From l, Chris Winfield and Suzy London in “Moon over Buffalo.”

Group Rep Theatre’s production of Ken Ludwig’s Moon over Buffalo highlights the lovely but loco world of the theatre through charming whimsy and fine performances. The show combines action, one-liners, and romance in a farce of theatrical proportions.

The struggling Hays (Chris Winfield and Suzy London) perform “hack versions of popular theater classics” to pay the bills, but a potential visit by film director Frank Capra turns everything upside down.

The cast gives excellent performances, possessing fine chemistry with each other. London is a fiery and conceited Charlotte Hay, throwing off sparks with Winfield’s sexy, conceited George. Allison King brings touching vulnerability to the questioning Rosalind, and Gwen Van Dam almost steals the show with her hilarious one-liners. Derek Mehn as Paul and Ben Campbell as Howard perform with zest.

Director Drina Durazo successfully adds nice energy and tempo to the proceedings. A few places tend to drag a little bit, but she keeps the balls juggling nicely between comic frenzy and seductive patter. Timing is spot on in the hilarious and frenetic chase sequences, and dramatic entrances and exits spotlight the overconfident hams.

Durazo gains fine work from her production staff, who create an elegant and eclectic look to the presentation. Angela Eads’ sexy costumes fit the period. Set design work by Durazo and Winfield captures the exuberant zaniness of the Hay family while adding realism. Jazmin Lopez’s lighting work adds a splash of color.

Moon over Buffalo features hilarity and hijinks as it celebrates the theatrical world.

Group Rep Theatre presents Moon over Buffalo Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through June 24 at the Lonny Chapman Theatre located at 10900 Burbank Blvd. in North Hollywood. Tickets cost $15-$22; please visit www.thegrouprep.com or call (818) 763-5990 to purchase them.

John Bobek in “Synesthesia.”

Webster’s Dictionary defines synesthesia as a subjective sensation other than the one being experienced. The stage production of Synesthesia highlights subjective performances, artfully blending eight differing artistic mediums to create a unique evening of theater, one celebrating the artistic process.

Synesthesia begins with one artist choosing a fortune cookie, and then creating a solo work around the theme of the fortune. The next performer observes the performance and then creates their own piece based on that work, and so it goes through all of the artists. As the program calls it, “Artistic telephone across the genres.” The staging blends video presentation with actual performance; each artist is interviewed about their own creative process, describing the performance they saw, and how they will employ that inspiration in their own work.

While the evening is entertaining, some pieces work much better than others; some are merely stunts. Ruby Karen starts things off with an athletic and supple aerial performance, followed by Aldo Pisano’s scatological prose poem. John Bobek performs an energetic, country rock tune, leading to dancers highlighted by Marc Rosenthal’s lighting. Michael Bonnabel creates a moving ASL song, followed by John Achorn’s thoughtful commedia dell’arte. Rocco Vitacco performs his hilarious song, and Michael Dunn’s off-beat cooking performance piece ends the evening.

Director Cate Caplin keeps all the plates spinning in the lean production, editing together the various acts around the video interviews. Gabrieal Griego does a fine job defining each performance with a wide variety of lighting.

Athena Theatre in association with Bootleg Theater presents Synesthesia on Mondays through June 11 at 7:30 p.m. at the Bootleg Theater located at 2220 Beverly Blvd. in Los Angeles. Tickets cost $10. For further information, visit www.athenatheatre.com or www.bootlegtheater.org.

Cast of “Sophia.” Standing from l, Everyman — Gavin Peretti, Everywoman — Breanna Carter, Everyman — Derek Houck, Everyman — Dwayne Stevenson, and Everwoman — Katy Walters. Sitting from l, George —John King and Sophia — Melissa Bergman.

A cross between romantic comedy and Laugh-In, Write Act Repertory’s presentation of Sophia explores a romantic relationship through songs and skits. Featuring fine performances and hilarious one-liners, the production examines the pursuit of love in often bawdy ways.

Set in the swinging days of the mid-1960s, Sophia tells the story of a beautiful, intelligent, but romantically clueless young woman (Melissa Bergman) who continually fails in romantic relationships, confusing lust with love. Set up with relationship therapist Jake Kelly (David Michael Trevino), can Sophia break her patterns and fall for a decent, everyman named George (John H. King)?

Writer/Composer Michael Antin focuses on how to create a strong foundation for relationships, and builds a sweet, fun story as much through bawdy and sometimes raw one-liners as he does songs. Most of the funniest jokes come as part of the running vaudeville blackouts throughout the show, which feature excellent timing and punch. The songs, while often cute and toe tapping, tend to follow the same patterns.

Director Derrel Maury brings great energy to the proceedings, keeping everything moving briskly. Leslie Villanueva’s choreography seems a little simplistic and static however. Rocco Vitacco ably accompanies the singers.

Maury draws fine performances from the cast, particularly the likable and expressive King and charming Bergman. King connects with the audience, and the effervescent Bergman brings winning personality. Trevino demonstrates excellent singing and presence.

While entertaining and funny, the production contains adult language and content. Sophia musically dishes on love.

Write Act Repertory presents the West Coast premiere of Sophia Thursdays through Saturdays at 8 p.m. through May 20, plus Sunday matinee on that day at 5 p.m. at Write Act Rep located at 6128 Yucca St. in Hollywood. Tickets cost $20, $15 for students, seniors, and groups. Tickets can be purchased online at www.brownpapertickets.com or www.goldstar.com.

From l, Tamara Braun (Woman) and Jack Heller (Tennessee Williams) in “Tennessee in the Summer,” written by Joe Besecker, directed by Sal Romeo, at The Sidewalk Studio Theatre. Photo provide courtesy of Janice Allen.

“Tennessee in the Summer” combines fine acting and production work in a sizzling examination of Tennessee Williams and his demons. Filled with thoughtful insights by writer Joe Besecker, the production reveals the tragic background of playwright Williams, a past he feared he would emulate.

Set in a lonely hotel room in 1972, the play flashbacks to important moments in Williams’ life as he contemplates how to blend his warring opposites, forgive the past, and move on. The presentation reveals how closely Williams’ characters matched his own emotionally fragile life, and how both he and his creations created fantasy worlds to protect them from past horrors.

Director Sal Romeo highlights the black humor of Williams while emotionally revealing his tragic undertones. He builds excellent pacing and timing, and draws fine work from both cast and crew.

The cast gives excellent performances, led by the expressive, heartrending performance of Jack Heller as the troubled Williams. He also possesses fine chemistry with Robert Standley, who brings emotional resonance to the role of Williams’ younger lover. Tamara Braun adds sexy sizzle as the feminine side of Williams. Louise Davis gives a sensitive reading to the fragile Rose.

Production work is also spot-on, from Richard Montes’ effective sound design, to Lacey Anzelc’s claustrophobic, steamy hotel room, to Paige Selene Luke’s excellent lighting design.

A powerful exploration of how emotional turmoil can both illuminate and wreck lives, “Tennessee in the Summer” features strong acting and vision. The play also contains adult situations and language.

Sal Romeo ETC and SST Productions present “Tennessee in the Summer” Fridays and Saturdays at 8 pm and Sundays at 3 pm through May 20 at the Sidewalk Studio Theatre located at 4150 Riverside Dr. in Burbank. Tickets cost $20, and can be purchased by visiting www.brownpapertickets.com or calling 800/838-3006. For further information, call 818/558-5702 or visit www.sidewalkstudiotheatre.info.

From l, Proteus (Matt Walker), Julia (Christine Lakin), Silvia (Monica Schneider), and Valentine (Rob Nagle) in Troubadour Theater Company’s “Two Gentlemen of Chicago” at the Falcon Theatre.

Scoring another hit in their long line of Shakespearean parodies, the Troubadour Theatre Company presents a roll down laughing, entertaining Two Gentlemen of Chicago. Packing hilarious improvisation, fine acting, singing and dancing, and even a sweet and talented dog into the proceedings, the presentation successfully blends Shakespearean ruminations on love with comic mayhem.

The story, such as it is, revolves around Proteus’ (Matt Walker) romantic yearnings for both Julia (Christine Lakin) and Silvia (Monica Schneider). A mere starting point, the show covers everything from the current presidential campaign, movie greats, current films, and Toluca Lake locations, all set to the music of Peter Cetera and Chicago.

Director Walker once again inspires his cast to fine performances and let-it-rip comedy, somehow reining in attempts for the improv to take off in unexpected and wild directions. Walker himself smartly underplays his role as both comic and pondering hero, providing the anchor for the evening.

Lakin jazzes up the proceedings with her energetic, sexy choreography, fine voice, and expressive, vulnerable face. Morgan Rusler’s Duke of Milan draws laughs with his innocent and charming ribbing. Roosevelt the Pug steals the evening whenever he appears on stage, gaining huge rounds of applause.

Production work successfully helps set the mood, from Jeremy Pivnick’s elegant, straightforward lighting, to mischievous and witty costumes by Sharon McGunigle, to Jeffrey McLaughlin’s attention getting, Rat Pack-like curtain backdrops.

Two Gentlemen of Chicago colors the world with hysterical laughter and touching moments, combining romantic pop and true love.

The Falcon Theatre presents the Troubadour Theatre Company’s production of Two Gentlemen of Chicago Wednesdays-Saturdays at 8 p.m., and Sundays at 4 p.m. (no April 8 show) through April 22 at the Falcon Theatre located at 4252 Riverside Dr. in Burbank. Tickets cost $34.50-$37 Wednesday and Thursday, $39.50-$42 Friday through Sunday, with a $27 student rate. Please visit www.falcontheatre.com or call (818) 955-8101 for reservations.

From l, Veronica Alicino as Leah, Bruce Katzman as Jacob, and Nan Tepper as Hannah in “Jacob and Jack.”

Combining excellent comic timing, fine acting, and high energy, Jacob and Jack examines the past through mirrored events in the present. The show highlights both the glory days of Yiddish theater and acting through hilarious movement and witty one-liners.

The Zephyr Theatre’s West Coast premiere of James Sherman’s play parodies the cheap thrills of working in the theater. TV actor Jack (Bruce Katzman) prepares to star in a one-night-only tribute to acting great Jacob Sherminisky. His role helps him confront his troubled marriage and his dedication to acting, while time traveling between past and present.

Director Lee Sankowich inspires the charming cast to comic performances brimming with energy and verve. He keeps the action jumping around the small stage, with the cast shooting out lines and making entrances and exits like a machine gun.

Katzman’s star turn as Jacob/Jack brings down the house, one moment over the top Master Thespian as Jacob, and the next charming and flirty as TV personality Jack. Matt Gottlieb brings an understated, sarcastic attitude to manager Ted and questioning spirit to Abe. Young Matthew Scott Montgomery earns some of the biggest laughs with his naïve, overeager stage manager Don, looking for his theatrical break.

Adam Haas Hunter’s simple set design lends itself to the busy action of the play while also capturing the slowly decaying Jewish theater movement. Matt Richter’s wonderful lighting helps differentiate between the differing eras and productions. Joanna Leskow’s nice costumes also help define the different characters.

Jacob and Jack plays Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. through May 6 at the Zephyr Theatre located at 7456 Melrose in Hollywood. Tickets cost $25. For reservations, call 1-(800)-838-3006 or visit www.brownpapertickets.com for reservations.

From l, Ernest Pipoly, Tori Taite, Sheela Walker, and Cookie Ruth in “Private Eyes.”

CRE Outreach provides an inspiring evening of theatre featuring the Theatre by the Blind in Private Eyes, a fun little detective story examining truth and reality. The only entirely blind theatre troupe in the country, Theatre by the Blind’s performers gain self-esteem and self-expression by acting on stage, demonstrating to audiences the true meaning of courage.

The production examines reality and how we view it through our eyes; do we truly see what is happening before us, or do we exist in a fantasy world of how we would like life to be? Private Eyes shows life through the eyes of Matthew (Tori Taite), a questioning actor married to pretty actress Lisa (Maria Perez). As they star in a play with director Adrian (Ernest Pipoly), reality shifts between the characters, as Matthew reexamines and relives situations.

Director Greg Shane’s passion for the project shines through as he inspires the cast to give thoughtful and expressive performances, while also demonstrating fine timing and humor. Shane keeps the action smoothly moving around the tiny stage.

The small cast plays their parts with brio and enthusiasm, memorizing large amounts of dialogue while also bringing personality to their roles. Perez brings playfulness and teasing to the forthright Lisa, while Taite gives an ironic, humorous take on the questioning Matthew. Pipoly’s Adrian is arrogant and self-absorbed.

CRE Outreach and Theatre by the Blind demonstrate what it truly means to take risks and face new challenges, while facing life with a smile in Private Eyes.

CRE Outreach presents Theatre by the Blind in Private Eyes, playing Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. through April 8 at the Promenade Playhouse located at 1404 3rd St. Promenade in Santa Monica. Tickets cost $20, and can be purchased by calling (310) 902-8220 or visiting www.creoutreach.org.

From l, Kent Butler and Jason DeLane in “Cobb.”

Toplined by an excellent cast, the Group Rep’s production of Cobb hits a home run in analyzing the life and career of this cantankerous and despised baseball star.

The presentation shows Cobb (Kent Butler) stepping out of time to address himself at various stages in his life. He is also constantly shadowed by an equally talented player from the African American League (Jason DeLane).

Writer Lee Blessing’s Cobb is a nice meditation on celebrity and what influences shape successful individuals and their personalities, setting the trajectory for their careers. Anger at events in the past make him a ferocious ballplayer, but also a hateful person.

Director Lee Daniel builds a nice rhythm into the proceedings, and takes an occasionally seventh inning stretch to allow time for digestion. He creates dynamic compositions of the players, often representing a baseball diamond, to help shape the story.

The fine cast reflects the various aspects of Cobb’s personality. Butler represents the older and wise man, reflective and a little playful. Bert Emmett is the arrogant, conceited middle aged Cobb, channeling his immense drive into screwing others in business deals. Daniel Sykes plays the intense, energetic young ballplayer, angry but also able to love. DeLane ruefully portrays Oscar Charleston, Cobb’s Negro League counterpart, just as talented but forgotten to history.

Design work is outstanding, from Steve Shaw’s fine sound design, Sabrina Beattie’s nice lighting, Chris Winfield’s excellent baseball field set, to Liz Nankin’s beautiful and elegant costumes.

Group Rep presents Cobb through April 7 at the Lonny Chapman Theatre located at 10900 Burbank Blvd. in North Hollywood. The show runs an alternating schedule of Friday, Saturday, and Sunday performances. Please check www.thegrouprep.com or call (818) 700-4878.

From l, Cynthia Bryant, Joseph Runningfox, and Ayanery Reyes in “Not One More Foot of Land!”

Moving and powerful, Not One More Foot of Land! documents the tragic unknown history of how the Cherokee nation saw their land stolen from them by the patronizing government. Strong acting and writing help sell this thoughtful production that remains true to the native people.

The play focuses on Cherokee warrior Major Ridge (Joseph Runningfox), viewed as either savior or traitor by his tribe as he attempts to set them free to live a peaceful existence. Should the tribe fight to defend their land, or move to a safer, protected area?

Writer Art Shulman’s passion for the subject shows in his well-documented story. While a little long, the script examines the pragmatic choices made by Ridge and his people.

Director Kristina Lloyd crafts strong visual images and emotion. She brings symbolism to spirits, both of the past and future, by employing giant wings made of hundreds of bird feathers. At times, though, too many actors and too much plot crowd the story.

Runningfox brings a forceful, righteous passion to Ridge. Donell Morgan as Sehoya is the emotional core of the piece: thoughtful, wise, and steady. Brian Wescott (John Ross) and Randy Vasquez (John Ridge) also give good performances.

Production work is detailed and seemingly spot-on. Steve Shaw’s sound adds fine nuance, while Ali Funes’ costumes bring color and naturalism to the story. Nicholas “Doc” Leland’s lighting adds definition.

Not One More Foot of Land! strongly reveals a painful, unknown episode in our nation’s history, and one man’s quest to save his people.

Not One More Foot of Land! plays Friday and Saturday nights at 8 p.m. and Sundays at 2 p.m. through April 1 at the Secret Rose Theatre located at 11246 Magnolia Blvd. in North Hollywood. Tickets cost $22, $17 for seniors, and $10 for students with IDs. Visit www.secretrose.com or call (818) 782-4254 to make reservations.

Laura Sage in “The Human Voice” by Francis Poulenc.

Combining two one-act operas that deal with communication and relationships, The Lyric Opera of Los Angeles’ presentation at the Fremont Centre Theatre features a stylish and creative production filled with excellent singing. While the two musical works are over 50-years-old, their focus on connecting and communicating are very much relevant today as society deals with the rudeness of interrupting people to answer cellphones.

“The Telephone” by Gian Carlo Menotti examines how a constantly ringing phone interrupts the important question a man (Jay Stephenson) is trying to ask of his sweetheart (Laura Sage). Both singers give expressive, animated performances revealing as much in their bodies and facial expressions as their voices. Stephenson possesses a fine baritone that explodes with frustration at his girlfriend’s constant chatting. While her voice is a little thin, Sage’s singing perfectly captures both the gossipy and flirty sides, trilling and gliding out runs.

Sage also stars in “The Human Voice” by Jean Cocteau and Francis Poulenc, playing a woman carrying on her last telephone conversation with a former lover as he prepares to marry another. She coos, pleads, and cries with frustration very well, but the act tends to drag a little. The music is reminiscent in parts to Poulenc’s “Gloria.”

Musical director and accompanist Robert Sage superbly supports the singers, while adding nice color of his own.

Josh Shaw’s set design is a witty and elegant presentation of later art deco, and Maggie Green’s and Sage’s beautiful vintage clothes complete the spot-on look.

The Lyric Opera of Los Angeles presents “Comedy or Tragedy: It All Depends on Who’s Calling! The Telephone/The Human Voice” on Friday and Saturday nights at 7:30 p.m. and Sundays at 2 p.m. through Feb. 5 at the Fremont Centre Theatre located at 1000 Fremont Ave. in South Pasadena. Tickets cost $25; $20 for students/groups/seniors. Please call (866) 811-4111 or visit www.lyricoperala.org.