Though it's a shallow work, a series of short scenes that doesn't get very far and raises more questions than it knows what to do with, "Cookie" is sweet-natured.
Off-Off-Broadway Review
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Cody Daigle's ambitious and well-meaning new play "A Home Across the Ocean" has talent and a fresh story, but it is ultimately undone by predictability, naiveté, and sentimentality.
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I've been to actual funerals that had more life than "The Funeral Director's Wife." This disjointed, rambling new comedy is being advertised as a classic piece of Americana along the lines of "Spoon River Anthology" and "Our Town."
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Despite a clever setup, some nice acting, and well-earned laughs, this multi-scene look at contemporary American life, priorities, and real estate could use updating to include more-current economic angst.
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A.D. Penedo's intelligent and tightly written dramedy about lust and betrayal grabs from the first, an amusing cat-and-mouse game in the guise of budding romance under Christopher Windom's intense direction.
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Em O'Loughlin Was a Big Fatty Boombah!
Recounting her life story through the prism of her struggle with weight, talented Aussie comedian Emily O'Loughlin weaves a delightful though somewhat shallow tale.
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More like a ballet than a play or a traditional puppet theater presentation, this uneven choreography-driven show features a hodgepodge cast of people and puppets.
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Instead of claiming that a talented performer could make reading the phone book interesting, I'd like to suggest substituting playwright Don Thompson's Tibet Does Not Exist.
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Corporate life goes all dreamlike in this jumbled multimedia performance from Title: Point Productions that's part of Incubator Arts Project.
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In Mark Jason Williams' new play about dealing with terminal illness, the prognosis is not great when lead roles are less interesting than supporting characters.
