All is well in Topsy-Turveydom, says Gail Burns in her review of this Gilbert & Sullivan operetta.
The stories are intertwined in this gripping theatrical experience from WAM Theatre now playing at Shakespeare & Company.
Yes, it happened, from Barrington Stage to the biggest theatre on Broadway, and I am just one of the many critics from NY to LA who are applauding iits success. Click to read the review with more commentary.
When a father dares to expose a truth, those in power manipulate public opinion putting his whole family in danger.
A classic author of terror tales takes the stage just in time for Halloween.
Burns and Murray review Shakespeare & Co’s “Private Eyes” and find it is a mystery play in more ways than one.
Jim Brochu mingles his life story with those of the famous and near-famous of theatre, alternately performing himself or simply selling those watery orange drinks in Broadway’s Alvin Theatre, now called the Neil Simon.
The kitchen is the arena for the never-ending battle of the sexes – with laughs aplenty – in a play that’s divided into two acts and two generations with two different issues from 1970 and 2005 to keep the verbal sparring lively.
A ghostly goulash of Borscht Belt jokes, Broadway tunes and dead sitcom characters, The Addams Family delights fans of the Addams Family, and newcomers to this goofy, ghastly show.
The playwright Christopher Durang admits he “takes Chekhovian characters and themes and puts them in a blender.” The resulting brew is full of both laughter and pathos as a family discovers how to come together again.
An unlikely couple finds each other in this new romantic comedy between an injured dancer and a young man with Asperger's Syndrome who needs to learn how to dance and be social.
Irving Berlin’s music is well sung and danced at the Theater Barn, celebrating the Russian-born composer who shaped the Great American Songbook..