Jim Kates
A two-person engagement like Annapurna demands that mysterious quality from actors that we call “chemistry.”
Read MoreThis production of Driving Miss Daisy isn’t about conflict and irresolution, but sentimental reassurance.
Read MoreDan Hodge turns two hundred and fifty stanzas of Shakespeare’s rhyme royal into the stuff of a high-class poetry slam.
Read MoreWriting 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.
Read MoreThis production of Charley’s Aunt has the rhythm of a Mozart operatic finale — all the parts contribute to a dizzy harmony.
Read MoreJohn Patrick Shanley’s Outside Mullingar is a romantic comedy, so you can guess the dénouement, but all the fun is in getting there.
Read MoreIn many ways, Alan Ayckbourn in Intimate Exchanges has concocted the perfect recipe for a company like the Peterborough Players.
Read MoreThere is little for the audience to take away from Red, except the anecdotal dramatization of an event inspired by Mark Rothko’s career.
Read MoreMarian Schwartz’s careful translation of Anna Karenina is exquisitely mindful of the book’s complex linguistic texture.
Read MoreA Short Walk with Patsy Cline leaves you wanting more. It will send you — back or for the first time — to Cline’s own recordings.
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Arts Commentary: Rich in Creativity — But Nothing Else