THE LOST CHILD

An long-estranged couple, a mysterious waif looking at least half-a-decade younger than her eighteen years, and a Grimm’s Fairy Tale-style cabin in the woods add up to an unsatisfying mix of Unsolved Mysteries and The Twilight Zone in Skylight Theatre Company’s World Premiere production of Jennifer W. Rowland’s The Lost Child.
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THE DEVIL’S WIFE

Three recently bereaved sisters find their world rocked by a mystery man dressed all in black (save a pair of blood-red satin gloves) in Tom Jacobson’s devilishly droll period thriller The Devil’s Wife, a Skylight Theatre Company World Premiere.
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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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KING OF THE YEES

Chinese-American playwright Lauren Yee pays affectionate, rib-tickling, ultimately quite touching tribute to her dad Larry in King Of The Yees, a Center Theatre Group World Premiere now both delighting and illuminating audiences of all racial-ethnic-cultural persuasions at Culver City’s Kirk Douglas Theatre.
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THE CAKE

Bekah Brunstetter puts a deeply personal, delightfully down-home face on the Gay-Wedding-Cake Wars in The Cake, the gifted young playwright’s latest World Premiere dramedy, another feather in director Jennifer Chambers’ and The Echo Theater Company’s multi-plumed hats.
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LETTERS FROM A NUT BY TED L. NANCY

Despite its inventive multimedia staging and Beth Kennedy’s kaleidoscopic supporting turn, the Geffen Playhouse’s wacky, wispy Letters From A Nut By Ted L. Nancy, even at a mere sixty-eight minutes, runs about half-an-hour too long, and with full-price tickets going for as much as $85 a pop, anyone minus money/time to burn would do better to order a copy of Nancy’s book from Amazon where used copies start at fifteen cents.
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LOVE IS A DIRTY WORD

Plenty of actors have stories to tell, and plenty of those may be as solo-show-ready as Giovanni Adams’ tale of growing up black and “sissy” in Jackson, Mississippi, but few end up as exquisitely written, stunningly performed, and strikingly designed as the Yale University grad’s World Premiere Love Is A Dirty Word.
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THE MONSTER BUILDER

A topnotch cast attack The Monster Builder with gusto, but a rather creepy lead character and a bit too much of the quirky and bizarre make Amy Freed’s South Coast Repertory World Premiere satire of architectural pretention more miss than hit despite occasional forays into the weirdly hilarious.
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