David Greenham
Ace performances help make Night Side Songs a rich and moving experience, compounded by the fact that it is valuable to be in a room full of empathy and love in these trying times.
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A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
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Few could doubt this satire’s relevance, given the alarming results of November’s election: a convicted felon, whose minions lean into racist and sexist tropes, is back in the White House.
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Once again, Revels has pulled together a varied and diverse cast of amateurs and professionals to amplify a valuable lesson: it’s important to stop and take stock of our lives during the longest night of the year and to have faith that a new year will bring renewal and growth.
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A staging of “The Thanksgiving Play” needs to be rooted in the dramatist’s demand that the script shock: it should traumatize the ancestors of the perpetrators.
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This stage adaptation of Mary Shelley’s novel earns its keep — the production is provocative, well acted, and completely engaging.
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The goal of a panto is to provide amusement, and this one does, its creative performance team scoring with the help of a generous serving of faux-Americana.
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Reviews of three shows seen during a trip to Ireland and England — Shakespeare at London’s Globe and “Dublin Oldschool” and “Riverdance” in Dublin.
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As the run continues, the torrent of gags will probably settle into place and proper narrative rhythms emerge. But for now, the game’s aground.
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There’s plenty of potential in Tony Meneses’ script about men sharing their inner lives with other men, but it is filled with too many silent types.
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