153 stories by "Ian Thal"
All in all, Allyn Burrows has assembled a solidly entertaining production of a perennial Shakespearean favorite for the winter season.
The Underground Railway Theater serves up an hour and fifteen minutes of enchantment.
Carrie J. Preston refuses to characterize these cultural exchanges in moralistic or narrowly political terms.
Though Kenneth Lin wrote Warrior Class in 2012, it is easy to see its resonances with the 2016 election cycle.
Alice Birch's play/polemic about radical feminism resists Company One's earnest-to-the-max interpretation.
In this innovative production, Hamlet comes off as Shakespeare's most successful genre mash-up of tragedy and comedy.
Romana Lisa Alexander's impressive talent for chameleonic invention is well-suited to this demanding script.
Eight by Tenn offers eight stories whose psychological depths and linguistic riches rival those of most full-length plays.
Bread & Puppet Theater's world of anthropomorphized trees and talking toilets is often funny, sometimes beautiful, and always memorable.
The Emperor of the Moon is a boisterous bit of family friendly late-afternoon entertainment under Shakespeare & Company's Rose Footprint Tent.
Shakespeare & Company's staging of Merchant of Venice is the strongest this critic has ever seen or could hope to.
Apollinaire Theatre Company has expanded the possibilities of finding first-rate outdoor Shakespeare in the Boston area.
Those seeking whimsical and intimate theatrical entertainment should take in this imaginative production.
The 7 Fingers can be depended on to fill everyone's belly with spectacle.
In this splendid exhibition, Leon Steinmetz displays a deep appreciation of the complexity of commedia dell'arte.
Wild Williams is a marvelous antidote for the formulaic.
When it comes to dramatic debate, balanced parry and thrust are paramount.
Maureen Keiller and Will Lyman have performed numerous staged readings of Oh God and their intimate knowledge of the text shows.
Zahdi Dates and Poppies demonstrates that the formal aspects of Noh can be adapted to contemporary American themes.
Anne Washburn has a number of good ideas in this play, but the execution falls short.
Director Lee Mikeska Gardner has put together a dazzling production that matches Tom Stoppard's dazzling script.
Despite this, he is vexed by how the play draws out the anti-Semitism of English audiences
Fast Company may be light entertainment, but director M. Bevin O'Gara has assembled her own remarkable crew for this breezy caper comedy.
With conformity on the march, Ionesco's Rhinoceros remains as timely as ever.
Okada's play reflects how skepticism has become the default stance for young adults shellshocked by post-recession economic restructuring.
