IRONBOUND

A dark cloud may seem to follow Polish immigrant Darja across New Jersey, but that doesn’t stop Marin Ireland from lighting up the stage like nobody’s business in the West Coast Premiere of Martyna Majok’s astringently funny, surprisingly affecting Ironbound, now getting a superb West Coast Premiere with its original off-Broadway leading lady joining it for its five-week visit to L.A.
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ELLIOT, A SOLDIER’S FUGUE

Three generations of Marines serving in three different wars have their stories told in four distinct voices in Elliot, A Soldier’s Fugue, the first in Quiara Alegría Hudes’s acclaimed “Elliot Trilogy” now making a lyrically told, gorgeously staged, superbly acted Kirk Douglas Theatre debut.
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THE LAST WIFE

A captivating Olivia Saccomanno rules the stage as Queen Katherine Parr in Kate Hennig’s fascinating feminist take on The Last Wife (of Henry VIII), now getting its Los Angeles Premiere at Theatre 40 in a production not quite ready for its Opening Night.
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SMALL MOUTH SOUNDS

A half-dozen enlightenment seekers head off into the woods for a five-day spiritual retreat where talking is taboo in Bess Wohl’s entertaining, touching, emotionally observant Small Mouth Sounds, now playing at Santa Monica’s The Broad Stage.
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ASHES TO ASHES

A divorced couple must spend 16 days, 21 hours, and 32 minutes in each other’s company or forfeit the $955,000,000 they’ve been bequeathed in Ashes To Ashes, Debby Bolsky’s entertaining, mostly successful screwball romcom, a World Premiere guest production at the Odyssey.
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THE HEART OF ROBIN HOOD

If you think (or hope) you’ve seen the last of Robin Hood, think again. The Heart Of Robin Hood has arrived at the Wallis, and any lover of theatrical magic and thrills who skips this Robin because they’ve already seen Errol or Kevin or Russell bring Mr. Hood to the silver screen should suffer one of evil Prince John’s unspeakable punishments, or at the very least a good tongue-lashing. Trust me. You’ve never seen Robin Hood (or any on-stage adventure story) quite like this theatrical dazzler.
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CHASING MEM’RIES: A DIFFERENT KIND OF MUSICAL

Tyne Daly rises above the material she’s been given in Chasing Mem’ries: A Different Kind Musical, though if by “different,” book writer Josh Ravetch means clichéd, maudlin, sitcommy, and song-deficient, then this Geffen Playhouse World Premiere “musical” is indeed quite different from the rest.
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SPAMILTON: AN AMERICAN PARODY

Imagine you’ve spent the past three-and-a-half decades spoofing New York’s buzz-worthiest musicals but this year there’s one megasmash that dwarfs the competition like no musical ever has before. If you’re Gerard Alessandrini, you write Forbidden Broadway 2017 and call it Spamilton, eighty minutes of Broadway satire at its funniest, cleverest, and most tuneful now getting its West Coast Premiere at the Kirk Douglas Theatre.
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