Posts Tagged ‘Theatre 40’

IT IS DONE

Sparks fly in the most horrifyingly unexpected of ways in a seedy bar ninety miles from nowhere in Alex Goldberg’s edge-of-your-seat chiller It Is Done, the risk-taking latest from Beverly Hills’ venerable Theatre 40.
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BUS STOP

No one wrote about 1950s middle-America more accurately, astringently, and affectionately than “Playwright of the Midwest” William Inge, proof positive of which can now be seen in Theatre 40’s absolutely terrific revival of Inge’s 1955 gem. (read more)

SCREWBALL COMEDY

If Ben Hecht‎ and ‎Charles MacArthur (The Front Page, Twentieth Century) were alive today, they might have written Screwball Comedy, a Norm Foster/Theatre 40 gem that more than does justice to the genre whose name it bears.
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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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VINO VERITAS

There’s nothing like an exotic Peruvian wine to reveal long-hidden secrets when a couple of 30something married couples imbibe said intoxicant in full Halloween regalia at Theatre 40 in Vino Veritas, David MacGregor’s tantalizing look at two marriages for whom truth may be precisely what the doctor ordered, or the worst medicine of all.
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SEQUENCE

Lightning from up north strikes Beverly Hills for the second time this year as Theatre 40 follows January’s challenging-but-rewarding Late Company with another thrilling Canadian import, the West Coast Premiere of Arun Lakra’s brain-teasing, mind-blowing Sequence.
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SEPARATE TABLES

Following their superb 2014 revival of Terence Rattigan’s WWII-era Flare Path, Theatre 40 returns to Rattigan territory with a less successful Separate Tables, the mid-twentieth-century English playwright’s pair of one-acts whose second half crosses the line from period piece to uncomfortably dated.
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APRIL, MAY, & JUNE

April, May, & June may be more Lifetime Channel sitcom than Chekhov, but once the play gets past its expository-dialog crash course in four decades of family dysfunction, Gary Goldstein’s entertaining World Premiere look at three sisters so close in age they could almost be triplets yields its fair share of both laughter and emotional rewards.
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