Terry Morgan

When Thomas Harris wrote his classic thriller The Silence of The Lambs, I don't imagine he ever pictured a troupe of tap-dancing lambs. And yet here we are, decades later, presented with Silence! The Musical. And it's a good thing, too, because it's bloody hilarious.

Athol Fugard's latest work, The Blue Iris, is intermittently compelling but ultimately seems undercooked.

John Logan's play, Red, arrives in Los Angeles presold to theatre lovers, and not without cause. After successful runs in London and New York, culminating with the Tony Award for Best Play, the prestige is certainly there.

Nikolai Gogol’s 1836 play The Government Inspector has been much adapted, from film versions and an episode of Fawlty Towers to recent theatrical adaptations by Jeffrey Hatcher, David Harrower and Roddy Doyle. Now playwright Oded Gross has presented his version, and happily, it shimmers with brilliant wit.

When the combined talents of the Antaeus Company take on a particular work, it's always worthy of one's time. The new production of Macbeth is expertly done, highlighted by Jessica Kubzansky's deft direction and superb performances from its two lead actors.

Due to the fact that I live in Los Angeles and not New York or London, I had the unfortunate experience of seeing the film of War Horse before I saw the play. I know the movie has its defenders, and I would concede that there are moments where the picture works, but overall it was so overblown and sentimental it made Annie look like a hard-hitting exposé of child labor.

The New Electric Ballroomalso by Walsh is the story of three sisters so trapped by their pasts in a small Irish fishing village that they can neither leave nor move forward in their lives, reenacting a traumatic event like a CD on eternal replay.

Much can be forgiven in a sex comedy if it’s funny. The plot doesn’t have to be particularly credible, the characters aren’t required to be three-dimensional and precepts of good taste are rudely shown the door.

While there have been a few dramatic plays dealing with the aftermath of 9/11 (notably The Guys and The Mercy Seat), comedies have been in short supply. Considering the tragic subject matter, that’s understandable.

Monkey Wrench Collective’s new production features brilliantly dark writing, protean choreography, confident direction and a superb ensemble. All that, and did I mention it’s funny to boot?