Evan Henerson

As the southland welcomes a return visit from The Acting Company, things remain as topsy-turvey as they must needs be in the woods of Athens. The company visit is a quick hit, but Risa Brainin’s production of Shakespeare’s A MIDSUMMER NIGHT’S DREAM is the kind of crowd-pleasing, take-no-prisoners experience that audiences should devour.

From corporate attorney to screenwriter of the new holiday film Oh. What. Fun. Chandler Baker enjoys the ride.

Every now and again, a play comes along that proves difficult to creatively and critically evaluate, a work that looks to provoke as much (or more) than it entertains. And here we are.

Long live that glittering sham commonly known as the American Dream! Eternal health and prosperity, too, for Arthur Miller who spent the better part

ENGLISH isn’t so much a play about the power of words as it is about the inextricable and very complicated bonds between language, culture and identity.

Like a flickering match piercing the blackest most impenetrable abyss, Athol Fugard 's 1982 play “MASTER HAROLD”… AND THE BOYS recounts a story of

As directed by Kristin Hanggi and led by actors Emma Hunton, Diana Huey and Aynsley Bubbico, KILLING MUSICALS looks to blend pathos, satire and female empowerment not always particularly smoothly.

Andy Wolk's production transports Sophokles’s work off the pages of a high school syllabus and directly across the threshold of our comfort zone.

Booth’s deeply sympathetic rendering of a good man navigating a life of crises is 95 minutes of sublimity. And in the role of Kenneth, actor Petey McGee delivers a performance that is as throat lump-inducing as it is uplifting.

If there is a certain “I'm doing this my own way” attitude to Ali, the teen-age protagonist of HELL'S KITCHEN, it should come as a surprise to absolutely nobody.