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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LEVI! A NEW MUSICAL

A stellar Marc Ginsburg and more than a dozen unsung Sherman Brothers songs are the best reasons to catch the World Premiere of the old-and-new Levi! A New Musical, the latest from the students of LACC’s Theatre Academy.
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bled for the household truth

If a tightly-wound New York male and a free-spirited Manchester female sharing NYC digs sounds like the latest take on Neil Simon’s The Odd Couple, think again. Ruth Fowler’s bled for the household truth may have an uncomfortable laugh every now and then, but what the Welsh playwright has up her twisted sleeve in this Rogue Machine World Premiere proves the darkest, most disturbing, and quite possibly the most compelling play in town.
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THE TRAGEDY

Whether you find The Tragedy, D.G. Watson’s twisty-turny tale of three young Hollywood talent managers in search of the stroke of genius that will save their floundering business a piece of theatrical brilliance or a hallucinogenic hot mess may depend on how many shrooms you’ve consumed before lights-up. In either case, this often outrageously funny Ammunition Theatre Company World Premiere is like nothing else now playing on L.A. theater stages.
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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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LITTLE WOMEN [a multicultural transposition]

If Meg, Jo, Beth, and Amy March had come of age in post-WWII L.A. as the Mayeda sisters, offspring of a Japanese-American father and a Chinese-American mother, Louisa Mae Alcott’s classic novel might look and sound just like Little Women [a multicultural transposition], Velina Hasu Houston’s unabashedly G-rated World Premiere rewrite that had me in its spell from ebullient start to heartwarming finish.
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RUNAWAY HOME

A fourteen-year-old far too smart, self-assured, and resourceful for her own good takes to the streets of New Orleans three years after Hurricane Katrina lay waste to the city’s Lower Ninth Ward in Jeremy J. Kamps’ Runaway Home, a Fountain Theatre World Premiere that proves every bit as compelling a slice-of-post-Katrina-life as it is a bona fide crowd-pleaser.
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STUPID KID

Folks are dumb where Chick Ford comes from, which is why you may be excused for assuming at first that Sharr White’s Stupid Kid has nothing but poor white trash jokes in store for audiences at The Road On Magnolia. But think again. Chick and his kinfolk are about to reveal far more about the Eastern Colorado Fords than initially meets the eye.
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