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“The Afterlife,” set in Soto’s hometown of Fresno, California, followed the events leading up to two teenagers’ deaths and explored what occurs after they die.
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Some of the blocking prevented the clarity of the visual comedy, but the arsonists’ use of proximity to intimidate the Biedermanns was a particularly strong staging choice.
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The play’s most striking aspect is undoubtedly Liliana Duque Piñeiro’s stage design.
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While these Beckett shows might not be at the top of the pile for theater companies looking to make a hefty profit, Anton’s Well provides the opportunity for Beckett fans to see these rarely produced shows until March 21.
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Using narrative-style exposition, Ecer tackles themes of environmental contamination, social division, immigration and gentrification in a captivatingly magical way.
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Interwoven with hilarity at every point, the production thrives on comedic absurdity, keeping audiences amused even as the show’s complex plot becomes muddled.
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“Gloria” controls the brilliant comedic energy throughout, emanating the flamboyance of television sitcoms.
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Spectators at the Berkeley Repertory Theatre alternated between doubling over in laughter and sitting deep in pensive thought as they watched Chicano troupe Culture Clash perform brilliantly in “Culture Clash (Still) in America.”
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“PussyGrabbingREVENGE” isn’t just a cathartic piece of art — it’s a call to action. To what action? Maybe Magree herself doesn’t even know.
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Berkeley Playhouse revives this story outstandingly, proving to audiences why the musical deserved such recognition.
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