Only one show in town can boast no risk of cell phone rage. Your Bose headphones firmly in place at "The Who's Tommy" -- piping in Steve Margoshes' pulsating La Jolla and Broadway orchestrations and…
The action of John C. Picardi's "The Sweepers" is restricted to two tiny, adjacent concrete back yards in Boston's Italian North End, but its themes sprawl,
Not a sex farce or even a want-to-have-sex farce, Alan Ayckbourn's 1979 "Taking Steps" is a "want to realize my full potential" farce bursting with need and self-absorption.
Step, kick, kick, leap, kick, touch ... again. The touring "A Chorus Line" carefully respects and duplicates the trappings -- if not always the tone -- of Michael Bennett's long-running…
"Red Dog Howls," premiering at the El Portal, proceeds to a remarkable 11th-hour confession made, in 1986, by a survivor of the 1915 Armenian genocide at the hands of Ottoman Turks. Simply and…
Director/choreographer William Mead lacks the wherewithal to rise above stale material and justify tuner's redemption from the trunk, or in this instance, the crypt.
There's more relation between "Two Unrelated Plays by David Mamet," the breezy double bill at the Kirk Douglas, than the title suggests. Each one-act features blithe philosophers nattering away to…
The visual and rhythmic pleasures of East West Players' anime and hip-hop-influenced "Pippin" almost permit one to overlook the production's undercooked execution. But for all the eye candy, the ear…
Thomas Gibbons' plays push hot buttons. Jumping off from actual events, they tackle issues rarely brought up in private discourse, let alone onstage.
Jason Grote's "1001" makes an entertaining, often witty case for the significance of the Arabian Nights tales -- and Arabia itself -- in the West's collective consciousness.
The Pasadena Playhouse has transposed "Of Mice and Men" to reflect the vast wartime influx of Mexican migrant workers freeing whites for factory duty, and there's one sure measure of its success: You…