Performance
For the first 45 minutes of Profile Theatre’s My Children! My Africa!,
you may think a latter-day Mr. Chips has single-handedly defeated the
entire edifice of 1980s-era South African apartheid w
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Performance
It would be easy to carp about Lauren
Weedman’s mispronunciation and misnaming of this newspaper (on opening
night, she referred to it as “Will-uh-met Weekly”). But that would be
too simpl
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Performance
Since her first play stunned New York audiences four years
ago, Annie Baker, 31, has gone from obscurity to acclaim. In that time,
critics have scraped away at her plays, trying to unearth what ma
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Performance
Bruce Norris’ Clybourne Park—the
first work to win the triple crown of the Pulitzer, Tony and Britain’s
Olivier—is one of the most produced plays among regional companies. I
haven’t se
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Performance
Deep into Conor McPherson’s St. Nicholas,
our devilish, graying narrator is engulfed by the irresistible spell of
otherworldly figures, swept into their London mansion of dark wood
paneling an
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Performance
In the program notes for The Possessions of La Boîte,
director Charmian Creagle says the show “is an homage to an art
form—the letter—and the power it possesses.” It’s an assertion that
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Performance
Before Arabian Nights begins, Post Five’s
performers move about the theater. Clad in harem pants and embroidered
vests, they squeeze into black vinyl pews, wrapping an arm around an
audience m
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Performance
The architect Ludwig Mies van der Rohe was famous for the
aphorism “Less is more.” Though his design was guided by an abstract
philosophy, his steel-and-glass buildings were outwardly simple a
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Performance
Bethany Palmer hasn’t slept in 13 years,
not since her son Andrew was born. Fearing a ghoulish Sandman she
believes is out to steal Andrew’s eyes, she stays up all night nervously
knitting s
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Performance
Fifty Shades of Grey reduced sadomasochism to handcuffs and spanking. Venus in Fur—while
not devoid of dog collars and riding crops—throws into question such
simple ideas of control and compli
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