Clint Sheffer’s new play for Bruised Orange Theater Company resembles work by Edward Albee and David Mamet. But Sheffer creates something original in this witty piece about two men connecting […]
In Clint Sheffer’s new play, two men connect over a mutual love interest.
Even good one-acts can’t sustain a three-hour evening, and mostly these aren’t. Buried among Wilson’s cliched writing exercises, presented as overwrought acting exercises by the Eclipse Theatre Company, is the […]
This 1939 play is old-fashioned in the worst senses of the word: banal, predictable, corny. It’s what’s often called a gentle comedy, a phrase that here means entirely lacking in […]
Eric Schmiedl’s adaptation of Dante’s Inferno, set in a contemporary office, could easily have been obvious, labored, or self-important. In this world premiere production, sharply directed by Brandon Bruce, it’s […]
Bill Harris’s piece about bluesman Robert Johnson’s final day is more opera than play: a series of songs, tales, and spoken arias about art, religion, and race relations with little […]
Playwright Samuel Morris has a modestly clever idea: a backstage farce a la Noises Off that features Romeo and Juliet as the onstage production. Then he combines it with the […]
David C. Field overstuffs his play about physics and philosophy.
The uneven, unrelated oral histories in An Unobstructed View don’t add up to a play.
Though this romance about the dangers of romance–a comedy of manners revolving around a love quadrangle–includes meditations on class and hypocrisy, it’s as fluffy as George Bernard Shaw gets. Here […]
Imagine Mardi Gras mated with the Burning Man festival and you’ll have some idea of Spectacle Fortuna, a parade of puppets, floats, prayer flags, music, stilt walkers, and papier-mache birds […]
Flashes of wit can’t rescue Elizabeth Brown-Guillory’s domestic drama from wearisome predictability. Of course the grandfather’s indigestion turns out to be a heart attack, his homophobia reflects a secret past […]
Maureen Gallagher’s absorbing play about photojournalism and its discontents gets a nearly perfect world premiere. Gallagher doesn’t avoid all novice-playwright pitfalls–the ending is a bit pat–but she makes us care […]
Long before he founded Court Theatre, Nicholas Rudall was a superb actor, embodying gravitas even when playing a comic loser like Butley or describing “stately, plump Buck Mulligan” during a […]
Setting themselves a double challenge, the Free Associates aim to parody both the real White House and the liberal wet-dream television version–in addition to accomplishing their usual feat, improvising a […]