Masterful staging in Aurora gives us a Sally who’s easy to love and a Kit Kat Club of fading grandeur.
The ensemble cast in this dark, Tony-winning comedy is fantastic throughout.
In director Nick Bowling’s beautifully rendered production, the musical is equal parts powerful storytelling and achingly gorgeous harmonies.
Women from sketch, improv and stand-up discuss their challenges at “The Future Is Female.”
It’s one of the funniest revues Second City has produced in the past 20 years. And it is also deeply enraging.
There are several numbers delivered with great feeling and vocal aplomb, worthy tributes to the man and his music.
Nataki Garrett’s cast is remarkable, both as an airtight ensemble and in the actors’ ability to breathe life into their respective characters.
Firebrand began roughly two years ago with a $600 anonymous donation and a long-simmering discontent with an art form historically dominated by men.
Finding youngsters who can shred a guitar solo or nail a percussive backbeat involves criss-crossing the country and seeing hundreds of hopefuls.
Witches, zombies and Dracula himself star in some of the month’s scariest stage productions.
In the hospital room of playwright Halley Feiffer’s world, a parent’s pending demise is brutal, messy and an impetus for sex.
Agree or disagree with him, Brown’s conversation is vital.
The show is steeped in the eerie darkness of a world lit by fire and filled with primeval gods, but falls short in terms of effective storytelling.
Co-directed by Lavina Jadhwani and Nick Sandys, a reimagined “Great Expectations” achieves mixed results in telling the story of Pip’s evolution.
In Court Theatre’s production, director Devon De Mayo pulls off a feat as impressive as any rabbit-in-a-hat trick.