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This marvelous production pulls off a tricky balance — vibrant bursts of creative energy are put at the service of illuminating the thorny nature of memory and guilt.
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“I’ve been beaten. I know what that’s like. They say, who has been a nail, can learn to be a hammer.”
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In this piece, Peter DiMuro asks a vital question: how has history informed the ways we look at queerness today?
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Jean-Philppe Blondel’s books are especially praised by critics for their charm and smoothly-shaped prose.
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As a capella singers, they have taken their musical ministry — and its repertoire of 500 songs — to streets, subway stations, picnics, community clean-ups, and anywhere else they might find an audience who appreciated a musical message.
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A splendid production of an impressive early effort from the talented writer Kenneth Lonergan.
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The six pieces hailed from various corners of the country and examined a wide range of expressive and social viewpoints.
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As a vision of gay bonding, The View UpStairs exudes a wonderful in-your-face spirit.
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The play’s disparate elements have been blended into a riveting drama, energetically directed by Lisa Rothe, and nimbly performed by Joel de la Fuente.
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Of course, history has not come to Deadwood to douse the smoldering embers of the past, but to supply more kindling.
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