Theater
Each different personality and monologue tells essentially the same story under their varying details, a thrice-told tale of wifely loyalty in the face of political husbandry.
Playwright Stephen Jeffreys, despite his gifts as a writer, seems unable to find the dramatic stakes in his play.
Teaming up allows Bridge Rep, as a new company, to do a much, much bigger show than we might ordinarily be able to do: we can offer our audiences a large ensemble piece like The Libertine, which would be beyond our reach otherwise.
Director Spiro Veloudos keeps the clockwork running smoothly, not just ensuring that that the actors keep the rhythm, but making use of a skilled backstage crew who engineer (miraculously and on time) scenery and costume changes.
While luminary thespians and film stars such as Brian Dennehy and Christopher Plummer have trod the Stratford Festival boards, let me sing the praises of two actresses: Martha Henry and Michelle Giroux.
Dramatist Jeffrey Hatcher didn’t become a working adaptor until the mid-1990s. He saw that some of his playwright friends were doing it and he thought: “Why not me?”
The pleasure of Talley’s Folly is in its details, the give-and-take of the dialogue, the smaller and larger revelations they tease out of each other, the characterization of the two human creatures dancing their dance.
Alan Ayckbourn’s Absurd Person Singular is a comedy of total narcissism — belly-laugh jokes accompanied by a cold cruelty.
In this brilliantly written play, Kenneth Lonergan finds both the humor and angst in the moral muddle generated by the Reagan Revolution.
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