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?
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.
Little by little, this small but wonderful musical makes magic.
Quintessence Theatre’s production is problematic, but even the problems are interesting.
Tennessee Williams’ wrote his female characters with compassion—why can’t the director see it?
In this musical, Encores’ latest revival, nothing is said once if it can be shouted over and over.
The Walnut Street production’s antic energy is both its strength and its weakness.