A festival of Gumboot and Pantsula at Rhode Island College featured a large cast of virtuosic dancers and engaging musicians.
Mary Paula Hunter
Faye Driscoll’s muddled version of taking artifice apart is far too familiar; we’ve done it all before, seen it more than once.
Wilbury Theatre proves that an arts organization can grow while pushing an experimental agenda.
Lope de Vega’s classic story of how the powerless stood up to authority — and won –deserves better treatment than clumsy caricature.
This thoroughly cockamamy world offers the kind of guilty pleasure that you hope never ends.
Dancer/choreographer Maureen Fleming’s highly distinctive style of movement is unforgettable.
The result is reminiscent of a Mark Rothko painting — if it was projected through the refracted light of a prism.
Nothing in this over-lengthy work refers to whales, the ocean, or even the fishing industry.
Worse, humor and irony have no place in this show’s version of virtual reality.
What the play lacks in surprise, the Wilbury treatment makes up for in excellent staging, acting, and a commitment to physical theater.