The women whose voices make up the play’s dialogue are Vermont or New Hampshire residents who have sought medical care at the local VA hospital.
J. B. Priestly’s shallow characterizations keep his vision of moneyed skullduggery mundane rather than monstrous.
The HTC’s Romeo and Juliet may be dressed in modern trappings, but the play’s elemental heart and soul are left fully intact.
To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
The Half-Light is a play about ghosts that, while offering intimations of mortality, ends up exuding a charming and infectious romantic spirit.
The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
The script offers an indispensable vision of American history from the point of view of African women.