Branden Jacobs-Jenkins leans too heavily on shock value and “death (wink, wink) of print” clichés in his latest show at the ACT.
Top-notch acting and direction opens Aurora’s 2020 with a well-written play that doesn’t stick the landing.
The second Witch Trial play I’ve seen in a week is an imperfect misfire for Sarah Ruhl and the Rep.
An overlong, clichéd script is saved by great direction, a super cast, and eye-popping creative choices.
Ariel Craft is at the helm of Shotgun’s nearly-perfect remount of the Feminist take on ‘The Crucible’.
The story of The Boy Who Lived continues in an entertainingly bombastic production at the Curran.
Tim Minchin amps up the darkness of the classic film in SF Playhouse’s (mostly) well-organized production.