Los Angeles

THE REALLY BIGGIE TITTY COMMITTEE What’s the first thing that comes to mind when you’re told that you’re going to see a show with two women (Emma Powell and Mandi Lodge) who are going to display their tits on stage in amusing ways that are calculated to make us laugh?   You probably don’t even have…

A BRIDEGROOM ROBBED OF ITS CHARM Anxiously anticipating The Robber Bridegroom at International City Theatre (ICT), I felt like an excited bride who had already slept with her soon-to-be husband, but found on the wedding night that her bridegroom was cold, unimaginative, and flaccid.   If every bridegroom on the planet had the qualities of Todd…

ACCESS YOUR INNER DINOSAUR The Dinosaur Within digs up some curious storylines, but these fragments fail to cohere into a compelling narrative. In its West Coast premiere at Boston Court, John Walch’s play flounders in a fossil-filled fiasco. Walch aims to cut across the densely-sedimented layers of time in a drama of mourning and loss,…

A WILD WEST PARTY IN CULVER CITY The Rude Mechs’ I’ve Never Been So Happy works overtime to please. This Western extravaganza spills into the Kirk Douglas Theater’s lobby for an interactive romp before and after the show, as well as during an extended intermission. Audience members who embrace the Frito pies and margaritas, the…

FAUSTIAN PHANTASMAGORIA “There is nothing new under the sun,” said a Jewish writer more than two thousand years ago. While such a sentiment may not have been intended to discourage creativity, it can’t help but betray a certain weariness with the world. And such seems to be the present mood in Hollywood, where the big…

GOIN’ A’COURTIN’ IN THE BACKWOODS OF GLENDALE Glendale Centre Theatre continues its 64th season with a rambunctious production of Seven Brides for Seven Brothers, the highly successful MGM musical from 1954. Although the stage version was a flop on Broadway, it has nonetheless become a popular staple for musical theatre companies. Written in a sexist…

ON ONE’S VERY BEST POOR BEHAVIOR Ian is a monster. Oh, not your fire-eating dragon sort of monster. Quite possibly you’ve met this kind of monster yourself. He’s British; he’s smart; he’s opinionated; he’s articulate; he is, more often than not, an alcoholic, although the kind of alcoholic who, you are bound to admit, can…

IDENTITY CRISIS In a Mumbai flat, Deepa Kirpalani (Lina Patel), who lost her husband two years earlier, lives under the strict Hindu rules of widowhood. She never leaves her home, wears all white, goes without jewelry or make-up, and spends her days praying for moksha – liberation from the endless cycle of death and rebirth….

PROSPERO IS UP TO HIS OLD TRICKS There seems to be a plan afoot at Zombie Joe’s Underground Theatre Group to give us The Complete Abridged Works of William Shakespeare, a project that could happily go on for years. Purists, who object to cutting even one line of the Bard’s work, may be dismayed, but…

AMPHIBIANS MORE EVOLVED THAN HUMANS Theatre West’s production of Edward Albee’s Seascape is a study in contrasts.   Things either work, and work beautifully, or are muddled and miss the mark, creating an enjoyable but not completely satisfying evening. Nancy and Charlie are on the verge of retirement.   Their kids are grown and independent, and it…

THE HAPPIEST CORPSE I’VE EVER SEEN How many reasons do you need to rush out and get tickets for the Reprise revival of Cabaret? Let me offer a few. First of all, this is 2011, and a better time to see Cabaret could not be imagined. That may be Berlin at the dawn of Nazism…

HIGH CULTURE UNDER A MALIBU SKY Anne Bogart is not one to shy away from her own directorial eccentricities. As the American Theater’s Queen of Deconstruction, she has had a formidable career looking with fresh eyes at old texts, investigating them and re-inventing them and, at her best, encouraging audiences to look at the plays…

WHAT’S WRONG? IT’S ALL RIGHT In thousands of YouTube videos, out-and-proud adults tell marginalized queer youth that life will get better. Yet the “It Gets Better” campaign advocates for a rather troublesome passivity. Hopes are pinned on an ambiguous future, and the question of exactly how things will get better remains unanswered. In a stunning…

WHEN YOU USE MACE, USE WITH DISCRETION Playwright Kristoffer Diaz has an ear for unleashing the poetic possibilities in “street-smarts” vernacular; and director Edward Torres has an eye for how to turn a simple idea into an explosively theatrical metaphor; and, together, they have made of Diaz’s hip-hop comedy The Elaborate Entrance of Chad Deity…