There’s a lovely simplicity in Elise D’Avella’s staging of the tragic story.

This little company has heft and promise. The Fringe has given them the opportunity to launch and they’ve certainly taken advantage of it.

Chris Davis has come into his own as an exuberant and irresistible Rumpelstiltskin who spins his own life’s straw into gold.

With life and football you have to push through it all to get to the joy.

Tennessee Williams slept with my boyfriend’s father. I love saying that at a party.

An imaginatively textured musical performance in which music, sounds, and speaking are of a piece

The Bechdel family has a funeral home (dubbed Fun Home by the kids) and also a not-fun family home.

There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.

Is there more still left in the playwright’s head that didn’t make it to the stage?

Mel Brooks’s THE PRODUCERS has gone from Screen Comedy to Musical Comedy to Screen Musical Comedy and back to the stage again.

I suspect that among the reasons COPENHAGEN has been so successful is that it invites us to believe that we are smarter than we actually are

An ancestral manor, a family curse, a fiend: Ken Ludwig’s version turns this Sherlock Holmes story on its head.

A jubilant mix of beautiful music and songs, dancing, magic, social politics… and elocution

A desolate memory play

Naughty and nice collide in TOUCHTONES, a musical fantasy in world premiere at the Arden.

A great idea for an experiment, but I’m not convinced that the reality plays out as well as the concept.

A friend “knows who you are and forgives you for it.”

Old style ‘On’ and ‘Applause’ signs light up. The show starts.

The Fringe is an excellent place for companies to mount political protest plays

It looks like a father’s love went into the making of this big adventure, Phillips’s warmest work yet.