Is this once-iconic satire still viable, or a historical curiosity? That is the question.
The provocative show that director Emma Griffin offers here goes beyond a reimagined staging.
What’s most unsettling here happens quietly in the shadows.
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.
In Michael Hollinger’s perplexing but enchanting play, getting there is the best part.
With Shaw’s go-big-or-go-home masterpiece, playing it small and safe is not good enough.
The vocal standards are high, and the pleasure of discovering new talent always exhilarating.
Mack, who opened the season creating a new role, is now back in an iconic one.
Can we please stop fetishizing female angst as the highest form of acting?