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Q&A with Ann Talman by Dan Berkowitz

Actress and author Ann Talman discusses her one-woman show, “Woody’s Order!” — and what it was like to work with Elizabeth Taylor.

A gritty but inspiring tale of pain, forgiveness and healing, the film does not shy away from the worst stories that have become all too familiar in the news today: weaponless victims shot and killed by police, wrongful conviction and even racially-based limits on career advancement within law enforcement itself.

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An Addicting Picture is a psychic’s evidence that her client’s fiancé is an addict; the man must prove otherwise if he hopes to tie the knot, in this feature-length supernatural drama set to release in 2017.

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A conversation with actor and playwright Matt Chait, whose “Disinherit the Wind” opens March 3 at The Complex in Hollywood.

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“Die, Mommie, Die!” is a curiosity, an old-fashioned example of gay theatre on the cusp of change. It’s arch, it’s stylish, and though it relies on the same camp sensibility as shows such as “Women Behind Bars,” its carefully-constructed artifice reminds one more of Oscar Wilde than Tom Eyen. If the reaction of the opening night audience is any indication, it should have a wilde-ly successful run at Celebration Theatre.

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A few confessions right off the bat:

1. I have never seen the movie “Mean Girls,” which, not surprisingly, is the basis for “The Unauthorized Musical Parody of Mean Gurlz” – which means virtually everyone else in the audience probably got about 100,000 more in-jokes than I did; and

2. I’m not a follower of popular music, which means when virtually everyone else in the audience was singing along with the score to the show, I was sitting there dumb (in more ways than one).

So you’d think I wouldn’t like it, right? Wrong. The good news is that “The Unauthorized Musical Parody of Mean Gurlz” – one of a series of musical takeoffs of popular films – is ferociously entertaining, even for someone as clueless as I am.

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Okay, the bad news right up front: no one eats anyone in “Cannibals Alone.” Which was a real disappointment. Not because I’m particularly bloodthirsty, but because I was really looking forward to seeing how cannibalism would be done onstage. On TV or in the movies, sure – but a real live version of “Santa Clarita Diet” on the tiny Belfry Stage in NoHo? Now that I was looking forward to!

The good news is that if you’re a fan of mayhem, chaos, violence, gunshots, torture by cigarette lighter, knives to throats, and characters manhandling each other – actually, since it’s an all-female cast, I suppose it should be womanhandling each other – “Cannibals Alone” is for you. So there’s no flesh-eating? Feh!

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In these days of short attention spans, when the “ideal play” is described as being 70 minutes with no intermission, the very idea of a three-hour evening in the theatre is enough to make some audiences cringe. “How will I stay awake that long? How can anything be interesting for three hours?!?”

Well, if the play is by the great August Wilson, and is in the hands of a group of superlative actors working under an assured director, it can be interesting and then some. In Michele Shay’s production of “King Hedley II” at the Matrix Theatre, the three hours fly by.

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An interview with Alex Lyras, who co-wrote and performs in “Plasticity” at the Hudson Theatre from January 27 to March 13.

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REDCAT, CalArts’ downtown center for contemporary arts, presents Girl Gods, a new work by Seattle-based choreographer Pat Graney, Visual Designer Holly Batt (who won a Bessie for Outstanding Visual Design) and Composer Amy Denio from Thursday November 3 to Sunday November 6, 2016, as part of the Sharon D. Lund Dance Series. Times and ticket details are below.

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