Like the snake who tempted Eve, the presence of a mysterious middle-aged woman named Mrs. Erlynne disrupts the harmonious marriage of Lady Margaret Windermere and her husband, Lord Arthur Windermere.
Review
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Director Joel Daavid renews his production of William Gibson's play, originally at the Matrix Theatre, with a stunning show that includes several of the original cast.
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Director Marsha Moode's rendition of this spirited stage adaptation of Busby Berkeley's classic Depression-era film offers a mostly successful realization of the show's old-fashioned charms.
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Spanish playwright Lope de Vega (1562–1635) sailed with the Spanish Armada, served as secretary to the Duke of Alba, and indulged in scandalous love affairs, even after becoming a priest.
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An evening of two one-hour one-acts by writer-director Matt Morillo swings wildly from pointed, realistic, and interesting debate to pointless, ludicrous, and unfunny.
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This fluffy musical confection, based on Hans Christian Anderson's 'The Princess and the Pea' and celebrating its golden anniversary, opened on Broadway in 1959.
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Though the score introduced a few memorable Porter standards—most notably "It's De-Lovely"—the songs feel shoehorned into the plot and most come across as tepid here, victims of generally unremarkable singing and mediocre staging.
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Canadian playwright Suzanne Lebeau's metaphorical parable, written in French but presented in this production in Spanish with English supertitles, is full of rich and provocative allegory, but short on theatrical power.
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In racking up two parallel casts for David Mamet's bristling, funny-sad drama about beleaguered real estate salesmen, director Gary Krinke puts a twist on the play's dynamics by using an all-female cast for half the performances.
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Playwright Stefan Marks is clearly trying to tell a coming-of-age story, but that's all that's clear about this work. Marks hasn't decided what his core theme is or what kind of play he's writing.
