285 stories by "Aaron Riccio"
Photo/Hunter CanningIt doesn't feel particularly ambitious or adventurous of Thomas Bradshaw to adapt the biblical story of Job to the stage -- even the title, Job, is straightforward, and t…
For my first review back after an unusually long "vacation," and for a show being produced by the normally wonderful Mint Theater Company, I wish I had more positive things to write. But thi…
Photo/Joan MarcusWhy are sitcoms so popular in America? Perhaps it's because nothing bad ever really seems to happen, at least nothing that can't be shrugged off and reset by the end of the …
Photo/Monica Simoes"I'll have like this different level thing going for me where like the revolutionaries are all sentimental lovers and they all die because of it. It'll really just be a st…
Photo/Deborah AlexanderRest assured, there are no Ewok-equivalents in Sovereign, the third and final part of Mac Rogers's epic work of science-fiction theater, The Honeycomb Trilogy. In fact…
I don't think Chekhov ever used the term "creep" to describe his characters, and yet that perfect word choice is one of the little joys that makes Annie Baker's adaptation of Uncle Vanya&nbs…
The very funny concept behind Luther, the second of three plays running as part of Clubbed Thumb's Summerworks festival, is that Walter (Gibson Frazier) and Marjorie (Kelly Mares) have adopt…
At the heart of Women's Project Theater's We Play for the Gods is the sense that there are untold riches at the fingertips of the fourteen playwrights, directors, and producers -- all w…
In 1912, Theodore Roosevelt, while campaigning against his former protegee William Howard Taft and the Democratic nominee, Woodrow Wilson, was shot by John Flammang Schrank. The bullet was s…
Photo/Joan MarcusFood and Fadwa opens with a crash course on Palestinian parties, a direct address from Fadwa (Lameece Issaq) to her studio audience that both fills us in on the premise…
Democracy's a lovely thing -- everybody ought to have their voice heard -- but it's dangerous, too. After all, popularity, volume, and ideas aren't always enough to string together a coheren…
Kenneth Lonergan's Medieval Play, had to have been produced under threat of thumbscrews. Sir Ralph (Josh Hamilton) and Sir Alfred (Tate Donovan) are pillagers of the lowest order -- though t…
If My Children! My Africa! occasionally falls prey to schooling us, it is at least at the hands of the very gifted James A. Williams, and it is at least motivated by the relateable frus…
Will Eno's Title and Deed seems to operate in a vacuum. Christine Jones's set hangs geometric shapes in mid-air, looking like shrapnel frozen in time, and Ben Stanton's lighting is…
Given that Kenneth Lonergan's Medieval Play is running in the Signature's largest space, I have to wonder if artistic director James Houghton was aiming for a Dante-like vibe in the spa…
Photo/Heather Phelps LiptonJapan's Takarazuka Review appears to be such a glorious contradiction of ideals that it seems almost impossible that it's never been the subject of a play before. …
Perhaps the greatest compliment I can send Company XIV's way is that this exciting, dance-fusion troupe (under the expert leadership of Austin McCormick) continues to evolve with each new sh…
Photo/Corey TatarczukPerhaps the greatest compliment I can send Company XIV's way is that this exciting, dance-fusion troupe (under the expert leadership of Austin McCormick) continues to ev…
Photo/Bella MuccariAs it turns out, Wonderful Town isn't all that wonderful: sixty years can be rough on any musical, especially one with a book as chasm-like as the one that's bee…
All the big shows on Broadway have opened, I've got my (mother's) subscription to the Signature Theater taking me on a wonderful tour of works -- old and new -- from Fugard, Eno, and Lonerga…
Photo/Scott J. FettermanHere's poetic justice for you: a successful artist invites the embittered, distant friends of her old Bohemian collective to visit her mansion, to reminisce about the…
It's the strength of Tennessee Williams's A Streetcar Named Desire that is reflected in the relative success of this all-black revival, not Emily Mann's directorial decisions. Well, and…
It's the strength of Tennessee Williams's A Streetcar Named Desire that is reflected in the relative success of this all-black revival, not Emily Mann's directorial decisions. Well…
There is a great distance between any two people, not just across generations -- Leo (Gabriel Ebert) shows up at his grandmother Vera's (Mary Louise Wilson's) door after going AWOL on a bike…
Four thousand miles: that's a whole lot of distance. Almost as much, perhaps, as the distance between any two people, not just across generations -- Leo (Gabriel Ebert) shows up at his grand…
