Mo rates it: Thank the gods- the gods of Rock, that is – for Dizzy Miss Lizzy’s Roadside Revue’s vivacious show. With their amps cranked up to 11, the cast of The Oresteia, based on the Greek tragedy
Archives for July 21, 2009
Tim rates it: What can you say about a four-member band that mostly died? How about that they rock? Or that they totally kick butt, man? Or how about is this not the best rock band in which three-quarters of the players are dead in all of human history?
Mo rates it: “I’m too Indian to be American I’m too American to be Indian I still want a nation, please.” So begins Neelam Patel’s poem,
A complex middle-aged protagonist, deadened by experiences and compromises, engages in an eventful day of episodic wandering in a major city. Sheila Callaghan’s Dead City, a modern riff on James Joyce’s “Ulysses”
Marcia rates it: Susan Austin Roth has written a play that is so powerful it may take your breath away. From the opening scene where we see Andy Armand, superbly acted by Joe Peck, looking for his buddy’s name on ‘The Wall’,
Hunter rates it: Am I going crazy? It’s a pretty common question, given how mysterious, and how fragile, our shared definition of sanity proves to be. The twentieth century has been the age of psychosis – or, at least, the fear of it.
Tzvi rates it: “He is as big as… a refrigerator!” So says Mr. Beaver about Aslan in the Adventure Theatre’s production of The Lion, the Witch and the Wardrobe, and so he is.
David rates it: When I walk into a theater to see a show with a name as esoteric as Dorks on the Loose: Facey Facey Face Face, I assume that it’s going to be either remarkably charming and innovative, or remarkably obnoxious. I do this, of course, because I am a presumptuous jackass.
Courtney rates it: On Saturday, the Corcoran Gallery became a site-specific location for the Liz Lerman Dance Exchange Summer Intensive students to excite and challenge both fans of the company and unsuspecting museum goers.
Maureen rates it: A pocket opera, according to the program, contains “one scale; four voices and three players”. The Girl who Waters the Basil and the Inquisitive Prince follows this traditional form as it tell the tale