Share-

“April, Come She Will,” by Paul Simon is a song using the months of the year as metaphors, and when he gets to August, he no longer seems to feel the promise of spring and early summer, but only the sense that the year is now in decline, “dying.” That was more or less my experience last night at the Gaslight’s Theatre’s production of August: Osage County. I felt like the much-lauded Tracy Letts play wasn’t entirely well-served by the company, but there are good reasons for that, which I’ll get to in the course of this review.

Share-

Mustard Seed Theatre closes its 10th season with a triumphant production of the much-performed Dancing at Lughnasa by Brien Friel, first produced at the Abbey Theatre, Dublin in 1990, and mounted on Broadway the following year. It was honored with the Olivier and Tony Awards for Best Play, and I honestly never understood why. Not until now anyway, when I learned what a difference brilliant casting, acting, direction and production values can do to help our imaginations soar past the logical flaws in this mostly graceful memory play.

Share-

Stray Dog Theatre Company isn’t afraid to take any chances, and this time, its bite is way worse than its bark. Sweeney Todd, subtitled “The Demon Barber of Fleet Street,” a “musical thriller,” isn’t alone in its genre, but it’s unique all the same. It has all the elements of conventional musical comedy: false accusation and banishment, grinding poverty, the Great Fire of London, murder, kidnapping, cannibalism, the filth that is the industrial revolution in England, the many in service to the few….

INstrgram circle Facebookcircle twittercirlce2 tubblrcircle3 linkedincircle2 redditcircle2 youtubecircle3VimeocirclePinterest Circle Icongooglepluscircleello-logo