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Director Benjamin Arsenault treated the content with a close eye and sensitivity that allowed the production to be at once true to the original text and a slight, but effective, modernization.
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An actor with almost 40 years of experience in the field, playing every role from Shakespearean villains to video game action stars, Leguizamo is vocal regarding the contributions Latinx individuals have made toward the entertainment industry.
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It is hard to critique the cultural insensitivity of the story without tracing it back to its original source, since most of the structural elements come from Gilbert and Sullivan.
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“Let’s Kill Jessica” is a gloriously female-driven production that, thankfully, isn’t solely focused on the fact that its leading characters are all female.
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Performing the role of Sylvia Plath is Bay Area actress Lorri Holt, who walks on stage in a medium-length skirt and blue cardigan like the classic ‘50s housewife that Slyvia Plath was expected to be.
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To the show’s detriment, the themes of cultural confluence become utterly lost in a sea of diverging plot points.
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Any exigency of the current climate catastrophe that the show might have set out to achieve, however, loses potency in the overwhelming cheesiness of its delivery.
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“Mamma Mia!” brings in audiences with its retro musical numbers and gleefully soapy plot — two charming factors that Berkeley Playhouse’s adaptation mostly manages to capture.
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Did you know Eleanor Roosevelt secretly dated the female journalist who was covering the 1928 election for The Associated Press? Neither do most people.
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In wanting to be a wholly original musical, “Anastasia” has been stuck failing to please both those who want a faithful adaptation and those who want a fresh take.
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