While there is much to admire about Detroit Red’s script, there are serious problems with the staging.
The Shadow Whose Prey the Hunter Becomes suggests some marvelous possibilities.
The latest show from circus troupe The 7 Fingers is both intimate and gasp-inducing.
American Moor sheds considerable insight into the tension between actor vs. director, into the power play between the two, and who will ultimately prevail.
J. B. Priestly’s shallow characterizations keep his vision of moneyed skullduggery mundane rather than monstrous.
Ada/Ava is an impressive theatrical feat that finds a new, and invigorating, way of telling a story on stage.
The bottom line is that we simply aren’t given a requisite sense of the play’s embrace of tragedy.
Lester Bangs insisted that, at its best, rock was an act of pure rebellion, a liberation from the prison of respectability.
The Druid Theatre Company staging shows what amazing things happens when a group of artists work together fully and completely .
“If you’ll excuse me for being cheeky, it’s a collaboration between the players on stage and Beckett’s works.”