Widely and unjustly dismissed as a self-hating misogynist screed, Clare Boothe Luce's 1936 "The Women" has found a director who prizes women and appreciates the play's specific satirical aims.
Sarah Ruhl's "Dead Man's Cell Phone" is an idiosyncratic work so indifferent to conventional norms that it will irk as many viewers as it captivates.
Evangelism and investigative journalism share a passion to open other people's eyes to "the truth." As such, "This Beautiful City" impresses as a work of religious inquiry and engaged reportage…
Attending South Coast Rep's world premiere of "An Italian Straw Hat: A Vaudeville" is like stepping into a time machine -- not back to the boulevard comedy's turn of the century setting but to the…
Itamar Moses rifles baseball's lockers for drugs and thematic resonance in "Back Back Back," a play whose nine scenes or "innings" (with a stretch in the seventh) merit some of the charges often…
Three concurrent narratives comprising "The Third Story" allow each tale to speak to the others, chattering away on the gender-bending star Charles Busch's familiar themes of stifling motherhood and…
Stephen Karam's "Speech & Debate" initially flirts with a host of hot-button topics from politicians' sexual misconduct to teachers touching students in their (to use the approved health ed…
Composer-lyricist Dolly Parton's theatrical debut, "9 to 5: The Musical," qualifies as what folks call "a fun show": rarely any less, but at this point rarely more.
The renovated Mark Taper Forum must await a more auspicious tenant than this flat, misconceived revival of John Guare's 1970 breakthrough "The House of Blue Leaves."
The Getty Villa's outdoor presentation of "Agamemnon," part one of the Oresteia trilogy, mightily meets the two main challenges of staging Aeschylus and his Greek brethren for a modern audience.
Beale Street -- that mile-long black enclave leading east from the Mississippi, fabled as a home of the blues and cradle of rock 'n' roll -- is the vibrant setting as "Memphis explores America's…