“Williamston Theatre offers an intense night at the theater with “9 Parts of Desire.” It’s the kind of work that is meaningful, one that fosters empathy and reminds those who have been gone from the theater for too long why we need it, why we need to be in the same room participating in a story that is a communal work of art.”

“John Patrick Shanley’s bizarre new play “Candlelight” is an ambitious hodgepodge of genre-jumping exuberance that will leave you breathlessly befuddled.”

Quirkiness and kookiness abound plenty in this sometimes clever, sometimes zany, and sometimes mature ‘panto’ twist of the story classic ‘Alice in Wonderland’…And it’s all part of the tremendous fun Ross Petty provides

Overall, “Candlelight” was a beautiful and heartbreaking play about young love and trauma that will leave audiences with feeling of joy and overwhelming sorrow all wrapped up in a beautiful little package. And, despite a few moments that I had questions about, I very much enjoyed it and will be thinking about it for many days after.

Director Timothy Sheader impressively keeps the production moving forward at a heart pumping pulse right to the jaw dropping emotional climax of the title song and the Crucifixion.

“When it comes to holiday classics, the recipe for success tends to contain dollops of laughter and a sprinkling of joyful tears. Williamston’s “This Wonderful Life” by Steve Murray has just the right mix to make their production a welcome return to their theater.”

THE BAND’S VISIT offers laughter, inspires hope, and ultimately brings all of us together for 90 minutes to celebrate friendship and the basic need of human connection.

Digital bullying, especially in the context of sexual orientation, is a formidable force. YPT, along with Mr. Malhi’s robust performance bravely faces the issue with both subtlety and power. It is suggested that “they will hate you.” Hopefully, this strong production will help young people to learn how to face or change this inevitability.

The third section is all Solstice Tait. Her brilliant dance at times is balletic fluidity as she is calmed and then transitions into staccato rhythm that climaxes with grand mal-like seizures as the emotion becomes severe

The excitement was contagious, as the staff of the Center Theatre Group prepared for the reopening of the Ahmanson Theatre for “A CHRISTMAS CAROL”.

“Regardless of its pitfalls it has heart and carries an important message.”

"Annie Live" just got it right. It understood the kitschiness of the source material but never condescended or exploited the show's cutesy factor.

“Under Michael Longhurst’s tender direction, Sharon D Clarke exposes Caroline’s complicated layers of feeling with a compassion for her character and for the situation she finds herself in.”

Rachel Forbes’ insightfully keen eye to the production’s look in costume selection and design winningly worked well for me. I liked the subtle incorporations of the colours of the season (silver, gold, red) reflected in the artists’ clothing

“It’s a show that has always been over-the-top and ultra-aware of its role as a musical spoof. It never forgets there is an audience and never forgets that they are a performance.”

“The end product is about lonely, confused, wounded people needing to heal, making a connection regardless of nationality or the color of their skin. The judicious outcome is that there are no illegal human beings and in a benevolent world.”

“I’m very scared. I’m very confused it’s very bright here please just tell me whether or not I am safe.” These are among the first words spoken by Charley McBride (an ethereal and impassioned Edie Falco) in Simon Stephens’s “Morning Sun” currently running at Manhattan Theatre Club at New York City Center - Stage I.

“The Pool, an artist-led pop-up theater company producing three ambitious new plays in rep, electrifies at The New Ohio Theater downtown. Catch them one at a time or settle in for a three-show day doozy; individually and collectively, this year’s cycle of Pool Plays is sure to linger long on the mind, coating the audience in a sickly-sweet malaise wrapped in deceptively charming premises.”

The Shaw producers clearly knew how to respect Irving Berlin’s material and built a stunning show around stunning songs. We often use the term ‘ensemble’ to describe a particularly tight cast, but we can consider ‘Holiday Inn’ to be an ‘ensemble’ of leadership in that every department – music, acting, lighting, sets, choreography, costumes – was on full creative display.