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.
We’re lucky to be living where we do. Opportunities abound to see exciting new work, shows in development and emerging major talent. All three fortunes converge in Rep Stage’s stirring, sequined world premiere musical, Dorian’s Closet, which delves into the marginalized lives of drag queens in ‘80s and ‘90s New York with substance and flamboyance.
No longer do we need to shudder to think what Blanche DuBois from A Streetcar Named Desire and Martha from Who’s Afraid of Virginia Woolf would be like as mothers.
An indelible memory from a Michael John LaChiusa musical used to be the sight of Vincent Van Gogh (Jason Danieley) sitting in his bathtub and singing the score for The Highest Yellow in a 2004 production at Signature Theatre. Now, that may have been replaced by the soaring, heart-melting finale of Los Otros, the 2012 […]
After more than a year-long renovation, Baltimore Center Stage unveils its new modern look—spacious, welcoming, sleek and inspirational—with an equally visually captivating and enchanting production of Mary Zimmerman’s The White Snake.
The devil need not be a red-skinned gent with a forked tail. He could be Jake Abadjian (Robbie Gay), a gorgeous and charismatic Hollywood star of the blockbuster Dawnwalker movies, playing an action hero who never speaks.
Playwright Suzan-Lori Parks is known for her outlandish imagination, creative use of language and boldly askew look at America’s past and history. Her mythic riff on Nathaniel Hawthorne’s The Scarlet Letter, cheekily titled Fucking A, is no exception.
The opening scene of The Hard Problem, Tom Stoppard’s latest play since 2006’s Rock and Roll, reminds you of the opening scene from Stephen Sondheim’s musical Passion. Two half-naked beautiful young people loll in bed, all aglow in afterglow and up for a chat.