On paper, "Spring Awakening" shouldn't be an enormously popular coming-of-age musical. The songs are ra...
I first saw "Riffs in a Set of 10"—veteran St. Louis actor/director Chris Limber's loving and lit...
"Orders" is a contemporary show that asks an age old question: why do people serve - their country, o...
After a successful year on Broadway (and four Tony Award nominations), Motown the Musical launched its first national...
"No man is an island," says John Donne. Perhaps not, and yet it seems that in modern America, despite our v...
If ever a show were more elevated by its direction/choreography and performances, I haven’t seen it.
Time and again the Conservatory of Theatre Arts at Webster University mounts productions that are marvels of excellence.
Caryl Churchill has had an amazing career since she graduated from Oxford University’s Lady Margaret Hall women’s college with a degree in English Literature in 1960. Her plays often focus on sexual politics, the abuse of power and a non-traditional look at history from a feminist point of view.
Turning and turning in the widening gyre /The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold; /Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere /The ceremony of innocence is drowned;
The best lack all conviction, while the worst /Are full of passionate intensity.
There’s nothing I love more than seeing young people participate in live theater, and I have a real soft spot for the works of Shakespeare. So I looked forward to experiencing Washington University’s production of Shakespeare’s As You Like It.
A bloody uprising is revisited.Upstream Theatre brings us "Conversations with an Executioner". A Nazi general and a Polish Resistance fighter face each other in a shared prison cell.
Though not as absurd as some of his plays, Ionesco’s “Exit The King” brings some issues to the stage that are thought-provoking and just edgy enough to make us think about the “art” and tragedy of death.
The Winter’s Tale experience starts promisingly when audience members are issued necklace badges instead of tickets to enter, which are examined by a couple of sober, black-clad guards using laser pointers.
In the Black Rep production of "Ma Rainey's Black Bottom," the cancers of racial inequality and overt cruelty are laid bare with a finessed, punch-to–the-gut impact, one that left me with a renewed sense of outrage for a brand of casual racism that must never, ever be tolerated again.
Mary Zimmerman comes by her academic standards naturally, as the daughter of two college professors at the University of Nebraska. Her writing skills, however, are the product of a fanciful imagination that has guided her artistic achievements since childhood.
Once upon a time, Acquired Immune Deficiency Syndrome (AIDS) was an automatic death sentence for anyone who contracted it.* There was no known cure and the progress of a patient from its diagnosis or its precursor, Human Immunodeficiency Virus (HIV) was unstoppable.
Not all one-person shows are created alike. Some are like quality off-the-rack suits that can be worn effectively by anyone of the right physical type; think “Belle of Amherst” or “Barrymore”. Others are like custom-tailored outfits designed for a unique individual; think most cabaret shows.
I'm not a fan of Tennessee Williams. I find most of his plays dark and rather hard to watch, like witnessing a family fight at Christmas dinner or watching a freight train approach a group of bunnies.
Killer Joe is a sordid, sick tale of violence, depravity, greed, drugs, nudity and sex all set in a Texas trailer park, peopled by the disturbingly dysfunctional Smith family and their hired gun – a cop by day, a hit man by night - Killer Joe.
The necessary ingredients for a successful production of “Fiddler on the Roof” aren’t that much different from those for a successful production of any musical.