The Witch is Back: ‘Vinegar Tom’ West Coast Premiere at Shotgun
Ariel Craft is at the helm of Shotgun’s nearly-perfect remount of the Feminist take on ‘The Crucible’.
This ‘Flick’ Needs an Editor: ‘The Flick’ at Shotgun
Incredible technical work can’t quite make up for Annie Baker’s bloated, meandering text.
Salvation at last: ‘Kill Move Paradise’ at Shotgun
Shotgun delivers one of the year’s best shows with James Ijames’ meditation on Black lives ended too soon.
Drowning in White Tears: ‘White’ at Shotgun Players
Shotgun hosts the West Coast premiere of James Ijames’ scathing satire of White privilege in art.
Still Leaves an Impact: ‘Blasted’ at Shotgun
Sarah Kane’s notorious first play is still as gut-wrenching in Shotgun’s production as it was when it premiered 20+ years ago.
Love Machine: ‘The Watson Intelligence’ at Shotgun
Though Shotgun pulls off some grand production design, Madeleine George’s script doesn’t successfully tackle the themes it ponders.
Same ‘song’: ‘brownsville song (b-side for tray)’ at Shotgun
A strong director and able cast elevate a clichéd story in this Shotgun show.
No Satisfying Answers: ‘The Events’ at Shotgun
Racist direction combines with a confused (and hypocritical) script in pretty-looking production by Shotgun.
Fragile ‘Doll’: ‘Nora’ at Shotgun
Emotions are far too restrained in Shotgun’s sterile revival of Ibsen-by-way-of-Bergman.
Sound and Fury Signifying Nothing: ‘Women Laughing Alone with Salad’ at Shotgun
Shotgun’s latest falls flat with a deafening roar of self-important, casually racist “satire”.