A thinly-disguised parable of the ascendancy of Adolf Hitler, The Resistible Rise of Arturo Ui may have been written in 1941, but it may as well have been addressed directly to Americans of 2019.
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.
The strange thing about this lyrical cornucopia: it doesn't stick in the mind much as one departs.
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.
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.
Indecent is about the power of theater to dazzle and uplift.
Paula Vogel's 2015 play Indecent, in a production now arrived at Center Stage after stops at D.
Most of the characters fail to use words properly to convey directly what is important to them or us.
Shakespeare's Henry IV, Part I (1597), now being revived by the Chesapeake Shakespeare Company, is at its heart a family story.
The play seems to be a retrospective of Shakespeare's career, with a strong note of self-parody.
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.
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.
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.
If you go expecting, as it were, wild Wilde, you won't be disappointed.
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
This industrial Eden will not end well.
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.
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.
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.
