Theater
Clocking in at around three hours, the show is a surreal grab bag filled with gags, skits, and sketches, the whole kooky kit and kaboodle tied up (too) neatly in a paranoid ribbon.
Gus Kaikkonen has shown himself particularly adept at directing period pieces in such a way that they don’t bog down in their period, but convey the life of their own time into our own.
Some four centuries after Playhouse Creatures takes place, women are still facing inequality in the theatre world; companies like Maiden Phoenix are part of the solution to that problem.
4000 Miles is a showcase for dramatist Amy Herzog’s quirky sensibilities and canny insights into family dynamics.
There are laughs in this production of Twelfth Night, but the romantic payoffs are scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).
Shahrazad is the latest in Double Edge’s summer spectacles, and with this piece, director and designer Stacy Klein has found the perfect balance between story and visuals.
Charles Morey’s new comedy focuses on the trials and tribulations of aging writers. Most of its humor revolves around the past, while its plot hinges on the present and future.
Local playwright Jack Neary always captures the frisson of nostalgia and resentment familiar to Catholic school graduates of a certain era, teasing gently without ever offending.
Incomparable opera diva Renée Fleming makes her debut as a stage actress — playing an impossible opera diva — in playwright Joe DiPietro’s sliver of a comedy Living on Love.
Company One’s production treats audiences to a seamless, eight-member ensemble who perform with a complicated bevy of multimedia effects that are so smoothly integrated into the action they elicit ooohs and aahs from the crowd.
Recent Comments