Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.
The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.
Katherine and Cal seem uncomfortable together, and we soon learn why: they are forever connected by the death of Andre.
Campbell’s production allows us to see the raw humanity in these people—or, in many cases, the lack thereof.
Phindie writer Michael Fisher introduces his multi-part critical experiment, using the Lantern’s production of ARCADIA as his guinea pig subject.
THREE SISTERS is the story not only of its title characters—the sisters Olga (Sarah Sanford), Masha (Katharine Powell) and Irina (Mary Tuomanen)—but also of the various characters who shuffle in and out of their country home over the course of a few years. It’s a soap opera on wheels as nearly everyone falls in love, gets caught up in adultery and waxes philosophical, all while sinking deeper and deeper into the exact sorts of lives they never wanted to lead.
Henrik Ibsen’s name is so thoroughly canonized in theater history that it’s easy to forget just how progressive the man was as a playwright. Works like A DOLL’S HOUSE are rightly granted…
Yesterday morning, I received an email from the National Football League. I get these every day, more or less—updates from NFL.com on what’s happening around the league, who’s injured, who’s…
GENDER COMEDY: A LESS STUPID TWELFTH NIGHT GAY FANTASIA (Curio): A loving parody brings infectious glee
Harry Slack has cut the gaping holes in Shakespeare’s logic into microscope slides, and the result is a hilarious and self-aware send-up of the rarely-discussed flaws in the work of our most beloved playwright.
As someone born in the mid-1980s, I’ve rolled my eyes at the sight of the word “Millennial” more times than I can count. What’s great about Amy Herzog’s 4000 MILES is that she refuses to imprison the characters in any social or political context.
Every now and then we need to take a step back and look at the art of theater from a distance—through a microscope, in a vacuum, stripped of its pretense…