Like all great plays, Arthur Miller's "Death of a Salesman" benefits from a wide range of interpretations, if they are faithful to the text and internally consistent. So much is in the play that there are multiple ways of pulling it out.
Over the past seventy-five years the little town of Grover’s Corners has come to life at least once on every stage in America. This village is the subject of Thornton Wilder’s wonderful play, "Our Town," which Insight Theatre is now presenting in quite an excellent production.
In "Time Stands Still," Donald Margulies takes a deceptively simple premise, examines it from four different perspectives (one per character), and how you feel about the play may well depend on which character you find espouses your particular belief.
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.
St. Louis currently has a rare opportunity to see two productions of the best play set in St. Louis, Tennessee Williams' The Glass Menagerie.
There is much to appreciate in David Lindsay-Abaire’s Rabbit Hole, and credit for Insight’s thoughtful production needs to go to director Jason Cannon for giving this often-performed domestic tragedy a deliberate and coherent reading. He constructs a through line illuminating the play’s use of parallelism in a dual context that insures that the ending makes sense to the audience. The story thus seems more organic than episodic, as is a danger with this script, and that is a major accomplishment by Cannon. It almost makes sense to me now that it got a Pulitzer Prize, and I can see why a reader would think it’s extraordinary. However, it can be argued (and of course, I’m going to) that it is very difficult to feel emotion that goes beyond admiration when the show is performed.
I’ll bet this has happened to you. It’s a cold morning, you’re in a hurry, and you put the key in the ignition and it almost turns over, then it dies. You repeat the process over and over with the same result until you give up and call AAA. Well, that’s Becky’s New Car. It has a number of promising starts, but it never quite gets going, despite the best efforts of its talented main cast, including Susie Wall in the title role, and John Contini, Jerry Russo, and Scott McMaster as the men in her life.