BWW Review: DISASTER! Slays at Cockpit In Court
Disaster! lovingly pokes fun at two staples of 1970s popular culture: disaster movies like Towering Inferno and The Poseidon Adventure and the disco-heavy pop music of the era.
Jack L. B. Gohn - Page 5
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BWW Review: The Songs May Not Stick, But the Happiness Will in Iron Crow's Production of A NEW BRAIN
The strange thing about this lyrical cornucopia: it doesn't stick in the mind much as one departs.
Birth and Death with Comic Brio: AND BABY MAKES SEVEN at The Strand Theater Company
The only thematic message, apart from the goes-without-saying affirmation of LGBTQ life choices, is that we should not 'be afraid to play,' which is about as anodyne as they come.
HENRY IV, PART 2 at Chesapeake Shakespeare Company Concludes a Tale of Fathers and Sons
For Prince Hal to attain his destiny, he like all sons must replace his father, and if in this case there are two fathers, it simply means that there are two to surmount, surpass and survive.
BWW Review: Dazzling and Uplifting INDECENT at Center Stage
Indecent is about the power of theater to dazzle and uplift.
BWW Review: INDECENT at Center Stage
Paula Vogel's 2015 play Indecent, in a production now arrived at Center Stage after stops at D.
BWW Review: Words Fail, But Humanity May Prevail in TWILIGHT, LOS ANGELES at the REP
Most of the characters fail to use words properly to convey directly what is important to them or us.
Fathers, Sons, and Dynastic Struggle: HENRY IV, PART I at Chesapeake Shakespeare Company
Shakespeare's Henry IV, Part I (1597), now being revived by the Chesapeake Shakespeare Company, is at its heart a family story.
Inspired Self-Parody: CYMBELINE at Baltimore Shakespeare Factory
The play seems to be a retrospective of Shakespeare's career, with a strong note of self-parody.
Compulsions, Secrets, and Ecstatic Polyphony: FUN HOME at Center Stage
A major work of art, in a quintessentially American genre, an important representation of an under-represented group that advances understanding and dialogue, and beautifully produced.
BWW Review: A Rewarding and Ambitious JERUSALEM at Fells Point Corner Theatre
Even though sometimes funny, even to the extent of farce, and filled with a manic vitality, Jerusalem is not easy theater, but it is infinitely rewarding.
BWW Review: Don't Miss MISS SAIGON at Kennedy Center
There are few entertainments as popular as Miss Saigon (36 million attendees worldwide since it premiered on London's West End in 1989), and few that have occasioned as much controversy.
Wild Wilde: A WOMAN OF NO IMPORTANCE at Scena Theatre
If you go expecting, as it were, wild Wilde, you won't be disappointed.
'Not Entirely Honest' an Understatement in REP Stage's Obscure But Funny THINGS THAT ARE ROUND
While basic questions about what the characters are doing or why are never fully resolved (nor do they need to be), the debatable and sometimes contradictory answers each character gives to these questions form the basis of a relationship that dramatically and comically changes as the play progresse
How The Assembly Line Ended: SWEAT at Everyman Theatre
This industrial Eden will not end well.
BWW Review: Drinking from a Firehose with STICK FLY at Fells Point Corner Theatre
Audiences should approach Stick Fly, with the expectation that they will not understand all of it, fully grasp any character's motives or thoughts and/or playwright Lydia R.
SPRING AWAKENING Well-Sung and Well-Performed by Stillpointe
With acting and singing at this level, and with such a strong, moving work, this rendering of Spring Awakening packs a punch, and will reward any evening's theater-going.
Judith Ivey Enjoyably Gives Us CAT ON A HOT TIN ROOF As A Love Story at Center Stage
Because Williams has so successfully gotten us cheering for Maggie, we in the audience would very much like to see Maggie triumphantly dragging Brick into bed in the final frame, and an interpretation like director Judith Ivey's, which all but promises that, is bound to be a crowd-pleaser.
Mocking a Personality Cult: PUTIN ON ICE at Single Carrot
In a short 2016 profile in American Theatre, Russian emigre director Yury Ornov expounded on the freedoms of theater: 'You can hate people; you can do a hate show about Putin, for example, or about your ex-wife.
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