A new work by Robert Lepage is always a major event. In theater, the Quebecois director, actor, and filmmaker stands with the likes of Robert Wilson or Peter Sellars at the pinnacle of theatrical invention and global acclaim. Little wonder that, like Wilson and Sellars, Lepage has found opera a logical outlet for his extraordinary capacities and grand, all-encompassing visions. Read more »
Words, words, words. You've probably noticed how Shakespeare's plays are full of them. They skip or loll on the tongue; they tickle or bemuse the ear. Sometimes, and not just for the uninitiated or casually acquainted, they come across with more music than meaning. Read more »
It's 1792 and the Terror reigns in Paris, the euphoric overthrow of the old regime in the name of universal brotherhood having given way to a fiesta of bloodletting and fear. Hiding out from the revolutionary mob, just a stone's throw from the Bastille, a weathered aristocrat, Count Almaviva (Dominique Serrand), and his reluctantly loyal and much put-upon servant Fig (Steven Epp) carp and cavil and niggle at each other, poking old wounds and replaying the past. Read more »
The head of a team of HIV researchers (Lauren Grace) tries to safeguard what may be a breakthrough a concoction they have been testing on monkeys seems, albeit mysteriously, to inhibit transmission of the virus in The Monkey Room. Meanwhile, a fallen fellow researcher turned funding hatchet man (a slickly imposing Robert Parsons) acts as proverbial wolf at the door. Read more »
Jeff Greenwald has done his show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it's going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller.
In a humble Southwestern bar tended by a chatty waitress (Lorraine Olsen), three pairs of customers on the edge of nowhere discuss the past and future with a certain growing desperation. Coronado, though the title of the play, isn't exactly the setting. It's one of the up-and-coming towns in the area, referred to in passing as not a bad place to be something to aspire to, maybe. Read more »
A title like Tragedy: a tragedy has, you might think, promises to keep. But what exactly are they? The repetition already flags, and flogs the futility in the gesture, announcing amusingly this post-tragic age. Instead, a sardonic scene suggests itself, nothing summing up the post-tragic like the daily litany of tragic stories on the news. Read more »
George Bernard Shaw once titled a bound collection of his dramas Plays Pleasant and Unpleasant, thus inadvertently summing up any year in any theater scene anywhere. But this is a happy time, so we can concentrate on the former.
The pool of local acting talent, in particular, spoils us in the Bay Area. While it's not hard to find a strong performance from last year, finding room to list them all is another story, and a much longer one. Read more »
What we owe one another, whether family, friends, fellow human beings, or just fellow creatures and how we define we in the first place is a perennial question of both politics and art. Read more »
The annual relentless prosecution of Christmas is a happy time for some. For others, not so much. For her part, Gladys Cratchit (Joan Mankin), the long-suffering wife of Bob (Keith Burkland) that misty-eyed mistletoe of a man harried six days a week by his grasping gargoyle of an employer, Ebenezer Scrooge (Victor Talmadge) is ready to throw herself off London Bridge. One sees her point. Read more »