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The most striking thing about performances at the Berkeley Playhouse is the consistently terrific sets. As the lights went up on the theater’s newest production of “Dreamgirls,” the audience was transported directly to the Apollo Theater at the height of the 1960s Motown craze.
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Nevertheless, in spite of these initial misgivings, no other adjectives perfectly encapsulate Berkeley Playhouse’s production of “Ragtime.”
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A family-friendly show, “James and the Giant Peach” presents an epic musical journey described as “lyrical, hummable and fantastical.”
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Even though “Sister Act” is far from perfect, its talented cast and beautiful set provide some unmistakable aspects of divine inspiration.
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Regardless of age, race, class or background, the Berkeley Playhouse offers a unique, challenging and entertaining performance for everyone who walks through its — albeit small, but always open — door.
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The Addams Family — everyone’s favorite macabre Brady Brunch alternative — has taken residence at the Julia Morgan Theater. And while Berkeley Playhouse has boasted a particularly impressive professional season that included the world premiere of “Bridges: A New Musical,” “The Addams Family” is in the running to be the
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Berkeley Playhouse’s entry to the busy “Peter Pan” adaptation market debuted this Sunday with a kid-friendly revival of the 1954 musical version of J.M. Barrie’s beloved tale of the boy who wouldn’t grow up, penned by Carolyn Leigh and Mark “Moose” Charlap. Daren A.C. Carollo’s direction closely follows the tradition
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The brag list for “Avenue Q” reaches farther than its city limits. Firstly, it beat out fan-favorite and bandwagon magnet “Wicked” for Best Musical at the Tony Awards in 2004. Secondly, it writes a fictionalized Gary Coleman and versatile puppet sex into the same scene. And thirdly, it’s the fast-selling
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Berkeley Playhouse’s production of “Fiddler on the Roof,” directed by Jon Tracy, tells a heartwarming story of a man’s relentless efforts to suppress changes that are taking over his village in Imperial Russia during the early 1900s. The play’s main theme — the upholding of traditions — is challenged when
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The Julia Morgan Theater was bustling with excitement last Saturday for the sold-out opening night of Berkeley Playhouse’s production of “Hairspray.” “Hairspray” starts as the story of one girl’s quest to local television fame, but progresses into an inspirational tale about battling racial inequality on the homefront in order to
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