A review in words and sketch by Chuck Schultz and Yumna Tolaimate
Cameron Kelsall has some ideas for the new executive director.
Using the endtimes as a backdrop, Andrew Bovell uses the drama within a family’s history as a parallel for the turbulence in humanity’s.
A superb cast and creative artistic design bring the story of traumatic loss and joyful renewal to life in the haunting musical adaptation of a Victorian classic.
Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.
The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.
Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.
Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.
The theater community contains a wealth of multi-talented artists who are not only gifted actors, but also highly skilled singers, musicians, and composers.
The Lantern Theater Company’s remount of THE SCREWTAPE LETTERS by C.S. Lewis is a sizzling show from hell. Kathryn Osenlund’s 60-second review
Call it Don Juan or Don Giovanni, the Don Juan story, handed down through time, is pre-loaded with a mix of serious and comic elements and a supernatural dimension. DON JUAN COMES HOME FROM IRAQ, from theater luminaries Paula Vogel (playwright) and Banka Zizka (director), has the gravitas down and doesn’t lose sight of humor, but extra pieces lodge within this puzzle’s slippery treatment of time and reality.