Theater
Abigail C. Onwunali’s powerhouse performance is memorable, but the mechanics of Mfoniso Udofia’s play don’t always match the lead’s boundary-stretching strengths.
This stage adaptation of Mary Shelley’s novel earns its keep — the production is provocative, well acted, and completely engaging.
Director Jamie Lloyd’s loud and brash revival is all sound and fury, signifying nothing.
This is a well-honed, mostly successful script about the difficulties of making human connections — a drama about seizing the day.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
William A. Everett’s book is well-researched but based on a problematic premise.
Tony winning playwright Joe DiPietro does a commendable job of dramatizing the true-life confrontation between Margaret Chase Smith and Joseph McCarthy while they were both serving in the United States Senate.
“Leopoldstadt” is one of Tom Stoppard’s most heartfelt and expansive works, its poignant storyline inspired by events in his own life.
Reviews of three shows seen during a trip to Ireland and England — Shakespeare at London’s Globe and “Dublin Oldschool” and “Riverdance” in Dublin.
As the run continues, the torrent of gags will probably settle into place and proper narrative rhythms emerge. But for now, the game’s aground.
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