The 99 Seat Beat: ‘Lysistrata’ at the Odyssey, ‘100 Aprils’ at Rogue Machine, plus a ‘Monster Mash’

What makes great theater? Compelling performances? Of course. Seriousness of purpose? Check. Professional stagecraft? Goes without saying.

As my standards have, um, matured over the years, a quality I’ve come to appreciate more is running time. I’m pleased to report that this week’s selection of homegrown plays all clock in at 90 minutes or less, some closer to an hour.

Other factors that might be of interest include the artists’ longtime creative track records and the shows’ impressive range in tone and themes: a serious-minded new take on a 2,400-year old antiwar comedy (“Lysistrata Unbound” at Odyssey Theatre), a contemporary psychological deep-dive into an unacknowledged genocide (“‘100 Aprils” at Rogue Machine) and a mashup trilogy of monster flick parodies at Sacred Fools.

‘Lysistrata Unbound’ at Odyssey Theatre

The essentials: A coalition of independent-minded women withhold sexual favors to force their bellicose menfolk to end an interminable war. With its forward-looking swipes at gender inequality and social hypocrisy, Aristophanes’ subversive comedy has been running, on and off, since 411 BC. While this interpretation by L.A. playwright Eduardo Machado initially seems to align with the classical story and structure, it soon diverges into something far more rich and strange. Brenda Strong (“Supergirl,” “Desperate Housewives,” “13 Reasons Why”) brings a sobering contemporary focus to the title role, as grief and rage drive a once-complacent citizen to lead the women’s antiwar revolt after all the men in her family are killed in action.

Why this? Director and choreographer John Farmanesh-Bocca is no stranger to bold interpretations of classics. His Not Man Apart company brought a visceral, highly physicalized performance style and sharp social critiques to “Titus Redux” and “Ajax in Iraq”; in 2016, his “Tempest Redux” turned Shakespeare’s magical plot on its head with a single tragic visual moment that conjured up the tragedy of the Syrian refugee crisis. This latest project draws more inspiration from today’s protest movements than from Greek antiquity.

Details: An Odyssey Theatre and Not Man Apart co-production at Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles. 8 p.m. Fridays and Saturdays, 2 p.m. Sundays; ends Aug. 4. Additional performances 8 p.m. June 28, July 11 and July 25. $30 to $35 ($10 on June 15 and July 11). (310) 477-2055, www.OdysseyTheatre.com

‘100 Aprils’ at Rogue Machine

The essentials: The psychological legacy of the World War I-era Armenian genocide that killed 1.5 million people takes haunting shape in the world premiere of Leslie Ayvazian’s darkly comic play. It’s about an Armenian American (played by Rogue Machine Theatre Artistic Director John Perrin Flynn) still plagued by nightmares of the atrocities he witnessed as a child. Confined to a psych ward after a suicide attempt, he hovers between hallucination and reality, tilting at phantoms like a latter-day Don Quixote in a quest for validating acknowledgement of the genocide still denied by the Turkish government. Diplomatic hair-splitting notwithstanding, history, like water, will seek its own level of truth.

Why this? The production sports some impressive pedigrees. Ayvazian (who costars in this production) has been a well-established chronicler of the Armenian American experience since her 1995 play “Nine Americans.” Flynn was a founding member of the 99-seat theater scene in 1980s and remains a tireless crusader for artistic freedom. Director Michael Arabian helmed 2012’s acclaimed “Waiting for Godot” at the Mark Taper Forum.

Details: A Rogue Machine production at the Met Theatre, 1089 N. Oxford Ave., Los Angeles. 8:30 p.m. Saturdays and Mondays, 3 p.m. Sundays (dark June 25); ends July 16. $40. (855-585-5185), www.roguemachinetheatre.net

‘Monster Mash’ Trilogy at Sacred Fools

The essentials: A trilogy of witty monster-themed plays, written and developed by Sacred Fools company members who obviously enjoyed far too much unsupervised television viewing in childhood. Other than some shared casting, however, the plays are independent and unconnected. In Jenelle Riley’s new musical comedy, “Jane Austen’s Emma Frankenstein,” the Woodhouse sisters seek true love and marriage with the Frankensteins, a family not known for prim and proper manners. Katie Eiler’s “Crunch” (previously produced at Son of Semele) views the horrors of early twentyhood through a feminist lens as former high school besties encounter a ravenous, cave-dwelling beastie. “Dracula’s Taste Test” is a spooky new “cadaverous cabaret” show by writer Marz Richards and music director Ryan Johnson, in which the vampire count hosts the Phantom of the Opera and other guest celebrity monsters in a mix of music and mayhem.

Why this? The creators are all veterans of Sacred Fools’ popular late-night “Serial Killers,” which in its 13 seasons has produced “Watson” and other hits. The convenient co-location, staggered schedule and merciful running times allow seeing multiple shows in a single day. Throughout the Sacred Fools’ current season tickets for all shows are only $15, per the company’s commitment to affordable quality theater.

Details: This limited run through June 23 is presented as part of the Hollywood Fringe Festival; advance ticket purchase is advised as Fringe shows often sell out early.

“Jane Austen’s Emma Frankenstein,” the Broadwater Main Stage, 1076 Lillian Way, Los Angeles. 7 p.m. June 13, 8 p.m. June 9 and 23, 1:30 p.m. June 17, 8 p.m. June 23; ends June 23. $15. www.hollywoodfringe.org

“Crunch,” the Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. 11 p.m. June 9, 9:30 p.m. June 10, 9 p.m. June 13, 4:30 p.m. June 23; ends June 23. $15. www.hollywoodfringe.org

“Dracula’s Taste Test,” the Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. 7:30 p.m. Sunday, June 10; 5:30 p.m. June 13, 6 p.m. June 17, 10 p.m. June 21; ends June 21. $15. www.hollywoodfringe.org

The 99-Seat Beat appears every Friday. Our reviewers shortlist offerings with an emphasis on smaller venues. Some (but not all) recommendations are shows we've seen; other picks are based on the track record of the company, playwright, director or cast. Comprehensive theater listings are posted every Sunday at latimes.com/arts.