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.
Marian Schwartz’s careful translation of Anna Karenina is exquisitely mindful of the book’s complex linguistic texture.
A Short Walk with Patsy Cline leaves you wanting more. It will send you — back or for the first time — to Cline’s own recordings.
The Voysey Inheritance comes to the Peterborough Players with distinction, and this production is persuasive evidence that it belongs in a wider repertory of contemporary theater.