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The date was 1963, less than a year before Lewis’s death, and the setting was comfortably simplistic: a bookshelf, a desk, a side table set for teatime and one rigid armchair.
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Switching among characters and stories from his own life, Sussman examines societal evolution and what it means to move forward, even through a pessimistic lens.
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The climax may be unsatisfying, but BareStage Productions’ “Carrie: The Musical” is not.
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When “The Importance of Being Earnest, A Trivial Comedy for Serious People” first premiered in 1895, critic William Archer said in The World: “(The play) imitates nothing, represents nothing, is nothing, except a sort of rondo capriccioso, in which the artist’s fingers run with crisp irresponsibility up and down the
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The fact that they’re able to pull it off and still have a great deal of fun with each other is a testament to the company members’ understanding of the art form and their great comfort with one another — necessary ingredients in any comedy troupe.
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Here, in this intimate and vibrant space, one can leave behind the city and enter the great “Jungle.”
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One imagines this is one of the things that makes a great magician — audiences must be charmed enough that they’re willing to be fooled.
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A preeminent example of metatheatre, “Pippin” explores the tensions between the theatrical troupe members within the musical, as well as those between the theatricality of the musical and us, the actual audience.
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The collection of disparate, short scenes allowed 3 FOR ALL to mine the most laughs possible from a simple premise before moving on to the next scene.
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Last Friday, Shotgun Players kicked off their 2019 season with “KILL THE DEBBIE DOWNERS! KILL THEM! KILL THEM! KILL THEM OFF!” — a work of devised theater directed by Mark Jackson and Beth Wilmurt and based off of Anton Chekhov’s “Three Sisters.”
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