You think you’re in for a reenactment of a historical night of American theater, but then The Cradle Will Rock gets rolling and before long you’re plunged into a musical production from Iron Crow Theatre that is scarily germane and leaves you feeling rattled and exhilarated and thinking maybe you should have worn your pink […]
When the expressive Erin Granfield sings about Iowa, drawing out each letter and syllable, you learn everything you need to know about her character’s quiet restlessness and pent-up longing.
What keeps our butts in the pews? Is it faith, fellowship, fear of hellfire, or infatuation with the charismatic preacher up at the pulpit?
David Henry Hwang’s Tony-winning play, M. Butterfly, was an electrifying treatise on gender and East-West tensions and tragic preconceptions when it premiered in 1988 with John Lithgow and B.D. Wong in the title roles of a fictionalized French diplomat stationed in China who manages a 20-year love affair with a Peking Opera actress without conceding […]
Watching Rep Stage’s luminous production of The Heidi Chronicles as a spinster of a certain age, you don’t know whether to belt out “Mirror, Mirror” from Stephen Sondheim’s musical Follies or simply smile through tears like many of your fellow baby boomers in the audience.
Happiness is tucked away in an office park in Columbia, MD. Amid the chiropractors, computer businesses, dance schools and Asian delis is the Red Branch Theatre Company, currently the home of a sunny staging of Lysistrata Jones, the 2011 upbeat update on Aristophanes’ bawdy comedy by Douglas Carter Beane and Lewis Flinn.
Who says theater is not educational? Why, just this past weekend I learned that “bootycandy” is a euphemism for the penis.
The big question in Jazz is—where’s the music? This world premiere adaptation by Nambi E. Kelley of Toni Morrison’s 1992 book isn’t meant to be a song-and-dance show, but still it lacks the musicality and rhythm you associate with jazz and the musical structure used by Morrison when writing the book.
Nevertheless, she persisted. Persisted, pushed back depression and doubt and the burden of care to accept her legacy of genius.
An enterprising Everyman Theatre board member calculated there are 152 laughs in Noises Off. Surely, he jests. There is easily three times that number in Everyman’s gonzo production under the banana-peel direction of artistic director Vincent M. Lancisi.