More L.A. Venue and Event Postponements, Updates, Cancellations, and Active Shows

Better Lemons has updated more shows in our calendar with any current postponements, updates, or cancelations due to coronavirus and concerns and actions towards the safety of theatre patrons where larger audiences are expected. Most venues are using directives by Governor Gavin Newsom and California Public Health and L.A. Mayor Eric Garcetti announcements this week as a guide in implementing steps to accommodate for the greater public safety.

The following is a list of venues and shows that we have updated currently. This list includes shows and venues still currently open. Be sure to check with individual venues for any further potential updates or questions.

If you have tickets, please consider either donating your ticket or contacting the venue or show producer for information on available vouchers or rain checks for future shows.

If you have a show that needs updating, please log in and update your show accordingly. If you are postponing, do not delete your event and feel free to email us via our contact form should you need assistance with updating.


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L.A. Venues and Events That Are Postponing, Updating, or Canceling To Help Deter Coronavirus Spread and Protect the Public

UPDATES: 11-14-20 5:30 p.m. PST

Better Lemons is currently in the process of updating our calendar with shows that have postponed, updated, or canceled due to coronavirus and concerns and actions towards the safety of theatre patrons.

The following is a list of venues and shows that we have updated and have been updating currently.

If you have a show that needs updating, please log in and update your show accordingly. If you are postponing, do not delete your event and feel free to email us via our contact form should you need assistance with updating.


JOAN OF ART: A House is definitely a Home, Let's Go Surfing, A Delicious Feast, and Comedy is Back at the Hudson

I know staying home and watching the news can make some of us feel that it is dangerous out there, but I promise with the help of some hand sanitizer, you'll all be fine. Plus the events this week are certainly worth the trek away from your house.

And speaking of home that's exactly what you will find out the Broad Stage in Santa Monica. HOME created by Geoff Sobelle is a play like nothing you've ever seen.

It's an extremely original, heartfelt theatre piece performed without words. 'Home' is a fast moving, unique blend of concept, movement, music and visual storytelling that shows us what it means to make a house a home.

On an empty stage, a house rises before your eyes. Residents past, present and future rollick through its rooms in an impromptu dance that defies time and space, magically transforming our mundane everyday tasks into a glorious intimate and profound celebrations.

HOME has played in several cities including New York and Boston to rave reviews. This is definitely on my 'must see' list and I'll be in the audience this Friday evening.

For tickets and more information go the or call the box office at (310) 434-3200.

HOME plays Thursday, March 5th through Sunday March 8th. The Broad is located at 1310 11th Street in Santa Monica 90401.

Next are you ready to go surfing? Well for those of you that don't surf, there is something going on that's pretty close to it. I'm talking about POINT BREAK LIVE!. After its debut a decade ago, this laugh out loud over the top show has settled back in L.A. for another run. Many of my friends have seen it and they assure me that I won't stop laughing.

POINT BREAK LIVE is the theatrical spoof of the 1991 Patrick Swayze - Keanu Reeves cult classic film that shuffles up the casting a bit by assigning Keanu's role of Johnny Utah to an audience member - chosen by the crowd's reaction, as measured by the Keanu Woah-O-Meter.

In case you forgot the plot of the film, the Reeves character is an undercover FBI Agent and Swayze's character is the head of a gang that robs banks, blows things up, skydives with loaded guns and in between catches waves - big ones. This crew of adrenaline junkies are called the Ex-Presidents.

You can expect an exuberant hour and a half of watching the antics of this crazy cast. Oh by the way ponchos are provided at the door to protect you from all the water, fake blood and other various liquids that tends to get thrown at you from the stage.

If a hysterically funny, off the wall spoof is your thing, then go to to buy tickets. The show is playing at Club Los Gobos on 3040 Sunset Blvd., 90026.

Now at some point this weekend you are going to eat and there's a restaurant that I went to last weekend that's absolutely fabulous. I've eaten there before but for some reason I forgot how delicious the food was. I know, hard to believe, right?

The restaurant is called MILO AND OLIVE and it's open every day for breakfast, lunch and dinner. They call themselves a neighborhood bakery and pizzeria but it's so much more than that.

I tried their wood fired pizza, scrumptious garlic bread, incredible homemade Minestrone soup filled with market vegetables, beans, parmesan brodo and herbs, homemade pasta along with several appetizers and despite getting fuller by the minute, my friends and I couldn't stop devouring everything that was put in front of us.

For those of you who aren't vegetarian or vegan, there are plenty of chicken and meat dishes to try. The food at Milo and Olive is always fresh and always of the highest quality.

Owners Josh and Zoe, both Santa Monica natives, have opened several neighborhood restaurants along with their partner Colby Goff to form what is now the Rustic Canyon Family.

Other food establishments include the wonderful Huckleberry Bakery & Cafe, Sweet Rose Creamery, Tallula's, Cassia Rice & Noodle Kitchen and the newest Birdie G's which I can't wait to try.

Milo and Olive is located at 2723 Wilshire Blvd in Santa Monica 90403. Their phone number is (310) 453-6776. For hours and more information go to

I believe you can never have to much laughter and that's why the last thing I'm going to recommend for your weekend fun is TMI HOLLYWOOD at the Hudson Theatre located at 6530 Santa Monica Blvd in Hollywood 90038.

What is TMI HOLLYWOOD you ask? Well if you take Saturday Night Live, mix it with TMZ and add a dash of The Daily Show you get LA's most celebrated live comedy show.

To give you an idea of the kind of comedy they do, every time Chrissy Teigen claps back at her haters, Trump opens his Twitter or someone asks Alyssa Milano her opinion, TMI Hollywood is there with its own hilarious take on the story.

As their tag line states; 'When a story breaks in Hollywood, we'll be there with the crazy glue.' For more about them visit their website at

This very funny show plays every Sunday starting March 8th from 8:00pm-9:30pm through June 2020.

Whatever you chose to do this weekend people, have a great one.

Now Registered on the Better Lemons Calendar – January 6 - 12, 2020

Theatrical, One-Person, Improv, and Comedy shows, Staged Readings, Live Jazz, Music, Dance, and Award Shows registered on the Better Lemons calendar!

For shows with a LemonMeter rating, visit our LemonMeter page.


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Selma with Live Score by Jason Moran

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The Stanley Clarke Band

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17 Border Crossings

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jackbenny: And on the 366th Day

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Arsenic and Old Lace

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John O’Hurley in A Man With Standards

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A Rockin' New Decade

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That's the End of Our Time: A Magical Tale from Group Therapy

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Unsung Sheroes

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MOVES at @ The Montalbán

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Dr. Venus Opal Reese - THE RAW TRUTH BOOK+ TOUR

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Arthur Miller’s All My Sons

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The Really Awesome Improv Show

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Opening Night: The Improvised Musical!®

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Supportive White Parents

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The Human Comedy

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Director Rachel Chavkin SOUNDing On Bess Wohl, Being the Audience's Proxy & The Gift of Re-Do's

Director Rachel Chavkin has had her creative input in the various reincarnations of Bess Wohl's SMALL MOUTH SOUNDS since its inaugural production at Ars Nova in 2015. We had the opportunity to chat with Rachel just before she began rehearsals for this current (and third edition) to be presented at The Broad Stage beginning January 11, 2018.
Thank you for taking the time out for this interview, Rachel!
This is your third collaboration with Bess Wohl and her SMALL MOUTH SOUNDS. (First at Ars Nova in 2015, then at Pershing Square Signature Center's Romulus Linney Theater in 2016, and now this touring production landing at The Broad Stage.) How did you first become involved with SMALL MOUTH SOUNDS?
Bess Wohl wrote SMALL MOUTH SOUNDS as part of being a member of the Ars Nova play group and I had worked with Ars Nova very closely on NATASHA, PIERRE & THE GREAT COMET OF 1812. Ars Nova was seeing if they could produce SMALL MOUTH SOUNDS and set Bess up with a handful of directors to talk about the show. Bess and I kind of fell for each other when we spoke and decided to work together.
You've directed all three SMALL MOUTH SOUNDS. Were there a lot of tweaks between the 2015 and the 2016 productions?
Not really. The original transfer was just about upsizing. The space got about two and a half times as big as the original, however, it was the same approach with alley seating and subtle video design.
And any more major/minor changes between this touring production and the 2016 show?
This touring production actually prompted larger changes: we've moved from an immersive seating where the audience was in the room with the participants, to a larger proscenium setting. But we've worked hard to maintain that feeling of intimacy in our touring production.
And we have been extremely fortunate with our touring cast. This play is unlike anything I've ever worked on before. It's, of course, a narrative and tells this wonderful story of these six suffering individuals at this silent retreat. But it's also like a dance score because there are almost no words. What's been remarkable is that in each of these unique productions, we have been able to find strong performers whose metabolisms are similar to the people who built the original score in that first production. But they are also their whole, unique, vivid, weird selves.

How would you describe the plot of SMALL MOUTH SOUNDS in a three-sentence pitch?
Six very lost people, who are each suffering in their own way, come to a silent meditation retreat for a sort of healing. The story unfolds as they each confront the questions: How can one be happy, and should one be happy?
Have you yourself experienced silence in a retreat?
No. Bess Wohl has done a lot of them. For me, it's my existential nightmare. It's worth noting that the play works as much for people who are skeptical of self-help and self-healing pursuits, as well as, people who are very devoted to these practices. That's the remarkable thing about Bess' writing is that she is able to gently find humor around something while also really trying to meet it earnestly at the heart of itself. I think that's why this play has been so successful; it's not just a comedy about people at a silent meditation retreat. It's also a moving story that is of the place of internal processing or suffering that makes one feel the need to pursue this kind of deep healing.
What reactions did you receive from the Ars Nova and the Romulus Linney audiences that surprised you?
In a sense, every response was a surprise because this play is unlike anything I've ever worked on before. A big part of that is that, as a director, my job is to try to be the proxy for the audience in the rehearsal room. If I'm being moved or affected by something, then I have to trust and hope the audience will feel the same. But this play confounds that in that I know what the back stories of these characters are. Once you know something about a person, you can't un-know it. Once you know (or think you know) what each character is confronting at their core, it rocks you and you never see them the same way again. Because I knew that, there were things that seemed so obvious to me, and I thought, “The audience must know it, too.” However, as I'd hear the revelations hit the audiences at different moments throughout the show, it proved how much sleuthing we do just watching people and how often we notice different things at different times because of our own histories. That is one of the reasons why the play works so well.
What similarities of directing challenges did you find between the more intimate SMALL MOUTH SOUNDS and more encompassing NATASHA, PIERRE & THE GREAT COMET OF 1812, besides the obvious size difference of the casts?
As a director, my greatest joy is the eclecticism of my body of work - each piece of work is hopefully wholly itself. So, I have to be a different director with each piece. What most of my work shares is creating as whole and thorough of a culture as possible in a production. The cultures of SMALL MOUTH SOUNDS and COMET are quite radically different, but the desire to create a wholistic world from top to bottom, and to make sure the performers understand what that culture is to let it permeate their being on a very deep level – that's shared.
On your Broadway directing resumé, I see three shows that repeatedly pop up - SMALL MOUTH SOUNDS; NATASHA, PIERRE & THE GREAT COMET OF 1812 and HADESTOWN. How wonderful is it that you get a second opportunity to direct a show you worked on before?

It's always nice getting a second (or third) chance at a show, because so rarely is the first time as full as it can be due to the collaborative and slow nature of theater. And SMALL MOUTH SOUNDS is an extraordinary and singular world, and I'm happy to re-enter it at any point. What's most exciting is to get to share it with that many more people. Theater artists' work is ephemeral and very local. Even on a Broadway scale, it's 1,200 people sharing a space. So, it's exciting to get this opportunity to be sharing it with so many more folks.

The original SMALL MOUTH SOUNDS design team will be also be working this production at The Broad Stage and re-staging from the original traverse to a proscenium staging. Do you have a preference (traverse vs. proscenium) in presenting this show?
Each has their own ups and downs. It's fun to get to sit three feet from someone as they're going through a profound experience. I find that exhilarating. However, directorially I love being able to make pictures and images, which you can only really do when someone is far back enough to see the whole stage. I can say there are images and moments that we discovered over the course of rehearsing this production that I think capture the story in deep ways, and I can't believe weren't in the original production.
Will you be multi-tasking projects in 2018?
I'll be working on many, many things. HADESTOWN, which I have been attached to, is going through a similar journey as SMALL MOUTH SOUNDS in that it started as an immersive show that we're now opening up into proscenium. I am directing LIGHT SHINING IN BUCKINGHAMSHIRE by Caryl Churchill at New York Theatre Workshop; it's a stunning play about the English Revolution in the mid-1600's. It's really about resistance and the pursuit of collective liberation. It's hard for me to imagine a more timely play.
I'm also directing STATUS, a new solo piece by a British performance artist named Chris Thorpe. This piece is about Brexit and why a British or UK passport can give you this feeling of immunity when traveling, and why we often think of our nationality and the color of our eyes in the same breath when really, they're very different things. It's about the waves of nationalism currently washing over our world, and how, as liberals, we might relate.
Thank you again Rachel for taking your time for this interview!
For SMALL MOUTH SOUNDS ticket availability and schedule through January 28, 2018, log onto