David Greenham
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.
This stage adaptation of Mary Shelley’s novel earns its keep — the production is provocative, well acted, and completely engaging.
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.
Reviews of three shows seen during a trip to Ireland and England — Shakespeare at London’s Globe and “Dublin Oldschool” and “Riverdance” in Dublin.
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.
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.
Through around 10 scenes, spanning over a decade, “Wish You Were Here” looks at political oppression through the domestic lens of lost love and friendships.
This musical succeeds, at least in part, because it dares to shine a light on parts of our lives that we don’t like to talk about.
Despite its undeniable fun, Christopher Durang’s play feels somewhat quaint a decade or so since it was written.
This superb Speakeasy Stage Company/Front Porch Collective co-production is emotionally charged and immediate, intent on keeping the material fresh and raw.
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