Review: ‘The Death of the Novel’ at San Jose Rep
At heart, Pete Campbell and Sebastian Justice are not that different. While Justice has an idiosyncratic, intelligent wit that Campbell lacks (which makes justice far more entertaining), neither character gets beyond his own narcissism.
Powerbomb! Season Opener ‘Chad Deity’ at Aurora Theatre a Winner
The Elaborate Entrance of Chad Deity is like Max Weber coming back to life, taking on a second career in standup, and deconstructing the sport. It’s the missing chapter from Weber’s classic "Economics and Society," updated through a highly warped filter.
‘Ragtime’ – An uncompromising, lavish production
Director Lee Foster, undaunted by the limited confines of a small thrust stage, has produced a triumphant musical experience that is both visionary in scope and a master class in imaginative theatrical staging.
Review: ‘Chinglish’ say “Yes, you don’t!”
In Chinglish, which opened last night at the Berkeley Repertory Theatre, sex, corruption, and even Enron conspire to potentially send Ohio Signage Company into the ground.
Theater Review: ‘Time Stands Still’ funny, fast-moving
A self-styled event planner, Bloom is so colossally unformed and uninformed that it would be easy to dislike her. However, Sarah Moser holds her own, redeems this character, and wins our hearts in spite of ourselves.
Pity the Poor 1%: ‘For the Greater Good, or The Last Election’ (review)
However critical of San Francisco Mime Troupe politics you might be, the bottom line is that they remain stellar performing artists. With impeccable timing, costuming, acting, and blocking, these guys just can’t be faulted.
Clowning around with Lorenzo Pisoni at the A.C.T.
What does it feel like to be five years old and locked in a trunk with a dummy that looks exactly like you?
Review: ‘War Horse’ at the SHN Curran commands breathless attention
While the show is smart enough to throw in bits of comedy, be it an insouciant toss of a tail, or fat, self-important geese waddling into stage center, you hope against hope for the unlikely happy ending, weighing the grimness of World War I, against the need for resolution.
Return to Middle Earth with Charles Ross
On stages like this, the actor’s craft is laid bare. This performance had nary a stick of scenery or stitch of costume, and only the most humble of light and sound design. Ross romanced his crowd for a solid 70 minutes, with only the briefest of water breaks.
‘Triads’ a memorable, out-of-the-box experience
Saturday night’s performance at the Herbst Theatre did not disappoint the enthusiastic crowd
