In a taut, one actor, one-act The Thousandth Night by Carol Wolf the poised Kyd takes on about three dozen roles beyond just de Bonheur to draw us into a world of ever-increasing fear and suspense that permeates MetroStage’s production.
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Given its acting and technical virtues, the TACT production is not simply a piece of historical and cultural commentary but a lively, highly engaging theatrical experience.
In their matching dinner jackets, underneath a huge projected moon and bathed in sumptuous evening light, it’s easy to forgive any flaws and just let the ears enjoy the aural buffet.
Tender Napalm will rivet an adventuresome audience because Ripley’s characters and story have a complexity to chew on.
Ann Randolph’s sanguine Loveland has an abundance of remarkable, sometimes absurdist, comic flair.
Happily Ever After is a tongue-in-cheek title waiting for a comma with a next phrase starting with “if.”
Synetic’s Hamlet…the rest is silence is an achievement to be experienced for the first time, or once again.
LTA’s production never loses sight of the key point that Proof is a play about emotions, not equations.
Xanadu delivers a frothy, fun evening, and for such a show, who could ask for anything more?