In two short acts, playwright Win Wells depicts not so much a relationship as a fusion, a merging of identities into one single, complex personality.
Thornton Wilder’s Big Ideas do not get lost in the hurly-burly of this production.
David Lindsay-Abaire’s tightly woven comic script celebrates the everyday relationships that make up an argument for a full life.
A manipulative entertainment that sets out to confuse theater and therapy.
Davalos’s fast-paced wittiness and director Keith Stevens’ deft management of dramatist’s words and dramatic action keep us in stitches.
Flawed and perhaps overwrought, The Whipping Man is worth watching because of the intensity of its individual scenes.
Alan Ayckbourn’s Absurd Person Singular is a comedy of total narcissism — belly-laugh jokes accompanied by a cold cruelty.
The current revival of Laughing Stock, directed again by the playwright, has softer edges than I remember in the earlier one, played with fluidity rather than crackle.
The Peterborough Players have put together a “Seagull” that floats elegantly on nineteenth-century Russian and twenty-first-century American wings, simultaneously bright and dark.
Some of the jokes in “2 Pianos 4 Hands” reach fairly deep into an understanding of how classical music works and is taught; other jokes will be recognizable to anyone who has taken piano lessons or raised a child to do so.