Just as existentialism is a philosophy concerned with finding the meaning of life through personal responsibility and free choice, playwright Zach Fehst's heady, 75-minute romp is concerned with sorting out all of this business in a one-act performance.
LA Theater Review
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With a title that truncates the fictional Rossum's Universal Robots into an early example of marketable corporate abbreviation, Capek's vision is today still eerily fatalistic.
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Skewering the pursuit of idle happiness is hardly an earth-shattering theatrical concept.
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This Our Town is heavier on sarcasm than sentimentality, and it pushes more comedy and politics—with mixed results.
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Emilie: La Marquise Du Châtelet Defends Her Life at the Petit Théâtre at Cirey Tonight
If you're the kind of person who has ever wondered what little sobriquet Voltaire's sweetie pie gave him, this just might be the production for you.
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By the play's midpoint, we don't care about any of the characters. By the three-quarter mark, it's still hard to discern the play's viewpoint.
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At the top of the play, a sleepy tousle-headed character emerges from the mysterious upstairs area and descends the stairs onto Takeshi Kata's drab-brown Irish cottage set.
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This lavishly entertaining revue of songs composed by musician-songwriter-entertainer Thomas "Fats" Waller (1904–43) raised eyebrows when it won a best musical Tony in 1978.
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In the Greek myth of Orpheus and Eurydice, the great hero Orpheus descends into hell to rescue his recently deceased beloved.
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When a relatively new theatre company decides to go out on a limb to support young artists and new work onstage, it's an admirable thing.
