Harker Jones

Ritt raises questions about the ethical and moral quandaries of employing AI to replace humans in a distinctly human space — art — but they aren’t pointed enough to really spark conversation or suggest insights, settling instead for an amusing if slight glimpse into the near future.

FUNNY GIRL is a gold standard that has endured through the ages and the production that just hit downtown Los Angeles is a rollicking and heartfelt success.

Writer Becky Wahlstrom imbues A FROGGY BECOMES with an absurdism that is only complemented by the absurdism of the ’80s with the neons and the poofy hair and the synthesized music.

Braun’s script is never stagnant, the characters always in action, whether in a delightful literal dance party or a metaphorical pas de deux, always getting close to connecting before pulling away — or being pulled away by outside forces.

FATHERLAND is an unsettling reminder of how an average person can tip from sane to insane all in the name of good ol’ American patriotism, crossing ethical, moral, and legal lines with nary a hesitation.

POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE is a a laugh-out-loud riot that would benefit from a few moments of introspection and nuance.

Overall, the show is wickedly funny and a trenchant meditation on entitlement, revenge and justice, even if that justice is one-sided. Another bull’s-eye for the Road Theatre.

Hit the Montalbán in Hollywood for a night out with family and/or friends. Just because this is appropriate for the kids doesn’t mean it’s not fun for the rest of us. Jingle your balls all the way to the North Pole!

SHE is a moving, lyrical story with deft characterizations, luminous performances, and a poetic quality that reflects our heroine’s dreams

Dominique Morisseau’s BLOOD AT THE ROOT is a blistering look at race, prejudice, and the complexity of human relationships, and is provocative without being preachy.

EVERY BRILLIANT THING is a deeply affecting meditation on grief and mental illness told with humor and a clear-eyed optimism that makes the message that much more powerful.

Despite stunning choreography, sets, and costumes, you might find yourself left wanting once the magic carpet has spirited our lovers away to that whole new world.

PETER PAN GOES WRONG is the most Fractured of Fairy Tales, a raucous sitcom on steroids that is uproariously funny as it barrels along at light speed

CRABS IN A BUCKET is one of the Echo’s best in recent memory and that’s saying a lot because the Echo consistently brings challenging and entertaining material to vibrant life. The collective is one of Los Angeles’ crown jewels — and maybe one of its best-kept secrets.

An exhilarating, inspiring event, BEETLEJUICE does its source material proud, retaining the look and tone of the film and expanding upon it in organic ways.

Unlike most stories told about the LGBT community in the ’70s and ’80s, this isn’t about homophobia, about the terror of coming out to loved ones, or about self-destruction or self-hatred. Chambers creates normalcy of life for her characters, and that makes them relatable to everyone. We know these women. We ARE these women.

Soloway and their cast and crew have created a new classic that should reverberate with people of all stripes

This could have been a compelling exploration of interracial and intergenerational relationships, but with the lead being so hateful and the script so sharply heavy-handed, any impact is lost.

Aerosol is in the air as Tracy Turnblad, Penny Pingleton, and the teens of Baltimore bring politics and pizzazz to Hollywood with a stunning production of one of the best and beloved musicals of all time.

Part of its Stephen Sondheim Celebration this spring, “A LITTLE NIGHT MUSIC” is another triumph for the Pasadena Playhouse, following up the sublime “Sunday in the Park with George.”