Michael Hollinger’s funny and clever play could use more gravity.
How do you like your Carmen? The role – and Bizet’s opera – contain multitudes.
With Shaw’s go-big-or-go-home masterpiece, playing it small and safe is not good enough.
A rare opportunity to see Tell Me on a Sunday reveals a good idea, flawed in the execution.
Tennessee Williams’ wrote his female characters with compassion—why can’t the director see it?
The Walnut Street production’s antic energy is both its strength and its weakness.
Isis’s earnest but constrained production doesn’t fully resonate.
Despite ingenious moments, the gimmick of Beth Wohl’s play wears out before it’s over.
Part II of the Lydie Breeze Trilogy is linear, concise, and better than Part I.
The Arden’s Toni Morrison adaptation is too much handsome staging, too little Morrison.