GENTLEMAN VOLUNTEERS displays charm, psychological interest, and fringe sentiment which planted the roots of Pig Iron’s experimentation.
In deep Siberia, Karp Lykov and his grown children encounter their first outsiders in fifty years.
Impressive theatricality in an imperfect production of Orwell’s allegory of the Russian Revolution and Stalin’s real-life dystopia.
This DOLL’s HOUSE is human and multifaceted, lighthearted and ironic, narrative with a dancer’s expression of character.
Toneelgroep’s take on these classic screenplays retains all of the rawness of and cruelty of Bergman’s films.
“There are so few secrets left in life, I wanted to make something where you can’t put it in a search bar and get it.”
This is a play that is constantly surprising, entrancing, and always a step ahead of expectations.
“In film,” pronounced Ivo van Hove, “the director is the god of his creation.”
All Mary Tuomanen wants to do is tell us a story about Jean Seberg, but things keep coming up.
Thaddeus Phillips plays Barry Seal, a real-life, infamous drug smuggler-turned-DEA-informant who eventually gained the ire of both smugglers and government agents.
The play, like its characters, exists in a dream-world
It’s the fourth installment of the Critical Mass review of MACBETH at the Arden, but Julius Ferraro thinks too many works have already been written about an unremarkable piece of theater.
Chelsea & Magda speak directly from their vaginas. If you’re not into that kind of thing, don’t see THE VULGAR EARLY WORKS.
THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): Western sympathies come up against African cruelties
Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.