Theater
“She Kills Monsters” provides a constant stream of creative, amusing, and outrageous moments.
Read MoreBut if a dramatist butchers everything – what will can be put in its place? In the case of “M” it is nothing; nothing I can see or understand.
Read More“By the Way, Meet Vera Stark” suggests the dismissive attitude the public has toward African American actors, but the script doesn’t go far enough to make its title character three-dimensional.
Read MoreThe chief glory of the Lyric Stage production: an ensemble of eight actors that agilely accents the humor dramatist Lynn Nottage utilizes to temper her examination of the darker racial and political subtexts of the period.
Read MoreBianco Amato is a marvel as Anton Chekov’s widow, Olga Knipper, who can turn her fake emotions on a ruble.
Read MoreAre those who merely stand and watch as guilty as those who drop the bombs, pull the triggers, or run the trains? The question is no less relevant today than more than sixty years ago.
Read MoreDirector Liesl Tommy’s unflinching approach gives Lorraine Hansberry’s classic a surprising urgency more than half a century after the drama first played on Broadway.
Read MoreWhether or not there’s a real lover, or whether all of this is an elaborate fantasy is beside the point. For Harold Pinter, it may all be the same thing.
Read More“Clybourne Park” was expressly written to be in conversation with Lorraine Hansberry’s “A Raisin in the Sun.” The former gives us a new perspective — actually new perspectives — on the latter.
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