Some years you simply need to get by means of.
I can’t fake that 2025 delivered a banner crop of theater productions. Lots of the finest exhibits on this listing got here from elsewhere. And a better than traditional proportion have been seen on the Ahmanson Theatre, which had a remarkably good 12 months — maybe the perfect of any native theater.
It was so good, in actual fact, that I left off Michael Arden’s revival of “Parade.” My self-consciousness concerning the excessive variety of touring productions persuaded me to not embody “Shucked” on the Hollywood Pantages, which lightened the summer time with its nation bumpkin merriment. And I additionally omitted “Right here There Are Blueberries” on the Wallis not as a result of it wasn’t top-of-the-line productions however as a result of it was on my spotlight reel of 2022, when this Tectonic Theatre Challenge play, conceived and directed by Moisés Kaufman, premiered at La Jolla Playhouse.
Our picks for this 12 months’s finest in arts and leisure.
The spotlight on the Mark Taper Discussion board this 12 months was Jocelyn Bioh’s comedy “Jaja’s African Hair Braiding,” which was on its closing touring cease. And top-of-the-line musical nights I had all 12 months was courtesy of a live performance model of the Nationwide Yiddish Theatre Folksbiene’s revival of “Fiddler on the Roof” in Yiddish on the Soraya.
After all, L.A. had the theater world’s consideration this summer time when Cynthia Erivo headlined the Hollywood Bowl’s revival of “Jesus Christ Celebrity,” a manufacturing that appeared to take over Instagram with the clobbering power of the film marketing campaign for Depraved.” However my very own decide for L.A. manufacturing of the 12 months can be Jessica Kubzansky’s revival of “The Night time of the Iguana.”
Kubzansky demonstrated by instance what’s required. She and Tennessee Williams have been a superb match. However it’s not nearly pairing the precise director with the precise creator. It’s additionally about fielding a well-synchronized creative firm.
Too many regionally grown productions (from our bigger theaters particularly) appear to depart out one in all these components. To guage by the outcomes, the manufacturing course of appears top-down reasonably than natural. Just a few occasions this 12 months on the greater theaters it appeared as if the principal casting was an afterthought.
Co-productions is usually a good option to pool assets whereas spreading the chance. However they aren’t all the time the reply, as proved by the lackluster revival of “Noises Off” on the Geffen Playhouse, a co-production with Chicago’s Steppenwolf Theatre Firm,
The very best new dramatic work I noticed anyplace this 12 months was Branden Jacobs-Jenkins’ “Goal,” which deservedly gained the Pulitzer Prize for drama and the Tony Award for finest play. La Jolla Playhouse has introduced that it’ll produce the West Coast premiere subsequent 12 months. I gained’t maintain my breath for an L.A. manufacturing. (I’m nonetheless ready for Jackie Sibblies Drury’s “Fairview” and numerous Annie Baker performs.) However at the very least Eboni Sales space’s Pulitzer Prize-winning “Major Belief” is coming to the Taper in Could.
The author who made the largest first impression on me is a.okay. payne, creator of “Furlough’s Paradise,” which was the perfect new play I noticed on the town all 12 months. Performs that I noticed in New York that deserve main productions in L.A. embody Bess Wohl‘s “Liberation,” Kimberly Belflower‘s “John Proctor Is the Villain,” Samuel D. Hunter’s “Little Bear Ridge Highway,” and, if any firm is daring sufficient, Jordan Tannahill’s “Prince Faggot.”
I’m nonetheless excited about Toni Servillo’s full-throated efficiency in “Tre modi per non morire: Baudelaire, Dante, i Greci,” tailored from works by Giuseppe Montesano. This solo present, which I noticed at Milan’s Piccolo Teatro, provided a passionate protection of how nice literature can educate us to reside once more.
The theater can and ought to be a sanctuary from the know-how that’s encroaching on what distinguishes us as human beings — our capability to ponder ourselves and others feelingly.
2025 undoubtedly had its excessive factors. However there appears to be a weakening of institutional resolve within the face of unrelenting financial, political and cultural pressures. Let’s pray for a renewal of willpower to create the theater — and society — we deserve.
Herewith, in no specific order, are my Los Angeles theater highlights of 2025.
Kasey Mahaffy and CJ Eldred in “A Man of No Significance” at A Noise Inside.
(Photograph by Craig Schwartz)
“A Man of No Significance,” A Noise Inside. This revival of a lesser identified musical by Stephen Flaherty, Lynn Ahrens and Terrence McNally (the workforce behind “Ragtime”) was one of many sudden treasures of 2025. A story of a closeted Dublin bus driver with a ardour for Oscar Wilde and a yen for newbie theatricals, the present featured a star efficiency from Kasey Mahaffy that was chic in each its modesty and flamboyance. Julia Rodriguez-Elliott’s manufacturing gracefully depicted a world of unusual people trying on the aesthetic stars from their humdrum every day realities.
Claudia Logan, from left, Bisserat Tseggai, and Mia Ellis in “Jaja’s African Hair Braiding” on the Mark Taper Discussion board.
(Javier Vasquez / Middle Theatre Group)
“Jaja’s African Hair Braiding,” Mark Taper Discussion board. Jocelyn Bioh’s high-spirited ensemble comedy, vibrantly directed by Whitney White, took us contained in the lives of the African immigrant ladies who work at a Harlem braiding salon. Whereas working their fingers to the bone creating essentially the most flamboyant hair designs, these characters reveal the good distances they’ve traveled, the braveness that’s been required of them and the vulnerabilities they face of their more and more hostile promised land.
Cynthia Erivo and Adam Lambert in “Jesus Christ Celebrity” on the Hollywood Bowl.
(Farah Sosa)
“Jesus Christ Celebrity,” Hollywood Bowl. Cynthia Erivo delivered a divinely impressed efficiency on this revival of Andrew Lloyd Webber and Tim Rice’s 1971 musical, directed and choreographed with concert-like brio by Sergio Trujillo. Adam Lambert was the electrical Judas to Erivo’s nuclear Jesus, and the power they emitted was greater than sufficient to energy all of social media for a number of days in August. This present didn’t simply go viral — it went world pandemic.
Julanne Chidi Hill, from left, Dennis Dun, Jully Lee and Riley Shanahan in “The Night time of the Iguana” at Boston Courtroom Pasadena.
(Brian Hashimoto)
“The Night time of the Iguana,” Boston Courtroom Pasadena. Creative director Jessica Kubzansky minimize to the religious core of one in all Tennessee Williams’ lesser main performs and made it appear on par together with his masterpieces, “The Glass Menagerie” and “A Streetcar Named Need.” Jully Lee was good as Hannah, the itinerant painter who turns up together with her 97-year-old poet father at a Mexican seaside inn that is sort of a refuge for the world’s strays. Julanne Chidi Hill, who performed the lusty widow lodge proprietor, Maxine, and Riley Shanahan, who performed Lawrence Shannon, the disgraced reverend on the lam from his misdeeds, helped carry the play’s lonely battle for redemption to blistering life.
DeWanda Sensible, left, and Kacie Rogers in “Furlough’s Paradise” on the Geffen Playhouse.
(Jeff Lorch)
“Furlough’s Paradise,” Geffen Playhouse. This shape-shifting two-character drama by a.okay. payne explores the politically loaded topic of identification by means of the connection of two queer Black cousins, who grew up collectively however whose lives have diverged. Sade (DeWanda Sensible) is on a three-day furlough from jail; Mina (Kacie Rogers), adrift in California, has returned house to attach together with her roots. Collectively, they problem one another’s understanding of the previous and sense of risk for the longer term. The drama, directed by Tinashe Kajese-Bolden and choreographed by Dell Howlett, routinely escaped the confined realism of the dramatic scenario to search out freedom in a realm of boundless lyricism.
Wesley Guimarães , left, and Jack Lancaster and in “Bacon” at Rogue Machine.
(Jeff Lorch)
“Bacon,” Rogue Machine Theatre on the Matrix’s Henry Murray Stage. This fierce two-hander by British playwright Sophie Swithinbank, about an abusive relationship between two teenage boys awakening to their sexuality, was all of the extra flamable for being carried out in such an inescapable intimate area. Wesley Guimarães and Jack Lancaster introduced out the contrasting natures of those characters who’re drawn to every in methods neither can totally work out. The manufacturing, directed by Michael Matthews, incisively balanced the traumatic push and erotic pull.
Jennifer Babiak and Steven Skybell in “Fiddler on the Roof.”
(Luis Luque / Luque Images)
“Fiddler on the Roof,” The Soraya. This fluidly staged live performance model of the Nationwide Yiddish Theatre Folksbiene’s acclaimed revival in Yiddish of this traditional American musical introduced a sharp-edged authenticity to the story of Tevye the milkman and his marriageable daughters navigating a treacherous world of pogroms and fraying custom. Steven Skybell, magnificent within the position of the besieged patriarch, led an outstanding solid that introduced a brand new understanding to an outdated chestnut by means of the power of Yiddish language and tradition. The manufacturing, directed by Oscar- and Tony-winning actor Joel Gray, spoke as a lot to our personal political and social turmoil as to that of the characters with out ever having to press the purpose.
Rachel Simone Webb and the corporate of the North American tour of “& Juliet.”
(Matthew Murphy)
“& Juliet,” Ahmanson Theatre. This jukebox musical imagines with unstinting originality a state of affairs wherein the doomed heroine of William Shakespeare’s “Romeo and Juliet” doesn’t die on the finish of the play. Granted a theatrical second act, Juliet makes the rollicking most of it. The identical may very well be mentioned of this kinetically entertaining touring manufacturing. Tragedy was remodeled not simply into comedy however right into a Max Martin dance occasion, replete with hits from the blockbuster Swedish producer that have been made well-known by such pop titans as Katy Perry, Britney Spears and the Backstreet Boys.
Pragun Bhardwaj, from left, Taha Mandviwala and the nationwide touring firm of “Lifetime of Pi.”
(Evan Zimmerman)
“Lifetime of Pi,” Ahmanson Theatre. Probably the most visually entrancing manufacturing of the 12 months was additionally one of the vital dramatically fascinating. This journey story of a boy attempting to outlive a shipwreck with the assistance of his creativeness and some of the surviving animals of his household’s zoo translated into purely theatrical phrases the fable-like enchantment of Yann Martel’s 2002 Booker Prize-winning novel. Lolita Chakrabarti’s good adaptation rode the magic carpet of Max Webster’s staging, which had essentially the most enchanting menagerie of puppets since “The Lion King.”
Cher Alvarez in “Paranormal Exercise.”
(Kyle Flubacker)
“Paranormal Exercise,” Ahmanson Theatre. This impeccably staged horror play by Levi Holloway succeeded in injecting most concern with out theatergoers having to hate themselves within the morning. The characters, rendered with up to date exactness by a first-rate solid, have been so recognizable that they made the mysterious occasions unfolding round them terrifyingly believable. The London home, ingeniously laid out by scenic designer Fly Davis, virtually stole the present.
