ON STAGE

La Ronde

The Zephyr Theatre, through Feb. 1
***

It’s often said that film is the director’s medium, but Larry Biederman is having none of that. His two actors, who cover every role in 10 scenes that convey serial sexual encounters of so casual nature it no doubt gives public health officers both pause and job security, are so buried beneath the palette of black and white, the costumes (Soojin Lee) that are either distressed or only partially constructed, the richly mysterious sound design (John Zalewski), and a whole lot of unnecessarily stylized blocking, one leaves the production humming the mise-en-scène. That said, Alyson Weaver and Ken Barnett certainly rise to the many challenges Biederman heaves their way and some of the scenes, primarily the ones in which the performers are allowed to stand reasonably still and just talk, actually resemble human interaction. One applauds the ambition it takes to completely re-think a piece that doesn’t lack for exposure, but there are too many times, such as when the actors switch roles or lip synch to their own taped dialogue, that it gets a bit precious and becomes more about a director showing off than imparting a story. —WENZEL JONES

The Sermons of John Bradley

The Lex Theatre, through Feb. 1
**1/2

I would never imply that an evening that includes two young men wrestling while covered in little more than sweat and glitter to be ill-spent. It’s what goes on before and after that gives me pause, however. Hunter Lee Hughes’ somewhat self-indulgent exploration of hypocrisy and self-actualization is a problematically structured piece that, like a sermon, tackles every idea it encounters and then beats it to death. It’s essentially a one-man show tricked out with two peripheral females (Mary T. Sala and Elizabeth Gordon) and a truly delicious morsel (Gavyn Michaels) as Trevor, the boyfriend. There is an overweening earnestness to the enterprise that may not be to everyone’s taste and Marisa Marco’s direction does nothing to leaven the mood. Sala is a spirited performer who brings vivacity to the thankless role of the Shaman, a part apparently meant to add woo woo factor as the character hisses at us that the death of the family/ideas/deceit (it goes on) is upon us. The only thing the character failed to predict is the death of the audience’s patience. —W.J.

LIMITED RUN

Buried in Sophie’s Tomb

Comedian Richard Lucas finds out what you can do about a neighbor’s barking dog: almost nothing. This show is a hilarious presentation of his six-month barking dog journal, written to the West Hollywood Sheriff's Department, about how it has affected his world. The Fake Gallery. Through Jan. 31. Saturdays 8 p.m. $10. 323/960-5521; plays411.com/doglog

Mystic

Explore the mystery of human origin, the evolution of consciousness, and galactic destiny through elaborate costumed dancers, aerialist and an immersive 5-screen synchronized video projection. Electric Lodge. Thu., Jan. 29-Sun., Feb. 1. 7 and 9:30 p.m. each night. $30-50. 800-838-3006; wantickets.com or mysticlive.org

DAI (Enough)

This award winner invades L.A. to takes us into the world of a Tel Aviv Cafe moments before a suicide bombing, and brings to life eleven different characters that span the ideological and physical spectrum of Israeli society. Lillian Theatre. Thu., Jan., 29-Sun., Feb. 15. Thu.-Sat. (8 p.m.) Sun. 3 p.m. $25. 323/960-4410; plays411.com/dai

Keshet For Life: Twenty Five Years And Counting...

The premier American-Israeli contemporary dance troupe celebrates its 25th anniversary, combining five new dances by Israeli choreographer Kobi Rozenfeld and a retrospective of company favorites from its original repertoire. Thousand Oaks Civic Arts Plaza. Sun., Feb. 1. 7 p.m. $35-75. 818/986-7332; kcdancers.org

Homo Must

Who’s Afraid of Virginia Woolf?

A disillusioned academic and his caustic wife turn their rapier-sharp wits against each other, using their coupled guests as pawns in their verbal sparring. By night's end, the secrets of both couples are exposed. Rubicon Theatre. Sat., Jan. 31-Sun., Feb. 22. Wed.-Sun. Times vary. $39-75. 805/667-2900; rubicontheatre.org

Letting it All Hang Out

There's a richly varied roster of plays opening in L.A. in 2009, and the year starts off with a surprising number of gay-themed works. Back for a new evening of tell-all revelations is the highly engaging Stephen Fales (Confessions of a Mormon Boy). His new piece Missionary Position (Celebration Theatre, now playing) charts Fales' adventures as a Mormon missionary in Portugal (filled with hot young men in white shirts and ties). Speaking of the Celebration, there will be high interest in Hangin' Out (Macha Theatre, now playing), from the company's former longtime artistic director Robert Shrock, though this new nudie revue is an equal-gender-opportunity affair, and presumably not strictly gay. Other shows upcoming to the Celebration include a gay version of A Midsummer Night's Dream (opening March 6) and a welcome revisit to Edwin Sanchez' searing drama about an unlikely gay love triangle Trafficking in Broken Hearts (opening May 7).

The offbeat musical Pope Joan (Stella Adler Theatre, now playing). produced by Michael Butler, who 40 years ago galvanized Broadway with Hair, is the supposedly fact-based tale of a female pontiff masquerading as a male and reigning as Pope John VII, circa 855. Papa, can you hear her/him? Also intriguing is Carol Lynn Pearson's Facing East (International City Theatre, opening June 12), about a Mormon couple reeling from the suicide of their excommunicated son. Hunter Leigh Hughes' new play The Sermons of John Bradley (Lex Theatre, now playing), weighs in on gay marriage and narcissism.

Besides shows with significant gay themes, there's plenty of diverse fare coming up, including some big musicals—the world premiere of the splashy Minsky's from Charles Strouse (Annie, Applause) and the creators of The Drowsy Chaperone (Ahmanson Theatre; opening Feb. 6); Leslie Uggams as superstar Lena Horne in Stormy Weather (Pasadena Playhouse, opening January 30); the first locally produced mounting of Mel Brook's megahit The Producers (Musical Theatre West, opening Jan. 31); the Deaf West/Mark Taper Forum reimaging of Stephen Schwartz's Pippin (now playing); a London-bred production of Jason Robert Brown's history-based masterpiece Parade (Mark Taper Forum, opening Oct. 4).

More good stuff: Pulitzer Prize-winning playwright Donald Margulies' (Dinner With Friends) new drama, Time Stands Still (Geffen Playhouse, opening Feb. 11); Conor McPherson's Tony Award-nominated drama The Seafarer (Geffen Playhouse, opening April 22); Big, The Musical (West Coast Ensemble at the El Centro Theatre, opening TBA), based on the Tom Hanks film comedy; and the Tony Award-nominated powerhouse Frost/Nixon (Ahmanson Theatre, opening March 12). —LES SPINDLE