Natalia de la Torre

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THE TEMPEST (Lantern): Sounds and sweet airs that give delight and hurt not

Lantern Theater’s production of THE TEMPEST, Shakespeare’s last play, is an enjoyable, modest show, full of comedy and romance and the gentle spirit of human forgiveness.

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COPENHAGEN (Lantern): Observable quantities

I suspect that among the reasons COPENHAGEN has been so successful is that it invites us to believe that we are smarter than we actually are

Daniel Barland in BROKEN STONES at InterAct Theatre. Photo by Kathryn Raines

BROKEN STONES (InterAct): Searching through the meta rubble

What better theatrical vehicle for cynicism than “meta”: how many ways can the playwright fool an audience?

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Theater in Sketch: CORIOLANUS (Shakespeare in Clark Park)

The audience gather together on two adjacent hill sides and in the middle is a stretch of grass,

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SWALLOW (Inis Nua): This Scottish play is a spot on reflection of America right now

A visceral, exquisitely written, three-person anxiety attack

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Theater in Sketch: ANNA (EgoPo)

A loose adaptation by Brenna Geffer and her ensemble based on the novel, Anna Karenina by Leo Tolstoy.

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SHITHEADS (Azuka): Nice ride

Azuka’s terrific production of SHITHEADS, a new play by Douglas Williams, details the New York bicycle subculture.

Peter DeLaurier in AN ILIAD at Lantern Theater Company. Photo by Mark Garvin.

AN ILIAD (Lantern): Homer sweet homer

AN ILIAD brings Homer’s characters and their epic struggle to life using just a sole narrator and musical accompaniment.

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KING JOHN (Revolution Shakespeare): 2016 Fringe review 88

You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.

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