Though Garson Kanin’s old play feels fresher than ever, not even Millie Brooks’ winning performance can save SF Playhouse’s stale production.
Sorry, Frank – it was NOT “a very good year”.
Still, there were bright spots to be found.
The casting of actual Native American actors can’t hide the film’s hypocritical racism and clichéd storytelling.
The abundant flaws of Hellman’s script are made all the more apparent in Berkeley Rep’s production.
Sarah Kane’s notorious first play is still as gut-wrenching in Shotgun’s production as it was when it premiered 20+ years ago.
Shakespeare and sexual politics collide in Cal Shakes’ version of one of The Bard’s infamous “problem plays”.
Knowing when to forego Shakespeare proves the ultimate winning move in the final show from Breadbox Theatre.
Sex is the name of the game in WE Players’ bawdy new take on The Bard’s most famous comedy.
A Black woman aims for biting social commentary, but winds up giving herself the “All Lives Matter” treatment in this uneven new satire by Luna Malbroux and Faultine Theater.
Racism, sexism, classism, and privilege are given the mature examination they deserve in this SF Playhouse world premiere.