Review: Lending an ear to VAN GOGH'S IN THE ATTIC at Abbey Theater In Dublin
Cooney’s script is much like a van Gogh painting.
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Cooney’s script is much like a van Gogh painting.
Broadway Musicals are often fantasies, musical representations about things that could not possibly happen.
With familiar hits such as “Dancing Queen,” “Mamma Mia,” and “Honey, Honey,” MAMMA MIA! has a leg up on most musicals: audiences already know the songs.
In his two-hour set, Metheny, the only artist to win Grammys in 10 different categories, was like a magician as he revealed the skills that garnered him gold records for Still Life (Talking), Letter from Home, and Secret Story.
Rico Parker joins a talented quartet of actors, performing with Wilma Hatton (Faye), Clarissa Rai (Shanita), and Alan Tyson (Reggie), in bringing this two-act, two-hour show to life.
Nominated for a record-setting 14 Tony Awards and winning 6 in the original production in 1970, Stephen Sondheim’s COMPANY was one of the first musicals to deal with contemporary dating, marriage, and divorce.
The two seem to have that innate ability to write simple poetry without making them seem like something you would find at the Valentine’s cards bin at Walmart.
Shadowbox Live reached deep into their skill sets to celebrate the 11 leaders’ achievements through art, words, dance and song while educating the audience on their significance.
In lesser hands, THE WORRIES OF WESLEY could turn into an afterschool special on television.
A show about domestic violence and oppression doesn’t sound like a cheery night at the theater.
Director Joe Bishara uses overhead projections of the actual leaders in the play, allowing the audience to compare the actors on the stage and the Roosevelt and Churchills on newsreels.
Produced and directed by Julie Klein, PILLOW TALK provides a collection of Shadowbox Live’s best skits of the past year, hits the right notes for a variety of patrons.
Helping children to understand their feelings is important so they know they’re not alone and that there are coping skills they can use Christy Farnbauch,
Choreographer/director Jennifer Weber has created an incredible hybrid of Tchaikovsky’s traditional NUTCRACKER score with several modern day nuances.
KINKY BOOTS is one of those devious productions where the audience gets emotionally involved with the characters and takes in more of a message than they were originally expecting.
Perhaps it is reassuring Second City, the training ground for many of America’s greatest comedic talent, is still thriving
After decades of reinventing himself, Winkler is finally getting comfortable with who he is.
GOOD GRIEF is a wild surfboard ride of emotions, from the giddiness of being on the crest of love to the undertow of the wave-crushing despair of loss.
Nogueira’s attention to detail, Edward Carignan’s tight direction, and Ellowitz and Heleringer’s well-manicured mannerisms give WHICH WAY TO THE STAGE an enjoyable suspension of belief.
What did our critic think of THE SLEEPWALKER OF HOLSTENWALL at CCT? Caligari introduces the audience to Cesare (the uber creepy Matthew Phillips), a sleepwalker who in his state of semi-consciousness can tell the future.
What did our critic think of RINGO STARR AND HIS ALL-STARR BAND at Mershon Auditorium?
What did our critic think of REVIEW: MOBY DICK'S GONE MISSING at Abbey Theatre Of Dublin?
The iconic JESUS CHRIST SUPERSTAR rises triumphantly at the Ohio Theatre as part of its reimagined 50th Anniversary tour.
Bobby Weir and the Wolfpack proved that the spirit of the Grateful Dead is not just slightly alive, but being reinvented
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