Well played all around, this Shakespeare's Globe production is blessed with the preternaturally naturalistic Rylance, whose severely manic-depressive and sometimes delusional King Philippe V of Spain is both brilliantly imagined and pulsatingly real.
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Theater Review (NYC): ‘SpongeBob SquarePants: The Broadway Musical’
Kyle Jarrow has conceived a story that puts the show's appealing characters into a doomsday scenario encrusted, sea anemone-style, with a surprisingly persistent if easy to take sociopolitical edge.
Read More »‘Daryl Roth in Conversation With Linda Winer,’ a League of Professional Theatre Women Event
Broadway producer Daryl Roth struggled with the decision to close 'Indecent,' seeing the show each night for its 'final' two weeks and struck by the standing ovations. The last night, overwhelmed with emotion, she strode up to the closing notice and ripped it apart.
Read More »Playwright Paula Vogel (‘Indecent’ on Broadway) in Conversation with Linda Winer
There has been such enthusiasm for the production since Yale (2015) that the ensemble, the musicians, the stage manager, and the assistants have remained together. As Vogel says, “We’ve all moved together as one.”
Read More »Theatre Review (Singapore): ‘Hand to God’ by Robert Askins, from Singapore Repertory Theatre
This version of the Tony Award-winning comedy, directed by Guy Unsworth, stands out because of the comedic timing and naturalistic performances of most of the cast.
Read More »Theater Review (Broadway): ‘Indecent’ by Paula Vogel
The tale of Broadway's first lesbian kiss, nearly a century ago – and of one unique and strangely representative facet of the infinitely complex tale of the Jews of Europe and their migration to America.
Read More »Theater Review (San Antonio): A Striking ‘The Secret Garden’ at the Playhouse San Antonio
Marsha Norman and Lucy Simon's modern classic comes to the Playhouse San Antonio in a strikingly revisualized production.
Read More »Theater Review (San Antonio): ‘Pippin’ by Stephen Schwartz and Roger O. Hirson
This 1972 musical comedy is still a blast for modern audiences, as exemplified by the production now playing at the Woodlawn.
Read More »Theater Review (Broadway): ‘The Present’ with Cate Blanchett and Richard Roxburgh
Blanchett's Anna is as complex a lost soul as Broadway is likely to host this season, her yellow-hot energy as vital and clamorous when she's fuming in silence at the dinner table as when she's swooping in desperate high spirits from friend to friend in Act I. Roxburgh, in the most central role, is just as compelling.
Read More »EXCLUSIVE: Interview with Director Courtney Laine Self on Presenting Mae West’s 1927 Broadway Hit ‘SEX’
Mae West wrote 'SEX' in the mid-1920s, just after the peak of first-wave feminism hit with the passage of the 19th Amendment in 1920. First-wave feminism was about suffrage and other basic political inequalities. 'SEX' more directly challenges gender roles and expectations and illustrates the hypocrisy and tragic consequences of societal gender inequities. So, West was more in line with second-wave feminism – which didn’t happen until the 1960s!
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