Writing seriously about a play that might not be meant to be taken so seriously presents a risk, but the provocation embedded in the social message of Born Yesterday can’t be escaped.
This production of Charley’s Aunt has the rhythm of a Mozart operatic finale — all the parts contribute to a dizzy harmony.
John Patrick Shanley’s Outside Mullingar is a romantic comedy, so you can guess the dénouement, but all the fun is in getting there.
There is little for the audience to take away from Red, except the anecdotal dramatization of an event inspired by Mark Rothko’s career.
Marian Schwartz’s careful translation of Anna Karenina is exquisitely mindful of the book’s complex linguistic texture.
A Short Walk with Patsy Cline leaves you wanting more. It will send you — back or for the first time — to Cline’s own recordings.
The Voysey Inheritance comes to the Peterborough Players with distinction, and this production is persuasive evidence that it belongs in a wider repertory of contemporary theater.
Gus Kaikkonen has shown himself particularly adept at directing period pieces in such a way that they don’t bog down in their period, but convey the life of their own time into our own.
Charles Morey’s new comedy focuses on the trials and tribulations of aging writers. Most of its humor revolves around the past, while its plot hinges on the present and future.
Neil Simon’s Last of the Red Hot Lovers wears surprising well after nearly half a century, with the help of minimal, subtle updating of topical references.