This adaptation by Marquéz’s fellow Colombians Jorge Alí Triana and Carlos José Reyes is an engaging and imaginative rendition of a bizarre tale.
Put wax museum and children’s theater together: nice fit.
What Mrs. Bob Cratchit’s Wild Christmas Binge lacks in coherence and uplift it makes up in scattershot satire and darkly comic cynicism.
As a splashy, flashy theater spectacle, Synetic’s M&M is incomparable. As an ideological denunciation of totalitarianism, it is unimpeachable.
A Fox on the Fairway has what theater-goers crave in hard times, be they the 1930s or the 2000s — romance, swanky-but-ludicrous characters and lots of laughs.
By fusing the waning vigor of Catholic spoof comedy with by-gone boy group vitality, however, Altar Boyz demonstrates the well-known staying power of hybrids.
The current American Century Theater production of Serenading Louie is at least solidly crafted. While not inspired, the acting is proficient.
Those who pine for mid-20th Century romantic boleros and bluesy ballads, pepped up with the occasional folkloric ditty, get a rare opportunity to indulge their longings at El Bola.
Director Derek Goldman’s take on The Metamorphosis is grim and unsettling. But it is also provocative and absorbing.
Proving that a show can be amusing without being coherent is this Washington Shakespeare Company production of Moliere’s The Miser.