A novella by Henry James is the inspiration for the new Dance Play “The Beast in the Jungle” which marks the final mainstage production of the Vineyard Theater’s 35th Anniversary Season. The book by David Thompson follows the escapades of John Marcher (a credible Peter Friedman) over several decades, as he battles demons and searches for the single entity that seems to elude him. The structure is that of a memory play, with the main character acting as narrator as he reveals the story of his past to his young nephew, (an outstanding Tony Yazbeck), hoping that he will heed the advice and not be intimidated by the jeopardy of love. It is a profound tale of love and passion that seems to necessitate more than spoken words to communicate the emotional content and embellish the beauty of desire, intimacy and endearment.

Despite being birthed in the early 1990's, “THE SISTERS ROSENSWEIG”—the late Pulitzer Prize-winning Wendy Wasserstein's acerbically witty and vibrantly poignant play about a trio of fascinating, strong-willed Jewish-American sisters—has a remarkably timeless, relatable quality, evidenced by South Coast Repertory's delightful and beautifully-acted OC revival production now continuing performances in Costa Mesa through June 2.

Northern Broadsides Theatre Company has been around for quite some time. Its audiences are undoubtedly full of loyal fans that first began following them back when Barrie Rutter formed the company as an answer to the lack of regional voices performing classical and extant texts. In a bid to engage with new fans, the Broadsides have been commissioning new writing and adaptations of classic literary works. The latter is their latest offering, in the form Deborah McAndrew’s adaptation of Charles Dickens’s Hard Times, under the direction of Conrad Nelson.

Andy Gray and Grant Stott returned to the Kings Theatre tonight (Friday 18th May 2018), for the penultimate performance of their hit Fringe show, Double Feature. I had not yet seen this production so was looking forward to seeing what the pair had to offer in collaboration with writer Phil Differ, and director Ryan Dewar.

You don't have to be a 'Shakespeare person' to love the Watermill Theatre's current production of A Midsummer Night's Dream. In this original, energetic, and hilarious production, the Watermill Theatre has taken a play which has been performed countless times, and made it into something which feels new.

“How many people have you had sex with, and what would they say about you?”

That’s the central question that’s asked repeatedly in the show The List, and it’s also the one which the show revolves around. The brainchild of photographer turned director Kirra Cheers, this production is based on the true stories of one man’s – referred to only as “K” in this show – past sexual partners in real-life, with the creator tracking each of them down, in the hopes of getting them to divulge their stories for a supposed artistic project. It’s a concept that only feels more and more strange, and also lost my attention as an audience member, over the course of its performance.

It’s not often I find myself sitting behind the playwright of the production I’m attending but that was the case as I was directly behind David Henry Hwang during his latest work, “Soft Power”. Hwang has had great luck and success at Center Theatre Group, where he premiered Pulitzer Prize finalist “Yellow Face” and his Tony-nominated revival “Flower Drum Song.”

Of the many problems in America today, police brutality and racial discrimination have been some of the most toxic and recurring problems that have constantly plagued our society. While a number of highly-publicized incidents – and the subsequent Black Lives Matter movement – have helped draw more attention to these serious issues over the past decade, the reality is that they’ve been going on for much, much longer than that. It’s a reality that’s put on full display in There’s Blood at the Wedding, the latest production to be presented at La MaMa Experimental Theatre Club.

Contemporary comedies are commonplace in theater, but very rarely does a production surface that manages to produce the sought-after balance of humor and heart needed to make an impact that lasts longer than a well earned laugh.

Greater Boston Stage Company’s “The Legend of Georgia McBride,” directed and choreographed by Russell Garrett, is one of these productions.

“Call the DJ, call the station/Dancing all across the nation/Here for every generation/Now you know your queen is back.” – “The Queen Is Back” by Donna Summer

The fact is that she never really left, and the proof is that her music is alive on Broadway at the Lunt-Fontaine Theatre in the new jukebox bio-musical “Summer: The Donna Summer Musical.” To describe it as an exceptional theatrical accomplishment would be a bit of a stretch; however, it can be defined as a relatively respectable attempt to pay tribute to the music of the late queen of disco.

Paula Hawkins’ novel The Girl on the Train regularly sits atop worldwide bestseller lists, and since its publication in 2015, has embarked on an even greater journey to well and truly cement itself in popular culture as an unforgettable thriller. This journey began with its adaptation to film in 2016, which brought it to even wider audiences; the next logical step in this journey was a theatre adaptation. Over three years since the novel’s publication, the West Yorkshire Playhouse has taken on the task, with a new adaptation by Rachel Wagstaff and Duncan Abel, prior to its imminent closure for major refurbishment.

The name of the show Forever Bound has so many innuendos, starting with the program featuring a large cockroach bound by tape. The opening of Forever Bound begins with a lovely redhead girl Miranda (Emily Goss) walking slowly with vacant eyes, while holding a gas mask. Is she “Forever Bound” to believe that her world is about to end? Playwright Steve Apostolina’s literary comedy turns into a chilling thriller, with a surprising moral twist.

In the early 1980s, African-American playwright August Wilson began writing what would become known as his Pittsburgh Cycle, a series of ten plays —each set in a different decade of the 20th Century — telling stories about the Black experience in America. Ma Rainey’s Black Bottom tackles the 1920s. Ma Rainey was an early Blues singer who earned the title “Mother of the Blues” and who, decades after her death, was inducted into the Rock and Roll Hall of Fame. It is mainly through Ma Rainey’s session musicians that much of the story of Ma Rainey’s Black Bottom is told.

“The Gentleman Caller” was the predecessor of Tennessee Williams first successful play “The Glass Menagerie” which opened in 1944 in Chicago and happens to be the title of a new play by Philip Dawkins which is having its New York premiere at Cherry Lane Theatre, being produced by Abingdon Theatre Company. Perhaps Mr. Dawkins should have taken the hint from the playwrights he pays homage to and realize this present manifestation should be considered a precursor to a script that reveals the underlying pain and struggle of his characters to counterpoise the gay sexual farce that is currently being presented. Humor without substance or emotion can be nothing more than a manner to foist laughter, and there is enough risible physicality, references and one liners woven into this dialogue to undermine the essence at the core of his two characters.

Like most Broadway and musical theater fans who live on the west coast without unlimited access to a jet plane or a big enough disposable income to go to New York constantly to see every theatrical offering on the Great White Way, my first exposures to new Broadway musicals are usually either by viewing short clips online or, even better, by listening to the original cast album.

So, naturally, when a very buzzed-about, Drama Desk-winning new musical from Tony winner Lin-Manuel Miranda finally moved from its off-Broadway home at the Public Theater to the Richard Rodgers Theatre in 2015, I was more than excited to know that the cast album for this monumental project will finally be available for those of us common folk unable to snag a flight or a ticket to experience it live in New York.

Separation-individuation is one of life’s most difficult passages: it is completed successfully by most; however, more than might be suspected remain in the mire of adolescence all their lives. Prepubescence is supposed to erupt in adulthood – adults emerging where clingy parent-dependent pre-teens once held sway. It is a passage equally traumatic to boys as it is to girls, but in “Dance Nation” currently running at Playwrights Horizons’ Peter Jay Sharp Theater, playwright Clare Barron chooses to focus on this process from the point of view of “pre-pubescent” girls. The trope chosen to immerse the audience in this time of trauma is the extended metaphor of the dance studio.

The beloved Rogers and Hammerstein “Carousel” has not often been revived on the Broadway stage since it first opened to critical acclaim in 1945, so this third incarnation, after a long hiatus since the highly successful production at Lincoln Center in 1994, will be welcomed by audiences who savor the familiar lavish score. Theater aficionados will be delighted by the superb vocals that illuminate such favorites as “If I Loved You,” “June Is Bustin’ Out All Over,” and “You’ll Never Walk Alone” along with the new sumptuous orchestrations by Jonathan Tunick. Although the score is still heralded as one of the best among the classic musicals of its era, the book is quite complex and does not withstand the test of time.

When I was asked to review “Kiss,” Guillermo Calderón’s Rubik’s cube of a political play now appearing at the Yale Repertory Theatre, I assumed that the most difficult part would be having to type out the piece one-handed due to a pesky finger injury. As it turns out, my bum knuckle is the least of my problems. “Kiss” is a fascinating play. It’s an ambitious and inventive work with a lot on its mind. It’s the kind of play I’d love to discuss and analyze at length, but “Kiss” contains a myriad of twists and turns I have been asked to not talk about. It’s probably for the better. The surprises in store at the Yale Rep are among the key pleasures of seeing “Kiss.” So, forgive me if I seem like I’m skirting the matters at hand. I am.

In this one woman show, Kaitlyn Riordan plays Henry, a reporter who investigates the global fascination around one of Canada’s most iconic prime ministers and his flower child wife.  She then segues fluidly and naturally between two radically challenging performances as a bombastic and pompous Pierre Elliott Trudeau and his insecure and, at times, unstable wife, Margaret Sinclair.

I never saw Maggie & Pierre with Linda Griffiths when It premiered in Toronto years ago. I did not want to miss this opportunity again.