Chicago opera lovers are getting a "twofer" with this season's dark and compelling production of Puccin...
With her fanciful play "Or," Liz Duffy Adams has reimagined the early Restoration period with a touch of Ja...
James Baldwin dedicated his play “Blues for Mr. Charlie” to the memory of Medgar Evers and of the four gi...
If there's one thing Edward Albee knows, without equivocation, it is the darker side of intimacy. The deep cuts t...
The St. Louis Repertory Theatre's current production, "The Winslow Boy," by Terrence Rattigan, is, at i...
Shakespeare, that canny old Bard. I wonder what he would think if he could see this modern version of his work? Like me he'd probably love it, with a few exceptions.
“Chastity Belts and Beards” may seem an unpromising title for a Shakespeare play but The Improvised Shakespeare Company (ISC) managed to create a sometimes hilarious, always entertaining, two act “Shakespearean masterpiece.”
One of the most dangerous and terrifying stages in life is that miasma of insanity called puberty. Lillian Hellman's "The Children's Hour" explores that nightmare landscape within the framework of a remote girl's school crammed with raging teen hormones and vicious half truths.
Let me confess from the outset that To Kill a Mockingbird is one of my personal favorites. I doubt anything could spoil my enjoyment watching the story unfold yet again, this time live and onstage. And enjoy it I did, with a few exceptions.
It is true that no one knows what goes on in other people's marriages. And when couples decide to split, everyone immediately worries about the effect on the children and, of course, the husband and wife. But these are not the only casualties when a marriage goes off the rails. What about the friends? Who gets 'custody' of them? How will this refiguring of the divorcing pair's relationship affect their married pals?
Sam Bobrick has done a lot of writing for TV. You suspect that watching his play Remember Me?, recently at the Theatre Guild of Webster Groves. Remember Me? is well crafted, funny, and slight. It's set in a prosperous apartment in the Upper East Side of Manhattan. The central couple are middle-aged, well-to-do, bright and articulate.
The minute C.K. Edwards, Richard Riaz Yoder and Boris York as the New Rhythm Boys stepped or I should say glided onto the stage, my musical loving side knew it was in good hands.
Playwright Ron Hutchinson came across an amusing incident in the creation of the eternally popular movie Gone with the Wind. Three weeks into shooting the film, producer David O. Selznick, unhappy with the work of director George Cukor and the screenplay by Sidney Howard, suspended work, fired Cukor, and locked himself in his office with new director Victor Fleming and writer Ben Hecht. Selznick gave the trio five days to come up with a new script for the movie. They did.
Mr. and Mrs. Zero (Chuck Brinkley, Kimberly D. Sansone) have been married 25 years. Mr. Zero has worked as a bookkeeper for 25 years. Mr. Zero is unhappy. Mrs. Zero is unhappy. When Mr. Zero is fired instead of getting the promotion he expected, he kills his boss, is executed and eventually learns the secret. The end.
Lynn Hallaby (Nicole Angeli) doesn’t know why she needs to go to Alaska and work as a commercial fisherman. Her family, including husband, Ray (Eric Dean White); parents Margie and Hudson (Peggy Billo, Joe Hanrahan), and brother Kelly (Charlie Barron) haven't a clue either. All she is sure of is that this is something she must do, and all her family is determined to do is stop her.
Director Steven Woolf and Casting Director Rich Cole have assembled the perfect cast, the perfect crew, and then delivered the package with the deft flourish of an accomplished magician. Ta-dah! Neil Simon!
Director Deanna Jent reprises one of her best-known productions in this version of Going to See the Elephant by Karen Hensel and Elana Kent. In the theatre community, the now-defunct but highly respected Orange Girls Company offered this play, director and leading lady, Nancy Lewis, as its first outing and it won several Kevin Kline Awards, including one for Lewis at “Maw,” surprising almost everyone.