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Sarah Taylor Ellis
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Los Angeles Theater Review: MY NAME IS RACHEL CORRIE (The Will Geer Theatricum Botanicum)
A PATCHWORK OF THE PERSONAL AND POLITICAL My Name is Rachel Corrie is a solo show comprised of a patchwork of actual e-mails and diary entries by a young female activist in Gaza who was tragically run over by an Israeli bulldozer in 2003. Edited together by Alan Rickman and Katherine Viner, it is not…
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Chicago Theater Review: 1001 (Collaboraction)
WHAT ARE ANY OF US BUT A COLLECTION OF STORIES? Collaboraction’s 1001 spins the audience into a delightful vertigo. This whirling postmodern adaptation of The Arabian Nights collapses time and space, drawing vital connections across wildly disparate cultures and eras. Jason Grote’s poetic new play cleverly paces itself. After a shocking nuclear explosion, the collection…
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Chicago Theater Review: PORNOGRAPHY (Steep Theatre)
FOR THOSE WHO LIKE TO WATCH The rumblings of the elevated train beside Steep Theatre are chillingly atmospheric for the Midwest premiere of Simon Stephens’ Pornography. After all, this collection of monologues and two-person scenes are unified by an intense week in London in 2005, which included the Live 8 Concert, the G8 summit,…
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Chicago Theater Review: THE ADVENTURES OF PINOCCHIO (Chicago Shakespeare Theater)
CARLO COLLODI’S CLASSIC TALE COMES TO LIFE At the heart of Chicago’s Navy Pier lies the stunning Chicago Shakespeare Theater. On a recent Wednesday morning, this 500-seat space was packed with eager families and young summer campers for The Adventures of Pinocchio. Despite some narrative rockiness in this new musical, it is thrilling to see…
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Chicago Theater Review: THE ORIGINAL GREASE (American Theater Company)
IN THE BEGINNING, IT WAS EVEN GREASIER Apparently Los Angeles is not the only city prone to over-praise its local theater. American Theater Company’s The Original Grease has been receiving consistently strong reviews and national attention for its return to the “gritty” musical that started at Chicago’s Kingston Mines Theatre Company in 1971. While a…
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Chicago Theater Review: THE LAST ACT OF LILKA KADISON (Lookingglass Theatre Company)
NOTHING FEEDS YOUR HEART LIKE A GOOD STORY Truth be told, The Last Act of Lilka Kadison chronicles an entirely conventional story – but Lookingglass Theatre’s production elevates this historical melodrama to a work of theatrical magic. Written by Nicola Behrman, David Kersnar, Abbie Phillips, Heidi Stillman, and Andrew White, The Last Act of Lilka…
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Chicago Theater Review: MIDDLETOWN (Steppenwolf)
STEPPENWOLF PROVES ITS WORTHY REPUTATION Will Eno’s Middletown suggests that life is a black hole; there will always be a gulf between reality and our perception of it, between our desire for human connection and our ability to actually connect. Loneliness pervades this small mid-American town. Yet in a beautiful production, Steppenwolf fosters an inspiring…
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Orange County Theater Review: JERRY SPRINGER: THE OPERA (Chance Theater)
SING TO THE HAND A literally damning critique of American popular culture, Jerry Springer: The Opera soars in the Chance Theater’s Southern California premiere. An opera this critical could have only originated across the Atlantic. British duo Stewart Lee (book and lyrics) and Richard Thomas (book, lyrics, and music) incisively lambast our culture’s quest for…
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Los Angeles Theater Review: IT MUST BE HIM (Edgemar Center for the Arts in Santa Monica)
COMING OUT THROUGH SKETCH COMEDY It Must Be Him is in desperate need of a laugh track. Although penned by former writer of The Carol Burnett Show Kenny Solms, this semi-autobiographical romantic comedy rarely soars to those hilarious heights an audience member might expect from such a promising creative team. Louie Wexler (David Pevsner) is…
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LA Theater Review: THE WORD BEGINS (Rogue Machine)
TALKING ABOUT A BETTER WORLD Violence cuts across the walls in The Word Begins; sirens blare as iconic images of bloodshed and warfare, political figures and propaganda are projected larger than life onto the graffiti-covered set. The media continually broadcasts this reminder: we are at war. But onstage at Rogue Machine Theatre, writer/performers Steve Connell…
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Theater Review: THE HUMAN VOICE by Jean Cocteau (Hollywood)
COCTEAU CALLING A disheveled bed, letters strewn across the floor, a woman quaking by the phone awaiting her lover’s last call: Jean Cocteau’s 1930 play about the need for human communication is strangely poignant in our contemporary world of pervasive cell phones, e-mail, and Facebook. A Bunch of Artists’ Los Angeles premiere of Anthony Wood’s…
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Theater Review: GLORY DAYS by James Gardiner and Nick Blaemire (Hollywood)
GLORY DAYS GETS ITS GLORY BACK Glory Days is legendary among contemporary musical theater fans. With book by James Gardiner and music and lyrics by Nick Blaemire, this youthful musical received rave reviews in its initial run at Signature Theatre, transferred to Broadway in 2008, and promptly opened and closed in a single night. What…
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Theater Review: BETWEEN US CHICKENS by Sofia Alvarez (Costa Mesa)
YOUNG IN L.A. For self-proclaimed losers Sarah and Meaghan, a post-college move to Los Angeles promises a total break from the past, if not fame and fortune as well. In Sofia Alvarez’s provocative new play Between Us Chickens, these small-town East Coast friends must face up to LA’s devastating fantasies of self-(re)invention. One of SoCal’s…
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Los Angeles Theater Review: THE MERCY SEAT (Vs. Theatre Company at [Inside] the Ford)
THE DAY AFTER THE WORLD CHANGED Red and blue emergency vehicle lights cut across the New York City skyline outside Abby’s comfortable high rise apartment. It is September 12, 2001, and lovers Abby and Ben delve into the caustic Ground Zero of their relationship in Vs. Theatre Company’s compelling Los Angeles premiere of The Mercy…
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Music Review: NELLIE McKAY (City Vineyard)
by Rob Lester | April 29, 2026
in Cabaret, New YorkOff-Broadway Review: BROKEN SNOW (Theatre 71)
by Gregory Fletcher | April 28, 2026
in New York, TheaterTheater Review: THE SECRET SHARER (DNAWorks at Emerson Paramount Center)
by Lynne Weiss | April 27, 2026
in Boston, TheaterBroadway Review: JOE TURNER’S COME AND GONE (Barrymore Theatre)
by Paola Bellu | April 25, 2026
in New York, Theater













