Race by David Mamet. Humor Abuse by Lorenzo Pisoni. Once in a Lifetime by George S. Kaufman and Moss Hart.

Pinter’s examination of the games that people play suggests that one’s emotions are not so easily compartmentalized.

All attention was focused upon Jeffrey Van Sciver, a mesmerizing black dancer with impossibly long arms and legs. Transitioning from sharply articulated moves to movements as liquid as a long string of pearls, Sciver nearly stole the show.

Short of an opening bit, and two vintage recreations of Jim Henson’s work from the mid 1950’s and early ‘60’s, the entire show involves a dialogue between master-of-ceremonies Patrick Bristow and the audience as he solicits suggestions for short bits that the six puppeteers then perform.

If your point of reference to recorder music is the more staid Renaissance music, Verbruggen’s performance will stand such notions on their head. She propelled the Sammartini forward with the vivacity and exuberance that makes this music seem like such a gift.

The centerpiece is an impressive performance by David Strathairn; one that anchors the production with much needed levity, and sly charm. He's a bit aloof we're led to believe - "Bloomsday"? It's also the first show I've seen to reference Canadian Tire.

Chicago continues to resonate with an audiences even more than it did when it was introduced on Broadway in the 70s. This original City Lights production is no exception. It is a wonderful finish to an excellent season.

Grabbing a glass of wine and bite of cheese in their café and sitting on one of the long benches, strategically curved so as to provide an intimate moment, made me deliciously happy. By comparison, Davies Symphony Hall makes you feel as if you're in an airport.

McDonald has one of the biggest, most generous stage personalities on this side of Yo-Yo Ma – and a voice so warm and lush with the most measured vibrato that even memories of her singing make me swoon.

Meaney’s take on the seemingly flaky, abrasive actress who arrives late for an audition eases the audience into these transitions, at least until the realization dawns that she’s left much unrevealed as she deftly transitions to the character she plays.