Theater
We are definitely feeling a sense of Buddy haunting us, to be sure. I mean, this theater is the place he visited. He attended many, if not most, of the shows here.
When you do this kind of thing it has to be done with bravura and wit — bad poets borrow, good poets steal.
David Gow’s earnest, intelligent drama about the fragility of identity, though somewhat glibly reassuring, generates powerful moments in this bare-bones production from the Acropolis Stage Company.
The new pop musical tells the oft-told tale of uxoricide from the women’s perspective.
The highlights of this year’s gathering will be productions of newly discovered or rediscovered works by both Tennessee Williams and Yukio Mishima.
But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
The national tour of the smash-hit revival retains much of the charm of the original.
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
Dumas’ Camille is nothing if not ambitious. Such complexity is seldom found on a summer stage.
Playwright Rachel Bonds has written an often-hilarious script which nonetheless deals with such serious and widespread issues as spousal and child abandonment, drug addiction, the right to death with dignity, and same-sex adoption of children.
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