Theater
The relationship between a now-single mother and her bright, troubled daughter makes for a convincing, pertinent, and deeply funny play.
The play’s made up of domestic confrontations in which dramatist Suzanne Heathcote at times moves past moments of high tension at high speed.
Like Samuel Beckett, Enda Walsh does not ignore the tenderness that flourishes, often under the duress of absurdity.
This production of Charley’s Aunt has the rhythm of a Mozart operatic finale — all the parts contribute to a dizzy harmony.
Federico García Lorca’s Blood Wedding remains edgier than most American fare in this century.
In Kinship, dramatist Carey Perloff hasn’t found a language that conveys irrational longing.
While 887 explores the political, historical, and cultural ramifications of centuries-old racism, Robert Lepage never panders to victim mentality polemics.
John Patrick Shanley’s Outside Mullingar is a romantic comedy, so you can guess the dénouement, but all the fun is in getting there.
If you love classic musical comedy, this is a production you must see.
In this Shaw Festival production we have something all too 21st century: the deliberate dumbing down of a complex play.
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