By Ernest Kearney — What is startling about Charlotte Munson’s performance in her musical “Di Lady Di,” is the agility she displays in shifting from moments of silly mockery of Prince Charles to embracing the understated sensuality of the “People’s Princess” all in
By Ernest Kearney — In our time, in our world, there is no more important battle than that for the truth. And the journalists and reporters who bear the slanders of
By Ernest Kearney — As a huge fan of the international art of clowning, right at the top of my “To See” list from the get go of HFF22 was Japan’s Theatre Group Gumbo production of "Are You Loving It?"
By Ernest Kearney — There are two parts to Niek Versteeg’s solid success at playing the titular role in “Tommy Cooper: I Didn’t Let You Down, Did I?”
By Ernest Kearney — Writer/Performer Alex McSherry takes his clue from Historian John Keegan’s classic work "The Face of Battle" in "The Tanner."
By Ernest Kearney — The golden era of the sideshow maybe sadly gone, but you wouldn’t know that from watching Fred Blanco’s skillfully crafted homage
By Ernest Kearney — “Vincerò” is the closing term cried by the “Unknown Prince,” which concludes “Nessun Dorma” from the opera "Turandot."
By Ernest Kearney — At first Clive Kennedy seems out of place on the stage at the Complex, where he is performing in "Revelation!" at 'Hollywood Fringe Festival '22.
By Ernest Kearney — Will Eno’s "Thom Pain (Based on Nothing)" began as a one-man show performed at the 2004 Edinburgh Fringe
By Ernest Kearney — “Cassandra,” at the Studio/stage for HFF’22, has a good deal going for it.
