The latest from the Playhouse is an imperfect piece about living (and dying) on your own terms.
Aurora’s audio show – originally intended for a live production – adds to the dreamlike quality of Toni Morrison’s debut story.
Can’t read the Writing on the Wall: [hieroglyph] world premiere by SF Playhouse and Lorraine Hansberry Theatre
Two great companies collab for a show that uses a popular lie to tell a troubling rape narrative.
Grace Horvat’s ultra-violent feminist-revenge satire of Hollywood deserves all the buzz it’s generating.
Misogynoir is taken to task in Shotgun’s virtual production of Loy A. Webb’s breezy script.
Margot Robbie gets a great second chance at playing Harley, though the plot may seem a bit familiar.
Cheryl Strayed’s tenure as an advice columnist makes for an excellent 2020 opener for the Playhouse.
Cutting Ball starts off the new decade with two one-act dreams about women whose bodies aren’t theirs.
A Christmas screen-hop features Black Power, White romance, and Sci-Fi. Guess which one I loved?
The second Witch Trial play I’ve seen in a week is an imperfect misfire for Sarah Ruhl and the Rep.