Let’s talk about the Allegory of the Cave. Because I know that’s what you expected when you clicked on a link titled (like the play reviewed here) Men Don’t Listen to Naked Women.
Archives for July 15, 2012
Stephen Spotswood’s new play We Tiresias is not so much a retelling of the blind seer myth as it is a total refiguring. Using three actors to portray different phases in the prophetic Theban’s long life, Spotswood casts aside the original story’s interesting bits, subbing in an I-don’t-understand-my-powers coming of age story that feels more […]
The disjointed Pericles, Prince of Tyre is a literary maelstrom of political intrigue, murder, incest, shipwrecks, mistaken identities, and pirate attacks spanning six Mediterranean cities.
“Eating disorders have the highest mortality rate of any mental illness.” Try to not care after seeing similar statistics projected across the rear wall in the Fort Fringe Bedroom prior to Breaking up with ED: Survivors Speak Out on Eating Disorders.
The City of God is an ambitious new opera written, directed and conducted by Josh Armenta who also takes a leading role in the piece.
The Interview has the potential to be a really special play, but the story needs more than the 55 minutes it has, even if the whole performance is a conversation between two men.
Walking into Capital Fringe Festival’s Redrum venue, the only thing I remembered from reading Lewis Carroll’s “Alice in Wonderland” a few years ago is the part where Alice grows into a giant after she drinks a peculiar potion.
While billed as a professional storyteller, Ellouise Schoettler’s performance entitled, Pushing Boundaries, is much more of a politically driven persuasion piece than it is real theatre.
It’s hard to be funny, just ask the cast of Aaaaagh! Murder! As a spoof on all things Masterpiece Theatre, from Agatha Christie to “Downton Abbey”, Aaaaaagh! Murder! sets itself up as a classic whodunit with colorful characters that poke fun at classic British stereotypes – or more specifically, American stereotypes of classic British stereotypes.
Throughout the entire 45-minute duration of He Loved the Soft Porn of the City, a large fuzzy keeshond sat happily leashed at the feet of keyboardist Kristen Williams. Though the hirsute canine wasn’t the only hairy beast in the production; the entire work is something of a gonzo shaggy dog tale set to music.