Marianna Bassham
“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
It shouldn’t be surprising that Heroes of the Fourth Turning is monotonously ironic. No happy warriors for Christ here.
People, Places & Things memorably tackles the insidiousness of addiction.
Adrianne Krstansky, a marvelous actress, understandably exhibits signs of the strain of having to carry the entire production on her shoulders.
Probably as it should be for a group called the Actors’ Shakespeare Project, the performances in Julius Caesar are the thing.
In this innovative production, Hamlet comes off as Shakespeare’s most successful genre mash-up of tragedy and comedy.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Playwright Ken Urban doesn’t seem to have a strong point of view about his thirtysomethings-in-a-muddle; neither does he allow them to change or grow.
Despite some awkward staging decisions and the script tampering, there is plenty of lively drive in this production of Hedda Gabler.
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