With two superb performances by Matthew Keenan and Robert Leembruggen, the haunting light and sound designs by Michael Innocenti and Tony Angelini, respectively, make for a spine-tingling and sometimes whimsical adventure that will leave you begging for more.
Crossing is a cozy, no-intermission 85 minutes with a sentimental Holiday Season sensibility of trust for the future. There is a lovely quietness to it.
See this King John not just to chalk up to your list of Shakespearean plays but because it is good. See for yourself. You will be well rewarded.
Hearing and seeing fine performances of the glories of the score, as in this RMT production, never grows old.
So subtle, intricate, and well designed and performed are every detail and nuance of 36 Views that this is one of those rare productions that would reward more than a single viewing. Fascinating, from start to finish. Really.
In addition to sounding a cautionary note about contemporary demagoguery, the value of Parade in KAT’s production is that it takes what could simply be a history lesson and incarnates it in vivid, believable characters whose motivations and become clear to and can move an audience.
“You are only as sick as your secrets” — or so the saying goes. Applying that bit of ancient wisdom to the farce/drama now premiering at Signature Theatre, I would say that playwright Paul Downs Colaizzo’s characters are sick, sick, sick.
Its title notwithstanding, Charles Randolph-Wright’s new play, Love in Afghanistan, now playing at Arena Stage, has little in it of the conventional love story.
In bringing Shakespeare’s Romeo and Juliet to view, Helen Hayes Award-winning director Aaron Posner puts his stamp on the plague on both houses showing us a world through a glass darkly.
Martin’s script is uneven, intermittently humorous and tedious. But the performances at VTC make the evening a worthwhile entertainment.