From left: Sean Bell, Leo Roberts, Major Attaway, Blake Segal, Chris Collins-Pisano and Ellis C. Dawson III in "Spamalot" at the Hollywood Pantages Theatre (Photo by Matthew Murphy and Evan Zimmerman) “’Tis but a flesh wound!” —Th e Black Knight So funny, so good, so many laughs. If you know Monty Python, you’ll know the British comedy troupe’s 1975 movie “Monty Python and the Holy Grail,” and in “Spamalot,” you get to see it on stage as a musical that garnered several Tony n

Ins Choi (Appa) in "Kim's Convenience" at Ahmanson Theatre (Photo by Dahlia Katz) When Ins Choi and his fellow Asian Canadian actors in Toronto found limited performance opportunities, they decided to write plays in which to cast themselves, Choi said in an interview. It took seven years for him to write “Kim’s Convenience,” only to see it rejected by a number of theatre companies. Choi finally staged the play himself at the 2011 Toronto Fringe Festival, and the rest is AAPI

From left: Grayce Toon (Ivy) and Johncarlo Zani (Jones) in "Failsafe" at The Broadwater (Photo by Ariana Savci) “Failsafe” — a dark comedy by Phil Carroll that performed at the 2025. Edinburgh Fringe Festival following its New York City premiere — centers on Ivy (Grayce Toon) and Jones (Johncarlo Zani), two people locked in a toxic, self-perpetuating situationship. Written with a sharp, cyclical structure, the play follows the pair’s repeated, unsuccessful attempts to kill on

Sara Porkalob in "Dragon Mama" at Geffen Playhouse (Photo by Jeff Lorch) Sara Porkalob has returned to the Geffen Playhouse with “Dragon Mama,” the second installment of her Dragon Cycle trilogy, written and performed solo by Porkalob. While the first play, “Dragon Lady,” told the story of her grandmother, “Dragon Mama” focuses on her mother's journey from a young queer woman searching for love and belonging to a young mother seeking the freedom to forge a new life for hersel

From left: Bo Foxworth (Joe) and Matthew Grondin (Chris) in Antaeus Theatre Company's "All My Sons" (Photo by Craig Schwartz) Arthur Miller wrote his Tony Award-winning play “All My Sons” in the immediate aftermath of World War II. No doubt it carried that resonance when it premiered on Broadway in January 1947. Through excellent staging and acting, Antaeus Theatre Company’s current production of this gripping play carries some of that same resonance — its weighty themes ring

Marsha Norman’s musical adaptation of Alice Walker’s novel “The Color Purple,” with music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, is being thoughtfully staged by Chromolume at the Zephyr Theatre through March 29. Veronica Driscoll (Celie) and Minque Taylor (Shug Avery) in Chromolume's "The Color Purple" at Zephyr Theatre (Photo by James Esposito) Set in the rural American South in the early 1900s, the story follows Celie (Veronica Driscoll), a dark-skinn

Scene from "The Last Days of Judas Iscariot" at Theatre 68 Arts Complex (Photo by Joe Falsetta) Stephen Adly Guirgis’ “The Last Days of Judas Iscariot,” directed by Leif Gantvoort at Theatre 68 Arts Complex’s Emerson Theatre, is a dark comedy set in Purgatory inside a courtroom where Judas Iscariot’s fate is reconsidered. Through a legal appeal, witnesses and historical figures are called to testify about Judas’s life, his betrayal of Jesus and whether or not he deserves forg

From left Rain Spencer (Connie), Ted Monte (Dad) and Emily Althaus (Brianna) in "Dad's Leg" at Hudson MainStage Theatre (Photo by Austin Cieszko) Written and directed by Zach Shields, “Dad’s Leg” is a dark comedy that follows two sisters with a strained relationship who reunite in their father’s hospital room. What begins as an attempt to reconnect slowly unravels as tensions rise over what should happen to their father’s leg after it is amputated. The disagreement exposes wo

From left: Ahkei Togun, Fana Minea Tesfagiorgis, Rama Orleans-Lindsay and Luis Kelly-Duarte in “Red Harlem” at Company of Angels (Photo by Rafael Cardenas) I t’s 1932, and in the midst of Hoover’s bid for reelection during the early years of the Great Depression, a member of Stalin’s Communist Party turns up in Harlem, New York, joins forces with the first Black candidate to run on a presidential ticket, and recruits a group of Black actors and performers to sail to the USSR

From left: Casey Dean-Buxton, Connor Keithley and Thomas McNamara in "And What of the Children?" at the Broadwater Black Box (Photo by Angel Moreno) Writer and director Ryan Lisman’s “ And What of the Children?” is a psychological drama. The play follows three siblings placed in witness protection after escaping a traumatic childhood in Alaska. More than a decade later, the fragile stability they have built begins to fracture as their past resurfaces. What unfolds is an exami

Paul Coates’ “Boy in a Box,” directed by Thomas Zoeschg at the Whitefire Theatre, is an unsettling one-man examination of race, history and confinement. The show follows Alexander MacMillian (Coates), a history professor who adopts a homeless “crack baby” and raises him inside a box. Through direct narration and pointed audience interaction, Alexander dissects America’s racial legacy and forces us to confront the psychological and literal consequences of living within imposed

Reanne Acasio and the company of “Here Lies Love” at the Mark Taper Forum (Photo by Jeff Lorch) There are a surprising number of parallels between Imelda Marcos and Alexander Hamilton: both grew up on small islands; both sailed to more cosmopolitan cities in search of better lives; both engaged in politics, appreciated sartorial finery, and were involved in violent episodes with political rivals; both strongly influenced the histories of their respective nations; and of cours

From left: Cole Massie (Boy) and Carene Rose Mekertichyan (Girl) in "Room by the Sea" at Outside In Theatre (Photo by Mallury Patrick Pollard Photography) Outside In Theatre, a new nonprofit stage in Highland Park, focuses on producing stories for and by traditionally marginalized groups and their allies. Its impressively restored venue boasts several performance spaces and a picturesque bar area. Together with Coin & Ghost and After Hours Theatre Company, its current staging

Before piercing became a sterile, clinical business, Fakir Musafar celebrated it as a spiritual experience associated with sex, bondage, pain, pleasure, sickness and healing. Self-portrait "A Perfect Gentleman, 1959" by Fakir Musafar. Image courtesy of Fakir Musafar Estate. In 2026, it isn't uncommon to see bodies adorned with piercings and tattoos on people we interact with every day. Blue collar, white collar, business owners, food servers, lawyers, even cops can be found w

Troy Dunn (Vanya) in "Uncle Vanya" at City Garage Theatre (Photo by Paul Rubenstein) Anton Chekhov’s 1899 play “Uncle Vanya,” adapted by Neil LaBute in 2020 and directed by Frédérique Michel at City Garage Theatre, unfolds on a Russian country estate where the routine of maintaining the property has hardened into resignation. Vanya (Troy Dunn) and his niece Sonya (Anabela Nguyen) have devoted their lives to managing the estate in the service of Sonya’s father Serebryakov (And

Brian Henson in "Puppet Up! – Uncensored" (Photo by Omar Gaieck) As the old saying goes, the apple doesn’t fall far from the tree. In “Puppet Up! – Uncensored” — returning to Los Angeles at the Montalbán Theatre through March 1 — Brian Henson and troupe have put together an awesome assembly of puppets and made them funny, relevant and ADULT! The troupe offers a great evening of taking random scenarios — and I mean RANDOM! — thrown out from the audience, fielded by improv a

Ann Noble (Richard) in "Richard III" at A Noise Within (Photo by Craig Schwartz) A Noise Within theatre company has a knack for making old plays seem new. William Shakespeare’s historical tragedy “Richard III” is no exception, not least due to casting Ann Noble in the title role. Her performance as the ruthlessly manipulative would-be king is riveting, heightening our emotional investment in this gruesome tale of royalty behaving badly. Directed by Guillermo Cienfuegos with a

From left: Marianna Gailus (Sylvia) and Cillian O'Sullivan (Ted) in "Sylvia Sylvia Sylvia" at Geffen Playhouse (Photo by Jeff Lorch) Rising playwright Beth Hyland’s “Sylvia Sylvia Sylvia,” having its world premiere at Geffen Playhouse, is just what you’d want in a new play — ambitious and compelling in a well staged and performed production. Bringing to life poets Sylvia Plath and Ted Hughes as they affect a current writer and her husband, the play challenges expectations in

From left: Amber Tiara (Maureen) and Rosie Byrne (Deena) in Open Fist Theatre Company's "Brownstone" at Atwater Village Theatre (Photo by Erin Clendenin) Catherine Butterfield's "Brownstone," having its Los Angeles premiere by Open Fist Theatre Company in the Atwater Village Theatre, is an exploration of city living in three distinct stories set in the 1930s, 1970s and early days of the new millennium. Set in a classic New York brownstone, each story follows a young couple na

From left: Gildart Jackson (Robert Shaw), Adam Poole (Roy Scheider) and Will Block (Richard Dreyfuss, under table) in Ensemble Theatre Company’s “The Shark Is Broken” at New Vic Theatre (Photo by Jason Niedle/TETHOS) Ian Shaw and Joseph Nixon’s “The Shark Is Broken” — having its West Coast premiere by Ensemble Theatre Company under the direction of Pesha Rudnick in Santa Barbara’s New Vic Theatre — offers an honest, sharply observed behind-the-scenes look at the making of St