Kate Gulliver is back to direct her third Noel Coward comedy, and this one is not only witty and English, but also fine, frothy and French.
The corporation where he’s worked for the past 10 years is moving to Mars, and Ethan Lipton doesn’t want to go.
Burns and Murray review Shakespeare & Co’s “Private Eyes” and find it is a mystery play in more ways than one.
Live theater can be an important tool for social change, and MOM BABY GOD explores the resurgent attack on reproductive rights and the student arm of the anti-choice movement.
“Country Life’s a Bitch” this quartet tells us, but also delightfully funny, unusually frank and best of all, oddly familiar. Plays Sept. 26-28 only.
Columbus Day weekend is when dozens of artists and artisans will take part in this year’s Made in the Berkshires.
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.
Poe was a master of more than horror stories. He also wrote satires, humor tales, and hoaxes. For comic effect, he used irony and ludicrous extravagance, often in an attempt to liberate the reader from cultural conformity.
Oskar Eustis, Artistic Director of The Public Theatre, has calledIn Darfur “A theatrical offering that is also a call to arms.”
This classic 1955 Pulitzer winning play is set in the Mississippi Delta plantation home of cotton tycoon Big Daddy, who clashes with his son Brick and Maggie the “Cat”, Brick’s wife.
Ibsen’s timeless conflict between the hypocritical “moral” majority and a truth-teller is even more riveting in Arthur Miller’s hands.
Madame Tussaud lives on in wax, and in a not-yet-published play by Trina Davis which is the final offering in WAM Theatre’s “Fresh Takes” play reading series.