But whether this earnest, winning piece is a successful play is an open question.
This brilliantly acerbic, absurdist comedy gleefully thumbs its nose at trigger warnings.
Is this once-iconic satire still viable, or a historical curiosity? That is the question.
What’s most unsettling here happens quietly in the shadows.
Michael Hollinger’s funny and clever play could use more gravity.
In Michael Hollinger’s perplexing but enchanting play, getting there is the best part.
The vocal standards are high, and the pleasure of discovering new talent always exhilarating.
John Guare’s monumental Lydie Breeze trilogy ends movingly, if not entirely clearly.
A rare opportunity to see Tell Me on a Sunday reveals a good idea, flawed in the execution.
Quintessence Theatre’s production is problematic, but even the problems are interesting.