Cameron Kelsall is not complaining about Kathleen Clark’s sweet-natured love letter to the ethos of community theater, featuring a star turn by Penny Fuller.
Adam Bock, once again, finds the extraordinary within the ordinary in a world premiere at Williamstown. Cameron Kelsall reviews.
Cameron Kelsall finds this Ibsen revival at Williamstown brings stale melodrama rather than shocking moral turpitude.
Halley Feiffer misses the point of the original play with her Millennial refashioning of Chekhov’s “Three Sisters.” Cameron Kelsall reviews.
André Braugher provokes genuine pathos from limited material. Cameron Kelsall reviews.
Director Robert O’Hara lets Lorraine Hansberry’s classic play breathe. Cameron Kelsall reviews.
Cameron Kelsall finds nothing authentic in Carla Ching’s “compendium of clichés.”
There is no spark in this shallow revival of the calcified Lanford Wilson play. Cameron Kelsall reviews.
John Webster’s 400-year-old revenge tragedy “crackles with wit and insight”–but Cameron Kelsall finds that the production fails to live up to the possibilities.
Cheap, overstated, and not improved by recent revisions, only Corbin Bleu brings old-fashioned charm to this classic musical revival. Cameron Kelsall reviews.