Chalk one up for women that are willful, head strong, and utterly uncontrollable.

Nerves are frayed and everyone is operating in a neurotically-charged frenzy.

This wonderful production once again demonstrates the depth of talent and creativity that one has come to expect when visiting the Eureka Theatre in San Francisco.

Admittedly, Sir Elton John has composed some of the most memorable pop melodies of our time, but he fails to deliver a single one for this disappointing, albeit often entertaining, extravaganza.

42nd Street Moon, once again, must be congratulated for giving theatergoers a rare opportunity to experience one of the early efforts of a true genius

This co-production with A Contemporary Theatre (ACT) in Seattle proves beyond a reasonable doubt that Double Indemnity works as a play. All the hallmarks of a classic noir are here, right down to the dancing shadows, the smoke-filled rooms, and after hours stealth.

The playwright’s awkward tone is deliberate and may at times shock you, but this production manages to infuse it all with a rare energy and comic aplomb.

At times, the play reminded me of the bold, uncompromising indie film We Need to Talk About Kevin (featuring a haunting performance by Ezra Miller); that hatred can seemingly run so deep, without explanation.

Like Copland, Gershwin was the foreigner who created American music, mirroring us back to ourselves.

Stephen Hilliard’s costumes could be out of a 1940’s Vogue… and his costumes for men are equally memorable.