The actors run out with the peppy bonhomie of game show contestants, line up in a row before us, and wait. Who will play Hamlet? And for that matter Claudius, Ophelia, Polonius, Laertes? Jackson pulls the cast list out of Yorick’s skull and assigns the parts one by one. It’s a goofy, curiously intense moment.
Read MoreArtistic vision is a tricky thing. It has almost nothing to do with money, or skill, or talent, or anything that you can properly quantify. Whatever the case, it's clear that the Ubuntu Theater Project has it.
Read MoreA House Tour makes us want to take on the delusions of an angry fool and see even the nastiest of that fool’s desires as significant and worthy of respect.
Read MoreThere are no explanations or big scenes in Kevin Rolston's Deal with the Dragon, and nothing that lets you easily gauge the scope and ambition of this strange, satisfying tale of emotional and spiritual ineptitude.
Read MoreYou certainly feel the grandeur of Eno's designs and aspirations in this drama. His characters' concerns are everyday ones, but his viewpoint is cosmic. And that tension is what makes his work fascinating, if also somewhat unrealized and jerry-rigged.
Read MoreColossal takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. And like most truly innovative art, you forgive its weaknesses and embrace its strengths.
Read MoreAs I was listening to Chris Rock take it to the nervous white liberals of Hollywood at this year’s Oscars, my mind drifted for a moment. I wondered if I could remember the last time an Asian actor was nominated for an Academy Award?
Read MoreRachel Bonds’ Swimmers, premiering at the Marin Theatre Company under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.
Read MoreSensation overcomes sense in ACT's The Unfortunates and that's a problem for our theater.
Read MoreThe terror of the Berkeley Rep's production is that it is as aesthetically meaningless as Macbeth's rampage is savage.
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