Cry Havoc’s message: We expend energy in preparing young men and women for war, but no effort in re-engaging them into the life of not-war.
The staging is a brash translation of Shaw’s early twentieth-century delicacy into twenty-first century Yankee sensibilities.
Vanya and Sonia and Masha and Spike goes on about a half hour too long, but the quality of the acting overcomes the longueurs.
A two-person engagement like Annapurna demands that mysterious quality from actors that we call “chemistry.”
This production of Driving Miss Daisy isn’t about conflict and irresolution, but sentimental reassurance.
Dan Hodge turns two hundred and fifty stanzas of Shakespeare’s rhyme royal into the stuff of a high-class poetry slam.
Writing seriously about a play that might not be meant to be taken so seriously presents a risk, but the provocation embedded in the social message of Born Yesterday can’t be escaped.
This production of Charley’s Aunt has the rhythm of a Mozart operatic finale — all the parts contribute to a dizzy harmony.
John Patrick Shanley’s Outside Mullingar is a romantic comedy, so you can guess the dénouement, but all the fun is in getting there.
There is little for the audience to take away from Red, except the anecdotal dramatization of an event inspired by Mark Rothko’s career.