The EgoPo Classical Theater’s production of John Guare’s Lydie Breeze part III was asking the fundamental question, “what is ‘it’.”
EgoPo’s presentation of John Guare’s Lydie Breeze continues with a look at a New England utopia.
COLD HARBOR is fast-paced and skillfully produced, with a large, stylistically diverse cast, but at its emotional core it is stiff and distant.
Casting actors you don’t know is like getting a dog from the animal shelter. Shit is cool for a while but then they flip the fuck out and bite you or run away.
The pathetically unfulfilled romantic expectations! The sad characters and absurd human comedy! EgoPo nails it, and beautifully. Sketches by Chuck Schultz.
The messiness in Rachel Gluck’s debut play is what make it most lifelike. In the end, what are any of us but destructive dualities, fighting between our desires and our own self-interest?
Something funny across the surface with dark issues riding just under it.
Adapting Truman Capote’s Breakfast at Tiffany’s but not pulling verbatim from the novella, three playwrights have created a special experience in a Point Breeze row home.
Breakfast at Tiffany’s with Chris, Bruce, and Doug: Interview with three playwrights restaging a Fringe favorite
We talk to Chris Davis, Bruce Walsh, and Doug Williams ahead of their relaunch of HOLLY’S DEAD SOLDIERS.
A series of stand-up monologues culled from the satirical articles of The Onion delivered riotous socio-political commentary in a fast-paced 75 minutes.
A magical realism play based on a true story could easily be a disaster, but Transmissios Theatre makes the magic happen.
In deep Siberia, Karp Lykov and his grown children encounter their first outsiders in fifty years.
A collection of six short one-act comedies address the existentialist dilemma and pose the ubiquitous question, “What if?”
Brightening Up SoLow Fest: Bright Invention takes over this year’s festival with nine original shows
Nearly a quarter of the works in this year’s SoLow Fest come from one company: Bright Invention.
Every actor has experienced theater critics who got things a little wrong. Here’s their chance to peel their own onion.