Theater
Had Daniil Kharms’ texts been available at the high tide of the Theater of the Absurd, his plays would be performed alongside those of Samuel Beckett and Eugene Ionesco.
Today’s Broadway is at its best presenting blockbuster spectacles like Wolf Hall and An American in Paris.
Tragedy isn’t when evil triumphs, but when good becomes entangled in its own inevitable contradictions.
Despite the well-intentioned efforts of the cast, Eli Wiesel’s words were lost in space.
The beauty of David Cromer’s production of Come Back, Little Sheba that by focusing on the play’s intense psychological undercurrents he minimizes its cultural mustiness.
Two current productions make vivid cases for the strength of Canadian theater.
Those who want to experience the brilliance of Bertolt Brecht at its mellowest should head down to Yale Rep’s lively and moving production of The Caucasian Chalk Circle.
Actors’ Shakespeare Project’s superb production of God’s Ear honors this beautiful text.
Don’t miss the “joyous shout and ringing cheer” of this delightfully boisterous version of The Mikado.
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