Ross Beschler

THERE (Wilma): 2019 Fringe review

THERE is not a place on Earth’s map. It is not a poem recital, nor is it a play.

THERE (Wilma): 2019 Fringe review

Visually arresting and aurally haunting, THERE makes rarefied language solid and visceral

Theater in Sketch: THREE SISTERS TWO (EgoPo)

Chuck Schultz gives his thoughts in words and sketch

MR BURNS (Wilma): Darkness on the edge of Springfield

Civilization has collapsed but The Simpsons is still going.

PASSAGE (Wilma): Love and death in Country X

The way to get an audience to ask itself profound questions about a work is not by asking the audience profound questions about the work.

BLOOD WEDDING (Wilma): Movement in the veins

Lorca’s BLOOD WEDDING makes a fitting vehicle for the Wilma Theater in-house troupe.

ADAPT! (Wilma): On the brink of dawn

Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!

DELIRIUM (EgoPo): 60-second review

At 800+ pages, Fyodor Dostoevsky’s The Brothers Karamazov would not seem ideally suited to theatrical interpretation.

MACHINAL (EgoPo): Welcome to the machine

A dank, metallic, appropriately oppressive feel imbues this production of Sophie Treadwell’s 90-year-old play.

HE WHO GETS SLAPPED (PAC): Spectacle and sadness at the circus

Leonid Andreyev’s classic tale of love and death in the Big Top is given original interludes of circus acts and live music to set the stage and mood.

THE HARD PROBLEM (Wilma): Stoppard makes intelligible intelligence look easy

Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.

What Can The Wilma Do With $10 Million?

A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.

ANTIGONE (Wilma): Spectacular, but a spectacular failure

The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.

ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Wilma): A contemporary classic, in three parts

Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.

HAMLET (Wilma): Blanka Zizka’s daring production amazes while keeping its distance

Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.

Physical, Naked Honesty On Stage: Interview with Zainab Jah, female Hamlet at the Wilma Theater

Interview with British actor Zainab Jah, who takes on the role of HAMLET at the Wilma Theater.

Shakespeare vs Stoppard: Exploring the Wilma’s dream pairing of HAMLET and ROSENCRANTZ AND GUILDENSTERN ARE DEAD

Two of the best plays in the English language share most of the same characters and much of the same dialog. The Wilma is doing them in successive productions.

imé Donna Kelly and Lynnette R. Freeman in THE DANGEROUS HOUSE OF PRETTY MBANE.

THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): Western sympathies come up against African cruelties

Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.

THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): 60-second review

A thrilling, thought-provoking, wonderfully heart-wrenching play now receiving its world premiere by InterAct Theatre Company.

Presidential Theater: New City Stage Company concludes its season with THE WEST WING FESTIVAL

New City Stage Company concludes its season-long look at at the American political summit with THE WEST WING FESTIVAL, a series of (FREE!) staged readings at the Adrienne Theater Skybox.