The Illustrious Birth of Padraic T. Duffy
It's fascinating stuff to think about: the relationship between an artist and an artist's creation, the self as creator, and the artist as, well, God—"in his own image," and all that.
LA Theater Review
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Those seeking a couple of hours of World War II nostalgia will know they've come to the right place during a wonderful preshow compilations of clips: assorted USO newsreel footage, Kate Smith belting out "God Bless America," a "Looney Tunes" cartoon, and much more.
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Composer-lyricist Adam Guettel and playwright Craig Lucas weave a pleasantly diverting and lyrical musical based on the novella by Elizabeth Spencer about the visit of a mother and daughter to Italy in 1953
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There are flashes of—gasp—genuine heart in Alan Menken and Howard Ashman's popular musical spoof of cheesy horror films. Yet, real human emotion must take a back seat to tongue-in-cheek zaniness, the essential ingredient in making this mock-horror story take flight.
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When the audience applauds the props more heartily than it applauds the performers, you know you're viewing an unusual musical. Of course, most props aren't as elaborate as flying automobiles, and no other musical has been based on a story by Ian Fleming.
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In this mesmerizing revival of Tennessee Williams' 1955 Southern family epic, a quartet of performances—backed by a strong ensemble, an impressive set, and thoughtful direction by Brady Schwind—provides a three-hour theatrical treat, from Maggie's Act 1 entrance to Brick's poignant last line in Act 3.
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The frothy comedy with the throwaway title shows just how easily the Bard of Avon could toss off a gem of a play, in this case as he prepared to pen his quartet of great tragedies.
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With an engaging, almost circus-like atmosphere, this unusual piece, written by Brendan Behan in the late 1950s, offers something for everyone. Laughter, tears, joy, and fear intertwine through a collection of wonderfully performed Gaelic tunes.
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"I am not dead yet," croons a suddenly resuscitated would-be corpse in this gloriously goofy musical, based on the 1975 film "Monty Python and the Holy Grail."
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Peter Shaffer's award-winning 1973 London and Broadway play, a feat of breathtaking theatricality, continues to resonate powerfully.
