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“It’s not a concert about despair,” observes Joel Cohen, “there’s a lot of festive music in it.”
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Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
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The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
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Maya Erskine and Anna Konkle turn in frequently hilarious but vulnerable performances as their adolescent counterparts.
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We need stories like The Wages to expose the hypocrisy and incoherence of the institutions that we are supposed to believe are pillars of justice.
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In the age of truthiness, poet Frederick Seidel’s is a welcome voice.
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Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
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Delia Owens suggests that the only forward movement for her outsider-protagonist and “swamp trash” is to become curators of ecological/cultural museums in the very places where they once struggled for an independent life.
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The Half-Light is a play about ghosts that, while offering intimations of mortality, ends up exuding a charming and infectious romantic spirit.
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Greta is a slight, uninspired by-the-numbers genre film — we’ve seen this paranoia-inducing tale too often.
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