SUFFER THE LONG NIGHT belongs to that class of backstage comedies like NOISES OFF and FASHION: THE MUSICAL where the audience sees an actor playing an actor who is playing a character in a show.
WAITING FOR LEFTY was written in 1935 by Clifford Odets.
THE PRIME OF MISS JEAN BRODIE is a 1961 novel by Muriel Spark and a 1966 stage play, based on the novel, by Jay Presson Allen that was turned into a film in 1968.
Simply said, Martin Burke delivers masterful story telling in a tour de force production of THIS WONDERFUL LIFE.
If an example existed to explain the value of copyright laws, Katie Forgette's SHERLOCK HOLMES AND THE CASE OF THE JERSEY LILY might well be it.
RECKLESS, by Craig Lucas, wants to be a black comedy.
COCK, a comedy by Mike Bartlett, tells the story of John, a young man who takes a break from his boyfriend, and accidentally meets the woman of his dreams.
Rodgers & Hammerstein are, to me, the comfort food of musical theatre.
How do you deal with cancer? How do you deal with other people's reactions to your cancer? If you're a dancer, how do you face life in all it's un-choreographed glory?
One of my favorite descriptions of what theatre is states that "theatre is an experience, shared by a group of strangers, in the dark.
"When you are at zero, anything can happen.
Two of my very favorite things are satire and black comedy.
Creating a stage adaptation of beloved material is a tricky business, especially if the work is a piece of fantasy.
One of the main functions of theatre is to make an audience think.
Doing Shaw isn't for the timid, especially for modern audiences which have become expectant of a happy ending.
Human existence can be a pretty lonely, tenuous thing.
