Review: ‘Anne Boleyn’

The Bible, as anyone knows who’s ever opened it, is fairly bursting with sex. From Old Testament stories of kings and concubines, to New Testament tales of reformed prostitutes and virgin mothers, sex is pretty much everywhere. But who knew how big a role sex played in the creation of the longest lasting and best-loved…

Review: ‘The Andrews Brothers’ (with a bit of musing on the perplexing popularity of the ‘jukebox’ musical)

QUESTION: When is a play not a play? ANSWER: When it’s a concert. Plays, generally speaking, have plots. And concerts, generally speaking, um . . . don’t. That’s the argument some have made against the rise (and strange popularity) of so-called “jukebox musicals,” the cutely coined nickname for stage shows consisting primarily of a catalog of songs…

Reviews: ‘Silent Sky’ and ‘All My Sons’

(This review originally appeared in the North Bay Bohemian) Two commanding dramas—one a classic, one destined to be—are now playing in the North Bay. Each is worth discovering. In 1948, Arthur Miller’s All My Sons became his first critical hit. Not an easy show to pull off, Miller’s ingeniously unfolding post-WWII drama gets a solid, emotionally truthful…

Review: ‘Time Stands Still’ at Cinnabar Theater

War is not just about bombs and bullets and blood. It’s also about politics and position and power. Playwright Donald Margulies is not particularly interested in either the politics of war or the gory details of modern warfare. From his Pulitzer nominated play ‘Collected Stories’ to his Pulitzer-winning play ‘The Dinner Party,’ Margulies has always…

Review: ‘4000 Miles’

The essential failure of Amy Herzog’s 4000 Miles—the story of an angry cyclist and his passive-aggressive relationship with his testy, suspicious grandmother—is its lack of direction and absence of coherent plotting, along with characters who, with one exception, start off being largely unlikable and reveal themselves so slowly that by the time we see something admirable,…

Review: ‘God of Carnage’

As theatergoers, we occasionally attend plays we never previously liked—and end up changing our minds by the end. Maybe exceptional acting somehow assists the script in transcending its limitations, or the directing cleverly alters the show to make some powerful social statement, finding some new way to show us something we’d not noticed in previous productions. For me,…

Review:’Swimmers’

SWIMMERS (Marin Theatre Company) Rating: ★★★★½ (Out of five) Swimmers, by Rachel Bonds, is a gorgeously poetic play about that specific form of crushing loneliness that can only be felt in the presence of other people, and it’s beautifully performed by a large company of 11 actors. Presented by Marin Theatre Company and directed with detailed precision…

Review: ‘Spelling Bee’ and . . . ‘Spelling Bee’

I am, in a moment, going to talk about spelling, as in spelling bees, as in ‘The 25th Annual Putnam County Spelling Bee,’ a musical that is currently running in two different productions in the North Bay. But first, let me delve further into the disciplines of vocabulary with a few stage-related definitions. I’d like…

Review: OSF’s ‘Great Expectations’

As the 2016 Oregon Shakespeare Festival kicks off its season with four shows (and seven more to open between now and late summer), the trend this year seems to be shows that challenge up the norm, fiddle with audience comfort-levels, and defy tradition. But that’s not true for every show, and frankly, that’s kind of nice.…