As always with an Alexander Burns production, imagery is rife, props are creative, and jokes come as much from sight gags as from dialogue.
It’s an old show biz maxim, and true, that an adult cannot expect full attention if he or she is working on stage with a dog or a child.
Off stage, David Newhouse looks nothing like Groucho Marx. In makeup, Newhouse’s transformation is astounding.
Republished by kind permission from Neals Paper. Kurt Weill’s insistent tingel-tangel score for THE THREEPENNY OPERA pervades the Vasey Hall stage, with horns and drum pumping to a martial beat that…
One of the funniest and most entertaining of all shaggy dog stories.
The young talent the school is grooming stands out in the Temple Theater production of Stephen Sondheim and George Furth’s MERRILY WE ROLL ALONG.
Ken Ludwig taps literature’s most iconic detective with BASKERVILLE, a funny, inventive, entertaining take on Arthur Conan Doyle’s “The Hound of the Baskervilles.”
ARIADNE AUF NAXOS predates Stephen Sondheim’s “Sunday in the Park with George” and David Hirson’s “La Bête” by decades, but the situation its plot depicts brings both of those later 20th century works to mind.
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.