Andrew Anderson

The Supper Hour in Hell proves to be one of the most absorbing, cohesive, entertaining and satisfying plays produced by the Overtime.

A Chorus Line at the Playhouse overwhelmingly belongs to Carla Sankey, who choreographed the show and played the role of Sheila. A Chorus Line is very much a choreographer's show. It stands or falls by its choreography more than anything else. Carla Sankey's choreography was excellent.

Priscilla Craft manages to steer a fine path between comedy and pathos in The Gingerbread Lady art the Harlequin.

Good direction, good acting - particularly from the always dependable Liz Vermeulen - and an intriguing plot idea combine to hold the audience's attention in 'The Vapours' at the Overtime, in spite of some deep flaws in a play that implodes at the end under the weight of expectations and ideas that are left unresolved.

Greg Hinojosa is a revelation in his role as the loud-mouth junkyard tycoon Harry Brock in the ClassicTheatre production of Born Yesterday

Memphis at the Woodlawn proves to be more dynamic and less melodramatic than the touring production, with some excellent performances from a very talented cast.

There are some terrific performances by a hand-picked cast in PASA's American premiere production of Make Me a Musical, a show that takes an affectionate dig at a number of classic musicals.

Marx Brothers, line dancing and drag add spice to Palmetto production of The Tempest

There was some good singing, some good performances - particularly from Joshua Goldberg as Pilate and James Welch as Herod - plus some good staging ideas in the Playhouse production of Jesus Christ Superstar. So why was this production such a letdown - reflected in the tepid applause from the audience at the end?

'Ruthless!' at PASA is one of the best-directed and best-performed musicals I have seen in San Antonio. While the show cannot compete with the lavish production values of the Woodlawn and the Playhouse, it more than makes up for it in the inventiveness of Vaughn Taylor's direction and the quality of the performers.

In the Trinity Theatre production of 'How I Learned to Drive', Dallas Akins and Sarah Tipton delivered strong performances in the lead roles of Uncle Peck and his niece 'Li'l Bit' in this everyday tale of incest and pedophilia in what I imagine to be somewhere in Appalachia.

A strong cast and fine direction by Allan Ross served up an almost pitch perfect production of Anton Chekhov's first and most autobiographical play, The Seagull.

Having a single actor playing seven different characters of varying ages and sexes, coupled with a story that jumps around on a constantly fluctuating narrative thread, and you could have a theatrical disaster on your hands.