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Don't have an picture yet? Get the most out of your experience with a personalized all-access pass to whole enchilada local on events, music, restaurants, account and more. These listings were compiled by Derek Thomas. Productions are sequenced alphabetically in the following cagtegories: You can also search for any act by title, using your computer's search engine.

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Sherry Theatre, Magnolia Blvd. Theatre Asylum, Santa Monica Blvd.

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Knightsbridge Theater, Riverside Dr. Hayworth Theatre-in-the-round, Wilshire Blvd. Santa Monica Playhouse, Fourth St. The Complex, Santa Monica Blvd. Mark Taper Forum, N. Highways Discharge Space, 18th St. The Ballad of a Borinqueneer. Missing Piece Theatre, W. Avery Schreiber Theater, Magnolia Blvd. The Music Box, Hollywood Blvd. Whitefire Theater, Ventura Blvd. East West Players, N. Judge John Aiso St. Lucy Florence Cultural Center, W.

Edgemar Center appropriate for the Arts, Outstanding St.

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Sierra Madre Playhouse, 87 W. Day-bed Theatre, Santa Monica Blvd.

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Cosmopolitan City Theatre, E. Getty Villa, Pacific Coast Hwy. But it's not who you think. The year isthe order is Athens, Ohio, link the man is John Newton Templeton Kareem Fergusona freed bondman whose education is facilitated by the Rev. Robert Wilson Frank Ashmore. Wilson, a strictly right man, enrolls John in Ohio University. Wilson's wife, Jane Kathleen Mary Carthyinitially cold to Templeton when he sign ins to live with them, softens remaining time; however, she plants doubts in Templeton's head approximately Wilson's plan to make him the governor of Liberia.

Charles Smith's give three-character study unfolds through intimate moments and intellectual discourse, powerfully examining the issues of its day, as affectionately as questions bordering citizenship and alliance, which continue to occupy us. The dialogue is extraordinarily refreshing for its crisp diction, recompense which the assign goes to both Marriage Without Hookup Ep 13 Candid cast source director Dan Bonnell.

The show too appeals visually, as David Potts' work out, consisting of blench silhouettes, brings to mind both the popular 18th century portraiture and African woodcuts. Jeffrey Schoenberg's authentically plain costumes avoid the dual pitfalls of melodramatic period garb, which is often either too showy or simply looks phony.

The cast is stellar all far, taking us on a journey that stresses the necessity of fulfilling the promises upon which our country was built. Colony Arena theatre, N. HAMLET It's anyone's guess what vision might be suffering with guided director Ellen Geer's fervent but unfocused, Medieval-dress idea of Shakespeare's better baroque and psychologically nuanced tragedy.

Helmsman Geer keeps it all going at a securely crop, but some exasperatingly card blocking divides the centre of too innumerable monastic turning points -- maximum egregiously in the mousetrap commotion -- all but obliterating their considerable principle. Lorem ipsum dolor notice amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. You are so deviant. Anyway it's Walton and Murtadha's independent, emotionally charged performances that striving the trickery. Trade your clothes, we got a batch riding on that.

There's certainly little advice of the Oedipal undercurrents or federal allegorizing that be enduring been a main of 20th-century productions. Nor is there much sign of the paralyzing squabble between faith in purpose and highbrow certainty, which traditionally drives its hero's famously agonized inaction.

In the box of Mike Peebler's Hamlet, neither his mission nor its justness ever seems in doubt; Peebler attacks the lines with the zeal and righteous wrath of the of late converted. Even his soliloquies are delivered at the admirers as if from a pulpit.

Gertrude Melora Marshall in turn appears more pissed off at her son's increasingly antic disposition than aggrieved by what it might presume about his rationality. Claudius Aaron Hendryby contrast, comes unpropitious as positively nice, a guy caught with his transfer manacles in the cookie jar rather than his fingerprints all over a nefarious regicide.

Willow Geer is convincing as a feisty until now vulnerable Ophelia, but even here the method of her madness seems more a response to the murder of Polonius a selfsame broad Carl Palmer than any jilting by Hamlet. Big cheese Geer keeps it all moving at a fast rook, but some exasperatingly eccentric blocking divides the focus of too many essential turning points -- most egregiously in the mousetrap uncomfortable -- all but obliterating their dramaturgical purpose.

Will Geer Theatricum Botanicum, N. Long Beach Playhouse, E. But if the recipient scan it instead of tossing in onto a pile of here crackerjack minibooks, she'd discover a classy dwarf number, a J.

Peterman catalog minus the pretentiousness. With sparse text and barebones sketches, Beckerman records her biography through the clothes she and her female relatives wore. Director Jenny Sullivan constructs the Thespianism version in lots the same way: The star-studded coordinates wears black there's an link to the color, every woman's ramshackle faithful while sitting in a sorted out line; and Carol Kane, who restates as Beckerman, handles the main prop, a "closet" stacked of the book's renderings situated on wire clothes hangers.

But this is Nora Ephron, and chumminess quickly trumps austerity. The scenes themselves are ruminations on relationships Wedlock Without Hookup Ep 13 Raw covert as mostly odd riffs on clothes -- Tracee Ellis Ross almost runs away with the show every shift the spotlight's hers but particularly so Marriage Without Hookup Ep 13 Tender "The Shirt.

There are a several of moments "The Bathrobe," How To Online Hookup during which all but those with a particularly gluttonous emotional appetite ordain find themselves choking on the syrup.

Fortunately, though, the Ephron sisters set up nimbly stitched well-adjusted the scenes so that there's rise in the world more head incomplete than eye rolling. Geffen Playhouse, Le Conte Ave.

The appetizer common to all three nights, "What Can We" by Craig Abernathy, is a five-minute exploration of making theatre. Though not much happens in this two-hour comedy, the writing is thoroughly engaging. The real twister, despite that, comes in the form of Gene's boorish, foul-mouthed relative, Ronnie the first-class Boyd Kestnerand his countrified wife, Susie Agatha Nowickiwho stop in unexpectedly.

Today, her targets are the overconfident Julliard students in her master class: Shallow voices are an insult, better voices an affront. Would you expect hugs from a scrapper who saw to the audience as her enemy? Terrence McNally's fanged comedy is gleeful schadenfreude when Callas destroys these hopefuls and burnishes her own legend but honourable when discussing the art of opera -- after she's shredded the students' egos, she gifts them a organizing to rebuild.

But while director Heidi Helen Davis read article Geer sharpen her knives, both are devastated in McNally's too on-the-nose inner monologues. These are meant to expose Callas' vulnerability, particularly in her memories of Aristotle Onassis, who by the play's setting had already dumped the diva for Jackie Kennedy.

Here, these raw pains like fluttery crack psychology -- if Callas heard them, she'd shriek. If the truth be known, "language takes a beating in the future," says Harriet Whitmyer as Fanny, one of three spirited, prefeminist explorers in Eric Overmyers' time-tripping, word-whirling play one's part. For those grasping geeks of us who've always gobbled sentences faster To Find Well Woman they're written, Overmyer offers the equivalent of a buffet table buckling under the preponderancy of one of each of Jonathan Gold's "99 Features to Eat in L.

All earn your undivided r�clame, but the next tastes equally as delicious as the last. Yet the true coup is that Overmyer literally says something with all those gratifying words. Taylor over the trio are trekking -- lustily, not fearfully -- through "terra incognita," they are unmitigatedly familiar with their internal ranges.

That is an Eden where women can take nips of liquor from their own flasks, snack "bear chops and moose mousse" and wield knives and guns with the ease of gangsters, while simultaneously Confederation Without Hookup Ep 13 Raw "life without a loofah" and sweat from the sight of a man the funny Diego Parada.

Fear steadily increases, as the expected begins to perceive into their consciousnesses but so does their inclination to embrace it, on better or worse. Daniel Bergher's and Sean Gray's portable and sound designs nicely complement the dialogue-thick script. As his mind descends, his beautiful old lady, Tamara Brenda Eager becomes an adulterous devil, her two sons Dash Pepin and Vincent Cardinale are transformed into murderous monsters who rape and wound his precious daughter, Lavinia Margeaux J.

Londonand his mild-mannered neighbor John Farmanesh-Bocca transforms into his mortal enemy. The story's pieces are mostly shaped from fragments of Shakespeare's tragedy -- but the text at jumps from the original Elizabethan verse to contemporary expository writing, the staging leaps from staid standard poses and tempestuous choreography to Twyla Tharp-style pop-dance sequences Marriage Without Hookup Ep 13 Fresh big-screen film angels.

Each of the elements under Farmanesh-Bocca's often wild rule offers vividly electrifying moments, but the event doesn't congeal. There are filmed pieces that are given too lots weight, overwhelming the sections of tarry movement. Still the talents of seven fine performers are glorious, particularly Stehlin's powerful portrayal of pride crumbling into madness.

Kirk Douglas Theatre, Washington Blvd.

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Watching this skewer of A Winter's Tale and Folding money Withers, die-hard Troubie fans may monody the less-than-usual correlation of comedy to drama. Combining a handful of Withers' gentle pop hits with Shakespeare's moot play is it a drama?

Echoing Othelloan irrationally imperilled King Matt Walker incarcerates his weighty wife, Hermione Monica Schneideron suspicion of fraternizing with his best friend, Majesty Polixenes Matt Merchantand orders the fulfilment of their newborn girl. The somber saga builds to Walker's showstopping conception of "Ain't No Sunshine," enhanced alongside Jeremy Pivnick's comely lighting design.

Clocking in at 90 minutes no intermissionthis show's strength lies in the plaintive musical numbers. The five-strong band is superb and features some haunting underscoring and solos from John Krovoza on cello and violin. The entire get rid of maroon sing, harmonize and dance exquisitely -- credit Ameenah Kaplan for her deceptively simple yet securely choreography. Sets on the side of a Troubie conduct are typically spartan, which makes Sharon McGunigle's luscious days costumes particularly zero.

A Troubadour Auditorium Company production. Falcon Theatre, Riverside Dr. Little Vic Backstage, E. For her performance What EverWoodbury elasticized herself into characters for a sprawling American epic.

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This follow-up is a semi-political soap opera that last will and testament run a experimental installment every weekend for three months, and, gauging past its launch, Woodbury's interested in charting the rise Confederation Without Hookup Ep 13 Raw assail of the artistic class and the crystallization of the divide between the two Americas.

On the 4th of Julya cowed maid picks up a video camera and discovers she's an artist; 25 years later, she's knackered and her chum is attempting to describe her archive of tapes to a barbecue of gentrified Californian creatives who deign to do their own sculpting rather than hiring interns suited for the "dirty" off.

On the other coast, a cleric, his shrewish Tea Party wife and their daydreamy teen daughter fret approximately the BP unguent spill and a species of near extinction frogs that weight prevent them from expanding their church's parking lot. Woodbury has little determination for both blues and reds and loves to skewer the of hypocrisies of both camps.

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To help her remain true to her own voice, she could use a director none is credited to servants her shape and simplify her discombobulated character changes; she has a accomplished range of accents but spends scenes shifting wildly encompassing in her rocking-chair to make effective we're following who's who.

Besides the chair, the lone prop onstage is a handycam that records each adventure for the Net and streams it live on a screen against the wall. It's unclear yet if the distraction will analyse purposeful, but what's certain from the starting gate is that the spirited Woodbury has vigour for miles and months.

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