Theater
The script’s suggestion of mythological violence elevates Eyes Shut. Door Open. above the formulaic “dark domestic secrets revealed at a family reunion” plot line.
Pulitzer Prize-winner Annie Baker’s John is a haunting feminist drama about women and madness.
Few people are familiar with the achievement of nineteenth century African-American Shakespearean actor Ira Aldridge.
One of Unknown Soldier’s powerful choices is that its central characters are not your standard young lovers.
For all of its sound and fury and smoke, the CSC’s version of King Lear is solid rather than surprising or exciting.
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.
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