Theater
Mothers & Sons raises important questions about struggle, acceptance, and love, dramatizing battles that are still being waged.
Ronan Noone’s allegedly frisky sex farce is bloodless.
The Grand Parade is a truly sumptuous feast of imagination, color, emotion and movement; a uniquely dramatic way of interpreting our history as a torrent of events presented without judgment.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
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.
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