June 18, 2019Deborah Klugman – Stage Raw It’s not often we have a story that spotlights a friendship between an elderly woman and a much younger one. It’s a welcome notion, and the primary draw for playwright Grace McLeod’s Herland, a National New Play Network rolling world premiere, directed by Tiffany Moon at Greenway Court Theatre. Read
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June 7, 2019Margaret Gray – LA Times No folkloric Himalayan ape-men appear in David Jacobi’s play “Ready, Steady, Yeti, Go.” That may sound like a spoiler, but it’s a PSA: The friend who went with me to see Rogue Machine’s production was too disappointed by the lack of yetis to focus on what was happening onstage…… Read
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June 7, 2019Rob Stevens – Haines His Way Four young women in their underwear take the stage at Boston Court. While bopping along to a lively mixtape/Itunes playlist, they don the corsets and panniers of the 18th century women they will be portraying in the World Premiere of Kit Steinkellner’s Ladies. Read more… Deborah Klugman – Stage Raw
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June 4, 2019Erin Conley – On Stage & Screen When playwright Lucas Hnath (A Doll’s House, Part Two, The Christians) was in college, his mother, Dana Higginbotham, went through a traumatizing ordeal. Dana struggled to speak about this painful experience with her son, so he eventually had fellow theater creator and collaborator Steve Cosson interview her about
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May 30, 2019Katie Buenneke – Stage Raw Gather: Surprising Stories and Other Mischief is an unwieldy title for a theatrical piece. Then again, Gather is an unwieldy theatrical piece. It’s not immediately clear what the piece is, and the answer doesn’t come readily upon further reflection. Read more… Now running through June 22

May 30, 2019Katie Buenneke – Stage Raw There is something soothing about the music of ABBA, the 70s Swedish pop group that brought the world such songs as “Dancing Queen,” “Take a Chance on Me,” and, of course, “Mamma Mia!” No matter how out of control the world gets, there’s always ABBA music to ease the soul,
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May 30, 2019Deborah Klugman – Stage Raw In its world premiere, Cory Hinkle’s The End of Beauty runs about two hours, but it’s not until the last 10 minutes that it grips one’s attention. That’s when Silas Weir Mitchell, playing one of the story’s three characters, looks back on the past with acceptance, perplexity and regret. Read more…
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