KAIROS


What starts off a meet-cute romcom ends up something a good deal more thought-provoking and profound in Kairos, Lisa Sanaye Dring’s intriguing examination of love, life, and the search for eternal youth, now getting a terrifically acted East West Players’ World Premiere.
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MONSTERS OF THE AMERICAN CINEMA


What starts out a sitcom-style two-hander about a precocious teen being reared by his late father’s gay black husband ends up something far darker and deeper and more powerful in Christian St. Croix’s Monsters Of The American Cinema, the latest in a string of world-class Rogue Machine winners.
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FUNNY GIRL


Katerina McCrimmon gives the touring performance of this or any year as comedy legend Fanny Brice in the Broadway National Tour of Funny Girl, its songs as unforgettable as ever, its revised Harvey Fierstein book a marked improvement on the Isobel Lennart original, and its direction (by Michael Mayer) as inspired as direction gets.
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A FROGGY BECOMES


If you’ve ever been twelve years old, you’ll get an extra special kick out of Becky Wahlstrom’s wild and wacky and way-out-there coming-of-age comedy A Froggy Becomes, now getting the most exhilarating of World Premiere stagings at Open Fist Theatre.
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FATHERLAND


Words like riveting and gut-wrenching only begin to describe Stephen Sachs’ ripped-from-the-headlines World Premiere docudrama Fatherland and the performances delivered at The Fountain Theatre by Los Angeles stage dynamo Ron Bottitta and remarkable L.A. newcomer Patrick Keleher.
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MIDDLE OF THE WORLD


An Uber ride through the traffic-jammed streets of Midtown Manhattan proves life-changing for both driver and passenger in Juan José Alfonso’s Middle Of The World, a compelling, thought-provoking, surprise-packed Rogue Machine Theatre West Coast Premiere now playing at the Matrix.
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MATTHEW BOURNE’S ROMEO AND JULIET


Daringly reconceived, thrillingly choreographed, and dazzlingly performed, the North American Premiere of Matthew Bourne’s Romeo And Juliet is the latest absolute must-see from the UK-based dance company that has made the Ahmanson Theatre its American home away from home for the past twenty-six years.
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SUKKOT


Few situations are riper for raucous laughter, long-festering rage, and buckets of tears than the much dreaded family reunion, and since almost everybody on this planet has attended at least one (if not dozens) of them, expect to find much to identify with and relish in Matthew Leavitt’s marvelous new family-reunion dramedy Sukkot.
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