On Stage

By Ernest Kearney — There are two parts to Niek Versteeg’s solid success at playing the titular role in “Tommy Cooper: I

By Ernest Kearney — Writer/Performer Alex McSherry takes his clue from Historian John Keegan’s classic work "The Face of Battle" in "The

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

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

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.

By Ernest Kearney  — Playing onstage at the Broadwater for HFF'22, "To Bah or Not to Bah Humbug" is thirty minutes of inoffensive fun

By Ernest Kearney — Frankly, I have always thought that Christopher Durang’s 1979 play was a lousy piece of playwriting – melodramatic,

By Ernest Kearney — “No One Comes to See us Anymore,” on at the Hollywood Fringe, has a singular concept which is heavy with

By Ernest Kearney — In "Death To Realism," Creator/Performer, Marshall Prehm obviously has something he wishes to say, but sadly he says

By Ernest Kearney — "Shubop-Dubay-Had" is, as advertised, the prequel to Gordon’s HFF19 musical "No Matter Watt," and a worthy prequel it is.

By Ernest Kearney — Right from the start there are flashes of cleverness in “Tourrorists,” a comedy based on the January 6th

By Ernest Kearney — A distinct benefit of seeing dancer Aylin Bayaz and guitarist Raúl Mannola performed at the Hudson is the

By Ernest Kearney — In her one-woman show based on Victoria Woodhull, Ashley Ford manages to succeed in capturing the many facets of this

By Ernest Kearney — According to my sources, a “Chonker” is either a “human parasite that lives to feast on a

By Ernest Kearney — Playwright Carolyn Gage announces that the "Maid of Orlèans," in her 1987 play, "The Second Coming of Joan of Arc,"

By Ernest Kearney — Owen Thomas’ hour-long playlet relates a story told countless times in the history of this nation; that of

By Ernest Kearney — “You wouldn’t read about it in a book.” Here you have the most striking line of New Zealand

By Ernest Kearney  —  A spin on the popular “The Show That Went Wrong” formula has an acting company arriving late at the Three