Four long acts long, with casting challenges, bedeviled by attitudes modern audiences likely will not share, and, it must be said, self-indulgent as regards some of O'Neill's great weaknesses, Moon for the Misbegotten requires more than most companies and audiences can summon to put it across succes
Put on your most cynical mood, the one in which you laugh at the predictable folly, venality and dishonesty of the human race, mix it with your ear for Jazz Age syncopation and great singing, get your buzz on for chorines flouncing athletically and with rhythmic precision in their undies, and go!
Who is she really? What are her parents up to? What is the manservant doing breaking into and rifling through a locked desk? Why is the maidservant bringing the young woman gloves that were supposed to have been hers, but are clearly too large? Who is the blackmailer who turns up in the dead of
This clever entwinement of the characters' lives is so self-consciously contrived that it cannot serve as the subject of speculations about causation; everything happens because the author has willed it, not because the characters made it happen, because God made it happen, or because of some dynami
Fortunately, Toby's has the right Kira in Heather Marie Beck.
In an era when Waller had to enter some of the places he played by a side door, it would have been inhuman to resist completely the allure of white privilege.
I'm reminded of the old joke: It's only funny till someone gets hurt; then it's hilarious.
I like a theater of ideas as much as the next reviewer, but found that, in this somewhat trackless waste of a play, the ideas were either inarticulately expressed, trite, or both.
The effect is a bit like opening a sampler of candies; while enjoying one treat, you're looking forward to the next, and the next, and the next …
The Spotlighters' performance space is an interesting and often frustrating challenge - a theater-in-the-round (or really in the square) with four columns supporting the ceiling and interfering with sight-lines.
The ground rules each year: three short one-act plays in which the parts for college-age actresses predominate, with female antagonists and female protagonists.
There is always a reason a warhorse gets to become a warhorse.
Contrast that with the loving attention to the stamps.
These songs were great pop art that stirred up deep emotions and were taken seriously by their initial listeners.
Director Michael Carleton has envisioned Richard as the prototype of the amoral modern politician who will stop at nothing to achieve power.
The chaos around the microphones completely belies the smoothness of the product going out over the airwaves.
But there are deeper and more troubling dimensions to Norman: an irritability that hints of the total dessication of soul, a wildness that mingles a strong self-defeating quality with a degree of menace.
Baltimore theatergoers may be pardoned for not being familiar - yet - with the Atlas District in North East Washington, but this emerging arts-and-entertainment area, focused on about four blocks of H Street, is well worth getting to know.
