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    Stage Spot

    "I wanna be bad," warbles Keith Baker as a morally conflicted Satan in The Possession of Mrs. Jones, D'Arcy Drollinger's zany new rock musical with a dark edge. But when it comes to acting, "bad" isn't an adjective one would apply to Baker in this role.

  • Review

    TALE OF THE SCORPION and SABOTAGE

    Playwright Adrian Truss' Tale of the Scorpion is a charming and bracingly imaginative comedy that proves, once again, that what audiences love is a play within a play. Depression-era, penny-dreadful pulp-fiction writer Lester (Cooper Thornton) returns from a vacation to discover that his editor wants three full-length novels within three ...

  • Review

    InnerLandscapes Dance Theater: Radiant Imprints

    Self-presented at Merce Cunningham Studio, 55 Bethune St., NYC, Feb. 24-27.

  • Review

    Seascape

    How ironic that Edward Albee, now in a visually and intellectually arresting revival from Lincoln Center Theater, employs adeus ex machinastraight out of evolutionism.

  • Review

    Preludes & Fugues

    "Preludes & Fugues," presented by Son of Semele Ensemble at Son of Semele, 3301 Beverly Blvd., L.A. Thu.-Sat. 8 p.m., Sun. 7 p.m. (Also Mon. 10 p.m. Oct. 8.) Sep. 29-Oct. 23. $15. (213) 351-3507.

  • Review

    Sister Cities

    This two-act drama of four estranged sisters-with different personalities, lifestyles, and fathers, reunited by the suicide of their terminally ill mother-was conceived and written by Circus Theatricals company member Colette Freedman.

  • Review

    The Other Side

    In the despair of wartime, we hope for playwrights to write dramas that make us think, that may even drive action or discussion.

  • Review

    RUMORS

    at the Reuben Cordova

  • Review

    Gutenberg! The Musical!

    What would we do without British musicals to spoof? Case in point:Gutenberg!The Musical!, the latest in a series of self-reverential and self-mocking shows.

  • Review

    Iphigenia In Aulis

    Circus Theatricals enters the next phase in a notable evolution with the advent of its newly built 42-seat space, finished only two days before the opening night of member Colette Freedman's adaptation of one of the most demanding Greek dramas. The theatre is distinctly austere and pristine, the production ...