The Closet is funny, brash, entertaining, and utterly forgettable.
Theater in the Berkshires has now entered a less than sparkling mode with a group of offerings that left me wondering why they were chosen for production.
This is a masterful production of Sarah Ruhl’s sparkling update of Commedia dell’arte.
The Model American is a powerful reminder of how deep theatrical pockets can be used to develop deeply significant new work.
One of Unknown Soldier’s powerful choices is that its central characters are not your standard young lovers.
In Kinship, dramatist Carey Perloff hasn’t found a language that conveys irrational longing.
Incomparable opera diva Renée Fleming makes her debut as a stage actress — playing an impossible opera diva — in playwright Joe DiPietro’s sliver of a comedy Living on Love.
Dramatist Jeffrey Hatcher didn’t become a working adaptor until the mid-1990s. He saw that some of his playwright friends were doing it and he thought: “Why not me?”
Nothing is going to be done about the appearance of the review in the Boston Globe. The reasoning is that, because the newspaper didn’t send its own critic, it hadn’t broken the ban. This is inconsistent and disingenuous.
Surely the lesson of “Pygmalion” is that Eliza should never look back. She doesn’t need to.