SpeakEasy Stage Company
The problem is that John August’s book for the musical lacks most of what made his screenplay for the 2003 film so emotionally resonant for so many.
Read MorePlaywright 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.
Read More“The pain depicted on stage must cut to the bone, inspire a seemingly impossible empathy within me, within the audience.”
Read MoreAttempting to dig underneath our protective psychic skins to get at the festering Ids within, John Kuntz would like Necessary Monsters to mesh laughter and fright, comedy and horror.
Read MoreThe play’s lead characters – representing polar opposites, cultural versus religious Judaism – ultimately exhaust one another, and us.
Read MoreIn the musical Far From Heaven, the pleasure of Cathy’s first-act dream overwhelms the anguish of her second-act awakening.
Read MoreThe trio of writers has flattened Stephen King’s gaggle of high school teens into two-dimensional clichés, devoid of any adolescent intensity.
Read MoreUnlike much of what comes through the new play development pipeline, “The Whale” proffers a coherent narrative structure — the result is a well-crafted, somewhat edgy, domestic tragedy.
Read MoreThe singing in the SpeakEasy Stage Company production is strong throughout; it’s easy to get caught up in the sheer pleasure of such a variety of voices.
Read MoreThe Arts Fuse is pleased to announce that “In a Room With Rothko,” by Anthony Wallace, posted last year, was awarded a Pushcart Prize Special Mention in the Pushcart Prize XXXVIII Best of the Small Presses (Norton & Co, 2013).
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