By Ernest Kearney — There is an old saw that annoys the hell out of me whenever I hear it: “History repeats itself.” Wrong. History never repeats itself. It only seems that it does because humanity keeps making the same mistakes over
By Ernest Kearney — "The Children," running at The Fountain Theatre, opens with trickling blood. Just a nose bleed. A still, silent, rather empty moment, for all to see the red droplets. It’s the Iast stillness and silence Playwright Lucy Kirkwood permits
By Ernest Kearney — “Why?” Whether one is leaving an exhibit of Banksy’s stenciled, naked, nine-year-old Phan Thi Kim Phúc fleeing her napalmed Vietnamese village or a Diamanda Galás “Scream Opera,” or a screening of the Jordan Peele film US; the sentient audiences are
By Ernest Kearney — The story of Chiara Offreduccio, AKA Clare, is one of the most beloved “ripping yarns” of the Catholic Church.
By Ernest Kearney — Carla Delaney is a talent to luxuriate in, with a lovely voice, sharp comedic skills, and a persona that can fill a small auditorium. These praise worthy qualities are very evident in her one-woman-show "Worth It!"
By Ernest Kearney - Since its Broadway opening in 1982 it’s doubtful a year has passed without there being at least two dozen (likely more) revivals of the Tony nominated musical, "Blues of the Night," all across the nation.
By Ernest Kearney - "In Our Man in Santiago," Playwright Mark Wilding forgoes those subtle, silken threads from which history spins its webs, which is entirely acceptable since he’s penning a farcical romp and not a historical recounting.
By Ernest Kearney — There’s a great deal that is familiar about The Wolfe & the Bird, Rachel Parker’s one-woman show at the Matrix.
By Ernest Kearney — Well, 2021 was strange in every way: The UN declared it the International Year of Fruits and Vegetables, a mob of goose-stepping “Americans” cretinized political lunkheads and MAGA sophomoraniacs, who congressional Republicans mistook for “your average tourists,” and who attacked the
