Helgi Tomasson kicks off his final year at the helm with two programs of mixed results and fine surprises.
My very-late, but still-relevant review of the ACT’s show about this unsung heroine of baseball history.
Branden Jacobs-Jenkins leans too heavily on shock value and “death (wink, wink) of print” clichés in his latest show at the ACT.
The famous staged reading of the entire ‘Great Gatsby’ is nothing more than a flickering green light.
Top-notch acting and direction opens Aurora’s 2020 with a well-written play that doesn’t stick the landing.
No “Best Of” yet, but here are some emotional ponderances on the decade-ending year that was.
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.