German expressionism of the 1920s and '30s seems to have been one starting point for Mark Lamos' dark, bleak, bare "Richard III," his first attempt at directing a Shakespearean history.
Galvanized by a sure directorial style and pace, and reveling in the joy of comic theater, the National Theater of the Deaf's 1994-95 touring adaptation of Eugene Labiche and Marc Michel's 1851 farce…
So big and bold are the sheer size, ambition, cast, scenery, costumes, music and, presumably, cost of "The Woman Warrior" that it immediately becomes an event in the annals of non-profit theater. No…
Mackenzie Musical numbers:"Lunch,""He'll Never Know,""I Never Danced With You,""Requiem for a Lightweight,""One Step at a Time,""Offerings du Jour,""A Man Like Me, ""Skyline,""I'm No Angel,""Why Fall…
Precisely because it has a deeply human, audience-embracing tale to tell, that of the two Vermont-born alcoholics who founded Alcoholics Anonymous in Akron, Ohio, in 1935, "Bill W. and Dr. Bob"…
Tryna Rytza Musical numbers: "Wake-Up Song," "We're Talking Chelm," "Yenta's Blintzes," "Beadle With a Dreydl," "He's Going to Die," "Mrs. Shlemiel's Lament," "Geography Song" ("Rumania, Rumania")…
Fred Graham/Laura Kenyon's no-nonsense Hattie gets the Goodspeed Opera House revival of Cole Porter's 1948 "Kiss Me, Kate" off to a buoyant start with a joyfully vigorous "Another Op'nin', Another…
Given her new play's sexually explicit title, its subtitle ("Because Obscenity Begins at Home") and its inflammatory subject matter, it is clear that Paula Vogel is venturing into deep, dark water…
Bess ... Vanessa Stewart, etc.