Theater
Your reaction to PigPen Theatre Company’s “The Mountain Song” will depend on how much whimsical Americana you can stomach
Two New York stage productions offer sterling examples of going maximalist in an increasingly minimalist age
SpeakEasy Stage Company tops off its 20th-anniversary season with a delightful production of a Tony-winning comic valentine to the musical.
The musical SILVER SPOON is at its strongest when a lullaby evolves into a ballad about the arrest of a group of undocumented migrant workers.
Buckets of blood and handfuls of guts always look slightly ridiculous splashed and dangled around on stage, though I must admit that this is the first RICHARD III I have seen with a working chainsaw.
The Zeitgeist Stage Company production has made me rethink Edward Albee’s HOMELIFE to the extent that the couple, well played by Peter Brown and Christine Power, generate a loving bond that adds some welcome tension (and humor) to the revelations of free-floating anxiety and confusion.
Henrik Ibsen’s rejection of the everyday drives this compelling take on “Hedda Gabler” – the production generates a theatrical arena that is simultaneously acrobatic and surreal.
A Chekhovian dramatic fabric calls for a tough/tender gift for realism. Getting the balance right is tricky — too much reassurance veers toward easy sentimentality, while excessive punishment pushes the proceedings toward soap opera.
May is usually a so-so respite before the summer season revs up, but there’s some interesting productions popping up, including Propeller Theatre Company’s all-male versions of Shakespeare’s Richard III and The Comedy of Errors, Amy Brenneman’s autobiographical show Mouth Wide Open, and an opportunity to see J. M. Barrie take it on in the chin…
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