Plays, movies and books about men's "midlife crises" are a dime-a-dozen; it's much less common to s...
"Diavolo," writes the company's Artistic Director Jacques Heim in his program notes, "is a fusion ...
Marissa Mulder's "The Songs of Tom Waits," which had its premiere last March at New York's Metropol...
Tim Schall's musical exploration of 1961 demonstrates that it was a very good year.
Some family secrets are mere trifles, intended to spare hurt feelings. Others are meant to secure someone's place...
Wicked turns The Wizard of Oz on its head, reminding us that the labels "good" and "wicked" are not always as cut and dried as they seem to be.
A Gnome for Christmas (Written by Sarah Brandt, Directed by Doug Finlayson) is a Holiday musical now being presented by the Imaginary Theatre Company, the resident, professional, touring ensemble of The Repertory Theatre of St. Louis.
As Fully Committed opens, Sam (Greg Fenner) is having a terrible, horrible, no good, very bad day. An aspiring actor, Sam works in a New York City restaurant, as many of his fellow dreamers do, and his job is manning a reservations line with another guy named Bob.
“A Child’s Christmas in Wales”, the St. Louis Symphony’s third team-up with Circus Flora, may be a bit over-long and under-rehearsed in spots, but it still packs plenty of holiday cheer.
'Tis the season of good will to all, and that should especially apply to what we say about a play about Christmas, shouldn't it. So it would be Scrooge-like of me to say that KTK Production's staging of The Best Christmas Pageant Ever is the worst Christmas pageant ever. Because I'm sure it isn't the worst ever.
What happens when an immigrant Jewish accountant from St. Louis falls in love with a Missouri country girl? You get gefilte catfish, matzo balls made of cornmeal, and a unique love story that has charmed millions and made the world see that Lebanon, Missouri, is a town of far greater depth of spirit than most people realized.
Something about a family of three sisters must fascinate playwrights, they pop up so often. Patrick Kennedy, the father of three daughters in Rebecca Lenkiewicz's The Night Season, compares his three not to Chekhov's or Wendy Wasserstein's or Beth Henley's three but to King Lear's daughters.
Alan Ayckbourn’s plays walk the line between two extremes of British wit: biting satirical comedy in the manner of Noel Coward and comedies of manners ala Oscar Wilde OR the inspired humorous anarchy of Monty Python and Benny Hill.
The story of Anne Frank is one known the world over. A young girl and her older sister and parents, and four others, escaped the Nazi persecution of the Jews by hiding in the attic of an office building (Anne’s “Secret Annex”) in Amsterdam for slightly more than two years before being captured and sent to various concentration camps where all but one (perhaps two) of them died.
‘Tis the Silly Season for Theatre where the saddest thing we see on stage is Tim Cratchit’s tiny crutch. No one shoots his eye out or is overlooked by Santa or, if an angel, fails to get his wings. Many interchangeable children receive whatever other Lifetime movie miracle might be in order.