Anna rates it: With a Fringe Festival containing a plethora of shows that run the theatrical gamut from absurd comedy to overblown drama, who doesn’t love a show with free boob cupcakes at the end?
Archives for July 14, 2009
Ben rates it: A comedy about a frustrated government manager breaking all the rules to accomplish something worthwhile sounds like a satisfying premise, right? I was definitely excited to see Jason Ford’s GS-14, given my own interest in politics and government.
Christopher rates it: I wish every Saturday evening ended in juggling, magic tricks, dancing, and gaudy singing. But, on this special occasion, I got to watch professionals and spare myself embarrassment of actually attempting these feats. The sold-out Saturday Fringe crowd went coo-coo for Cabaret CooCoo!
Marcia rates it: Vincent. Can you hear that name and not think of sunflowers and madness; a disfigured ear? There is so much more to Vincent Van Gogh, and who better to tell the true story than his own brother.
Mo rates it: Who is the bag lady? That is the question that Sanctuary Theater attempts to answer in the aptly named one-woman show. As Clara, the bag lady, begins to empty out the contents of her bag,
Mo rates it: Who doesn’t love a dystopian, tyrannical government? I know I sure do. Though the central character of the Molotov Theater Group’s production of Closet Land may not share my zeal for Orwellian authority and who can really blame her?
Steven rates it: The Tempest is another fine performance of a classical work from the accomplished company The Rude Mechanicals. The incorporation of Celtic music only adds to pleasure of the piece.
In the famous Peter Steiner cartoon, the family pooch has climbed onto a chair and is hovering over the keyboard of a computer. “On the Internet,” he explains to his canine buddy, “nobody knows you’re a dog.” In Carlos Murillo’s dark play, nobody knows what the hell anybody else is, but they are willing to […]
Tzvi rates it: Life Inside an Open Kaije bills itself as a play about growing up with diabetes, and so we enter the theater with certain expectations. We imagine, naively, that prolonged suffering generates profound art,
Anna rates it: Love, jealousy, writer’s block and all the madness and muses that fall in between elevate Michael Oberhauser’s contemporary opera Magnum Opus to epic proportions.