By Ernest Kearney — "Dracula's Taste Test" is no great shakes, but neither does it hold itself up as anything else. Essentially a variety show, featuring Dracula, the whole thing is an enjoyable lark of silly guest monsters, with Jeff Sumner as the “creep” being the
by Ernest Kearney — "The Book That I'm Going to Write, by Judy Garland" is an idea that someone should have talked performer/creator Jason Powell out of. We are told that in 1964 Judy Garland, upon contemplating the writing of her memoirs was advised by
By Ernest Kearney — Cooper Bates’ one-man show, Black When I Was a Boy is a truly heartfelt tale of that banishment from paradise so many of us experience when we first come to learn the sinful truth: The serpent of prejudice and racial intolerance
By Ernest Kearney — "The Big Picture" is as cluttered, chaotic and confused as your average, interstate, multi-vehicle pileup and even less fun. Holly Goodfellow wanders about a stage festooned with bags, boxes and gym bags which he digs in throughout the show, occasionally pulling out
By Ernest Kearney — Melanie Holmes’s "Negative Spaces" takes us into a strange and unsettling place. Lily (Holmes) and her longtime boyfriend Adam (Wes McGee) are ready to take their relationship to the next level and begin to plan their wedding.
By Ernest Kearney — Bill Posley’s superbly slick, and raucously funny show, "The Day I Became Black," reveals to his audience the trials and tribulations of growing up biracial in this country.
By Ernest Kearney — "Skin Jobs" by Jim Vejvoda is a short indictment of the undercurrent of racism still in Hollywood. Vejvoda has drawn on his time as a journalist, covering the entertainment industry, to create a tight and timely tale of Kerri (Virginia Tran);
By Ernest Kearney — On December 21, 1988 a bomb exploded on Pan Am Flight 103 over the town of Lockerbie, Scotland. All 259 souls, aboard, died in the crash—which also claimed the lives of 11 on the ground.
By Earnest Kearney — I Can Hear You Now, performed and written by Mitchell Bisschop and directed by Daniel De Lorenzo is a reworking of Citizen Kane to Madison Avenue, in which a well-known spokesperson (“Can you hear me now?”) embarks on a quest to
By Ernest Kearney — The School of Night and its Artistic Director, Christopher Johnson can always be counted on to present an audience with a work that is wonderfully wild and totally rooted in solid theatrics. And such is the case with their newest work, presented
