Henrik Eger interviews the star of Quintessence’s KING LEARView More Between chaos and quiet passion: Interview with Robert Jason Jackson as KING LEAR (Quintessence)
As Lear, Robert Jason Jackson is “every inch a king.View More KING LEAR (Quintessence): England at his feet
Stepping back to a Victorian workhouse with Quintessence Theatre Group.View More OLIVER! (Quintessence): Eat gruel, get pickpocketed, and become an orphan
Quintessence Theatre Group explores the Shakespearean death throes of the Roman Republic.View More JULIUS CAESAR (Quintessence): Why must republics fall?
Quintessence Theatre’s production of WAITING FOR GODOT just closed. Henrik Eger spoke to the director about his background and his experiences directing Samuel Beckett’s classic.View More Why Wait? Director Ken Marini talks about Quintessence Theatre’s brilliant WAITING FOR GODOT
A jubilant mix of beautiful music and songs, dancing, magic, social politics… and elocutionView More MY FAIR LADY (Quintessence): A splendid holiday gift
An excellent play well done.View More LONG DAY’S JOURNEY INTO NIGHT (Quintessence): Love and desire and hate
E. Ashley Izard tackles one of the most daunting roles in the American canon.View More The Mother of All Roles: E. Ashley Izard plays Mary Tyrone in LONG DAY’S JOURNEY INTO NIGHT
Good productions of Chekhov remind us of how vital his work still can be. Bad productions feed the narrative that his plays are dated, charmless, and inconsequential.View More UNCLE VANYA (Quintessence): Tedious boring people
Melancholy John Ford was more ‘himself’ and less ‘Shakespearean’ than other less bold Cavalier dramatists.View More THE BROKEN HEART (Quintessence): Dark matter
Some sketches of some Brecht.View More Theater in Sketch: MOTHER COURAGE
Quintessence Theatre brings to life a beautifully staged, truly epic production of Bertolt Brecht’s MOTHER COURAGE AND HER CHILDREN, as brilliantly directed by Alexander Burns.View More MOTHER COURAGE AND HER CHILDREN (Quintessence): Epic theater!
A remarkably original and gloriously entertaining version of the Marlowe play.View More DOCTOR FAUSTUS (Quintessence): If you want to know everything, go to hell
George Bernard Shaw’s play is presented in rich tonalities of color, light, positioning, and sound. It is wide awake.View More SAINT JOAN (Quintessence): The Maid’s new clothes
You don’t have to be ten years old to thoroughly enjoy this production, you just have to retrace the breadcrumbs and remember how to pretend again.View More HANSEL AND GRETEL (Quintessence): Cool contemporary spin on Grimm
What could be so funny in a play written nearly 500 years ago? There is something for everyone to either laugh or balk at in this bawdy production of a play by Machiavelli.View More THE MANDRAKE (Quintessence): A Machiavellian sex satire
In the eyes of director Alexander Burns this doomed romance never stood a chance.View More ROMEO AND JULIET (Quintessence): What fray was here?
As always with an Alexander Burns production, imagery is rife, props are creative, and jokes come as much from sight gags as from dialogue.View More THE THREE MUSKETEERS (Quintessence): Swordplay and horseplay combine in a breezy adaptation
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.View More MACBETH (Arden): Rare emotion and rarer straightforwardness [critical mass review #5]
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.View More MACBETH (Arden): Shakepeare as spectacle [critical mass review #4]