We see the tragedy of Oscar Wilde’s life played out creatively and movingly in OSCAR, a thoughtfully crafted opera by Theodore Morrison and John Cox,
Cline is a natural subject for the theater. Although the sad facts of Patsy’s marriage and difficult personal life are alluded to, ALWAYS… PATSY CLINE is more about a relationship a star was able to form with a fan than a full biography of the singer.
EM Lewis accomplishes two simultaneous intentions—to tell a story theatrically and to spur perspective on guns.
SIZWE BANZI IS DEAD is genuine work of theater and an authentic, authoritative look at a shameful period of South African history.
Morten Tyldum does a fine job of blending two stories: Alan Turing’s role in deciphering Nazi Germany’s Enigma Code, and his arrest and conviction for gross indecency.
The spirit of Samuel Taylor Coleridge has to be invoked practically every minute Alejandro González Iñárritu’s “Birdman” digitally projects on the screen.
In doing MARY POPPINS, a director has to decide between approaches: light and fantastical like the movie or darker like the book.
“The Theory of Everything” is a strong story because it’s one of care and victory.
Burns and his cast humanize Shakespeare’s characters and provide a smart, jolly time that is tinged with genuine sentiment.
Rajendra Ramoon Maharaj’s poignant play about nine children who integrate Little Rock’s Central High School creates a lasting impression.
Intense mystery and low comedy combine in Patrick Barlow’s stage version of THE 39 STEPS.
THE ADDAMS FAMILY is such a familiar piece, and beloved by many for various reasons
Sharp performances keep 9 TO 5 so consistently entertaining it masks a contrived plot and mediocre music and lyrics.
Eric Rockwell and Joanne Bogart raise the stakes with their devilishly clever and cheekily smart send-up of prolific songsmiths Sondheim, Jerry Herman, Andrew Lloyd Webber, Richard Rodgers, Oscar Hammerstein II, John Kander, and Fred Ebb, THE MUSICAL OF MUSICALS.
Life doesn’t imitate art as much as combine with it as Baker’s play, and Matthew Decker’s production of it for Theatre Horizon, sneaks up on you and moves you.