As with most of Mike Leigh's work, Two Thousand Years is a truthful look at a British family. It's also that rare play that successfully mixes politics, religion and domestic infighting.
In Bruges can't quite escape the feeling of being a second-hand knock-off Pulp Fiction. Much of the script seems calculated to shock.
Hunting and Gathering doesn't have the most compelling of plots. It does ,however, have engaging characters, and they mostly make up for the lack of dramatic action
Deathbed is one of those plays that piles short vignettes on each other like so-many TV clips. In this case, all centered on one theme...death.
This stage adaptation of Disney's The Little Mermaid falls all over the place. The cast may be talented but they're overshadowed by bad design, generic choreography and confusing direction
William Inge's Come Back Little Sheba is given a low-key, but effective revival. There's a dignity to this tale of lives led in quiet desperation. Could this be the start of an Inge revival?
David Mamet's November is more like a two-hour sitcom than a political satire. And there's really nothing wrong with that.
Director Deborah Warner and actress Fiona Shaw have come up with a dazzling production of Beckett's Happy Days. Relevant for twenty-first century audiences, while still preserving the grandeur of this classic work.
The 39 Steps is fun, fast-moving and inventive. Just don't expect Hitchcockian suspense in the bargain.
Beckett's darkly funny Happy Days is given a tremendous production at BAM's Harvey Theater. Credit director Deborah Warner and actress Fiona Shaw, for that bit of good news.