whether in headline news, or movies like Ex Machina, or Jimmy Fallon interviewing “Robot Sophia” on late-night TV, or in Thomas Gibbons’ fascinating, discussion-prompting, edge-of-your seat two-hander Uncanny Valley, now getting its Los Angeles Premiere at Long Beach’s International City Theatre.
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