Theater
In classic Revels style, the unexpected mix of talents results in a wonderful mash-up of comic schtick and classical performance.
Attempting to dig underneath our protective psychic skins to get at the festering Ids within, John Kuntz would like Necessary Monsters to mesh laughter and fright, comedy and horror.
If the fate of life on earth comes down to mother and daughter bonding over a racy passage in Anaïs Nin, then he whales should just call it a day.
If you want to expand your heart and mind this holiday season, you couldn’t do better than go to The Little Prince.
In this fiction and plays, Thomas Bernhard creates fascinatingly repugnant monsters, black holes of egotism that are symptomatic of our spiritual and moral myopia.
Among the most haunting aspects of Roman Polanski’s 1971 film version of Macbeth is his visceral depiction of the tragedy’s violence.
Horton Foote’s dialogue often dances on the edge of sentimentality, but, because of these performers, moments that might be sappy are instead deeply moving.
The Old Man and The Old Moon is pleasing, but just how theatrically satisfying it is depends on the appeal of ‘magical’ folktales, the kind where anything goes.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
The Real Thing’s discussion of linguistic precision may be telling now in ways that dramatist Tom Stoppard may not have anticipated.
Music Commentary: Brian Wilson’s Legacy Thrives — 2026 Reissues Reviewed