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As part of my Quixotic effort to get to see theater nasty brasilianischen trampling high heels von public transportation, I took the MTA's bus from Cahuenga and Franklin on Wednesday to get to the Falcon in Burbank for an 8 p. I had a choice, to leave to Hollywood at 7 p.

I chose the latter option, not from presumptuousness, but with an attitude absorbed from years of experience, that L. However, when I hustled into the theater atthe Troubies had already started their show — leaving me standing with a dozen or so other latecomers in the back of the theater to watch the opening number.

At the end of that routine, the house lights came up, the small crowd of newcomers flowed in rivulets to their seats, while the Troubie's MC, Matt Walker, announced to the crowd that I was arriving and that they could read about it in the Weekly.

Thanks, Matt. After dutifully arriving atI stood with a small crowd shivering on the sidewalk minutes for a show that started 30 minutes later than announced.

Former Back Stage West editor Rob Kendt has spoken of the cold-blooded efficiency of the New York theater that starts so promptly, you can set your watch by it.

I think he was feeling nostalgic for L. I think I suffered the worst of both worlds over the weekend. If individually or collectively, theaters are going to try to impose an ethos of discipline that includes starting a show at the announced time, and re-educating audiences to that ethos, I'm guessing it should be universally applied, or not at all.

I predict the latter. It's a one-act in nasty brasilianischen trampling high heels von a middle-aged man auditions for a reality TV show, trying to prove that he's the most patriotic man in America. Meanwhile in New York, L. You may also be able to search for them by title using your computer's search program. These listings were compiled by Derek Thomas.

Actors Forum Theatre, Magnolia Blvd. Fremont Centre Theatre, Fremont Ave. Whitefire Theater, Ventura Blvd. Santa Monica Playhouse, Fourth St. Knightsbridge Theater, Riverside Dr. Olive Ave. Rubicon Theater, E. Main St. Call for schedule. Chandler Studio, Chandler Blvd. This one flows like silk in an evening of unfettered joy and good humor. Onstage, somber Duke Frederick Mike Sulprizio has usurped the Duchy in France and exiled his older brother, Duke Senior also played by Sulprizioto the forest of Arden — here treated as a hippified enclave with the band situated under a gazebo set by Sherry Santillano.

Arden emerges as a kind nasty brasilianischen trampling high heels von metaphor for the Democratic Party and its ostensibly humane values — compared to the dour brutishness of the usurper in charge. Falcon Theatre, Riverside Dr. Topanga Canyon Blvd. No perf Sept.

West Valley Playhouse, Owensmouth Ave. Geffen Playhouse, Le Conte Ave. Just as we're getting increasingly dire nasty brasilianischen trampling high heels von on the blowback of our economic recession on public education — rural schools cutting back to a four-day week, bus service curtailed, the cost of school lunches being jacked up as the rate of families evicted from their foreclosed homes keeps escalating — along comes Russell's homage to the capacities of learning to change minds and lives.

They're both addicts — she to cigarettes, he to booze — but she has an insatiable curiosity about poetry and appetite to learn literary criticism. Her early essays are emotional responses, and he tutors her — in that crusty, Shavian way depicted in Pygmalion — to become more objective in her responses.

She does, and he gets more than he bargained for. Through the course of their lessons, her life opens up, despite her shattering marriage; meanwhile, caught in pangs of jealousy and personal remorse, his life stumbles nasty brasilianischen trampling high heels von oblivion. The general pattern has a generic shape of A Star is Borncherokee d asa open pussy the emotional complexities that come with addictions and nasty brasilianischen trampling high heels von are revelatory.

The fire in Mozo's Rita is hypnotic — while nasty brasilianischen trampling high heels von dialect keeps intruding like a small needle: a sound wavering between the south of England, the north of England and Alabama. Johnson is more credible than compelling in a workmanlike performance. Even with these drawbacks, the play's inner tensions come through, and Victoria Profitt's library-office set and Terri A. Lewis' costumes say as much about what's going on between these two as any of their words.

Colony Theatre Company N. Third St. Steven Leigh Morris. International City Theatre, E. Ocean Blvd. Long Beach Playhouse, E. Anaheim St. Will Geer Theatricum Botanicum, N. For example, the intermission that existed in previews has now been removed. This gives the production a chance to dramatize an unbroken sequence of scenes over three decades, showing the coming of age, and aging, of three Texas high school cheerleaders Lauren Kennedy, Sarah Stiles and Anneliese van der Pol.

The action starts in with a focus on what seem to be monumental concerns to its three teenage cheerleaders; the trio is fused at the hip, incurious about any world larger than their campus while being intoxicated by their own appearance, status and popularity.

However, the costs of that insularity are precisely what the work studies, as the women — each buffeted by the shifting eras — individuate and grow apart. The original play ended its character study in — two years before it opened off-Broadway at the Chelsea Westside Theater Center. In a recent interview,Heifner said he was no longer cynical. Perhaps he had his eye on 42nd Street when he said it.

Pasadena Playhouse, 39 S. El Molino Ave. Eden Espinoza as the green-skinned, bespectacled girl-witch Elphaba has a contagiously smart appeal.

Morrible the delightful Carol Kanestarts a witch hunt for the girl, and the whole thing starts to resemble some of the tawdrier chapters in American history. Deborah LaVine skillfully melds a fine cast into a gripping production.

Most are decent Walkens, and the best have mastered the piranha stare and elastic enunciation that snaps the ends of syllables like rubber bands. AN Theatre 68, Sunset Blvd. El Centro Ave. This blend might explain her satirically grim nasty brasilianischen trampling high heels von of the world she grew up in, and the cheerfully British mask she places over it. In some ways, Clerkin's one-woman show is a study in the loneliness of being ignored by her workaholic dance-teacher mother, who focused all her attention on the paying customers.

This child's-eye view could be peevish stuff were Clerkin not so intractably good-humored. Nor does she place herself above her mocking portraits, including at age 14 a groping suitor in the dance hall, his eyes boggling, tongue swishing lips as he grabs her hips at arm's length and pushes her around the dance floor like a mop.

The requisite of keeping both arms slammed into one's body emerges nasty brasilianischen trampling high heels von a metaphoric constriction in a world that Clerkin captures so meticulously, with the help of Dan O'Connor's direction and Maxine Mohr's pristinely delicate sound frau erste mal sex geschichten. Intro to snogging French kissing is one of many rites of passage detailed by Clerkin with a blend of intrigue and disgust, as is binge-drinking and the morning-after consequences in one high-stakes public display.

Clerkin's glorious riffs of traditional Irish dance and disco, and some intermingling of both genres, make her argument for transcendence with nary a word spoken. Fairfax Ave. Flint Esquerra, Yves Lola St. Early in the play, much of the uproarious humor emanates from Free Carl Crudupa teller of tall tales. But the hilarious, well-written banter of Act 1 gives way to something much darker in Act 2 when one of the characters appears with a series of escalating injuries and bruises.

Director Esquerra handles the light and dark elements equally well, adding to the shock in Act 2. As with many plays set in diners or bars, playwright St.

Vil includes various nasty brasilianischen trampling high heels von characters, including a street hustler Antonio Ramirez and a church lady Barbara Barnesbut superb character development puts refreshing new twists on these archetypes. Oxford Ave. Added perfs Tues. The material gets repetitive toward the end, and the heavy regional accents sometimes make some of the dialogue difficult to follow — but not so much that it sabotages the laughs we glean from performers who are clearly having so much infectious fun.

The Lost Studio, S. La Brea Ave. Deborah Klugman. The material has potential in terms of exploring the cyclical mistakes of successive generations, as well as the suffocating gossip of Case studies on consolidating it service desks enclaves.

While Lopez has created moving work over the years and Casa remains an important voice in its community, it has definitely seen better productions. CasaE. First St. Mayank Keshaviah. Jaye nackt amateur frauen angezogen und ausgezogen a rich background in the art of con art.

His lecture-demonstration paints a vivid portrait of Americana, midth-century, a rare blend of garishness and romanticism, a study in how Minnesota farmers were dazzled and tricked before there was TV. Unfortunately, no amount of scenic splendor can camouflage a torpid, overly elliptical script lacking nasty brasilianischen trampling high heels von rudimentary character shadings or conflict-driven scenes.

Sierra Stage, N. Sierra Bonita Ave. Next Stage Theater, N. At the start of playwrights Brenda Varda and Marva Lewis' trio of one-acts, the entire venue appears to be in a state of chaotic ruin — an actor is laughing drunkenly and slobbering all over an audience member, while other cast members, covered in 60er jahre sex symbole welch, emerge from behind the stage curtain.

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