BWW Review: PRIVATE LIVES Proudly Preens at Main Street Theater
The director has decided to look at the more giggle-worthy elements of PRIVATE LIVES, and has avoided some of the darker implications of this Noel Coward classic.
The latest reviews and critic recommendations from Houston.
The director has decided to look at the more giggle-worthy elements of PRIVATE LIVES, and has avoided some of the darker implications of this Noel Coward classic.
Some people will love this one, but I found it theatrically stunted and a bit offensive in that it would be funnier if I were far more conservative.
We struggle as humans to fit in and be enough at any given moment, and that's the lesson Lena Horne offered the world and herself.
ALADDIN is a vibrant kaleidoscope of extravagant costumes, choreography, and vocal performances.
You have ten plays with ten sets, ten casts, ten directors, and ten different playwrights.
Dequina Moore is a marvel as the titular role of Josephine Baker.
It feels curatorial now, a gorgeous museum exhibit that we are intrigued by decades later.
JEROME ROBBINS' BROADWAY pays tribute to a brilliant choreographer and becomes a testament to the enduring history of great Broadway shows.
It might be that the directors were looking for something of 2019 in 1985's A LIE OF THE MIND.
Have you ever stopped to consider what a day of life is worth? Not what the meaning of life is or your personal purpose in life, but 'What is a day of life worth to you?' Can the answer to this question be measured? Or answered monetarily? It would seem that the answer would have to be unquantifi
Despite the labyrinthine theories at the heart of CONSTELLATIONS, Nick Payne has written an engaging play.
It's two women playing writers - one older and one younger.
By drawing a comparison of the sacrifice of fame within Black experience to the pondering of death within the most famous speech in literary history, Wilson's work boldly carves its own space within the theatrical canon just as its female-focused predecessor.
THE EFFECT sets a high bar for the rest of The Houston Equity Festival.
MISS SAIGON feels like a sequel to 'Les Miserables' crossbred with 'Cabaret.
An outstanding cast takes on a very funny book, and the result is shimmering perfection that is just what audiences need to kick off the summer season.
MURDER FOR TWO is an exciting piece of theater that is daring in its concept and brought to life by Stages with technical pizzazz.
RAGTIME is a vivid portrait of America in the early 20th century, when worlds and cultures collided on issues of race, class, gender equality, and politics.
The world premiere of Brian Jucha's TOAST at the Catastrophic Theatre is a theatrical experience unlike any other.
If you're a churchgoer and specifically a member of a black church, the issues in this production aren't foreign.
The script spins out a fast funny farce that reminds me of a politically informed Monty Python skit.
THE PLAY THAT GOES WRONG is not just a comedy of errors featuring a theatre company's mishaps on stage - it is a family-friend two-hour long blooper reel that brings down the house, and lights it on fire in the process.
While the ballets each have a marked identity, the triad presentation serves to compliment the elements of each.
Who wouldn't want to spend an hour and a half in a traditional pub with old country codgers spinning out ghost stories? It's a winning proposition, and Main Street delivers all the goods from the actors and the technical department.
It's the right time to resurrect the 1982 off-Broadway phenomenon LITTLE SHOP OF HORRORS.
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