Daniel Faigin has been regularly attending live theatre since he went with his parents to the LA Civic Light Opera production of "The Rothschilds" in 1972. Since 2004, he has been writing up every live performance that he attends -- theatre and concerts -- on his blog at http://cahighways.org/wordpress/?cat=51 . In real life, he works as a cybersecurity professional; in addition to theatre, he has a love of the California highway system.

THE MAN WHO CAME TO DINNER review

This is the dilemma of classic theatre: it is a product of when it was written, and makes a statement of that time. The Man Who Came To Dinner, while still very funny on its surface, is also a statement. It is a statement about what can happen when bad behavior is allowed to continue unchecked. It is a statement of how men perceived to be powerful treat the people around them. The story of Sheriden Whiteside might be very different had it taken place today. Is a story like The Man Who Came To Dinner worth seeing today? I still think so. It is still an excellent comedy with great lines; asking if one should skip it because of today’s sensibilities is like asking if one should no longer watch The Marx Brothers do their comedy. Enjoy it. Laugh. You certainly will with this production. But be aware with today’s mind as well, so that men like Sheridan Whiteside can’t behave like that today.

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BRIGHT STAR review

The staging of the show, as conceived by director Walter Bobbie (FB) and choreographer Josh Rhodes (FB), was beautiful. The band was primarily in a wooden house on the stage that the characters kept moving around and turning around. The ensemble remained in fluid motion around and behind the characters, transforming scenes as needed. I found it magical and charming (but then, I liked Amalie as well for similar reasons). This was one of those shows with what I would call a representative set — small stage pieces that represent a place — as opposed to some of the hyper-realistic sets you might see in another show. It worked, and it worked well.

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MICE review

I’ll first note that, although I went in expecting not to like this show — as I’m not a big fan of such dramas — this one caught my attention. I found the story, umm, captivating, and I really had no idea where it would go. That’s good. From reading some reviews, there was a worry that it would be scary or sadistic, but I didn’t find that to be the case. Second, it was really interesting to see this on the heels of Bright Star. There is an interesting connection with and parallel to the two stories, and a similar suspension of disbelief is required for both shows.[...] But overall, I found this an interesting play — as any discussion between two captors might be.

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THIS LAND review

This Land is — to date — I think the best play I’ve seen all year, and it is close up there for best show (and that’s putting it against Hamilton). Especially if you love history or love Los Angeles, this is a play that you must see. It tells the story well, it educates its audience, it makes the audience think and see the city in a different way. It does what a play is supposed to do: tell you a story, draw you in, and not only entertain but elucidate. Additionally, it also does something to address a common complaint about theatre in Los Angeles: It tells a story about Los Angeles, to audiences that reflect Los Angeles.

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PETER PAN review

And my verdict? What did I think of it? The production itself was spectacular. The performances. The singing. The dancing. The theatricality. The fun. The spectacle. The magic. It was all there. There were scenes and songs I didn’t remember; it was different from yet similar to the 1960 broadcast. It erased the problematic memories of the recent Live! version. But… But… The story flaws remain. The presentation still hearkens to a level of stereotypical Indians — braves, savages, and war-paint. The presentation still is based around a child that has some deep psychological issues. In addition to, you guessed it, Peter Pan syndrome, there is that resentment towards mothers and adults. But you know, I see those things only when I have my “adult” hat on. Taking it off; being a child again — this remains a magical fun musical. Alas, the world forces us to grow up. But we can be children, and sometimes set aside our problems, when we go to a large building, often in a central part of a city, and sit together in the dark with lots of other people, all of whom have paid a great deal of money to be there, and just… imagine.

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BACHELORETTE BY LESLYE HEADLAND review

Yet, when I was just about to write the play off and just enjoy the eye candy, it suddenly acquired a remarkable meaning and depth — in fact, a depth that made this one of the best things I saw during Fringe. At the end, the true friendships were discovered, inner strengths were found, and destructive personalities were exposed for what they are. The characters who were made fun of for the bulk of the play or dismissed turned out to be the real people, and the popular folks from high school days — well, they got their comeuppance.

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KHANT HOTEL review

The promise of this show was dashed, however, from the beginning where there was a scene about a meek female engineer who must pass the “Pro E” exam in 24 hours, with no preparation, or lose her job. Unfortunately for the author (who was also the writer, director, and lead actress), Lindsey Blackman, both my wife and I are engineers, we know about the process of becoming a Professional Engineer, and we know numerous female engineers — none of whom are as meek and as milquetoast as the character portrayed on stage. Further, we are both of the belief that female engineers must be portrayed as a noble calling™, something that encourages other women to come into the field. This portrayal did none of that. The most galling aspect, however, is that the author, seemingly has an engineering degree and should have known better. In fact, her day job was once as an engineer and she should have known what PEs are like. Hint: Try talking to some of the wonderful folks at the Society of Women Engineers. (Full disclosure: I’m one of the folks behind the sponsoring organization for the Scholarship for Women Studying Information Security)

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"TRANSITION" review

This is a play that I strongly recommend that people see — whether in the Fringe incarnation or subsequent public or private productions. The message it conveys about the man this country elected in 2017 is chilling in an absurdist way, because, indeed, absurdity is in the Oval Office. For anyone that loves Meeting of Minds, for anyone that loved JDT, for anyone that loves great political dialogue — this is the play for you.

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THE ABCS review

In The ABCs, playwright Monica Trausch (FB) has crafted a story that speaks to today’s teens and sends a vitally important message: that the perfection that society pushes is false and ultimately dangerous, and that the best thing is to love yourself for you. That’s an underlying belief of mine. A friend once said that perfection is when you cannot make mistakes and nothing changes. That only happens when you are dead. Life is being the best we can be an embracing our imperfections. So I truly think this is a wonderful play; perhaps one of the best I’ve seen at this year’s Fringe.

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TRUMP IN SPACE! A MUSICAL COMEDY review

The premise itself was clever: a mashup of political commentary and Star Trek, down to the style of the uniforms. The character names and mannerisms were a bit heavy handed, but this was an improv team at work so that wasn’t a surprise. The execution was funny, with a number of repeated bits (such as the elevator) that were hilarious. There was a strong improv element to the show. At our show, for example, it looked like two songs were just tossed in a very hilarious fashion. All of the acting team were trained improv specialists, so this worked well. In short, it was enjoyable and funny; however, it wasn’t “high art” and doesn’t have the potential — at least in its current form — of becoming a broader longer-lasting political commentary musical such as Bush is Bad or Clinton the Musical. For that to happen, I think a little greater focus and direction is required.

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