Terry Morgan
Terry Morgan gives a wrap up of the best theatre productions of the past year.
There was a nice mix of shows in 2025, from a huge play that ran for months to tiny productions that rewarded the lucky few who saw them. There was a horror play at the Ahmanson that delightfully scared its audience, several excellent revivals and a couple of outstanding musicals. Here’s a list, in no particular order, with ten of the best productions I saw in 2025.
Harry Potter and the Cursed Child at the Hollywood Pantages Theatre – Nine years after premiering in London, this incredible show arrived here, albeit with a three-hour runtime shortened from its original five. This abridgment of the plot confused some viewers, but I thought the script was a marvel. Of course the visual effects and production design were amazing – I wrote in my review, “It’s pure, satisfying spectacle of a kind rarely seen onstage these days, a feat of theatrical wizardry that truly dazzles.”
Heisenberg by Brave Space Productions at The Skylight Theatre – This lovely two-hander featured beautiful performances from Juls Hoover and Paul Eiding and expert, sensitive direction from Cameron Watson (who has just been named artistic director of the Skylight). I much preferred this production to the version at the Taper from 2017; this one got it right. Simon Stephens wrote this play to illustrate the theme of the “Uncertainty Principle,” but it’s certain that this play was one of the best of the year. My review.
Lear Redux: A Quantum Fantasia by The New American Theatre and Not Man Apart – Physical Theatre Ensemble in association with Odyssey Theatre Ensemble at Odyssey Theatre – Director/adapter John Farmanesh-Bocca’s take on Shakespeare’s King Lear examines the classic through the lens of dementia, i.e. an older actor seeing his world as a version of the mad king’s tale. His direction was vibrant and creative, and the ensemble was adept in performing the wild mix of drama, comedy and choreographed movement. Jack Stehlin was terrific as the titular monarch, but the heart of the show was Emily Yetter, whose puppeteering of a dog puppet and scenes as Lear’s dead daughter Cordelia were moving and impressive. My review.
Jane Eyre at A Noise Within – Elizabeth Williamson’s adaptation of Charlotte Brontë’s Jane Eyre is literate and very effective, and this production reminded me why A Noise Within is beloved for its excellent productions of classics. Jeanne Syquia was fantastic as the title character, and Frederick Stuart was brilliant as Rochester. Geoff Elliott’s direction was inspired, masterfully using emptiness and darkness to create a Gothic ambience. Reader, I loved it. My review.
Bat Boy: The Musical by Open Fist Theatre Company at the Atwater Village Theatre – The musical that tried to make life somewhat safer for the unholy union of Chiroptera and Primate returned in this supremely entertaining revival. Ben Raanan excelled as the titular humanoid, in a portrayal that combined expert comedic skill, moving dramatic work and a strong singing voice. Director Pat Towne staged the show with playful creativity and got great work from the large ensemble. This was a top-notch show, and a reminder that often the best productions in Los Angeles are presented in small theaters. My review.
Outside Mullingar by The 6th Act at The Matrix Theatre – Due to all sorts of mitigating circumstances, sometimes the best productions are criminally overlooked. Such it was with this excellent production of John Patrick Shanley’s Outside Mullingar, a romantic comedy/drama set in rural Ireland. The entire cast (Liza Seneca, Matthew Kirby, Kitty Swink and Armin Shimerman) delivered pitch-perfect, lovely performances. It was one of the nicest surprises I had at the theatre all year.
Come from Away by McCoy Rigby Entertainment at La Mirada Theatre for the Performing Arts – I know, I know… Come from Away has been produced a lot and is well loved already. But this production was perfect from top to bottom, perhaps the best we’ll ever see in Southern California. The direction was expert, the cast exceptional, the set was impressive and detailed, and all the technical aspects shined. I had never seen a show at this venue before. I will be correcting that oversight.
Joe Turner’s Come and Gone at A Noise Within – This theater’s undertaking to produce all ten of August Wilson’s American Century Cycle has reaped countless positive dividends, and this production was one of its best. Although it’s not my favorite of Wilson’s plays, every aspect of this show was outstanding and very enjoyable. The entire cast was great, but Alex Morris and Gerald Rivers were especially memorable and hilarious.
Passion by Chromolume Theatre at The Zephyr Theatre – Here’s another show I fear was underseen last year. Stephen Sondheim’s strangely divisive musical hadn’t had an actual (more than one-night) production in Los Angeles since 2003, which is frankly astonishing. Thankfully Chromolume Theatre corrected that error with this lovely show. Nora Elkind’s portrayal of Fosca was electrifying and unforgettable, one of the best performances of the year.
Paranormal Activity at the Ahmanson Theatre – Was this actually one of the best plays in the usual ways one would define “best” that I saw this year? No, although it was well performed and had impressive craft. Was this one of the most enjoyable experiences I had in a theater this year? Hell, yes! Watching the dressed-up adults at the Ahmanson on opening night literally regress to screaming teenagers, yelling and laughing and literally trying to hide behind the seats of the people in front of them was sheer fun. It was also great to hear Radiohead’s “Just” playing at gloriously loud volume at the beginning of the play. My review.
Pauline Adamek
