429 stories by "Robert Cushman"
Robert Cushman: Will these crazy experimentalist directors stop at nothing?
Robert Cushman: The first act is tight, but the second, though still entertaining, feels as if the authors are making it up as they go along
Robert Cushman: The show's ending returns, abruptly, to its beginning, but nobody's perfect
Robert Cushman: In Middletown, which has only two acts, the memento mori is emblazoned from the start
Robert Cushman: The production suffers, for me at least, from comparison to Laszlo Marton's superb Soulpepper staging
Robert Cushman: A play that without any directorial forcing proves astonishingly prescient of the present moment
The bear is, in all his charm and majesty and significance, a triumph for the author's ambition and imagination
The Shaw Festival's An Octoroon is the Canadian premiere of an off-Broadway sensation from 2014
Tom Patterson Theatre, Stratford " There has been, in the last 60 years or so, a renaissance of Renaissance drama. The plays of Shakespeare's contemporaries and successors, long eclipse…
Summerworks Performance Festival runs until August 13
Robert Cushman: Euripides' play, by common consent his greatest, was also his last (or last but one). It premiered in old Athens in 406 BC, following the death of its aged, exiled author
Robert Cushman: Its story, though, runs out of steam, even at a playing length of just over an hour
The Virgin Trial is a sequel to The Last Wife, Hennig's play about Katherine Parr, Henry VIII's sixth and final queen
Robert Cushman: But the play, by the author's own admission, makes no attempt to assess whether, as legend has it, Canadian identity was really forged at Vimy
Beautiful: The Carole King Musical begins with King at Carnegie Hall in 1971, all set to give the live premiere of the songs from her album Tapestry
Robert Cushman: Down in the Distillery District, the company known as VideoCabaret have been reviving and revising their strip-cartoon national epic
Robert Cushman: Who wants to go up against Come from Away? Well, somebody has to and some things have, from the estimable Passing Strange to the deplorable Matilda
Robert Cushman: Antoni Cimolino's production is the only one I've seen to turn the theory into practice; to make the screen scene the great moment in English comedy that the books say it is
Robert Cushman: Stratford has fruitfully twinned its production of The School for Scandal with Timon of Athens, casting mostly the same actors in another lampoon of society
Robert Cushman: I will lay you odds that the superimposition of one time-frame upon another is one reason that this musical becomes what is known as timeless
Robert Cushman: At times, I thought the constant motion of all the characters actually helped the story; at others, I thought it got in the way
Robert Cushman: It's no secret that Romeo and Juliet ends in a tomb. In Stratford's new production, it begins there as well
Robert Cushman: The performance's execution lacks something in finesse, but the conception is an eye-opener
Robert Cushman: The music, mostly melodic rock, can be very expressive. The lyrics, though, can't. They're often difficult to hear
Robert Cushman: It was, I imagine, like being in church, but more so. They had come to the theatre, and it was speaking their language
