theater

'A Bright New Boise' Thrives on Unpredictability

Rogue Machine’s exemplary L.A. premiere production of Samuel D. Hunter’s Obie Award–winning dramedy “A Bright New Boise” makes us forgive the script’s dramaturgical deficiencies.

Lanford Wilson's Uneven 'Angels Fall' Gets Rare Revival

The Production Company’s revival of Lanford Wilson’s seldom-performed 1982 drama “Angels Fall” is filled with exceptional, heartfelt performances under Alex Egan’s direction.

'The Man Under' Goes Right Under

“The Man Under,” in its world premiere from Athena Theatre, turns the dangerous world of the subway tunnels into a production as conventional and unadventurous as they come.

'Around the World in 80 Days' Presents Verne With Verve

In International City Theatre’s highly satisfying version of Jules Verne’s “Around the World in 80 Days,” adapter Mark Brown and director Allison Bibicoff utilize just five actors.

'Futurology the Musical' Aspires to Flash and Sass but Doesn't Succeed

“Futurology the Musical,” from the Negro Ensemble Company and Paper to Pen Production, is done in by sloppy direction, deadly pacing, and perfunctory-at-best choreography.

L.A.'s VS. Theatre Company Finds a Home

VS. Theatre Company takes over the former site of the Black Dahlia Theatre.

Winning 'Nuttin’ but Hutton' Delivers Schmaltzy Musical Entertainment

Premiering at NoHo Arts Center, Diane Vincent and Sam Kriger’s old-fashioned musical tribute to the spectacular Betty Hutton, “Nuttin’ but Hutton,” has definitely got somethin’.

Funny and Mean, 'The Sister' Is Also a Bit Gloomy

Expertly staged and compellingly acted, “The Sister,” Eric John Meyer’s bleak yet funny fantasia of a play from Dutch Kills, investigates the cruelties of familial relationships.

'Life and Times: Episodes 1–4' Resonates Tellingly

The first four episodes of Nature Theatre of Oklahoma’s marathon “Life and Times,” part of Under the Radar, turn an exercise in banality into the first great theatrical event of 2013.

A 'King Lear' Played Too Much for Laughs

Stephen Mo Hanan, an actor deservedly celebrated for his comic work in musicals, stumbles taking on the title role in American Bard Theater Company’s only serviceable “King Lear.”