“Tell me a story.” That line is repeated by cast members in the prologue to Alabama Story, a play about a book for children 3 to 7. Set in Montgomery, Alabama, […]
Darja is an all-American woman. She may be a Polish immigrant, escaping the wars and politics of her native land. But she has all the problems of her born-in-the-USA sisters. She […]
Flash theater is the theme of the 2024 Go To New Play Fest. Flash theater contains a plot, climax, and denouement similar to flash fiction but the impact is more […]
Let’s simplify and take all the phrases critics could use for Field of Flesh—surrealist, experimental, avant garde, etc.—and put them under the umbrella term “weird theater.” You know, it’s the […]
First Date, directed by Christina Ramirez, with a script by Austin Winsberg, slams us with all the goofs and hiccups of modern dating, which, without the bubbly, rambunctious soundtrack and […]
Kenneth Lonergan’s This Is Our Youth takes us back 40-some years … to an era when heavy-duty drugs were not only a path to pleasure (and sometimes pain) but the coinage of […]
City Lit Theater is finishing off local playwright Mark Pracht’s Four-Color Trilogy—about key moments in the history of comic book publishing—with The House of Ideas. Directed by former artistic director Terry McCabe, it’s […]
(Title of Show) is a based-on-real-life meta-comedy cataloging the painful and often random creative process. Written by Jeff Bowen and Hunter Bell in just three weeks, the musical tells the […]
“Who cares if a bunch of faggots die?” Larry Kramer did. And, more than 40 years ago, that’s what caused him to write that caustic question in his remarkable play […]
A raucous night of theater just as the bard intended awaits audiences of the Olde School Shakespeare Collective’s production of The Taming of the Shrew. Hosted at My Buddy’s bar, […]
Review by Erin Ryan. In His Hands, a 90-minute no intermission play, showcases two gay men and their very different experiences with two denominations of the Christian church: Lutheran and […]
Being considered a “boy genius” probably heightened Orson Welles’ substantial ego. In October 1940, his chutzpah enabled him to knock on the hotel room door of a man long recognized […]