I’ve seen my fair share of interactive theater. I’ve even seen the occasional “immersive show” or two. But I’ve never quite been to something like Beertown, and you owe yourself this experience.
It is a brave company which takes on Hamlet, the most difficult play in the Bard’s canon and one of the most difficult plays in the English language. When done correctly, it yields not only great dramatic rewards but deep insights into the human character. When done badly, it is not only excruciating but three […]
Sexism, and the responses women make to it, do not seem to have evolved in any simple or linear way, if Anne of the Thousand Days is any indication. Written in 1948 by Maxwell Anderson, some of its depictions of the relationship between Anne Boleyn and Henry VIII are shockingly modern – you almost want […]
Of all the crazed, destructive, female characters that the stage has given us, Susan Traherne may be among the least interesting, at least as performed by Rachel Weisz in the Public Theater revival of Plenty, David Hare’s 1978 play about a woman who served in World War II and never recovered from it.
Lue Douthit, the director of literary development and dramaturgy at the Oregon Shakespeare Festival, famously confessed about Coriolanus “I’ll be really honest to say I can’t understand all of it all of the time.” Whether or not you understand the Complete Works of William Shakespeare from cover to cover, 43 ½: The Greatest Deaths of Shakespeare’s Tragedies […]
Let’s do the Time Warp again! Then again, let’s not. The much an-ti-cip-at-ed reboot of the 1975 cult film The Rocky Horror Picture Show, despite its abundant glitz and glitter, is rather dull.
American theater has been mucking about in the sandbox and, meanwhile, the playground, the school, and the entire world have been burning down around us. Those were my first thoughts after leaving Woolly Mammoth’s US premiere of Kiss – an enveloping feeling at once depressing and tantalizing.
Switching between mediums can be as difficult as telling someone about a dream. If the new version cannot deliver on everything the original does (next to impossible), it better bring some valuable contributions to the story rooted in the new medium’s strengths.
As we approach Halloween, Convergence Theatre sets out to prove to audiences that the most shocking horror can derive not from our imaginations, but from our own cruel history.
Zombie Prom, now playing at Unexpected Stage Company, has great provenance, with a book and lyrics by John Dempsey and music by Dana P. Rowe. Both went on to adapt The Fix and The Witches of Eastwick into musicals which were nominated for London’s prestigious Olivier Award.