The Rude Mechanicals theater company plays up the 1960s resonance of Lysistrata, filling the production with topical references to the culture and music of young people of the era.
Farce isn’t easy, and can require a delicate, wry touch to balance the absurdity of the plot’s situations.
This is the kind of play that is worth seeing more than once, with the likelihood that one will get more from it on a second viewing.
One of the pleasures of attending Fringe is to see not only where a show is today, but to imagine where it might go in the future, and this is a pleasure that fans of musicals can derive from Madame.
Gilbert and Sullivan’s Trial by Jury is a traditionally-structured show in which the words are supremely important.
All three plays were crisply paced with well-timed interactions among the distinct characters, aided by crystal-clear diction.
Traveling Spotlight Productions’ presentation of Miss Saigon offers neither transcendent performances nor spectacular staging.
The strength of Stop Kiss is that one is left hoping that two characters who are worth caring about will find the resources needed for the next steps on their path.
A Little Night Music is a show that is easy to love, and there is a lot to like in the current TAP production.
A sterling cast; gorgeous singing; and well-conceived, energetic and precise dancing make Arena’s production a delight, notwithstanding the conceptual baggage.