Thomas Doherty’s fragmented, stop-and-start-again style dilutes narrative authority and further complicates an already very complicated story.
It would have been wonderful to have seen either a faithful version of Threepenny Opera in German or a boldly conceived contemporary version.
Polling classmates from her all-girls high school, Helen Epstein hears them remember their experiences facing sexual predators on the subway.
De Stefano tracks the evolution of a cabinet-maker’s daughter into a famously bombastic, chain-smoking political reporter and author.
To see a production of this quality in a small theater was a privilege.
Director Julianne Boyd is faced with a difficult challenge — dramatizing an outdated psychological travelogue.
Theater in the Berkshires has now entered a less than sparkling mode with a group of offerings that left me wondering why they were chosen for production.
This is a masterful production of Sarah Ruhl’s sparkling update of Commedia dell’arte.
Dominique Morisseau’s monologues and dialogues draw you into the details of American working class life.
The Model American is a powerful reminder of how deep theatrical pockets can be used to develop deeply significant new work.