In this reworking of his 2008 play of the same name, Erik Patterson eloquently examines two of the more perplexing phenomena produced by the AIDS epidemic: men who deliberately choose to become infected, and others so angry and embittered by their affliction that they seek to infect others.
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These days, commercials for snacks and games still run during Saturday morning children's television programming, but what's missing are short, educational pieces set to catchy tunes.
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This show is advertised as a "new spaghetti Western musical," which is a slight misnomer. It is a Western, in the Sergio Leone vein, and there is some excellent music by Tony Bollas but not quite enough to qualify as a musical.
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It's 1722 in Leipzig, Germany. The Thomaskirche is in need of a new music director. Germany's top organists and choir leaders descend on the church to apply for the job.
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Although some of "Tetro" is uneven and melodramatic, it's a stunning-looking and noble effort from a cinematic legend who clearly is just getting started.
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"The Hurt Locker" literally opens with a bang as we see Bravo Company, made up of three members of the Army's elite Explosive Ordinance Disposal squad, attempt to diffuse a roadside bomb with disastrous results.
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Two fetching performances, by Eric T. Miller and Jamie Dunn, breathe indelible life into Scott Hudson's slim but evocative "Sweet Storm."
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See "FUBAR" if you want to experience theatrical shock and awe. So smart, entertaining, stylish, and surprising is Karl Gajdusek's play that it risks looking too slick and hip in any description.
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An energetic, responsive cast gets a lot of entertaining mileage out of this 68-year-old classic warhorse of macabre farce.
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In Castillo Theatre's new production of "Hamletmachine," the complete text of Heiner Müller's 1977 play is transcribed along the two walls that bound the stage.
