Theater
“In these plays, part of my job is to unflatten history in a way that’s engaging, and also shows us that it’s okay for us to feel overwhelmed and confused and scared by the world — that we’re not so different from the people who came before us. They got through it, and we will, too.”
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As the play ends, all four characters have a clear understanding of their marching orders. But will they — or we — act on them?
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Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
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Madeleine George’s uneven 90-minte one-act comedy/drama borrows heavily on Greek mythology to zip up the misadventures of a cluster of suburban women in New Jersey,
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“A lot of censorship in America has to do with the impulse to shut down what women have to say, literally hanging and burning them as witches to shut them up.”
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In this deeply enlightening study, Anthony Alan Shelton aims to set the record straight about how mask culture developed in Mexico as well as in Andean cultures.
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If the theater really mirrors life, then you can bet we’re in for some drastic changes and adjustments, even on Broadway.
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Theresa Rebeck’s foodie comedy Seared is more of an amiable appetizer than a substantial entree.
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CSC pulled out all the stops for its turn at The Tempest, bringing together a cast that is more than up to the challenge of knitting together poignant drama and madcap comedy.
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Theater Commentary: Is It the Right Time for “Our Town”?
These days, I’m not in a mood to be comforted in the theater by either toasting or roasting chestnuts.
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