Theater
Patrick Barlow’s script and Chuck Morey’s direction of the Peterborough Players production turn “The 39 Steps” into a madcap, Marx-Brothers-style of zaniness barreling along at farce-speed until the very last moments.
The issues raised by Mike Daisey’s infraction, his fall from grace, and now his return, are many, but chief among them is the privilege of illusion, the birth-right of the artist.
You leave the matrimonial musical “I Do! I Do!” humming its banalities.
Deftly directed by May Adrales, aided by sensitive sound, lighting, and costume design, “Animals Out of Paper” is exciting summer theater.
British playwright Alan Ayckbourn does not build gag machines that spit out one-liners. He creates finely etched characters whose humor is rooted in their befuddled behavior and personalities.
Auld Lang Syne is the kind of poorly made play that withholds important and obvious elements of development in order to score artificial dramatic points late in the action.
Director Robert Lepage’s spectacular projections, aided by a savvy use of sound effects and lighting, move the dramatic focus of Cirque du Soleil’s Totem with ease, opening up the imaginative boundaries of the stage.
What “George Gershwin Alone” provides is a light, pleasant evening of familiar music, with playwright, pianist, and actor Hershey Felder performing excerpts from a dozen or so of Gershwin’s best-known works.
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