Simplicity is the key to director Scott Edmiston’s passionate vision for this musical.
The Grand Parade is a truly sumptuous feast of imagination, color, emotion and movement; a uniquely dramatic way of interpreting our history as a torrent of events presented without judgment.
The beauty of David Cromer’s production of Come Back, Little Sheba that by focusing on the play’s intense psychological undercurrents he minimizes its cultural mustiness.
George C. Wolfe’s 1986 collection of vignettes that spoof and celebrate black stereotypes occasionally plays like reruns from the ’90s TV show In Living Color.
This exhilarating Tristan & Yseult shakes us out of our role as passive observers and reminds us of the euphoria and the heartbreak love can bring.
Celeste Oliva’s performance is so raw, we experience every doubt, every fear, and watch her confidence slowly evaporate under pressure.
The King of Second Avenue’s one-joke shtick wears out long before the end of this 90-minute musical.
The virtuoso approach of Bedlam’s Saint Joan, its unpretentious immediacy, makes this production an exuberant Shavian history lesson that should not to be missed.
Zayd Dohrn’s slightly predictable Muckrakers offers some satisfying twists and turns as it moves toward the inevitable.
Playwright Ken Urban doesn’t seem to have a strong point of view about his thirtysomethings-in-a-muddle; neither does he allow them to change or grow.