It is a stunning performance which finds the complexity of Brecht's most famous creation - while denying acquaintance with her mutilated son Swiss Cheese to save herself and her daughter, he…
According to a report byBaz Bamigboye for Daily Mail, THE CHILDREN'S HOUR, starring Keira Knightly and Elizabeth Moss has brought in 1.8million. With a successful run at the Comedy Theatre, …
Brecht's play is turned into a rock-and-roll circus, signifying almost nothing.
Some plays are so inherently unpleasant to watch that you wonder how a nonprofit can possibly sell them to a subscription audience. "The Children of Vonderly" is one of those plays.
Though I recommend reading the book first, Tantalo's tight direction and the dynamic visual and sound elements go along way to make the play stand on its own
Nine Tony nominee Antonio Banderas joins forces with Sofie von Otter on the title track of the new CD "Children First," which will benefit UNICEF.
Playwright Eric Simonson captures the wry, heartbreaking texture of "Slaughterhouse-Five" Too bad director Joe Tantalo's smooth, stylish production insists on a surface-deep sameness that mi…
Three profoundly moving performances of extraordinary modesty and restraint make this revival a surprisingly significant one.
When a schoolgirl's whisper spreads, it triggers a chain of events with extraordinary consequences. Karen Wright Keira Knightley and Martha Dobie Elisabeth Moss run a girls boarding school …
Kiss Me Kate goes Goth in the Katselas Theater Company's world premiere production of Scott Martin's bloodless tuner Children of the Night. The intriguing tale of Dracula author Bram Stoker's life behind the scenes in the London theater and his frustrating relationship with actor Henry Irving provide sufficient drama, but Martin's musical style and book are smothered in the dust of '70s Brit tuners. One-note characters and cliched dialogue leave the actors with few choices to make, though refreshing perfs from fine singer Teri Bibb and giddy Gibby Brand suggest some of the material has potential.
Director Jonathan Silverstein ably creates vignettes from Gene's memories that are contentious, intentionally awkward scenes between father and son.