LA Theater Review

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  • Reviews

    St. Joan and the Dancing Sickness

    Somewhere in rural Louisiana in 1999, a community is forced to face up to the cruelty and corruption of its state government.

  • Reviews

    Never Land

    In writer-director Phyllis Nagy’s unnerving 1998 tragicomedy the playwright explores ennui and tensions emanating from European class and cultural differences and within family relationships.

  • Reviews

    Prove It on Me

    Directed by Kelly Ann Ford, the story, though, predictable, might have worked, if not for an abundance of clichéd dialogue and a supporting performance that knocks the show's overall quality down another few notches.

  • Reviews

    Desperate Writers

    There is potential hilarity in the trials and tribulations of Hollywood writers who battle with capricious studio executives, but the storytellers should set a consistent comedic style.

  • Reviews

    Respect: The Girl Em-Powered Musical

    Vanderbilt professor Dorothy Marcic has avoided many obvious theatrical and political pitfalls in her survey of women in popular music in 20th-century America.

  • Reviews

    Omnium Gatherum

    This eloquent, funny, provocative riff on 9/11 and its aftermath, by Theresa Rebeck and Alexandra Gersten-Vassilaros, gets a bang-up production by directors Ellen Geer and Rob Walker and the terrific Theatricum ensemble.

  • Reviews

    Second Thoughts

    "Second Thoughts," presented by the city of West Hollywood and Bare Bones Theatre at the Great Hall, Plummer Park, 7377 Santa Monica Blvd., West Hollywood. Fri.-Sat. 7 p.m., Sun. 3 p.m. Oct. 22-Nov. 13. $15-20. (323) 461-5570.

  • Reviews

    Getting Out

    Marcia Norman's schizophrenic play cannily posits that splitting a personality is as simple as splitting an infinitive.

  • Reviews

    Garden of Reason

    Press materials for the new version ofGarden of Reasonsay it's Pink Floyd's "The Wall" meets Cirque du Soleil.

  • Reviews

    Bush Is Bad: Alaska Beauty Queen Edition

    Fair and balanced? Definitely not. Composer and lyricist Joshua Rosenblum puts W. squarely in his sights and unleashes a withering blast of satire in this musical revue.