I lived in London over 25 years ago as a young composer. During my two years there I attended a couple of concerts a week which gave me a good sense of the English musical landscape, attended some theatre, and got to know at least parts of the city well.
Fine Scotch whisky flows freely in Harold Pinter's No Man's Land, always consumed straight, or as the British would say, "as it is." Even the sharpest of memories would turn fuzzy under such influence.
Even momentarily concentrating on healthy solutions rewires psychological patterns to receive and share healthy sexual love in the present. Here are three meditations with the themes of drama, rage, and sexual stigma for you to ponder and practice this week.
Race, sex, three thorny relationships, dubious truths: Schematically, that's the spine of Neil Labute's taut but hollow play, which is receiving a riveting production in its West Coast debut at Aurora.
It may seem anachronistic today, but there was a time when formality reigned in offices. That civility is beautifully illustrated in Cornelius, a revived J. B. Priestley work from the 1930s, part of 59E59's wonderful Brits Off-Broadway series.
Turning a classic animated film into a stage musical isn't easy, especially when the setting is underwater and your stars include mermaids with fins, fish, crabs and seagulls. But The Little Mermaid is the movie that pushed the Disney creative and commercial revival into overdrive.
The beauty of The Weir, an intimate, haunting drama, expertly staged at the Irish Repertory Theatre, delves deep into the ties that bind, both emotional and supernatural. This revival is funny and heartbreaking. Don't miss it.
There are many different ways to attain inner peace, tranquility and serenity. Practicing meditation, affirmations and breath work are a few good ones. However, sometimes hidden blockages exist that may prevent you from attaining that inner calm you seek.
What does a six-year-old girl understand about the tumultuous life of grown-ups? The new film, What Maisie Knew, asks that question. The movie is a gut-churning domestic drama about a turbulent divorce and its collateral damage.
While being unorthodox in its approach, the plot of the show revolves around a high schooler struggling to keep up with the competition. She eventually goes on a wild goose chase in hopes of becoming America's next pop sensation.
It's been 24 years since I used vodka like aspirin -- to numb my pain. In fact, I've been sober 22 years more than I drank, since I quit before I was old enough to buy the stuff. So my brain should be used to ordering Perrier and shaking my head politely as the Merlot bottle comes my way.
Right now, a specially-commissioned play is touring schools in 12 Ohio counties, bringing theatre to kids so that they don't have to leave school, ride a bus and miss out on mandated teaching programs.
This tension-filled thriller focuses on the strained, frayed but oh so mutually dependent relationship between victims and their helpers. And for the most part it does so admirably, giving Halle Berry her juiciest role in eons.
Since last week, Paul's next play has been announced at Signature Theatre in Arlington; Santino opened to positive reviews in Cinderella; Kinky Boots has had a bravura first few performances, and the theatre world keeps turning.
Two promising new plays share a lot in common. Both are set in the 1950s. Both are broadly comedic but with heart and drama just below the surface. Both are blessed with excellent casts and productions that do them justice. Both have subplots that are unnecessary. And both could be easily improved.
Are reality/crime hybrids the wave of the future now that reality television has carved out space on our screens? Or is there something troubling about programs that merge true stories with disturbing situations?