In New York, the show is enjoying a successful Off-Broadway revival at another theater, and in Columbia, Rep Stage is celebrating the production's 54th anniversary (as of May 3) with a sweet, whimsical production that is every bit as enchanting as the one that swept 13-year-old me off my feet.
The creepily campy, gruesomely goofy premise of the 1960s classic Little Shop of Horrors begs audiences to leave their disbelief at the door and come along on a wacky ride requiring runaway imagination.
What could be more Baltimore than a tribute to Edgar Allan Poe? And the Iron Crow Theatre Co.
I don't believe I ever read Robert Louis Stevenson's Strange Case of Dr.
Bernard, a dashing American living in Paris, chooses his fiancees carefully: They're all-yes, all three-air hostesses, as they were called in the bon vivant '60s, when Boeing-Boeing takes place, and their names all begin with G.
Beautifully written by local-ish playwright Liz Maestri, Fallbeil examines fear, and humans' reaction to it, from countless perspectives.
No one writes theater like the Ancient Greeks; after all, they invented it (at least the western variety).
Green Day lead singer Billie Joe Armstrong, who wrote this rock opera's lyrics, and his punk rock band that created its unstoppably vibrant music weren't going for "comfortable.
She's all legs, has a blazing bouffant hairdo and an incredible pair of … lungs.
Now, 30 years (three decades!) later, Flashdance--The Musical is back to remind us of the raw spirit, sparkly promise and (possibly drug-enhanced) energy of that bubble gum-laden, neon-hued era when innocence was much more innocent and people actually believed that dancing could save the world.
While the musical production-a collaborative effort between the Strand Theater Co.
I went through a fairly intense Agatha Christie phase before I hit double digits.
The joy of watching a playwright perform her own piece comes from the insight and the passion she brings to it.
Through a series of vignettes, For That Which Returns (performed at Baltimore Theatre Project) explores the constantly shifting relationship of mother and daughter, unraveling how their reliance on and need for each other never wane despite their roles often flip-flopping as they age.
As the last two pandas on earth, Gwo Gwo and Marion intrinsically know their task is to repopulate their species, but when mating season rolls around, they encounter a small hitch: Chester the crocodile has got his eyes on Gwo Gwo, who-despite all his practicing-can't seem to get a hang of baby-pand
A typographer, a geographer and a stenographer sit down at a bar.
There's nothing more personal than theater in the round, especially when it's on such an intimate scale as that at Spotlighters Theatre where there's a maximum of three rows of seating on each side.
In his notes about the play, director Steven J.
With Godspell enjoying a renaissance in popularity following its recent revival on Broadway, it seems everyone wants in on the fun.
