Nick Payne’s fascinating Constellations takes the cosmic paradoxes of time head on.
Flawed and perhaps overwrought, The Whipping Man is worth watching because of the intensity of its individual scenes.
This Peterborough Players production deserves a longer run than it has in the company’s inaugural winter season.
Profoundly conservative and radically fresh, Mass Appeal justifies its title in the Peterborough Players fine production.
Cry Havoc’s message: We expend energy in preparing young men and women for war, but no effort in re-engaging them into the life of not-war.
The staging is a brash translation of Shaw’s early twentieth-century delicacy into twenty-first century Yankee sensibilities.
Vanya and Sonia and Masha and Spike goes on about a half hour too long, but the quality of the acting overcomes the longueurs.
A two-person engagement like Annapurna demands that mysterious quality from actors that we call “chemistry.”
This production of Driving Miss Daisy isn’t about conflict and irresolution, but sentimental reassurance.
Dan Hodge turns two hundred and fifty stanzas of Shakespeare’s rhyme royal into the stuff of a high-class poetry slam.