Theater
While there is much to admire about Detroit Red’s script, there are serious problems with the staging.
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The main problem with Gloria is its expository storytelling. Events are mostly announced and described rather than recreated.
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Underground Railway Theater has a runaway hit. You’ll never see a show quite like it. It’s bold, ridiculous, and very risky.
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Praxis Stage picked the right time to stage a Shakespeare play about a head of state who doesn’t have anything on his mind but corruption.
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The New Rep production of Hair is acceptable: if the intent was to look back at a now-dated musical that once caused a stir.
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In the spirit of Passover’s four questions, I will ask: Why this play of all plays?
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Maytag Virgin accomplishes what it sets out to do and then some: it is a compelling two-hander about grief and romance that explores how the two emotions can intermingle.
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Timon is a fascinating, if lumpy and bumpy, black comedy with a nihilistic sting, a lacerating parable about how the worship of gold warps individuals and society.
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The Shadow Whose Prey the Hunter Becomes suggests some marvelous possibilities.
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Apart from Claudio Roditi’s musical skill, what stood out was his warmth.
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Arts Commentary: Rich in Creativity — But Nothing Else