Theater
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.
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.
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