In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
Selling Kabul poses many questions from the point of view of people seldom represented on the American stage.
To see Raisin in the Sun in post-Obama America is to experience how a classic both remains emblematic of its time and changes resonance as time passes.
The Closet is funny, brash, entertaining, and utterly forgettable.
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.
The Model American is a powerful reminder of how deep theatrical pockets can be used to develop deeply significant new work.
One of Unknown Soldier’s powerful choices is that its central characters are not your standard young lovers.
In Kinship, dramatist Carey Perloff hasn’t found a language that conveys irrational longing.
Incomparable opera diva Renée Fleming makes her debut as a stage actress — playing an impossible opera diva — in playwright Joe DiPietro’s sliver of a comedy Living on Love.