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.
Tennessee Williams’ stature amongst American playwrights may be more secure then it was when he died in 1983, but companies like Beau Jest, when they stage inspired productions of previously neglected works, are expanding our appreciation of what kind of a dramatist he was.
The SpeakEasy Stage Company’s Xanadu is a joyful, fun piece of light summer entertainment, beautifully executed by the cast and crew, that celebrates sublime schlock in surprisingly hilarious and creative ways.
A.R.T artistic director Diane Paulus, entrepreneur extraordinaire, seems to have plucked impulse for character and meandering plot from a watered (down) idea of The Tempest.
Beau Jest Moving Theatre has returned to the early, one-act version of Williams’ script, and created a sometimes pleasant, sometimes nightmarish dreamscape.
This family’s twelve-year-old daughter found Little Shop of Horrors to be funny, silly, and wholly enjoyable, further cementing her desire to be onstage as much and as often as possible in the future.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters