In an otherwise “formulaic family tragedy,” a standout performance by Pat Bowie raises the stakes. Cameron Kelsall reviews.
Adam Rapp’s Broadway debut is masterfully acted, directed, and designed, but the play itself may leave you feeling “impressed and unsatisfied.” Cameron Kelsall reviews.
Cameron Kelsall thought he’d seen it all when it came to Macbeth. But then this clever, tuneful musical adaptation that transports Birnam Wood to a 1970s fast-food joint snuck in through the drive-thru window.
Playwright Will Arbery admirably endeavors to craft a nuanced portrait of conservative Catholicism, but the result is a facile exploration of religious and political tribalism. Cameron Kelsall reviews.
An avant-garde choose your own adventure from Pig Iron and Mimi Lien ends up curiously empty. Cameron Kelsall reviews.
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.