By Ernest Kearney — I am a self-confessed sucker for good clowning and Bonnie He offers that up in her one-woman creation, "A Terrible Show for Terrible People."
In her one-woman show, “How to be Japanese,” Miyo Yamauchi shows herself to be an enjoyable and very entertaining storyteller.
By Ernest Kearney — Remove the focus of the hit series "Mad Men" away from the masculine realm of Madison Avenue, fix it onto the bleak domestic field of their feminine “better
By Ernest Kearney — In "The Pig Farm," Director John Leingang and Writer Richard Klein crowd their stage with a cluster of genres, providing their audiences with murderous cuties, suicidal elders, asinine Christians, coldblooded mobsters, ravenous piggies and
By Ernest Kearney — I see the barest of stages: nondescript chair, nondescript glass…half full of nondescript water. Some token of a set would help, I think. John Heimbuch wanders, literally wanders onto the stage and he is pretty nondescript himself: slacks, Standard Shoes, Ross Dress
By Ernest Kearney — Actress/Playwright Almanya Narula’s choice of subject matter shows a keen sense of what is both the dramatic and commercial. "Noor Inayat Khan: The Forgotten Spy" is a tale of espionage, taken from the annals of World War II, that involves the
By Ernest Kearney — "Metamorphoses," or perhaps more accurately from the Greek root “Transformations,” was Roman poet Ovid’s most ambitious effort and is, definitely, his most well-known work.
By Ernest Kearney — Wakings! directed by Ron Sossi at the Odyssey Theatre Ensemble consists of four short pieces, four riddles on the nature of what it means to awake and questioning what it is that we awake to.
By Ernest Kearney — Tea holds a special significance in Japanese culture. Part of its importance can be derived from its introduction to the Island Kingdom in the 9th century when it was brought over from China by two Buddhist monks.
By Ernest Kearney — Playwright Lucas Hnath’s plays are an oddity. Generally, the core of any drama is the conflict generated by specific actions of the dramatis personae, with which the author has chosen to crowd his stage.
