“Is L.A. a theater town?”
The question, typically posed with New York condescension, fails to recognize the obvious reality that L.A. is a city of actors. True, most of them are here to make their names on-screen, but the talent pool rivals those of more established theater capitals. Don’t bother, however, trying to convince those denizens of New York and London who cling to old stereotypes of L.A., perhaps to compensate for their own inferior weather.
Southern California, of course, boasts some of the most prestigious playhouses in the country. The Mark Taper Forum, Pasadena Playhouse, South Coast Repertory, La Jolla Playhouse and the Old Globe are all recipients of the Regional Theatre Tony Award. The Geffen Playhouse, once considered the entertainment industry’s local theater, has entered a new era of bold vision and integrity under the leadership of playwright Tarell Alvin McCraney. It would surprise no one if the Geffen Playhouse is similarly honored in the next few years.
East West Players, the Latino Theater Company, Ebony Repertory Theatre and Native Voices at the Autry reflect the cultural, ethnic and racial diversity of a majority-minority city. The avant-garde is admittedly not L.A.’s strong suit, but REDCAT and CAP UCLA have filled the breach hosting interdisciplinary performance work from all over the world.
The Getty Villa’s annual outdoor classical theater production treats the canonical treasures of ancient Greece and Rome not with kid gloves but with an exploratory 21st century spirit. And A Noise Within has cultivated in its loyal audience an understanding that the classical repertory exists in the present tense and can speak directly to us today.
The stage is still the basis for acting training, and there comes a time when even the most successful film and TV actors want to return to their roots. Those with civic consciences are happy to tread the boards close to home. When Tom Hanks chose to play Falstaff in Shakespeare Center of Los Angeles’ production “Henry IV,” he did so at an outdoor venue, the Japanese Garden on the West Los Angeles VA campus, that was only a short commute from his own backyard. Annette Bening, a stalwart champion of L.A. theater, has notably performed at the Mark Taper Forum, the Geffen Playhouse and UCLA’s Freud Playhouse.
Beyond the A-listers, there’s a vast population of working actors hungry for opportunities to hone their craft. It’s to satisfy this need that L.A. has built up an extensive array of small, shoestring companies. This scene is decentralized, dispersed within an uncoordinated sprawl of regional fiefdoms, but the independent spirit has endowed many of these companies with astonishing capacities for survival.
Indeed, it’s this network of 99-seat theaters — those houses with 99 seats or fewer — that are the lifeblood of the local theater scene. The cultural landscape would be unimaginable without Rogue Machine Theatre, the Fountain Theatre, Echo Theater Company and Boston Court Pasadena. The resilience, imagination and integrity of these small companies have demonstrated that heart matters more than size.
L.A. is indisputably a theater town, but a theater town that operates by its own rules and urban logic, neither of which is easy for an outsider to crack. What follows is a curated list of some of the most essential venues in the city and surrounding region. Not meant to be comprehensive, this compilation tilts toward companies that have been active in recent seasons and have a dedicated home. Nomadic ensembles and those that have been dormant or less prominent in the post-pandemic recovery phase have been excluded from this selection. But the ecology of L.A. theater is ever-changing and ever-adapting, calling for updates and new classifications. Stay tuned for future lists and supplemental guides.
— Charles McNulty